So far as the Napoleonic Cavalry Project is concerned, 2018 has been the year of Swedish cavalry. HaT’s five regiments contained within their Napoleonic Swedish Cavalry set have now all been painted over the course of this year. These regiments were;
I’ve enjoyed painting these Light Dragoons. Being perhaps the least remarkable of the five Swedish cavalry regiments painted this year, it would be forgivable perhaps if I found the painting almost a chore. Instead, it’s reaffirmed my love of painting Nappy cavalry; all that colour, detail and of course the horses.
Those details I mention have included painting a tiny silver and red badge on the centre of the shako in a nod to Småland’s symbol of the red standing lion with crossbow. There’s also yellow cord and a rosette plume holder.
There’s also yellow trim to be found on the shoulder flaps, facings, tunic and waistband.
The pouch belt is buff, not white, as are the overalls.
More yellow appears on the edge of the horses’ blue shabraques.
As with all the other regiments in this box, the poses were limited, the emphasis on the set being on providing a variety of regiments rather than poses. The two poses were nice enough, however.
Pose 1 – charging:
Pose 2 – At the walk:
There are plenty of other great kits I’m still intending to tackle in this long-term project, but with November looming, it’s probably the last cavalry regiment to be painted until the New Year. So, now it just leaves me to present the usual regimental biography!
Biography: The Småland Light Dragoons
This regiment began its history in 1543 when raised in Kronoberg and Kalmar. Called the Småland Cavalry Regiment, the regiment’s name referred to its recruitment area of ‘Småland’ – a province in the south-east of Sweden. During the Scanian War, the regiment took part in the battles of Lund (1676) and Landskrona (1677).
In its early days at the end of the 17th century, a ‘cassock’ had superseded the previous
buff coat and it was decided that the Swedish uniform should be only in one colour; the familiar Swedish blue. The regiment was also allotted grey greatcoats in 1701, with yellow lining, collar and cuffs. For headdress at this time, they wore a tricorn with a narrow gold braid edge. During the Great Northern War, the regiment fought at Klissow (1702), Pultrusk (1703), Warsaw (1705) and Holowzin (1708).
During the Seven Years War, the Småland cavalry took part in a number of minor engagements. One example is of a detachment of 50 men which joined a Swedish force despatched to chase away a force of Prussian cavalry reconnoitring the Swedish positions. During its approach of the Prussian scouting party, the Swedes were attacked by a large body of cavalry. The Swedish cavalry fled the field after firing a single volley. Another detachment of 60 men was part of the Swedish force defending the crossing at Nehringen which they did before undertaking a fighting retreat in good order without casualties.
In 1758 300 men of the Småland Cavalry Regiment, under Lieutenant-colonel Baron Klas Erik Silferhjelm, took part to the battle of Tarmow, being charged and routed by 5 squadrons of Möhring Hussars. Two days after this, four squadrons of the regiment took part in the successful defence of Fehrbellin against a Prussian assault.
In 1790, with the Revolutionary Wards looming, the Småland Cavalry Regiment (Smålands kavalleriregemente) became known as the Smålands Light Cavalry Regiment (Smålands lätta kavalleri- regemente). It was then subsequently renamed again in 1801 as the Småland Light Dragoons (Smålands lätta dragoner), being the subject of the HaT set of figures.
The regiment at this time had adopted a Russian-type shako with long yellow cords. On the shako was a yellow Swedish cockade and a cap plate featuring the provincial coat-of-arms. Swedish cavalry favoured buff instead of the more common white belts. Their standard was yellow with the heraldic sign of Småland, the standing lion with the crossbow, in red.
In 1806, it received another new name; the Småland Dragoon Regiment, (Smålands dragonregemente) . In 1812 part of the regiment was converted into infantry – Smålands dragonrementes infanteribataljon (the Infantry Battalion of the Småland Dragoon Regiment).
The converted infantry battalion later became part of Karlskrona grenadier regiment. The remaining cavalry received its final name change to the Smålands Hussar Regiment (Smålands husar- regemente) in 1822. The regiment was located in Eksjö and was disbanded in 1927.
2018 has so far seen me add another five regiments to the now 30-strong Napoleonic Cavalry Project which was begun back in 2015. In what will probably be the final cavalry regiment produced this year, I’m finishing off the remainder of my 2 boxes of HaT’s Swedish Napoleonic Cavalry. From this kit, I’ve previously painted;
All of which just leaves my final Swedish regiment – the Småland Light Dragoons.
