When it comes to a hobby, pleasure should be the guiding principle. My head has been telling me to do something a little different from Napoleonic-era cavalry figures. My heart, however, simply loves to paint them! And there are seldom more pleasing uniforms to paint than hussars.
So far in my Napoleonic Cavalry Project I’ve painted;
So, at the risk of boring everybody, I’m painting some more!
The set I’m using is an old classic; Italeri’s British Light Dragoons (Hussars). It’s a set of lovely figures, the old Esci sculptor beautifully detailing the flowing pelisses and intricate braiding. It was originally released by Esci in 1985 very specifically labelled as being Lord Cardigan’s 11th Hussars of the Crimean War. It was then reissued with a couple of extra poses the following year as being British Light Dragoons of the Napoleonic Wars/Waterloo! These two sets were both reissued by Italeri when they took over the rights to the moulds on Esci’s sad demise around 1990.
It is appropriate that the first British hussars in my project have come along quite late as the British army was itself slow to adopt hussars into their cavalry arm. Some continental armies had a hussar tradition going back to the late 17th century, but Great Britain only began to convert light dragoons to hussars in the early 19th century. That reluctance can be seen in the official name of the British hussar regiments. At the time of Waterloo, all were formally still known as Light Dragoons with the word “hussars” being almost a grudging adjunct in parentheses.
At Waterloo, there were four British hussar regiments (not including the King’s German Legion’s three hussar regiments also present) and these were;
The 7th (The Queen’s Own) Regiment of (Light) Dragoons (Hussars)
The 10th (Prince of Wales’s Own) Regiment of (Light) Dragoons (Hussars)
The 15th (The King’s) Regiment of (Light) Dragoons (Hussars)
The 18th (King’s Irish) Regiment of (Light) Dragoons (Hussars)
Excepting the 10th Hussars which wore bright red shakos, these Italeri figures could stand for any of the other three (although the 15th I think may have had shakos too). I’ve opted for the 18th Hussars.
The 18th Hussars wore blue dolmans with white braiding, faced with white. Their Pelisses were also blue and white braid with white fur trim. Their brown fur busbies had a bright blue bag. It is on the horses that Italeri widely deviate from historical fact. Hussars during this period had fur saddle covers with hounds teeth edging but my regiment must have sent all theirs to be cleaned.
I’m well advanced with this set already so will be sure to share my handiwork shortly.
Ever since picking up this box of figures, I’ve had the name of a song, “The Faithful Hussar”, going around my head but had no idea of the melody or even where I’d heard it. Google put me out of my confusion; it was used as the moving end scene in the classic anti-war film “Paths of Glory”. I’d seen it recently and the final scene is always moving. A captive German lady (herself a German actress who married the film’s director Stanley Kubrick) silences the baying French Poilu and reduces them to tears with her timid and tender song “The Faithful Hussar“.
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: :
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!
Based and almost ready for action: men of the 37th (North Hampshire) Regiment of Foot stand at ease.
Prior to basing, they experienced a pre-emptive strike by my young cat, Marnie. She accidentally knocked them all off the table and they consequently suffered a little from a hard landing on the kitchen floor. I’ve tried to cover over areas of chipped paint but a few areas inevitably have been missed, I’m afraid.
I like the individuality of the figures, I’m particularly fond of this little private conversation going on in the rear rank…
The 37th Regiment featured in many significant campaigns and battles of the 18th century, including the battles of Blenheim, Quebec, Dettingen, Culloden, and Brandywine, amongst others. It spent much of the Napoleonic Wars on garrison duty in the West Indies and Gibraltar but did, however, serve in the closing stages of the Peninuslar War in 1814 where it won a battle honour.
It was absent from the Waterloo campaign, being sent for service in Canada. So perhaps it’s quite appropriate that these Waterloo-era figures to appear in such a casual and relaxed state?
As we are in Spring here in the UK, I’ve based them in a springlike meadow with flowers and lush grass. Bees are buzzing and birds are singing in this pastoral lull with the thought of hostilities far from their minds.
Below, a private in the rear rank seems more interested in the pleasures of the baggage train to the rear than any enemy to the front…
Tricky to pick out the details but nevertheless great fun to do. I’ve still got some officers to share for this group, whenever I get around to finishing them.
For a fabulous example of what can be achieved with this range of Strelets ‘non-combat’ figures, hop on over to Pat’s 1:72 Military Diorama’s blog and view his Peninsular War “Retreat to Corunna” diorama – endlessly interesting and with nearly 270 figures, a damn sight more ambitious than my own little line up!
As for me, I do still have a couple of sprues spare and was thinking of producing some Rifle Brigade or Belgian Infantry figures sometime too.
I always appreciate the opportunity to paint troops in poses which aren’t depicting combat. The dramatic choreography of such in-battle poses is all well and good, but they can have a certain sense of the melodramatic about them. For the majority of soldiers, the old adage that ‘war is long periods of boredom punctuated by moments of sheer terror’ applied.
