I know it’s ‘hump day’, but what’s this? Have I ditched horses for dromedaries?
Yes, I have! For the time being, anyway. This is my first attempt at painting camels and I’ve enjoyed it a lot. These ‘ships of the desert’ are courtesy of Strelets new “French Foreign Legion: Desert Patrol” release. I think Strelets’ camels are well sculpted, the proportions (so far as I my limited knowledge of dromedaries goes) seem perfectly good. Plastic Soldier Review, however, are – shall we say – less than impressed with their gait!
It features 8 walking legionnaires and 6 mounted camel riders dressed in the classic late 19th / early 20th century uniform familiar to us from the movies.
The concept of camel-mounted legionnaires from the 1890s/1900s is entirely fanciful according to Plastic Soldier Review who scoff that “no legionnaire ever patrolled while riding a camel until after 1945“, recommending that we find some mules for the riders and use the camels as baggage carriers, or even throw them away. Not me!
There are three different camel poses for the 6 riders to choose from:
France did later create companies of camel cavalry within their North African army (but not in the Legion). These were known as Compagnies Méharistes Sahariennes“, whose ranks were filled by local Arab and Berber tribesmen. These same camels turn up in other Strelets sets; the British, Turkish and Australian Camel Corps sets which each include 3 nice additional poses including a sitting camel. My three poses also reappear in another newly released set “Rif Rebellion“. Perhaps their Arabic riders might also pass for some Méharistes?
With nothing factual to go on, I’ve painted their tassled drapes in dark red rather than the blue I’ve seen used by Méharistes, just to give my figures a little extra colour. The saddle is a leather cover draped over a wooden seat.
Like me, PSR at least appreciate the theatricality and romance of the set stating that “if you want to recreate movies like Beau Geste (1939) or March or Die (1977) then this set is great” – and I say ‘who wouldn’t want to do that’? The legionnaire figures themselves are in progress and I’ll share the rest of my hot and thirsty ‘desert patrol’ when they’re finally done.
For all things French Foreign Legion related, you could do a lot worse than head on over to the fabulous Mon Legionnaire blog which has lots on La Legion in wargaming, in history, and it’s portrayal in art and popular culture.
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…
As the fourth year of Suburban Militarism on WordPress comes to a close and a New Year looms, it’s a time for reflection. Swedish Napoleonic cavalrymen; Ottoman Turkish artillerymen; Serbian and Austrian infantry of the Great War; Belgian Carabinier cyclists; 28mm Yeomanry figures based on illustrations by Marrion; Saxon Cuirassiers and not forgetting some Napoleonic Poles back in January.
So, here’s a brief pictorial overview of some of the figures painted over 2018.
Looking forward to 2019, I know well enough by now not to forecast my painting plans in any great detail as distractions lead me on to other unforeseen areas over the year! However, currently demanding my attention are:
My Ottomania project – now well under way with the artillery corps progressing nicely;
The Great War project – I have a number of excellent kits I intend to tackle as I continue to develop my WWI collection;
So, what to paint next after all those snowy winter figures I’ve been working on for weeks? I’m feeling that it’s time for Suburban Militarism to attempt something else. Something warmer… Something different… Something completely different…
RedBox have been producing some very fine figures of late. The eras and conflicts that they concentrate on are mostly to do with the 16th/17th century. This is a little outside my areas of interest but nonetheless, I’ve been impressed by their recent figures. And so, for my next slow-burn project I will be having a go at building the Sultan’s army from their wonderful range of Ottoman Turks, starting with their artillery.
The Ottoman Empire was enormous at its height and was unsurprisingly therefore very powerful militarily. The Ottoman Empire was amongst the first European nation to have a professional and permanent artillery corps and consequently were the most effective in Europe in the 16th and 17th centuries. In an era dominated by siege warfare, much of the Ottomans strength lay in their numerous and formidable artillery corps.
RedBox, in their typically generous manner, have produced an impressive number of different artillery kits for these Ottoman Turks, including the following named sets;
“16th Century Turkish Artillery”
“17th Century Turkish Artillery”
“16th Century Turkish Siege Artillery Gun”
“16th-17th Century Turkish Siege Artillery Mortar”
“Turkish Sailor’s Artillery 16th-17th Century”
With industrial progress being slow in the 16th-17th century, all the kits could more or less be reasonably used together without creating an historical absurdity. Plastic Soldier Review states that “the guns in [the 17th Century] set are exactly the same as those in the set of 16th Century Artillery, and are still very appropriate to the 17th.”