In the contemporary print above, the regiment is shown in 1807 wearing a long-tailed navy blue coat with yellow facings, buff-coloured riding breeches and black shakos. Around the waist is a yellow cord sash. The black shako is shown with a peak and this is also reproduced in the sculpted HaT figures yet in this is not visible in Preben Kannik’s illustration of the regiment of 1808 (found in “Military Uniforms of the World in Colour”).
This style of shako reproduced by Kannik, with a tiny – almost non-existent peak – is seen in another contemporary illustration of a Swedish cavalry regiment; the Nylands Light Dragoons of the same year. From these illustrations, the shako appears to have yellow cord around it, something which is reproduced on the HaT figures. The rest of the uniform appears very similar to HaT’s sculpted figures with its waist length coat, although HaT’s troopers are wearing campaign overalls rather than riding breeches.
The horses supplied by HaT are of course very familiar to me, being the same already used for the 18-strong Mörner Hussar regiment and also for the King’s Horse Guard.
Aside from the headdress, the uniform looks closest to the Scanian Carabineers which I painted earlier on in the year. For that reason, I toyed with painting them with yellow coats instead. This was an undress uniform colour adopted for Swedish cavalry regiments for field duty resulting from wearing the reverse colours of the full uniform.
In the final event, I decided to reproduce the same blue coats wonderfully depicted by Danish illustrator Preben Kannik. His “Military Uniforms of the World in Colour” book was a regular source of pleasure during my childhood and indeed continues do so right up to today. It contains many uniforms or regiments I’ve painted previously in the project and also, it must be said, regiments which I still intend to attempt.
The Småland Light Dragoon figures are already well under way, so I hope to have something to share on progress reasonably soon.
What to do when the girls of my household are in London to see a musical leaving me in the capital city with a few hours to kill until they come out of the theatre? Why, visit a military museum, of course!
I decided that I’d walk down to Horse Guards Parade and take a look around the Household Cavalry Museum which is housed within the buildings there. Horse Guards was subject to some redevelopment in 1758 resulting in the Life Guard being based at the site, a tradition that continues to this day. In the 19th Century, the Duke of Wellington as Commander-in-Chief of the British Army used Horse Guards as the British Army HQ. In the 20th century it shamefully was allowed to become an enormous civil service car park, but it reclaimed its dignity and eventually reverted back to its original purpose as a parade and events ground in the 1990s.
The entrance fee is £8 which, though modest enough, is slightly more than many of the other military museums I’ve visited (many of which are free), but for London that’s positively cheap!
On entry, I soon found the display of the modern-day Full Dress uniform for which the Household Cavalry are famous worldwide. The uniforms are based on a 19th century-style heavy dragoon with polished steel cuirasses. The two regiments of the Household Cavalry have distinctively different uniforms; the scarlet tunics and white plumes of the Life Guard and the navy tunics and red plumes of the Blues and Royals. The colours of these regiments are a tradition which goes back a long way. For the Blues and Royals, their uniform harks back to the Horse Guards of the late 17th century.
Also in this contemporary display were the instruments of the mounted band. It was terrific to see the polished kettledrums and drum banners of a regiment which still uses them even today.
The Royal Horse Guards (The Blues) has a lineage that goes back to the distinctly un-royal cuirassiers in the Parliamentarian Army in the Civil War (known as ‘Haselrigge’s lobsters’). An example of this type of armour is on display.
In the early 19th century, Wellington’s Household Brigade performed a famous role in the Battle of Waterloo, comprising both regiments of the Life Guard and the Royal Horse Guards. The Royals (the 1st Dragoons who would later merge with the Blues) took part in the same general charge as part of the Union Brigade, in the process capturing a French Eagle. Helmets from this charge were on display. The images below show a Royals helmet top and a Horse Guards helmet below:
Back in 2016, I posted on a series of cigarette cards featuring British cavalry uniforms, one of which included this trooper below of the Royal Horse Guards in 1815. The same helmet but with the crest and plume in place can be seen.
