Somerset Military Museum (Suburban Militarism Day Trip #9)

Happily, while on my way back home from holiday I managed to detour and visit the Somerset Military Museum in Taunton. The gallery is a part of the wider Museum of Somerset and contains a collection which covers the following regiments:

· The Somerset Light Infantry (Prince Albert’s)
· The Somerset and Cornwall Light Infantry
· The West Somerset Yeomanry
· The North Somerset Yeomanry
· The Somerset Militia, Rifle Volunteers and Territorials
· The Light Infantry and its successor regiment, The Rifles

You will note the above mention of militia, rifles, volunteer and yeomanry, which is something of a particular interest of mine and I wasn’t to be disappointed. I was particularly impressed by the museum’s emphasis on letting the exhibits take centre stage and the whole gallery was very well stocked with uniforms – so I was a particularly happy boy!

Painting of the Sortie from Jellalbad by Daniel Cunliffe
The Sortie from Jellalabad, a painting by Daniel Cunliffe (1801-1871)

Near the entrance to the gallery is the above painting by Daniel Cunliffe which depicts the Siege of Jellalabad, First Afghan War (1838-1842). In it, the 13th Light Infantry are depicted capturing sheep and cattle as part of a successful sortie from Jellalabad in which they were besieged. I was already familiar with some other paintings by Cunliffe, so was pleased to see this one. Another painting that would have been wonderful to view but was unfortunately absent on the day (I think away on loan) was Lady Butler’s “Remnant’s of an Army”. This was the great artist’s iconic depiction of William Brydon arriving at the gates of Jellalabad as the last survivor from the 1842 retreat from Kabul.

The city of Jellalabad in Afghanistan played an important part in the history of the 13th Regiment, the name eventually featuring on their cap badge in recognition of their valour in the conflict. The museum displayed a marvellous uniform worn by Captain George Talbot (below left) of the 13th Light Infantry which he would have been seen wearing on parade in Jellalabad. Also displayed (below right) was a fearsome Afghan dagger taken at the fall of Ghuznee in 1839 and a fabric skullcap worn by the 13th’s Captain George Mein during his captivity.

Taken captive by Afghan leader Mohammad Akbar Khan during the retreat from Kabul, Captain Mein was held for 9 months alongside other British survivors (men, women and children) which included Lady Florentia Sale, the incredibly brave and defiant wife of the regiment’s colonel, Sir Robert. Quite a bit of history seen by that little cloth cap! Large portraits of General and Lady Sale were on display, depicted by the artist George Clint (1770-1854).

The 13th Regiment fought all over the world including the Crimea, Burma, India and South Africa (latterly in both the Anglo-Zulu and Anglo-Boer Wars). During the Zulu campaign, Major Knox-Leet of the 13th won a Victoria Cross during the disastrous battle of Hlobane and the following day his regiment fought hand to hand with Zulus in the desperate battle of Khambula. The regiment’s band led the British army advance (in square formation) at the concluding battle of Ulundi . The museum had artefacts from the Zulu campaign on display including a Martini-Henry rifle, some Zulu weaponry (see below) and King Cetshwayo kaMpande’s pipe!

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Heavy Zulu iwisa (knobkerries) with a isihlangu (ox-hide shield) taken during the Anglo-Zulu war of 1879.
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Bust of Lt John Chard of Rorke’s Drift fame. He was not of the 13th Regiment, being a Royal Engineer, but was a local Somerset man.

Anglo-Boer War exhibits included a Boer carving, a century old chocolate box given to troops (with the chocolate still in it) and this helmet below belonging to Corporal Mabey wounded at the battle of Tugela Heights in 1900. Note the hunting horn symbol on his rather campaign-weary pith helmet; an iconic symbol of light infantry troops.

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As I’ve mentioned, the museum was particularly blessed with uniforms such as this sergeant’s from the late 19th / early 20th century. Surrounding it were khaki uniforms and examples of NCOs and officer’s mess uniforms.

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On the right in the photo below can be seen an officer’s sword and scabbard which was carried during the 1st Anglo-Burma War (1824-26), 1st Anglo-Afghan War (1839-42) and the Crimean War of 1854, possibly even present during the Anglo-Zulu War of 1879. Few soldier’s swords can claim to have been quite so well-travelled! The sword with the white handle belonged to Lt-General Snow, a former colonel of the regiment.

