Okay, so the 37th Regiment in the Napoleonic Cavalry Project is actually two regiments as it incorporates a troop of uhlans for good measure…
My approach to painting black uniforms is no doubt excessively complex – after all, when all’s said and done, they all just look… well, black!
The box comes with 9 hussars and 3 uhlans. Firstly – the 2nd Brunswick Hussar Regiment:
Nine hussars in total all wearing their finery, pelisses, shakos and plumes. One arm ‘option’ included a bugle which I’ve used and assigned to the grey horse.
I’ve never been a fan of separate arms glued onto pegs – they never seem too secure to me, but I recognise it provides some interesting extra choices. One of the figures with fixed arms had a broken sabre which I cut off completely to hopefully give the impression of simply riding.
On the shako is a white skull and crossed bones (the Totenkopf in German), which appeared on both cavalry and infantry regiments in the army of Brunswick.
For the uhlans, with only three figures in the box I wanted to make sure that all my lancers were carrying lances, although the other arm options were available.
The czapkas worn by these uhlans have an attractive colour scheme – light blue cloth with yellow piping. These colours mimic the colours of the Duchy’s flag, which was similar to the Ukrainian flag of today.
To be honest, I didn’t have much faith on these uhlans looking all that impressive but I think they’ve turned out quite nicely.
Biography: 2nd Hussars and Uhlan squadron [Brunswick]
In 1809 Prince Frederick William, Duke of Brunswick, raised a corps of soldiers to fight the French, who had occupied his country since it’s defeat in the Jena Campaign of 1806-07. The whole army were called ‘Black Brunswickers’ because they wore black uniforms in mourning for their lost independence. Brunswick had been absorbed into the newly formed Kingdom of Westphalia which had Napoleon’s brother on the throne.
After an initially successful uprising, Duke Frederick William eventually was forced to England where his army of over 2000 troops (including cavalry) formally entered British army. Now known as the Brunswick Oels Hussar Regiments, the Peninsular War (1808-1814) saw them fight at the battle of Fuentes de Onoro, Salamanca, Vitoria, the Pyrenees, Nivelle, the Nive, and Orthez.
In 1815, the Duke of Brunswick re-raised his army and took two cavalry regiments into the 100 days capaign; the 2nd Brunswick Hussars (684 sabres in 4 squadrons under Major Cramm) and a single squadron of lancers (just 235 men under Major Pott) .
The entire Brunswick contingent was heavily engaged in the Battle of Quatre Bras with the cavalry incurring 46 casualties which included the fatalities of not only the Duke himself but also the Brunswick Hussars’ own commander, Major Cramm.
In Wellington’s despatch of the 19th June, he praised the contribution of the Brunswick troops and their commander;
The troops of the 5th division, and those of the Brunswick corps (The Black Brunswickers), were long and severely engaged, and conducted themselves with the utmost gallantry. Our loss was great, as your Lordship will perceive by the enclosed return; and I have particularly to regret His Serene Highness the Duke of Brunswick, who fell fighting gallantly at the head of his troops.”
During the Battle of Waterloo, Wellington thought it prudent to keep the battle-scarred Brunswick cavalry far from the front line, in reserve near the centre. Consequently, they were only called into action during the latter stages of the battle, counter-attacking the French cavalry attacks costing them a further 92 casualties.
Notable Battles: Fuentes de Onoro, Salamanca, Vitoria, Quatre Bras, Waterloo.
Plenty of free time yesterday allowed me to spend some time preparing the evening meal and – best of all – painting my soldiers. More correctly in this instance, I was painting their horses. Yes – I’m back at the Napoleonic Cavalry Project with the 37th Regiment in the collection. You can make up your own mind whether having painted 37 Napoleonic cavalry regiments is something to be proud of…
When they were available, I prevaricated over purchasing Napoleonic HaT’s Brunswick Cavalry box. HaT figures are always nice, but they don’t often excite me a great deal. As the Nappy Cavalry Project progressed and options for new sets declined, I found myself belatedly wishing I’d secured a box before it had sold out. So it was with some pleasure that I discovered that HaT were releasing the set recently as part of a raft of re-releases.
During the 1806 invasion of Prussia by Napoleon, one of the Prussian Field Marshalls, the Duke of Brunswick, had been mortally wounded during the Battle of Auerstedt. The Duchy of Brunswick itself spent the next five years as part of the Napoleonic kingdom of Westphalia, occupied by French troops.