A life-sized model reproduced the moment that Captain Alexander Kennedy Clark of the Royal Dragoons captured the French Eagle of the 105th Line. An original heavy dragoon helmet with horsehair plume could be viewed close up in a cabinet too. Great for comparison with my own 1st Royal Dragoon figures painted for the Nappy Cavalry Project a few years ago.
After Waterloo, the British Army enjoyed an unprecedented period of peace in which Britain and it’s forces were largely pre-eminent and unchallenged on the world stage. This allowed the army to explore more extravagant uniforms of immense grandeur, often without such indulgence ever being exposed to the proving ground of hard campaigning. With the prestigious Life Guard and the Royal Horse Guard regiments, this trend reached particularly exuberant proportions in the realm of headdress, as can be seen below in this 1832 Life Guards helmet with its outrageous bearskin plume.
The plume can be seen to be protruding slightly further forward on the helmet seen above compared to the design that it succeeded shown below.
This older 1817 design replaced the iconic, though short-lived, Waterloo helmet. The new design’s astonishing plume had its drawbacks, however, and apparently unbalanced the riders who wore it, hence the 1832 redesign. It must have nonetheless been a terrific sight in Full Dress occasions such as parades or reviews.
My aforementioned series of British cavalry uniforms on cigarette cards also pictured this helmet on a trooper of the Horse Guards in 1818.
Another version of this style of bear-crested ‘Romanesque’ headdress was this version worn by the 1st Dragoons, ‘the Royals’. There are notable differences, however. The helmet has been ‘Japanned’ in a black lacquer and has ornate gold-coloured leaf designs featuring on both the sides of the helmet and on the chin scales.
It’s an imposing piece of headgear, though another piece I discovered was arguably even more so. It was a headdress which I had been hoping to see up close for a long time. Described by the museum as a ‘bearskin cap’, this particular specimen was worn by a captain of the Life Guards at the coronation of the Prince Regent in 1821 and reflected the obsession that the would-be King George IV had with Napoleon’s recently defunct Imperial Guard.
The grenadier badge is a direct reference to Napoleon’s grenadiers. The ‘comb-over’ plume is made of swan feathers. Once again, another of those cigarette cards depicts this headdress. In fact, it reproduced the exact same coronation headdress on display in the museum, describing the illustration as “an officer of the Life Guards in the full dress uniform worn at the Coronation of George IV”. Notably, the artist has wrongly envisaged a direct copy of the French version with a shorter swan plume, a front plate and other Imperial Guard details, different to the original shown in the museum.
It would hardly be the Household Cavalry museum without plenty of cuirasses on display. Below is the cuirass worn at the same coronation as the bearskin cap. It’s quite a curious shape, quite elongated, which I suspect may have made being mounted for long periods uncomfortable.
The difference in cuirass shape can be clearly seen when compared to the version below;
For ceremonial occasions, cuirasses could be incredibly ornate. The black lacquered cuirass in the photo below was worn exclusively for the state visit of the Russian Tsar in 1814, no doubt deliberately resembling the Russian cuirassiers’ own black versions. It was interesting for me to discover that cuirasses were therefore being worn by the Life Guard, albeit briefly, pre-dating Waterloo. I’d always assumed that the regiment’s encounter with the French cuirassiers had been the instigator of a relationship between the cuirass and the Household Cavalry.
There was a particularly nice display relating to Colonel Frederick Gustavus Burnaby of the Royal Horse Guards. To the Victorian public, Burnaby was a famously heroic character; the epitome of the recklessly brave Victorian adventurer. Being a member of the Victorian Military Society, he was already familiar to me and I have encountered a number of accounts of the man and his life. Burnaby was larger than life in every sense; being 6ft 4in tall, immensely strong and 20 stone. In the Victorian era such vital statistics was particularly impressive. As sense of the man’s still considerable stature could be gleaned from standing near his uniform, cuirass and boots.
Feats of his astonishing physical strength and endurance was subject to many anecdotes. Most of all, his adventurous and impetuous spirit guided him through many solo adventures across Central Asia, Spain, the Balkans and Russia at a time when being in the Royal Horse Guards meant limited exposure to direct military action.