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You may spy in the above photograph a 1930s Gramophone record which featured the Somerset Light Infantry’s suitably jaunty regimental march called “Prince Albert’s”, performed on record by their band. I believe this march featured in the 1968 film “The Charge of the Light Brigade”.

Coming up in Part 2 of this post; drums, headdresses and lots of colourful volunteer uniforms abound…

Mamelukes of the Imperial Guard (Nappy Cavalry Project Set #25)

Italeri have produced a number of very impressive Napoleonic cavalry kits and I’m pleased to have finally tackled their Mamelukes set; possibly one of their best.

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It has involved painting a lot of detail in a large range of colours, which in turn has meant a much larger investment in time to produce them. Was it worth it? I like to think so, they are unique in my collection and looks pleasingly colourful.

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Whilst it’s taken quite a while to get them painted, but the sheer exotic value of their turbans, scimitars, etc, etc, has kept me going.

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The Mamelukes made up a very small force in Napoleon’s cavalry, but the impact of their fame gave them an importance far beyond their limited numbers, and it’s no surprise that Italeri and HaT (amongst other manufacturers) have featured them in their range.

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Well, I can now place these figures into the cabinet with the other Nappy Cavalry Project regiments. And that means I can finally get on with packing for my much-needed summer holiday! Until I return, I send my very best wishes to all readers of this humble blog and leave you with the usual regimental biography and photos!

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Now, I wonder if there are any regimental museums where I’m going…


Biography: Mamelukes of the Imperial Guard [France]

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The word “Mameluke” is an Arabic term meaning ‘property’, indicating the status of Mamelukes as being slaves. Since the 9th Century, the Mamelukes were an influential military caste of slaves which rose to become a power in Egypt eventually ruling as the independent Mameluke Sultanate until 1517, and thereafter ruling as vassals of the Ottoman Empire.

In 1798, Napoleon Bonaparte led his French ‘Army of the Orient’ to invade Egypt to both protect French trade and threaten Britain’s own. The most formidable force in the Egyptian army was undoubtedly the Mameluke cavalry. Equipped in an almost medieval fashion, sometimes including chain mail and iron helmets, they were expert horsemen and swordsmen. Armed with curved sabres of very high quality, they could out-fence most conventional cavalry and were observed to have actually sliced through French muskets.

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Napoleon soundly defeated the Mameluke army at the Battle of the Pyramids where he repelled their massed cavalry attacks. The formidable Mameluke cavalry had impressed him, however, as the only effective arm of the Egyptian army. Consequently, on the 14th September 1799, French General Kléber established a mounted company of Mameluke auxiliaries which were soon reorganised into 3 companies of 100 men each known as the “Mamluks de la République”. In 1803, they were again organised into a single company attached to the Chasseurs-à-Cheval of the Imperial Guard.

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Whilst the officers were occasionally French, the rest of the force were at various times made up of Greeks, Egyptians, Circassians, Albanians, Maltese, Hungarians, Georgians and Turks (amongst others. All were armed with a brace of pistols; a long dagger tucked into their waist sash; a mace; and later even a battle-axe.

The Mamelukes served in Poland, Spain and in Russia, fighting at the Battle of Wagram and most notably at the Battle of Austerlitz in 1805 where the regiment was granted an eagle and its roster increased to accommodate a standard-bearer and a trumpeter. Service in Spain led to a famous painting by Francisco Goya depicting their charge against the uprising of the citizens of Madrid on 2 May 1808, a massacre which in part led up to the Peninsular War.

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El dos de mayo de 1808 en Madrid By Francisco de Goya

In 1813, losses accrued over many campaigns meant that the Mamelukes were inevitably reinforced with Frenchmen who were designated as ‘2nd Mamelukes’. Of the 2 companies of Mamelukes, the 1st was ranked as Old Guard and the 2nd as Young Guard.

CHARGE MAMELUKS AUSTERLITZ

On his return to power in 1815, Napoleon issued a decree stating that the Chasseurs a Cheval of the Guard would include a squadron of Mamelukes. It is not known whether they formed a complete squadron at Waterloo, or simply attached themselves as individuals to various units; Mamelukes were almost undoubtedly present, however.