The Duke’s son, himself a major general in the Prussian army, loathed the French as much as his father and dedicated himself to fighting for liberation for his Duchy. He raised a corps which became known in England as the Black Brunswickers for their all-black uniforms (apparently adopted ‘in mourning’ for their homeland). After some initial success, he and his troops fled to Britain to become part of the British army where they faught in the Peninsular War. A re-raised Brunswick corps faught at Quatre Bras (where – like his father – the Duke was killed fighting the French) and also at Waterloo where they saw the French finally defeated.
The Duke’s Black Brunswicker corps have been reproduced in various ways by HaT and recently by Strelets. The Brunswick Corps cavalry consisted of a regiment of hussars and a squadron of uhlans, both wearing the ubiquitous black uniform. HaT’s Brunswick cavalry box reflecting the relative sizes of the regiments includes 3 uhlan figures and 9 figures of the hussars.
The pre-Raphaelite painter Millais, painted the above in 1860 following a conversation with William Howard Russell of the Times:
My subject appears to me, too, most fortunate, and Russell thinks it first-rate. It is connected with the Brunswick Cavalry at Waterloo…They were nearly annihilated but performed prodigies of valour… The costume and incident are so powerful that I am astonished it has never been touched upon before.
In terms of my own painting, I’ve been here before – painting black-uniformed Germanic hussars in 2015 in the early days of the project. These were Waterloo 1815’s Prussian Leib Hussars who also wore the death’s head symbol on their shakos. The key difference between those Prussian uniforms and the Brunswick Hussars is that the Brunswickers go even further with all that Gothic blackness, having black lacing and black breeches too.
Better get back to those horses. Speaking of which, I’ve come to the conclusion that my horse painting technique has stood still for too long and have pledged to slowly develop my ‘repartoire’. Firstly, I’ve turned my attention to my dun horses. We own a dun pony called Woody, so I feel it’s important I always paint at least one in any given regiment. Trouble is, I’ve never been quite happy with them, so I’ve changed the colour mix and I’m already a little happier with the shade for the coat.
Next, inspired by Bill’s magnificent dapple grey from his glorious Spanish hussars (Tiny Wars Played Indoors blog), I might turn my hand at some variations too. Palominos, Piebalds or Strawberry Roans anyone?
In my previous post, I revealed the 36th regiment in my Napoleonic Cavalry Project to be the 18th Hussars. It’s a return to Italeri for the first time since their Mamelukes in 2017. The detailing is terrific if subtle.
The horses are elegant but are something of a problem. Firstly, they connect to their bases with pegs – and I don’t like pegs. Thankfully, these ones fit perfectly together but are never as strong as if they were moulded together and a couple of horses parted company from their bases during painting.
Secondly, the horses don’t have the sheepskin saddle covers, an essential item for any self-respecting hussars of the period, but with these nicely sculpted horses, I can live with that.
Finally, the horses come with two disfiguring marks, discs, on their right flanks, presumably a feature imprinted from the moulding process. It looks a bit ugly and I’m not sure whether the scars which are left by attempting to delicately carve them away is better than just leaving them in place. It’s a shame as the horses are beautifully sculpted.
No overt command figures included in this set except the trumpeter.
I keep picking up boxes of these Italeri Hussars / Light Dragoons so I’ve still got enough for more regiments if I return to them to do more in the future.
Formed in 1759, the regiment was first known as the 19th Dragoons and Drogheda’s Light Horse. It was renumbered a few time before settling on the 18th in 1769. Wellington himself spent some time in the regiment as a junior officer.
In 1805, it adopted the “King’s Irish” title and was converted to hussars two years later. It was sent to the Peninsular theatre in 1808 for a year’s service where it faught in the successful cavalry actions of Sahagún and Benavente and also at the Battle of Corunna where the commander Sir John Moore was killed.
It was back in the Peninsular under their old comrade Arthur Wellesley in 1813 and fought in many of the battles leading to the French defeat (including Vitoria, Nive and Toulouse).
For the 100 Days campaign, The 18th Hussars were a part of Sir Hussey Vivian’s 6th British Cavalry Brigade alongside the 10th Hussars and the 1st Hussars of the King’s German Legion. Numbering 447 sabres in three squadrons, they were commanded by Lt-Col the Honourable Murray.
During the Battle of Waterloo, the 18th Hussars found themselves on the extreme left of Wellington’s line, behind the buildings of La Haie farm. Being over 2km away from the centre of the Allied line, the regiment had an almost uniquely quiet time for most of the battle. Having plenty of space to do so, they were formed up in line rather than in columns.
Only late in the day was the regiment moved to the seat of the action in the centre as the French cavalry began to retreat with the rest of their army. Their spirited attacks on the enemy nonetheless cost them over 100 casualties.
The 18th Hussars remained in France after Napoleon’s defeat as part of the Army of Occupation. It was disbanded in 1821 as part of the post-Napoleonic Wars reduction in the British Army’s strength, that numbered regiment not to be reformed again until 1858.