Figure manufacturers naturally tend to focus overwhelmingly on those ‘terror’ moments – the combat which is the purpose of wargaming – and avoid the mundane. Recently however, Ukrainian manufacturer Strelets have been releasing a series of boxes featuring 1/72 scale Napoleonic infantry who are in non-combat poses, being either ‘on the march’, ‘standing shoulder arms’, ‘standing to attention’ or ‘standing at ease’.
Strelets are producing a range of these figures including (at present) Napoleonic French Line infantry and Old Guard, Austrians, Highlanders, Prussian infantry and Landwehr, but it is the British Line Infantry Standing at Ease which I’ve selected as my foray into this series.
The figures are typical of what is becoming familiar as the ‘new-style’ of Strelets sculpting; more realistically and delicately sculpted, taller and more slender. The detail consequently is a little less crisp and clear than before which presents, I think, more of a challenge to paint than the nice chunky details of yore.
So it’s taken some time and care to pick out all that intricate detail on the plastic to produce these guys: men of the 37th (North Hampshire) Regiment of Foot. Still on the painting table are a couple of their officers.
My source for their uniform has been a Richard Simkin image from the book “Uniforms of the British Army: The Infantry” edited by WY Carmen which features some of Simkin’s illustrations of the 37th Foot. The regiment has yellow facings with white turnbacks on the coat.
Incidentally, the Hampshire Regiment museum is in Winchester, one of a number of great regimental museums in the town and well worth a visit, something I did myself a few years ago.
Although there are a few campaign figures I’m painting I have managed to include some non-commissioned officers including two pioneer sergeants and another sergeant carrying a spontoon.
The plan is to stand them all together on a single base once all their command figures are done. Better get thinking in a little more detail about that…
Presenting what will be the final cohort of my Strelets Crimean War Personalities, these figures are more from the extra command sprues contained within the Last Assault on Sevastopol set. Like the others, they are unnamed and contain a mixture of different officer types wearing different uniforms.
So, here they are;
The officer below wears a bicorne and seems to be leaning on a cane too.
This next officer has his arm in a sling from a recent wound;
The flag bearer wears a tall French shako. I mean to add a little gloss varnish on to that gold eagle at some point;
Next, another officer of the colourful Chasseurs d’Afrique, I really like the addition of a cigarette just visible in his right hand.
I painted this next figure as an officer of the Light Infantry – or at any rate what I thought one might look like. His chest braid I’ve painted yellow and the cuff trim and falling plume is a deep green colour.
Another decorated officer next, and one with possible delusions of grandeur. He has his right hand tucked inside his jacket, amusingly echoing that familiar hand-in-waistcoat gesture of Napoleon I.
I confess I had no idea what all that detailing on the senior officer’s coat below was, so in desperation I turned it into lots of gold braid. He looks very pleased with himself about something and ready to celebrate with that bottle?
And to complete this cohort of French figures, a reappearance of my cantinière from my recent post.
Another one from the Crimean Personalities series.
As I’ve indicated before, none of the French “Last Assault on Sevastopol” figures are named individuals as in other sets, but it is possible to positively identify at least one more of them from some Roger Fenton photographs. And here she is below:-
The photograph shows a ‘vivandiere‘, or equally a ‘cantiniere‘, a woman attached to a French infantry regiment. They primarily provided food and drink, organised washing, ran the canteens and tended to the infirm or wounded.
These ladies were formally enrolled into the army, they were subject to its discipline and rules, and were assigned next to the musicians in the Order of Battle, parading whenever necessary with their attached regiments in uniforms which closely echoed the men’s.
Though traditionally called vivandières, during the time of the Revolutionary Wars it seems such women became known as cantinières (i.e. those serving wine in canteens). With the restoration of the Bourbon Monarchy, the army was instructed to eliminate the title of cantinière and officially restore the more traditional vivandière. Regardless, the troops themselves simply continued to use cantinière, however.
During the time of the French 2nd Empire, the cantinière had become a romantic icon of the French Army and Napoleon III doubled their numbers in time for the Crimean War with at least one assigned to each regiment.
So it was no surprise that Roger Fenton should encounter one and indeed seek to capture some images of these remarkable female soldiers.
Strelets figure certainly bears some resemblance to the lady in the photograph. They have reproduced the cane in the photograph as being a riding crop, but the addition of some brass paint makes it a little more cane-like again. For the colours, I’ve simply chosen something appropriate to match a French infantryman. The eyes however appear to have been sculpted – and painted – into a squint or wink!
I was planning to hold back on this figure until next FEMbruary, but with that challenge being so far off it seemed wrong not to paint her at the same time as the rest of her Crimean French compatriots.
Of course, the proliferation of French cantinières were not the only female presence on campaign in the Crimea. Roger Fenton took other images of women including the formidable Mrs Fanny Duberley, a popular wife of a captain in the 8th Hussars. She kept a very entertaining journal of her experiences which can be read online here. Another modeller, Tony at Tin Soldiering On blog, recently created his own brilliant version of this spirited lady (see links below) by altering an old mounted Airfix Maid Marion figure. Brilliant!