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Following the restoration of the monarchy in 1815, there were widespread reprisals against individuals or groups identified with the defeated Napoleonic regime. These included the small number of Mamelukes who were still in the army. Eighteen of them were massacred in Marseilles by vengeful Royalists while awaiting transportation back to Egypt.

Monsieur Ducel Mameluke de la Garde  1813-1815.
Monsieur Ducel Mameluke de la Garde 1813-1815.

The brightly coloured Oriental dress and exotic weaponry of the Mamelukes gave them an influence far beyond the small size of their regiment; an influence felt beyond the battlefield into fashionable society! The Mamelukes loyalty to Napoleon was never questioned and they, fatally for some, became synonymous with him and his empire.

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Notable Battles: Austerlitz, Wagram, Waterloo.

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More Mamelukes…

I’ve made some real progress on the Italeri Mameluke figures this past week, the 25th regiment in the Nappy Cavalry Project. These are beautifully sculpted figures, as fine as any other plastic 1/72 set out there.

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Though they are a pleasure to paint, it’s been a slower and more complicated process than painting regular forces due to the great variety of colours required and which differ from one figure to the next.

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Mameluke standard bearer

With the exception of the red trousers (saroual) and headgear (cahouk), each figure requires a different colour scheme. Starting each single figure required some wardrobe decisions to be made, I felt like an insecure lady deciding what to wear on a first date!

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Hopefully, I’ve made some reasonable choices.

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It’s been interesting to paint the unusual accoutrements: the turbans; the daggers; the beautifully curved scimitars; and the pistol holders wedged into the waistbands.

Next for those horses, a task which one might think I’d tire of. I still enjoy painting them, thankfully, and these Italeri horses seem as well sculpted as their riders. Updates to follow in due course. I’m looking forward to painting those arabic saddles. With luck, I might even get the whole regiment finished before my forthcoming summer holiday in July!

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A not-quite-finished bugler. He’s the only one with a white plume and green headgear.

Mamelouks de la Garde impériale!

After some dithering over the choice of the next regiment in my Napoleonic cavalry project, I can announce that it will be Napoleon’s Mamelukes of the Imperial Guard by Italeri.

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My ever-helpful assistant presents the latest box of cavalry to paint.

Part of my wariness with this set was down to tackling a regiment somewhat out of my comfort zone. Firstly, they are from Egypt and a far cry from the European cavalry of which I’m familiar.

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Mamelouks de la Garde impériale à la charge by Auguste Raffet

Secondly, they are irregulars and as such don’t wear a uniform dress, never mind the traditional Napoleonic European style uniform. But I paint military uniforms – that’s what I do! Before I hyperventilate any further, here’s a useful guide to their dress which suggests some general uniform guidelines:

During their service in Napoleon’s army, the Mamluk squadron wore the following uniform: Before 1804: The only “uniform” part was the green cahouk (hat), white turban, and red saroual (trousers), all to be worn with a loose shirt and a vest. Boots were of yellow, red, or tan soft leather. Weapons consisted of an “Oriental” scimitar, a brace of pistols in a holder decorated with a brass crescent and star, and a dagger.

After 1804: The cahouk became red with a brass crescent and star, and the shirt was closed and had a collar. The main change was the addition of a “regulation” chasseur-style saddle cloth and roll, imperial green in color, piped red, with a red and white fringe. The saddle and harness remained Arabic in style. The undress uniform was as for the Chasseurs-à-Cheval of the Guard, but of a dark blue cloth.

So that gives me something to go on. They are certainly going to take longer to paint given their disparate colour schemes. One thing is for sure, the figures are beautifully sculpted by Italeri, possibly amongst their finest. The figures are very large for the scale, but this will be of more concern to a wargamer than a mere figure painter like myself.

Painting oriental irregulars certainly provides a different challenge, and it’s one I’m looking forward to. I’ll post updates once I’ve got something to show, until then here are some images of Mamelukes as it seems these exotic horsemen were a favourite of artists over the years.

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François-Antoine Kirmann, chef d’escadron des mamelouks de la Garde impériale (1808-1811).
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Mamelouks de la Garde impériale au défilé by Felician Myrbach (1853-1940)
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Capitaine français des mamelouks de la Garde impériale by Ernest Fort (1868-1938)
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Porte-étendard des mamelouks de la Garde impériale.

