Roman Catholic James II

In 1685, when the openly Roman Catholic James II ascended the throne, Wright was able to return to royal service. However, significantly, James did not employ Wright as an artist, but gave him the "time consuming and futile post"[18] of steward on a diplomatic embassy. He was appointed as steward to Roger Palmer, 1st Earl of Castlemaine husband of Barbara Villiers, the late King's mistress.[6] Wright's knowledge of Rome and of the Italian language may have played a part in this, as Castlemaine was dispatched, in 1686, on an embassy to Pope Innocent XI to demonstrate that England could become a player on the Roman Catholic side in impending European conflicts.[6] Wright's role in the embassy was to oversee the production of elaborate coaches, costumes and decorations for the procession, which secured a papal audience in January 1687. He also arranged a stupendous banquet for a thousand guests in the Palazzo Doria Pamphilj, complete with sugar sculptures and a large state portrait of James II. While in Rome, Wright published an illustrated Italian account of the embassy, dedicated to the Duchess of Modena and, on his return, an English version was published in October 1687, dedicated to her daughter Queen Mary.[6]
[edit] Final years
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As antipathy towards Catholics intensified in London from the late 1670s, Wright spent more time working away from court. He painted six family portraits for Sir Walter Bagot of Blithfield in Staffordshire in 1676/7.[1] In 1678, he removed to Dublin for a number of years, perhaps due to the anti-Catholic hysteria generated by Titus Oates's Popish Plot. Here, still styling himself "Pictor Regis", he painted "The Ladies Catherine and Charlotte Talbot", which is today in the National Gallery of Ireland. He also painted two full-lengths portraits of costumed chieftains, the "Sir Neil O'Neil" (c. 1680), now in the Tate Collection, and the "Lord Mungo Murray" (c.1683), now in the Scottish National Portrait Gallery.[23] Sir Neil O’Neill was a fellow Roman Catholic, also in exile in Dublin. Wright portrayed him in the dress costume of an Irish chieftain, with suit of rare Japanese armour at his feet. The significance of this armour is that it is thought to be a coded symbol of a triumph over the persecutors of Roman Catholicism, of whom, at that time, the Japanese were notorious.[24] The portrait of Mungo Murray (the 5th son of the Royalist Marquis of Atholl) is notable for being considered one of the first instance of Scottish tartan being portrayed in art.[25]




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