KAMAR of Germany supply a great range of 1:72 scale figures including their own range of figures ranging from the Viking era to WWII. They also stock other manufacturers including Phersu’s ancients and Stenfalk’s magnificent animal range, to name but two. From KAMAR, I ordered this small group of four 1815 Dutch Carabiniers in metal, thinking, that despite their small number, they might make for a pleasing and unusual addition to the Nappy Cavalry Project.
These figures are supposed to depict the Dutch Carabiniers dating specifically from 1815, referring to their part in the 100 Days campaign and the battle of Waterloo. They were part of Tripp’s Heavy Cavalry Brigade at Waterloo which consisted of three regiments from the Netherlands:
1st Dutch Carabiniers (pink facings and red turnbacks)
2nd Belgian Carabiniers (red facings)
3rd Dutch Carabiniers (yellow facings)
I’ve elected to represent the 1st regiment which wore the unusual pink facings. Across the internet, it appears that there is some confusion over the headdress worn by these Dutch Carabiniers during the Waterloo campaign. It seems that most sources depict both the 1st and 3rd Dutch Carabiniers wearing bicornes whilst their Belgian comrades in the 2nd Belgian Carabiniers wore steel dragoon helmets.
In my copy of the ever-reliable The Waterloo Companion, however, Mark Adkin actually has the 1st Dutch Carabiniers wearing the steel helmet and this is further depicted in one the book’s plates.
Eventually, I discovered a comment from a blogger which might offer an explanation for all the confusion. This blogger suggests that;
“…the uniform with the bicorne and long tailed and lapeled coat was prescribed by the Souvereign Order of 31st December 1813. The regulations of 9 January 1815 ordered a short tailed single breasted coatee and the Belgian (steel) helmet. They were to be fully implemented on 1st May 1816. So both regiments went to war in 1815 in the old uniforms.”
So, it’s probable that KAMAR’s figures are suitable for Waterloo. Incidentally, the Italian manufacturer, Waterloo 1815, have produced a set of 6 metal / resin Belgian Carabiniers with steel helmets and which would compliment my Dutchmen very nicely. Well, I suppose I might consider a purchase…
There’s plenty of colour to paint in this regiment; pink, blue, red and white and you may also notice that these troops wear an orange cockade in their bicornes, in recognition of the Dutch Royal House. I think the most pleasing aspects of the figures is their relaxed state, swords drawn but otherwise passive with their standing horses nonetheless looking pleasingly animated and alive.
To conclude, some pictures of my first metal figures in the 1:72 scale Napoleonic Cavalry Project, followed by a brief regimental biography:
Regimental Biography: The 1st Dutch Carabiniers and Waterloo
During the Waterloo Campaign, the 1st Dutch Carabiniers were part of the Dutch Heavy Cavalry Brigade under Maj-General Tripp. The regiment numbered 446 sabres across 3 squadrons and in command was Lt-Col Coenegracht.
They were initially held in reserve behind Wellington’s centre. However, after the Household Brigade had been badly mauled in their epic counter-charge against the main French infantry assault, Tripp’s heavy cavalry became the only intact heavy cavalry formation left to Wellington. Consequently, they were heavily engaged against the French Cavalry for the remainder of the afternoon.
The Dutch Carabiniers initially counter-charged the French Cuirassiers which had been pursuing the remnants of the Household Brigade. A fierce melee ensued until the French were forced to withdraw.
As the battle continued, the 1st Dutch Carabiniers were called upon to counterattack on a number of occasions costing them 102 casualties (25% of the regiment) including a number of their senior officers including Lt.Col. Coenegracht himself, who was mortally wounded.
A flavour of the exhausting and bloody nature of the fighting experienced by the 1st Dutch Carabiniers at Waterloo can be gleaned from this quote by Maj-General Jonkheer (respectfully reproduced from the brilliant General Picton blog):
“After resting in this position, I noticed enemy’s cuirassiers which were advancing to charge the English squares. I saw a perfect moment to charge the enemy and ordered the 1st Regiment of Carabiniers attack the enemy as they were disordered around the squares. After the charge there were numerous enemies dead and wounded left on the ground. At the moment when the 1st Regiment rallied, the enemy sent in a second charge, in this action there were more than one French cuirassier regiment. These were equally repulsed by the 2nd and 3rd Regiment, many cuirassiers were left in our hands.”