 

Trooping the Colour and a Postcard

Some weeks ago, I posted about the depiction of women in historical military uniforms showcasing some of my modest collection of trade cards and postcards on the subject. Through my letter box has come another of my ‘Girl Soldier’ series of pre-WW1 postcards; a Life Guard!

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This is most appropriate given that this Saturday was the day when lines of brightly coloured soldiers aren’t just seen on my painting table here at Suburban Militarism; they’re also seen on television parading for the Queen’s birthday – The Trooping of the Colour. Essential viewing for this military uniforms enthusiast!

Beats watching Game of Thrones any day, in my (eccentric) opinion.

Anyway; any viewer of the Trooping of the Colour ceremony might note that it’s not just men appearing in the parade.

The King’s Troop Royal Horse Artillery which is made up of nearly equal numbers of males and females. Being a ceremonial artillery unit that is mounted on horses, women undertake tasks of a mounted regiment becoming farriers, saddlers or tailors, in addition to riding the horses and operating the six 13 pounder WWI-era guns.

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Certainly, the women of the King’s Troop RHA have proved themselves more than capable of performing their duties during The Trooping of the Colour. How long before we see women riding in the parade wearing the full cuirass of the Lifeguards or Blues & Royals, I wonder? Possibly in the not-too-distant future.

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I imagine that comic postcard illustrator Ellam would have scarcely believed it possible when he penned his “Girl Soldier” series for postcard manufacturer Ellanbee in the early years of the 20th century. It’s possible that the Girl Soldier series was intended to be absurd; ludicrous. Yet over 100 years later, women are an increasing presence in the British army latterly in combat roles and, therefore, in its ceremonial duties as well.

For now, then, the vision of a female Life Guard such as Ellam’s still remains an illustration. Or does it? Though there are no women in the Household Cavalry at present, for some time now there have been female musicians in both the Band of The Life Guards and the Band of The Blues and Royals, which come together from time to time, mounted or dismounted, as the Massed Band of The Household Cavalry and take part in the Trooping of the Colour. So the reality of the female Life Guard comes inexorably closer.

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WO1 E. Freeborn, Bandmaster of the Lifeguards.
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A musician in The Band of The Life Guards.

Following the appalling tragedy of the Grenfell Tower fire last week, the Queen led a minute’s silence before the Trooping the Colour ceremony to remember the victims. Kensington and Chelsea council has asked the British Red Cross to help co-ordinate an appeal to support those affected and it has started an appeal to raise money. Various websites are also calling for donations, including the London Evening Standard Dispossessed fund, which has already raised over £1m. JustGiving also has a page specifically for firefighters.

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On the March in Arnhem

Earlier this year I painted some figures for a ‘Group Build’ on the very wonderful Benno’s Figures Forum. These were then sent over to Germany for a talented chap called Jan to build into a display alongside many other figures also received from fellow forum members across Europe and the US.

The idea behind the project was to assemble a long column of marching figures taking in different historical periods while representing the painter’s own country or region.  I painted the 17th Regiment (representing my county of Leicestershire) using RedBox’s British infantry circa 1750.

 

This week, the project has finally been declared “finished” and photos of the final, grand diorama were posted on the forum. The display featured proudly at last weekend’s FIGZ wargaming & miniatures event in Holland. I feel very proud to have contributed a little something to this project alongside my talented fellow figure painters from across the globe.

So, here’s where my 17th Regiment boys ended up after Jan’s magic treatment – marching through the woodland of the US / Canadian border around the time of the French-Indian War (1754-63).