Finally, desperate to see some combat, Burnaby took an unofficial appointment in the 1884 Sudan campaign. He subsequently died in desperate hand-to-hand fighting at the Battle of Abu Klea. One wonders whether his ceremonial cuirass would have proved of real value in such fighting? The boots displayed above were the same ones he was wearing when he was killed in the act of recklessly engaging the famously fierce Sudanese Hadendoa warriors virtually single-handed. The knife and it’s scabbard seen above are Sudanese weapons found on the field of battle where he lay. The book is a copy of “A Ride to Khiva”, Burnaby’s own popular account of his astonishingly daring trip to the distant silk road city which was then a newly acquired part of the Tsar’s empire.
Nearing the exit, I saw a poignant exhibit from aftermath of the IRA bombing of the Blues and Royals near Hyde Park in 1982. Four soldiers and seven of their horses died in the atrocity. The ornate dragoon helmet on display has been grotesquely damaged and deformed by the blast, a sobering reminder of just how far removed the smartness and beauty of traditional British army ceremonial uniforms are from being appropriate military equipment in the modern era. With the story of the wounded horse Sefton, it was also a reminder of how much appalling suffering cavalry horses must have endured through the ages.
To conclude with, a few more images of uniforms through the ages included in which is Lord Uxbridge’s artificial leg! Uxbridge was Wellington’s 2nd in command at Waterloo and in command of the Allied cavalry (he even recklessly joined the charge of the Heavy Brigade).
Recently, I also encountered another exhibit relating to a member of Wellington’s senior staff when I saw Lt-General Picton’s top hat displayed in the National Army Museum. Just as Picton’s hat reminded me of a famous scene in Dino De Laurentiis’ superb film “Waterloo”, so this leg also made me recall another scene from it; when Uxbridge (played by Terence Alexander) tragically loses his leg to a stray cannonball at the very conclusion of the battle:
Uxbridge: My God sir, I’ve lost my leg.
Wellington: My God sir, so you have!
On exiting, I took a final snap of a statue situated right outside the museum door. The statue commemorates a former colonel of the Horse Guards, the esteemed Victorian Commander-in-Chief, Sir Garnet Wolseley. He is sitting astride his mount and looking out across Horse Guards Parade. Another colossus of Victorian generalship, Lord Roberts, is just yards away, mounted upon his own plinth.
Glancing at my watch, I decided I still had plenty of time before meeting my wife and daughter. So I walked off down to the excellent Guards Toy Soldier Centre which is outside The Guards Museum and just off Birdcage Walk…
I’ve very recently become the proud owner of some large antique prints purchased at what was an absurdly low budget price (aka ‘my price range’). On coming through the post, they emitted that strong musty smell suggestive of great age and antiques.
The four prints depict the following yeomanry cavalry regiments from the 1840s:
The Yorkshire Hussars
The Buckinghamshire Hussars
The Suffolk Yeomanry, Long Melford Troop
The 2nd West York Yeomanry
They are in excellent condition considering their great age. Coming with their own generously sized mounts, they are 45cm x 55cm in dimensions, so they are really quite large for a suburban domestic property. My wife has generously agreed to their being displayed in the spare upstairs room as soon as I source some appropriate frames.
So what’s the story behind these prints?
They are from a series of prints titled “Fores’s Yeomanry Costumes“. Each print is dated to a specific day of issue, between 1844 and 1846, and state that they are published in London by “…Messrs Fores, at their sporting and fine print repository & frame manufactory, 41 Piccadilly, corner of Sackville Street.”
‘Messrs Fores’ were the sons of Samuel William Fores. He was an illustrator and publisher based in London. Fores Senior was the son of a cloth merchant and established his business as a print seller in 1783, specialising in popular satirical caricatures. Yeomanry had featured in Fores publications prior to the 1840s. the most infamous of which was by George Cruickshank who created a biting satire on the 1819 Peterloo Massacre. The sarcastically titled “Manchester Heroes” are the men of the ‘Manchester and Salford Yeomanry’ who are sabreing defenceless men, women and children, to the anguished cries of “Shame!”
After S.W. Fores’s death in 1838, his sons took over the business and moved their output from satire to sporting scenes and fine art. This series of yeomanry costumes, begun a few years after their father’s death, was probably a part of that intentional move away from the satirical publications that had made his fortune.