It is early October in the year 1798. Leaves have started to fall in the grounds of Holkham Hall in Norfolk and a mild autumnal day is ahead. If we gaze out of the windows of the majestic stately home, we shall see that the south lawn of the estate today presents an extraordinary scene; for drawn up before us are 100 horsemen of the newly raised Holkham Yeomanry Cavalry. From across the lawn comes the sound of jangling tack and the cries of horses, punctuated by occasional shouts of military instruction. From our vantage point by the window, we can clearly make out the elegant red dress of Mrs Coke. Suddenly, an officer rides up to her and dips his sabre in salute. In her hand she holds out to him what appears to be a richly decorated standard…
In recent weeks I finished painting my version of the Holkham Yeomanry Cavalry, a local troop of horsemen raised by Thomas Coke of Holkham Hall, Norfolk during the French Revolutionary wars. Further information on this topic, can be found in previous posts:
Interestingly, the provincial paper, the Norwich Mercury, recorded the moment that the Holkham Yeomanry Cavalry’s standard was first bestowed upon the new troop. The correspondent recorded that, on October 6th, 1798:
“The two troops of Holkham volunteer cavalry, commanded by Major Coke, received their standard from the hands of Mrs. Coke. At eleven in the morning the troops, proceeded to the chapel, where the standard was consecrated by the Rev Henry Crowe.”
The account continues:
“At twelve o’clock the troops were drawn up on the South lawn, within a short distance of the house, when with some ceremony, the standard was given into the hands of Captain Edmund Rolfe. After the ceremony, the troops were entertained by their commanding officer, Major Coke, in Holkham House.” From “Records of the NYC”.
Thanks to the keen eye of Mark at Man of Tin blog, I managed to source some metal 1:72-scale Georgian-era civilians from KAMAR, a German manufacturer of excellent military figures. These figures have helped me recreate the scene and you will note that my troop of Holkham Yeomanry have arrived in force also:
List of local dignitaries at Holkham Hall:
I’d like to introduce some of the local dignitaries attending the presentation, beginning with the host and Major Commandant of the Holkham Yeomanry Cavalry:
Mr Thomas William Coke of Holkham
In 1798, Thomas Coke had fallen significantly out of favour with His Majesty King George III. He had been a vocal supporter of both the rebelling American colonists and also the French Revolutionaries, eventually feeling forced to repudiate the allegation of being an outright republican. A man of the ploughshare and not the sword by nature, Coke even initially opposed the establishment of local yeomanry forces in 1793.
By 1798, he felt moved to raise his own yeomanry force in the district of Holkham; ‘ eager to show my zeal in defence of my King and Country at this alarming crisis… ‘ and was petitioning the Prince of Wales for permission to base its uniform upon the Prince’s own 10th Light Dragoons. Coke was appointed to the rank of Major-Commandant of the HYC on the 19th July 1798.
On the 6th day of October 1798, the newly formed and trained Holkham yeomanry were to receive their standard in the grounds of Holkham Hall. For the purposes of my scene, I have chosen to depict Coke acting in his role strictly as host at Holkham Hall and dressed in civilian attire. Perhaps there’s even a very vague passing resemblance? It is quite possible that he would have been dressed in his military uniform, I suppose, but on such an occasion but I wanted to reproduce something of the man, and the agriculturalist, I’ve seen in a number of portraits.
Mrs Jane Coke (neé Dutton)
Mrs Coke, far from being a passive wife was, like her husband, a committed abolitionist and keen supporter of social welfare. At the time of the presentation in October 1798, Jane had been married to Thomas Coke (apparently for love) for nearly 23 years. She had born him three daughters: the eldest, Jane (21), being already married; Anne Margaret (19) the middle daughter; and the youngest, Elizabeth, who was only 3 years old.
For Mrs Coke’s figure, I’ve dressed her in a dark red dress, hopefully referencing the dress seen in her portrait, below right. I’ve even reproduced the white flower and leaves pinned as a brooch that she wears.
Jane died tragically at 47 years old, just 18 months after performing her essential role in the presentation ceremony. Her portrait now appears up on the wall in the Manuscript library (seen above) alongside that of her husband. Jane’s face is now seemingly forever gazing across to the standard which she had bestowed upon the regiment just months before her untimely death. I confess that I appear to have made the replica standard a tad larger in proportion than in reality…
Lady Jane Elizabeth Howard (neé Coke)
The eldest daughter of Thomas Coke and “a renowned beauty” according to Wikipedia. By the time of the presentation of the Holkham Yeomanry’s standard, 21 year old Lady Jane had been married for two years to Charles Nevinson Howard, styled as Viscount Andover.
Only 15 months later, her husband Charles was to be killed in a tragic shooting accident, the consequence of an ‘accidental discharge of his fowling piece’. They had no children.