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And here are some photos of the wonderful figures which comprised the rest of the march:

 

The contributors, their nations and figures:

  • Paul, Great Britain – Grenadier Guards with marching band. Astronauts. Prussian Infantry, circa 1806.
  • Sascha, Germany – Prussian grenadiers, circa 1760. Napoleonic Westfalian Infantry.
  • Arekmaximus, Poland – Late Roman Infantry
  • Dykio, Netherlands – Soldiers painted in the colours of the ADO Den Haag football team!
  • Michael Roberts, France – French Revolutionary Infantry
  • Gunnar, Sweden – British Grenadiers, circa 1770s. Swedish Infantry circa 1700.
  • Giorgio, Italy – Napoleonic Austrian Infantry
  • Konrad, Germany – Napoleonic Highlanders
  • Edwardian, Great Britain – 14th Middlesex (Inns of Court) Rifle Volunteer Corps, circa 1897.
  • Remco, Netherlands – Napoleonic Dutch Infantry and a flagbearer with a FIGZ flag!
  • Peter, Belgium – Napoleonic Belgian Infantry
  • Dirk, Germany – Prussian infantry representing a variety of periods.
  • Dalibor, Croatia – Napoleonic Austrian Grenzer
  • Erik-Jan, Netherlands – Napoleonic French Light Infantry
  • Andrea, Italy / Togo – Italian Bersaglieri, circa 1859.
  • Bluefalchion, USA – Indian Wars US Infantry
  • Marvin, Great Britain (…yours truly) – 17th Regiment of Foot, circa 1750.

And finally , aside from making the whole diorama, Jan also found time to contribute the following figures:

  • Jan, Germany – Napoleonic Danish Infantry, Confederate Infantry circa 1860s. Napoleonic French Infantry, Medieval hunters and WWII US Infantry.

Von Beeren Cuirassiers [Nr. 2] (Nappy Cavalry Project Set #24)

Prussian Cuirassiers are a set that I’ve had in my possession for a few years now, a purchase from a closing down sale. Having painted them I can declare that they’re a fine set – although perhaps they’re bodies, and heads in particular, are a little bit on the large side. Plenty of nice crisp detail by Italeri makes for a pleasurable painting experience.

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Italeri Prussian Cuirassier

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It’s been good to return to Italeri figures once again, and Prussians ones at that. I’ve particularly enjoyed painting something a little different from the other regiments; those bicorne hats and yellow jackets add real variety to my collection.

My ‘head-swap’ officer seems to look okay, although I originally intended to give his arm a twist downwards so that he’s not strangely holding out a piece of paper to his right. I like to think I can get away with it as his arm makes it look like he’s gesturing instead.

The trumpeter meanwhile wears a bicorne with a red crest and a white plume with a red tip, in addition to red shoulder markings:

So after that rather enjoyable kit, I’m wondering which cavalry regiment to tackle next in the project and I confess to being somewhat undecided. Furthermore, I fancy taking a brief break from Napoleonic cavalry; a change being as good as a rest, as they say. There’s plenty of figures of all types lying around and waiting for attention here at Suburban Militarism, so watch this space for developments on that.

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So, as is traditional for the Nappy Cavalry Project, here’s a few more photos and a regimental biography of my finished Von Beeren Cuirassiers below!

 


Biography: Von Beeren Cuirassiers (nr.2) [Prussia]

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The 2nd Cuirassier regiment in the Prussian army had its origins in 1666 at a time when early Prussian cavalry was simply designated as being Regiments of Horse (Regiment zu Pferde). Raised variously in accounts by either Colonel Count von Russow or Major-General von Pfuel, it immediately went on to serve in a variety of European theatres: against the French in Alsace; the Swedes in Pomerania; and against the Turks in Hungary.

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Trooper from the Cuirassier Regiment No. 2, circa 1757.

Garrisoned in Brandenburg, it consisted of 10 companies in 5 squadrons. During the War of the Spanish Succession, it fought in the great battles of Oudenarde in 1708 and Malplaquet in 1709. In the War of the Austrian Succession (1740-48), it fought at the battle of Chotusitz, breaking through and routing two lines of Hungarian infantry regiments. In 1745, it took part in the battle of Hohenfriedberg where it destroyed a Saxon regiment. Later that year, it also broke through enemy lines at the battle of Soor with other cuirassiers and captured the Graner Koppe heights and 22 guns.

By the time of the Seven Years War, the regiment was wearing a tunic of ‘lemon yellow’ underneath its black cuirass, in contrast to the off-white of other cuirassier regiments. It took heavy casualties in the battle of Lobositz but recovered to also take part in the Battle of Kolin where it led the charge of a brigade, scattering several enemy infantry regiments. Later, it was involved in the disastrous Battle of Kunersdorf, losing over 200 men and being routed from the field.