The prints are plates numbered 1, 3, 4 and 6 from a series of eight, so far as I can tell, in total. The drawings are by Henry Martens, a military artist whom I’ve mentioned before on Suburban Militarism after seeing copies of some of his paintings displayed at the Royal Norfolk Regiment Collection, The 2017 Anglo-Sikh Wars exhibition and also at the Staffordshire Yeomanry Museum last year. I also saw a print from this very series when I visited the Shropshire Yeomanry Museum earlier this year. The print (plate 5 in the series) featured the South Salopian Yeomanry and was reproduced on my report on the Shropshire Yeomanry earlier this year.
Martens painted a great deal of military scenes in the early 19th century, notably on the Sikh and Xhosa wars. He was, however, apparently also well known for his depiction of British army uniforms released between 1839 and 1843 under a different publisher (Ackermann). The Yeomanry Costumes drawings appears to have been a natural continuation of his successful uniforms series with Ackermann.
Martens’ works were often engraved and hand-coloured by a lithographer called John Harris, and this is indeed the case with my own prints. The ridges of carefully applied paint on the prints can still be felt on the fingertips!
I’m well used to seeing the beautiful and prodigious work by Richard Simkin in his depictions of the yeomanry during the 1880s and 1890s. Henry Martens, it seems, can be placed in a tradition of faithfully recording the exotic dress of Britain’s yeomanry regiments, a tradition which was carried on by Simkin.
As I’ve indicated, I believe, at least four more paintings were produced in this series. These depicted the West Essex Yeomanry, the Buckinghamshire Artillery Corps, another scene of the Long Melford Troop from Suffolk and, as previously mentioned, the South Salopian Yeomanry. It’s interesting that two were produced for the Long Melford Troop and two for troops from Buckinghamshire and Yorkshire. Some of the prints (notably not the Long Melford Troop) includes a dedication to a local dignitary and the ‘Gentlemen of the Corps’. It’s possible that sponsorship was received by the publisher for this series from those willing and able to pay for the privilege.
There may be more than 8 prints in the series. I’ll keep my eyes peeled for any other bargains, though wall space for any more will be limited! I doubt another in a similar and affordable price range will turn up any time soon, however!
The fourth regiment of the five contained within HaT’s Swedish Napoleonic Cavalry box are now painted. Cuirassiers now join the Swedish Hussars, Horse Guards and Carabineers already despatched, leaving just a regiment of Light Dragoons remaining.
Plastic Soldier Review confidently state that the figure I’ve painted is a “Skjöldebrand Cuirassier”. I am uncertain as to whether this identification has been drawn from their own research or from HaT’s own release information, as the box itself doesn’t contain any specific information about the figures. Personally, I’ve not discovered any reference to a “Skjöldebrand Cuirassier” Regiment as such. Anders Skjöldebrand was however a Swedish cavalry leader, and the cuirassier corps was under his command during the Leipzig campaign, but the question remains as to what to actually call this figure’s regiment.
HaT’s own site contains an excellent monograph on the Swedish cavalry during the time of the Napoleonic Wars and is well worth a read for those who may be interested. It refers to the somewhat wordy Livregementsbrigadens kyrassiärkår – or, in English, the “Cuirassier Corps of the Life Regiment Brigade”. So, I have labelled these figures as belonging to the slightly more succinct Life Regiment Cuirassier Corps.
As with my King’s Horse Guards, only the one pose to paint for which is supplied only three to a box. I’ve doubled this to six with two box purchases. No messing about with the basing for me, this time. Just a little parched brown grass of the kind I’ve become used to seeing on my lawn this summer!
Not being a wargamer, I always appreciate my figures on parade or in a similar resting pose and this figure and horse pose does the job nicely. An occasional modest twist of the head has enabled them to reclaim a little individuality. I was tempted to paint a white crest for an officer, but stuck with troopers instead – I’d need a few more troops to command before I raise one from the ranks.
The set’s Hussars, Light Dragoons and Horse Guards share the same type of horse in two poses. My previous regiment, the Scanian Carabineers, had a single horse pose specifically for themselves and the same applies to these Cuirassiers. Plastic Soldier Review assures me that “all the saddlery and cloths are correct for the allocated units”. I trust them!
What I’ve enjoyed most about painting HaT’s set has been the variety of eccentric uniform styles that the Swedes adopted. The final regiment to tackle however, (whenever I get around to them…) wear a relatively straightforward light dragoon uniform for the time with a shako for headdress. What might make these a little more distinctive is the uniform colour – but more on that whenever I decide to tackle them.