Jane was to remarry 6 years later, having this time a more lasting union to Admiral Sir Henry Digby, a veteran of the battle of Trafalgar. This marriage gave rise to 3 children. Interestingly, their daughter, also called Jane, grew up to be a ‘scandalous adventuress” and her story is an astonishing one in its own right!
Charles Nevinson Howard, Viscount Andover
Charles Nevinson Howard, in the peerage known as Viscount Andover, was 22 years old at the time of our presentation. The son of the 15th Earl of Suffolk, he had married Coke’s eldest daughter, Lady Jane Coke, on 21 June 1796.
The site of the Holkham Yeomanry presentation was to prove to be also the place where he was to die a mere 15 months later. The estate was designed explicitly for the hunting of game and on the 11 January 1800, aged just 24, Viscount Andover was killed by the accidental discharge of his gun whilst out shooting in the grounds of Holkham Hall.
A reporter from ‘The Mercury’
One of my remaining figures I’ve fancied to be the reporter from The Mercury, the provincial newspaper which happily covered the event in such detail.
You will not that our correspondent’s top hat is cream coloured, the inspiration being a character I found in a satirical print on Thomas Coke dating from 1821.
Finally, one last local dignitary is included in my scene. In one hand, he holds a green bottle which we might imagine contains some port. In the other hand, he raises a glass, no doubt toasting to the future success of the newly-formed Holkham Yeomanry Cavalry! And to that we all give three hearty cheers!
And just to conclude this project, I’ve taken some more shots of men of the Holkham Yeomanry Cavalry drilling and manoeuvring with the entirely appropriate and glorious spectacle of Holkham Hall in the distance. Please note that any feint impression of tall obelisk in the distance that you may spot is a figment of your imagination, as clearly such an edifice would not have been built for another 50 years…
There’s a documentary TV series running on the BBC which features the work of the Household Cavalry. On a very recent episode, the cavalry (horses and soldiers both) were shown on their annual summer camp. Once a year, over 100 men and horses head off to Norfolk to undergo training including a ride over Holkham beach, plunging into and out of the surf.
This is all happening just a stone’s throw from Holkham Hall where, nearly 221 years ago, the Holkham Yeomanry Cavalry were first raised by Thomas Coke from amongst local volunteers. Surprisingly, it seems the mounted cavalry tradition continues in Holkham right up to this day!
Whereas the Household Cavalry are regulars, Coke’s Holkham Yeomanry were part-timers, local men to the area and were equipped by the wealthy Coke with some assistance from the government with its military supplies.
Research has led me to believe they would have looked similar to the 10th Light Dragoons, Coke having petitioned the Prince of Wales (the regiment’s honorary colonel) to adopt the same colours. Two sergeants of the 10th were ordered up by the Prince of Wales to train the troop in the standards of the British army’s light cavalry drill.
My Holkham Yeomanry’s uniform consists of:
blue jacket with white edging
pale yellow facings
white braid (white-silver for officers)
tarleton helmet with a black turban and silver chains
brass chain wing shoulder scales
For added decoration, I painted on to the figures some brass chain wings on the shoulders rather than going with the sculpted straps. It’s a style I’ve seen on other yeomanry troops of this era, including the Sussex and Warwickshire cavalry.
I spent a little time on the helmets to include a brass rim around the peaks and also silver chains holding the turban in place, not included by the sculptor.
In my previous post on the horses, I mentioned the pale yellow shabraques including a device in the corners with a black shape on a red background to indicate the ostrich device seen on the Holkham Yeomanry’s standard on display in Holkham Hall.
I’ve extended this theme for the officer’s sabretaches – being a yellow background, edged with red, with a central device in the centre and a gold crown above (not seen in these photographs but since corrected!). Three black dots to the side and below indicate the H, Y and C initials of the troop.
For the officers, they have a crimson sash around the waist and a little extra braiding which I added to create some ornate Austrian knot cuffs. To better differentiate the two figures, I’ve given one a twist of the head and arm. I’ve also provided him with greying hair thinking he could serve as the middle-aged Thomas Coke (the same age as yours truly – there’s time to raise my own regiment yet…). Instead, I have other plans for Coke and will perhaps instead nominate the figure to be his Troop’s 2nd-in-command, Captain Edmund Rolfe;
The other officer I propose to be Lieutenant George Hogg;
For the trumpeter figure, I’ve kept it simple. No fancy trumpet cords, just the brass instrument itself. Also, no expensive uniform in reverse colours or bandsman’s epaulettes; just the grey horse distinctive to all cavalry trumpeters.
With my men and horses now painted. There is one more element to my Holkham Yeomanry Cavalry project still to come: a recreation of a scene reported on by the local paper where the standard was presented to the troop by the lady of Holkham Hall, Mrs Jane Coke. I’ve now ordered my chosen figures for this scene and am awaiting delivery…
Just leaves me to conclude with a gallery of some more pics of the troop (click to ’embiggen’), followed by a brief regimental history.