In 1790 came the order that all cuirassier regiments were to abandon the cuirass. However, Von Beeren’s regiment were granted the distinction of retaining their yellow tunics which they had been wearing since at least the time of Frederick the Great. That yellow tunic had earned them the nickname “The Yellow Riders” (‘gelbe Reiter’).

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No.2 Regiment’s uniform at the time of the 7 Years War, prior to the abandonment of the cuirass.

Up until 1806, cuirassier units bore the name of their colonels, also called the Proprietor (Inhaber). In October 1805, Karl Friedrich Hermann von Beeren (1749-1817) became the regimental Colonel in Chief, succeeding his predecessor Generalmajor Schleinitz. As was the custom therefore, the regiment took the new commander’s name and became Cuirassier Regiment Von Beeren (Nr 2).

Armed with the pallash (a straight-bladed sword), Prussian cuirassiers enjoyed greater prestige than other cavalry such as the dragoons, uhlans and hussars. Being heavy cavalry, the men and horses were larger, stronger and were expected to charge en-masse to crush the enemy with their sheer momentum and force.

In 1806, as political tensions with Napoleon’s France were at their height, Prussian Cuirassier officers from the elite Garde du Corps famously inflamed the situation further by ostentatiously sharpening their swords on the steps of the French embassy in Berlin.

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Cuirassier officers sharpening their swords on the French embassy steps, Berlin, 1806.

However, the woeful state of both staff and tactical organisation in the Prussian army was to be brutally exposed by Napoleon’s army during its subsequent invasion of Prussia. The Prussian cuirassier regiments were distributed throughout the entire Prussian field army – making it very difficult to co-ordinate large-scale, en-masse cavalry charges on the battlefield and greatly nullifying their effectiveness.

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During the War of the Fourth Coalition in 1806, Von Beeren’s Cuirassier regiment fought at the disastrous battle of Auerstadt as part of its colonel-in-chief’s brigade (Kuhnheim’s division). After the battle, the regiment withdrew with Blücher’s Corps whereby the majority of the regiment surrendered at Erfurt and Ratekau on November 7. As the regiment was not subsequently re-raised, it effectively marked the end of the regiment. However, seventy men and horses escaped to East Prussia where they went into forming the nucleus of the new 4th Cuirassier regiment.

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Defeated Prussian forces retreating after the disastrous battles of Jena-Auerstadt, 1806.

After the enforced Prussian military reorganization in 1806, cuirassier units were given numbers instead of colonel’s names. In 1808, Regiment Von Beeren had been incorporated into the Brandenburg Cuirassiers. Apparently, their famous yellow tunics were it seems retained and worn for some time thereafter.

No cuirassier regiments were present to see Napoleon’s demise at Waterloo. However, in 1815, Johann Carl Hackenberg watched Prussian cavalry ride through his home town of Elberfeld. This man had particular interest in seeing them as he was an artist who painted in colour all troops from 1813 – 1816. On the 2 February 1815, he observed the Von Beeren successors, the Brandenburg Cuirassiers, ride through the town wearing distinct ‘yellow cuirasses’. So it seems that even 10 years after the regiment’s destruction at Auerstadt, there continued, at least in some way, to be ‘yellow riders’ in the Prussian cuirassiers.

Notable Battles: Oudenarde, Malplaquet, Chotusitz, Hohenfriedberg, Soor, Lobositz, Kunersdorf, Kolin, Auerstadt.

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Harry’s Horses

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Life Guards at Horse Guards Parade, London by Harry Payne.

When painting 1/72 scale cavalry, I always enjoy adding white markings to my horses’ faces as this provides them with a little individuality and personality. Indeed, these markings are used in real life to identify individual horses in a herd. On the face, they are variously identified as blazes, snips, stars and stripes, depending on where on the face it appears and how extensive it is. Likewise markings on their lower legs are unique to each horses, these can be stockings, socks or boots, depending on their length up the leg.

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A Prussian cuirassier horse in progress…

Putting the finishing touches to the Prussian Cuirassier horses, I was looking around for a little inspiration and was drawn to my collection of Harry Payne postcards.

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The 21st Lancers by Harry Payne

Born in 1858, Harry Payne was a Londoner, a son of a clerk. He went on to produce an enormous number of paintings on military subjects, many being sold as postcards produced by firms such as Gale and Polden, or Raphael Tuck and Sons.