Now for the biography which this time, I admit, has been a particularly tricky one to research…
Biography: The Life Regiment Cuirassier Corps
This regiment had its origins as far back as the year 1667. The Mounted Life Regiment was created from an pre-existing cavalry regiment from Uppland which itself could claim a regimental history going back to 1536. During the Scanian War, the regiment distinguished itself at the Battle of Lund in 1676.
At the beginning of the Seven Years’ War, the regiment was stationed in Uppland and 4 companies (540 men) were part of the expeditionary force sent to campaign in Pomerania. The following year, 800 men of the regiment were sent over to Pomerania to reinforce the Swedish expeditionary force campaigning against Prussia. In November, a detachment of the regiment was at the Combat of Güstow.
In 1791, the Cuirassier corps of the Life Regiment was formed. At this point, I refer to the following information on this is respectfully reproduced from the HaT website from information on “The Swedish Cavalry during the Napoleonic Wars” written by Björn Bergérus:
The Cuirassier corps… was formally created in 1791 when the former Mounted Life Regiment was split into three units, the Cuirassier Corps, the Light Dragoons Corps of the Life Regiment (in 1795 re-named the Hussar Corps of the Life Regiment Brigade) and the Light Infantry Battalion of the Life Regiment Brigade (in 1808 renamed the Grenadier Corps of the Life Regiment Brigade).
The Mounted Life Regiment had its recruitment area all around lake Mälaren. For the cuirassiers in particular the recruiting area became the original area of Uppland, reaching north from Stockholm to around Uppsala. The unit was present during the campaign in Germany 1813 and was part of the Swedish cavalry present at the battle of Dennewitz, September 6th 1813. The Swedish general Skjöldebrand was ready to charge but was held back by Bernadotte, who figured that the French would fall back anyway, which they did.
The Cuirassier Corps was the only Swedish unit equipped with cuirasses. They would have started the period with a single front-plate, which was later changed to a full front- and back plate. The cuirass would although have become a bit out of fashion, and it is unclear how much it was really worn. When not wearing the cuirass, the unit had a full dress uniform, very similar to the uniform of the Scanian Carabineers, but with white collar and cuffs. Furthermore, for field duty, all Swedish cavalry regiments had an undress uniform, generally made in reverse colours, which for the Cuirassier Corps meant a white jacket with dark blue collar and cuffs.
By today’s standards, [the Swedish cavalry horses] would barely pass as a pony. However, the Cuirassier Corps and the Scanian Carabineers – the two Swedish heavy cavalry regiments – were to have horses exceeding 1,45 m in height. Any colour of the horse was generally accepted, but for the heavies – the Cuirassiers and Carabineers – they had to be of dark colour. The preferred colour of the horses for the trumpeters was white or grey for all regiments.
I’m grateful to HaT and Björn Bergérus for this information as discovering anything on the Swedish cuirassiers was proving particularly difficult!
Notable battle: Dennewitz.
A Footnote about Anders Skjoldebrand…
As I’ve mentioned, Plastic Soldier Review listed these figures as being Skjöldebrand Cuirassiers, so I thought it worth a brief mention about who this Skjöldebrand actually was.
Anders Fredrik Skjöldebrand (1757 to 1834) was an “unusually versatile talent”; at various times being a Swedish count, a military general, and a statesman and minister. He began his military career as a cornet in the South Scanian Cavalry Regiment in 1774, and was later promoted to lieutenant in the East Gothic Cavalry.
He was present in the Russo-Swedish War taking part in the Battle of Karlskrona. In 1789, he then managed to serve at sea and fought in the sea battle of Öland. In the Napoleonic Wars, having risen to the rank of General, he was present at the battles of Dennewitz and Leipzig. In command of the Swedish cavalry (which included the Morner Hussars and Scanian Carabineers), he later won a victory at the Battle of Bornhöved (December 1813) and participated in the war on Norway the following year. He died in 1834 in Stockholm.
The third regiment from HaT’s Swedish Napoleonic Cavalry set is ready for parade. A pleasing dozen of figures to paint with their large bicorne hats and clear, crisp sculpted details.
Obeying the information I uncovered, I depicted them all riding ‘dark coloured’ horses; painting up some bays, dark bays and black horses.