Biography: The Holkham Yeomanry Cavalry [Great Britain]
Raised by Thomas Coke of Holkham Hall after petitioning the Prince of Wales in May 1798.
Coke appointed Commandant, 19th July 1798.
The HYC receive their standard on the south lawn of Holkham Hall, 6th October 1798.
Initially consisted of 2 troops numbering approx 50 men each.
Officers consist of Major Commandant Thomas William Coke; Captain Edmund Rolfe; Lieuts. George Hogg and Martin Folkes-Riston; Cornets Jason Gardner-Bloom and John Ward.
Briefly disbanded in 1802 (following the Peace of Amiens) but re-raised again the following year.
Attached to the 1st Regiment of the newly organised Norfolk Yeomanry together with the Norfolk Rangers, the Lynn & Freebridge, the Smithdon & Brothercross, and the Marshland Troops.
The whole regiment later adopts the Norfolk Rangers’ uniform (green jackets).
Disbanded for good, 1828.
The links below to my previous posts also provide further information: :
About a year ago, I reported on my visit to Holkham Hall in Norfolk and discussed the history of it’s own yeomanry cavalry troop which lasted from 1798 to 1828. After some investigation on the uniform of the Holkham Yeomanry Cavalry in a post earlier this year, I’ve decided to go for it and have a bash at reproducing a vision of this long-forgotten troop in 1/72 scale.
I’m using Strelets British Light Dragoons in Egypt set and have sourced a double 2nd-hand set for less than half the price on eBay. So far, I’ve concentrated on Strelets’ horses which I’ve been previously perhaps a little unfair in describing as over-fed. With some paint on them, they now look muscular rather than portly and I always appreciate the clear, crisp detail provided by these ‘old-style’ Strelets kits. Besides, I imagine that these steeds of Norfolk farmers and local men would have been substantially better fed than regular army horses on campaign.
Following evidence that Thomas Coke of Holkham Hall requested permission to dress his yeomanry troop in the ‘colours of the 10th’ (light dragoons), I’ve taken that to have extended also to the shabraques which the wealthy agriculuralist Coke has very generously supplied to all his troopers!
For it’s design, I’ve broadly followed the 10th’s colours as seen on this Britains model below. Instead of a white device on a red background in the corner of the cloth, I’ve gone for a black emblem, hoping to mimic the ostriches I saw on the Holkham Yeomanry standard in Holkham Hall.
Being Napoleonic cavalry, they could conceivably be included as the 34th regiment in my Napoleonic Cavalry Project when complete (be they yeomanry or the 10th Light Dragoons themselves). Additionally, I’ve had a vague idea to include the standard in a scene with these figures. I’d like to recreate the act of it being presented to them by Mrs Jane Coke of Holkham Hall, a moment reported on in some detail by the local newspaper in 1798. After being given some great ideas by Mark at Man of Tin blog, I’m considering my options…
For now, my yeomanry horses are now being put out to grass whilst I turn my attention to the Holkham men themselves next!
I have already presented the painted horses for the latest regiment in my Napoleonic Cavalry Project, so now it’s time to show them with their riders in-situ. I can announce that the 33rd regiment is Napoleon’s Chasseurs à Cheval of the Imperial Guard.
Wait a minute! That regiment has already appeared in the project, so I’ve got some explaining to do. I felt it was worth attempting this set for a number of reasons;
When they first appeared it was as a mere 5 mounted figures, (certainly not a full ‘regiment’) and were acting simply as an escort to Napoleon himself.
Those figures were by a different manufacturer; Italeri, not Revell.
Italeri’s figures had the men wearing full dress uniform with a pelisse and a plume and bag on their kolpaks. Revell’s men appear in plainer service dress.
Finally, both figures were of sufficient quality as to demand inclusion, these Revell ones being just too good not to attempt.
Unlike the 5 mounted and 2 unmounted figures in the Italeri French Imperial General Staff set, there are plenty of figure in Revell’s Mounted Guard Chasseurs set – a whopping 18 in total which includes a single standing figure.
Did I say they were of ‘sufficient quality’? That undersells it a bit as these Revell figures are very good. My only observation is that the detail is just so finely produced that it makes the painter’s task very tricky. Larger, crisper details may not be reproducing details accurately to scale but it makes the details pop out better to the eye. I’ve matched the basing to my original Italeri versions from 2015. They go together pretty well, I think, the difference between the styles of dress and sculpting can be seen when comparing them to the crisper Italeri versions I painted.