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The 17th Lancers: ‘Telling off for road duty’

After attending art school, he worked for a time for a firm of military contractors. By the 1880s, he had developed into a talented military artist and was enormously prolific. Furthermore, he even sold his work to members of the royal family including several commissions during Queen Victoria’s 1887 Jubilee.

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Band and drums of the 7th Queen’s Own Hussars

Much of his work was produced with assistance from his older brother Arthur, although in exactly what capacity, I am unsure. No doubt, his assistance was invaluable in being able to produce such a high number of artworks to order. The two brothers produced a book together for the Queen’s Jubilee year with the original illustrations being presented to Queen Victoria herself.

Aside from the postcards, Harry and Arthur worked on illustrated material for The Strand Magazine, The Navy and Army Illustrated, The Graphic, and various books for, amongst others, Cassell, Virtue and Routledge. In 1903, a set of 50 images were painted for a Players set of cigarette cards, entitled “Riders of the World”.

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The Hampshire Regiment

Harry Payne was noted for his attention to detail in reproducing the military dress of the British army in his paintings. He research could be extensive and his 23 years spent in the West Kent Yeomanry further assisted his knowledge. Working in oil on canvas or watercolours, he was to prove a popular artist for decades.

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The Irish Guards

Although he also painted a range of other topics (cowboys, rural scenes, etc), Payne’s speciality was in depicting the military uniforms of the British army during the late Victorian / Edwardian period. The army was in transition during this time, adopting khaki for its campaigns but still retaining their brightly coloured uniforms for other ceremonial duties. His artworks captured the full range of different orders of dress.

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Officer, Coldstream Guards

Aside from accurate and detailed uniforms, Harry Payne was a painter who prided himself in his depiction of horses. The cavalryman was still considered to be a highly effective force at the turn of the century. Whether armed with a rifle, sabre or lance, a cavalryman’s military equestrian skills were highly prized.

Flicking through his depictions of horses, I copied some of their markings to be reproduced on my Prussian cuirassier horses. I’m not an artist like Harry Payne; but aside from our shared enthusiasm for depicting military uniforms, I like to think we might also have in common an ability to derive a certain satisfaction from painting military horses too.

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Band of the 6th Dragoon Guards (Carabineers)

More on those Prussian Cuirassiers soon.

Marvin.

Yellow Fellows

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I’m about 80-90% finished on the 16 riders for Italeri’s Prussian Cuirassiers kit. They are certainly nice figures and look splendid in yellow. On the debit side however, the heads are a trifle oversized and the hats always seem to face the front of the body regardless as to whichever way the head is facing – which is a bit weird! To bypass this, I’ve chosen exclusively those figures whose hats are worn on the head at roughly the same angle.

Prussian Cuirassiers 1b (6)

 

Prussian Cuirassiers 1b (11)

However, I resorted to a drastic head-swap operation for the officer figure. I cut off a trooper’s head and used a tiny section of pin to hold it all in place. I got a bit carried away with a hot pin resulting in – ahem – some slight melting! But I think he looks okay, nonetheless.

Prussian Cuirassiers 1b (8)

Painting my chosen regiment, Von Beeren’s 2nd Cuirassiers, has been an unexpected challenge so far. Firstly, getting the yellow to look bright yet still vaguely akin to a natural fabric colour has been a learning curve. Secondly, some depictions of the regiment show a white crossbelt with red edges; my reproduction of this feature tested my painting skills considerably!

Prussian Cuirassiers 1b (9)

The trumpeter had some variation in details requiring a red crest on his bicorne, a red tip to his plume and some shoulder detailing.

Prussian Cuirassiers 1b (12)

I’ll be turning my attention to the horses soon. Curiously, I’ve painted these Prussian Cuirassier horses before in this project, having used them as modified replacements for the lamentable horses which came with Italeri’s Prussian Dragoons set (5th Prussian (Brandenburg) Dragoons (Nappy Cavalry Project Set #6)).

In addition to working on these figures, I confess I’ve been musing on other diversions and topics to explore. Heaven knows, I’ve got enough kits to turn my attention to, should I want to take a short breather from Napoleonic cavalry. More on this perhaps in a future post as my ideas start to take shape…

Bye for now,

Marvin