Just the two poses, but I quite liked the relaxed look of the figures. Below – one of the carbine carrying troopers.
Uniform colours were blue coat, yellow facings, buff-coloured crossbelts and breeches. Sabretaches appeared to be blue with three yellow crowns. Shabraques, likewise blue with yellow edging. The bicornes are shown with a tall white plume.
I’ve suggested before that HaT’s horses are OK without reaching the superb sculpting of some others I’ve painted, but after applying some paint, I do think they look good and have gone up in my estimation a little.
So that leaves two more regiments to paint; Cuirassiers and Light Dragoons. Last time, I indicated which regiment from the box I was going to paint and then painted something different. So, this time I simply say – expect news of another Swedish regiment soon! In the meantime, the usual regimental biographical information.
Biography: The Scanian Carabineer Regiment
This regiment was first formed in 1676 and named the Blekinge Regiment of HorseBlekingska regimentet til häst. Commanded by Hans Ramsvärd, the regiment was also known as Ramsvärd’s regiment to horse. They fought during the Skåne war, including the battles of Lund (1676) and Landskrona (1677).
In 1679, the regiment was permanently transferred to Scania, in the southern tip of Sweden, despite being initially associated with the Blekinge province. Ljungbyhed, a town in the northwest of Skåne (Scania) was the base for the Carabineers.
When the Great Northern War began in 1700, it was transferred to the Baltic States before then campaigning in Poland and Russia in the years up to 1709. During this time, the regiment took part in the Swedish victory over the Saxons at Kliszów (1702) and then later in the terrible defeat by the Russians at Poltava (1709). The survivors of the regiment surrendered with the rest of the Swedish army at Perevolotjna, but a group also accompanied King Karl XII in his flight to Bender in modern-day Moldova.
The regiment subsequently participated in most of Sweden’s wars during the remainder of the 18th century. In 1757, the entire regiment was part of the expeditionary force sent to Pomerania under Field-marshal Mathias Alexander von Ungern Sternberg. On November 18 1758, a detachment of the regiment was part of General von Lingen’s force at the combat of Güstow. It served in the successive Pomeranian campaigns until 1761.
In the latter part of the century, the name was changed to be the Southern Scania Cavalry Regiment (Södra skånska kavalleriregementet), before becoming the Scanian Carabineers in 1805. In this guise, it took part in the final stages of the Napoleonic Wars, during the 1813-1814. The only other heavy cavalry regiment in the Swedish army at this time were the cuirassiers.
The Scanian Carabineers later changed its name in 1822 to the Scanian Dragoon Regiment. This name was then retained until the final decommissioning of the force in 1927.
I confidently announced in my last post on the Nappy Cavalry Project that my next regiment from the HaT Swedish Cavalry box would be the Smaland Light Dragoons. I then promptly picked up the Scanian Carabineers and began work on that regiment instead. I’m a bit like that. Capricious.
A Carabineer, ( Carabinier or Carbineer) was originally a French word intended to indicate cavalry armed with carbines, a lighter firearm than the longer musket. Although originally a concept for light cavalry, it seems that Carabineers were frequently equipped as medium or heavy cavalry. Napoleon’s French Carabiniers were eventually armed with a brass-lacquered cuirass, and the British version, called the Carabiniers, were otherwise known as the 6th Dragoon Guards, technically a medium-heavy cavalry formation.
Anyway, the Swedish Scanian Carabiniers were a heavy cavalry formation and were distinguished by their very broad-brimmed bicornes and tall white plumes. They had separate uniforms for undress (yellow uniform) and service dress (blue uniform). I’ve opted for the latter for my figures.
Just the two poses, one with carbine in hand (appropriately):
…and the other figure with sword drawn:
At least I get to paint a different horse after the previous 24 Swedish cavalrymen required the very same duo of horse figures! Apparently, the standard Napoleonic Swedish cavalry horse would barely pass as a pony, today. However,
“…the Cuirassier Corps and the Scanian Carabineers – the two Swedish heavy cavalry regiments – were to have horses exceeding 1.45m in height. Any colour of the horse was generally accepted, but for the heavies – the Cuirassiers and Carabineers – they had to be of dark colour.”
So, some dark-coloured mounts are required. They will be next up to paint, although – truth be told – I’ve a few other things on the painting table at the moment competing for my attention…