I was particularly impressed with Revell’s officer figure. The pose of his rearing horse with it’s leopard-skin shabraque is an audacious piece of sculpting and works well, I think, with the officer mounted. It’s a piece of dramatic hero posing that’s really memorable.
Other unique figures included in the box was this chasseur below standing on guard with musket and fixed bayonet. The trumpeter meanwhile is unmistakable with his dramatic white colpak and sky blue uniform.
It’s been a pleasure to work with these figures. What a shame that Revell aren’t producing any more Napoleonic cavalry – these guys are over 26 years old now! They didn’t make many Nappy cavalry sets, (aside from reissuing Italeri figures, their only other original set being the excellent British Life Guards), but what they did produce was a real boon to the hobby.
In time-honoured tradition, that just leaves me to share more of the finished figures with a regimental biography to follow:
Biography: Chasseurs à Cheval of the Imperial Guard [France]
The Chasseurs à Cheval of the Imperial Guard originally began life as a part of a regiment of Guides raised by Napoleon when just a general in the Revolutionary Wars in 1796. They would go on to become one of the most prestigious regiments in the army, providing the personal guard to the Emperor and nicknamed by some ‘The Pet Children’!
In 1800, a single company was raised of Chasseurs, commanded by the emperor’s stepson, which formed a part of the prestigious Consular Guides. This company took part in the narrow victory at the battle of Marengo. By 1802, they finally became a full regiment consisting of around 1000 men with a single company of Egyptian Mamelukes joining them as a part of the regiment later.
They performed a distinguished role at the battle of Austerlitz, badly mauling the Russian Imperial Guard. Missing the battle of Jena in 1806, the 1st Hussars (a regiment painted earlier in this project) had the privilege of escorting Napoleon on that occasion. They would return to personal escort duties in time for the triumphal entry into Berlin. They later took part in the great charge of Murat’s cavalry at the battle of Eylau in 1807.
During the Spanish campaign, this regiment performed well but was surprised, outflanked and badly cut up by British cavalry, their commander, Général de Brigade Charles Lefebvre-Desnouettes, being wounded and captured.
In the war of 1812, once more under the command of the returned General Lefebvre-Desnouettes, the regiment (as with the rest of the army) lost heavily over the course of the campaign, though distinguished themselves protecting their emperor from a particularly threatening attack by Cossacks.
During the final campaign that led to Waterloo, they formed part of the Light Cavalry Division of the Imperial Guard, numbering some 1200 sabres. Though leading the initial advance on Quatre Bras, they were not seriously engaged and suffered light losses. At Waterloo, they were deployed as part of the cavalry reserve. The Guard Chasseurs were sent in leading the 2nd wave of fruitless attacks against the Allied squares in the afternoon and thus their proud history as Napoleon’s favoured cavalry regiment would finally come to an end.
Notable Battles: Marengo, Austerlitz, Wagram, Eylau, Somosierra, La Moskowa, Quatre Bras, Waterloo.
I’ve not been idle on the model soldier front over this past week or so. In a return to the venerable Napoleonic Cavalry Project I’ve been turning my brush on to figures of horses; 17 in total, so that’s quite a herd!
In a change to my usual process, I thought I’d shake things up a bit by making a start on the horses before I paint the riders. So, here are the finished equines now let loose on the pasture and patiently awaiting their riders.
I won’t mention the regiment’s name yet, but the green shabraques provide a clue, if not the impressive sculpting. What a tease I am…
There’s an officer’s charger included which wears a very exotic horse blanket made out of leopardskin. You may be able to make out the head of the deceased big cat hanging out over the rump. That was great fun to paint being not at all familiar with painting African wildlife skins!
There’s a trumpeter’s horse too; a grey, naturally, but with a starkly different coloured shabraque to the rest of the regiment.
That leaves 18 cavalrymen for me to paint for those 17 horses. No, I’ve not misplaced a horse somewhere… the riders are currently still untouched in the box, so I ought to pull my finger out, if not my brush, and get painting!
My 32nd regiment in the Napoleonic Cavalry Project reaches its completion with the basing of Merveldt’s Uhlans (Uhlan Regiment No.1). The figures are by Mars about whom’s merits I discussed in a recent post.
I won’t pretend that they were the easiest paint, and I can’t exactly say that they’re perfection incarnate, but I do reckon I’m satisfied with the end result! It’s good to have some Austrians as part of the project at last.
The most tricky aspect of the figures was perhaps the attachment of the lances to the figures. The hands were very indistinct and so I simply attached some old Esci Polish Lancers versions to the hand area with a blob of glue. Job done.
The curious horse poses allow for only certain figure combinations. Hence, one horse appears to be charging hard into the ground, presumably felled by a bullet. The only figure which satisfactorily sits with this equine this the man leaning backwards in a kind of counter-balance. Three of these figures means that a quarter of my regiment is in the process of being felled by a volley! It makes for a unique, dramatic and interesting pose, though.
The rearing horse allows for two standing figures, who, in another pleasing pose, appear to be desperately holding on to their agitated mount by the bridle. This was likely a not uncommon situation in battle.
A spare figure without any horses left to hold I simply gave a lance to, thrusting his weapon in the air and urging his comrades on… or perhaps admiring it… or waving it for attention… OK, possibly an unconvincing pose!
Austrian Uhlan officers would not have had lances and so I’ve attached a sword which came with the Mars set to one of my officers but left the other simply gesturing heroically to his men. They have black pouch belts with gold edging.
The remaining figures include this one urging his horse forward and thrusting the lance.
Also, there is the figure with his arm held high in the air. Another slightly curious gesture, but not a bad one by any means once the lance is attached.
So that concludes regiment number 32 in the old ‘NCP’. Slated as the next regiment in the endless project are some figures which may see me make a return to painting some French cavalry. More on this anon. Until then, I continue the tradition of a sort-of-biography of the latest completed regiment.
Austrian Uhlans were effectively Polish lancers and were dressed as such. Their country came under the leadership of the Habsburgs after 1772 when that empire gained part of the territory (Galicia). The first uhlan unit, the “Uhlan Pulk” was raised in 1784 with 600 men intended for use against a rebellion in the Netherlands. Later it was renamed the “Uhlan Freicorps”.
In 1785, this unit was sent to Vienna and broken up into various uhlan units attached to a variety of chevaux-leger regiments. The first Uhlan Regiment, No.1, was raised on 1 November 1791 from those Uhlans existing in the Kaiser, Karaiczai, Lobkowitz and Levenehr chevaux-leger regiments.
This 1st regiment of Uhlans were known as Merveldt’s Uhlans in 1796, after the regiment’s proprietor (a position similar to that of honorary colonel), Maximilian, Count von Merveldt. Merveldt garnered considerable experience in the Revolutionary and Napoleonic wars against the French and he was considered a very able commander of cavalry, rising to the rank of general.
The No.1 regiment’s headquarters moved over the years, in 1791 it was based in Sárospatak in Hungary, ending the Napoleonic wars in St. Floeian, near Linz. It’s recruiting area was Galicia and most of the uhlans therefore were made up of either ethnic Polish or Ukrainian men.
Uhlan Regiment No 1, as with the three other Austrian Uhlan regiments, wore jackets of green (initially ‘grass green’ but later ‘dark green’) with red facings. The pennons on their lances were black over yellow. Trousers were also green with red stripes with the lower part covered in black leather near the boots, although grey overalls could be worn when on campaign. The sheepskin over the saddles appears to have been black, though this is open to question. The only regimental distinction was the colour of the czapkas; No.1 having yellow czapkas and numbers 2, 3 and 4 being green, red and white respectively.
At Austerlitz in 1805, a handful only of Merveldt’s Uhlans were in the 1st Cavalry Brigade, otherwise the regiment was not represented. During the 1809 War of the Fifth Coalition, the regiment fought at Ursensollen-Amberg. One detachment was at the blockade of the Oberhaus fortress. Parts of the regiment were also involved in the Regensburg battles and later at Stadt am Hof. In July 1809, they were in Bohemia and fought against Saxons in the battles of Gefrees and Nürnberg.
Merveldt’s Uhlans did not take part either in the Battle of Aspern-Essling, being instead kept in defence on the Danube later harassing the French rear lines of communication. After the Battle of Wagram, it retreated to Bohemia when the campaign ended.
The 1st regiment towards the end of the Napoleonic Wars was fighting in the Northern Italian campaign of 1813-14 alongside its sister uhlan regiment No.2 (Schwarzenberg). Consequently, having largely missed out on the key battles of Austerlitz and Aspern-Essling, they were also to find themselves absent from the decisive Battle of Leipzig in 1813. The regiment’s namesake, Count von Merveldt, however was present at the ‘Battle of the Nations’, where he was unfortunately captured when wandering too close to Saxon troops.
In Italy, his regiment continued to do great service however; patrolling, reconnoitring and, as can be seen in the following brief quote I discovered about the Battle of Feistritz, also putting the enemy to flight!
… Austrian Generalmajor Speigel responded quickly, and a very successful charge of the Merveldt Uhlans encouraged the French to withdraw.
The Defense of the Napoleonic Kingdom of Northern Italy, 1813-1814, G.F. Nafziger, M. Gioannini