I’ve decided to start with some figures from their “17th Century Turkish Artillery” set. Having a few boxes of Turks arrive through the post recently, I’ll probably dip in and out of these different kits.
The Topçu Ocağı (or Artillery Corps) being both a professional and a favoured division of the army did wear uniforms, though of exactly what sort is open to question. There appear to be many variations on colours, so it may be that colours simply varied with from unit to unit. For my first figures, I’ve gone with the colours shown consistently on all the RedBox box covers which closely match the illustration shown above by a contemporary Swedish ambassador. I may even maintain the same uniformity throughout all of the Sultan’s artillery, other arms being much more varied.
With artillery sets, I guess the only way to present them is as a group together in a mini diorama, as with my recent Cracker Battery. To facilitate this, I’ve made another purchase which I hope will go perfectly with my Turkish artillery units. I’m rather excited about it but I’ll reveal what this is in a future post!
Just a quick update on my progress with my FEMbruary challenge – Bad Squiddo’s Catherine the Great and her horse “Brilliant”. The latter’s name refers to the Russian word for diamond. Well, the sculpting is a real gem, for sure (groan…).
I’m not used to painting greys at 28mm, or in metal for that matter, so I’ve had to go back and re-adjust my paint job a couple of times. There is supposed to be a very slight dapple effect on the coat, but it’s got lost a little with those readjustments. Hopefully, the end result is satisfactory.
Still a couple of things I’d like to do get Brilliant’s face looking slightly better. Unlike in Eriksen’s painting of Catherine the Great on Brilliant, I painted them in a light colour instead of black. This is correct for a grey – and what’s more, I am rather sad and very fussy about these things!
I must confess that reproducing freehand all that rich, ornate embroidery seen on the saddle cloth isn’t something I’m a natural at. And it probably shows too, but it’ll do!
Catherine herself is, I’d say, half to 2/3rd’s done. Her face and hair are up next, with plenty of other details still to do. All will be revealed when she’s finally finished and glued on to the back of Brilliant!
I’m pleased to say that it appears that my previous post on the heroic female soldiers of Serbia has been particularly well-timed. Not only does it coincide with the 100th anniversary of the first piece of legislation extending voting rights to women in the UK, but it also coincides with #FEMbruary.
It was my friend from the Imperial Rebel Orc blog who drew my attention to FEMbruary – a painting challenge for this month intended to “celebrate females and highlight the dismal fact that our hobby is so male dominated“. The idea for the FEMbruary painting challenge has apparently originated with Lead Balloony.com. Well done, sir! A fine suggestion. https://leadballoony.com/2018/01/29/more-eru-kin-and-the-fembruary-challenge
Suburban Militarism occasionally posts on topics related to women’s often overlooked role in conflict, military art and military history. Furthermore, this blog loves a communal challenge, and so I’ve ‘signed up’ to FEMbruary – a time for painting some female miniatures that celebrate, not demean, women. There was just a small matter of finding an appropriate female figure to paint, though. Not only are there not enough females in the hobby, there’s not enough female figures which are realistically proportioned and non-sexualised. Step forward, Bad Squiddo and the Dice Bag Lady!
Guided by the ever-knowledgeable Mark from Man of Tin blog, I checked out Bad Squiddo – a site dedicated to believable female miniatures! Quickly through the post came a perfectly sculpted figure together with a rather lovely Darjeeling tea bag to boot. My chosen FEMbruary figure from Bad Squiddo is one of the most powerful rulers of the 18th century; Catherine the Great of Russia!
Born as Princess Sophie of Anhalt-Zerbst, this German lady came to power after her ineffectual husband, Peter III, was assassinated. She proved to be an astonishingly successful ruler for Russia, reigning from 1762 to 1796. Catherine combined intelligence, shrewdness, an appreciation for the arts, knowledge of Enlightenment principles, and an autocratic ruthlessness whenever required. Like many other powerful autocrats, Catherine fed both her ego and her libido; she didn’t stint on palatial opulence and also enjoyed a long list of lovers.
She was also keenly aware of the need to dress to impress, or should that be Empress? Her magnificent dresses brought western fashions to the Russian court. In a subtle demonstration of her power, and to cement her relationship with army, some of these were military uniform inspired dresses and explicitly mimicked military fashions and colours of the day.
For the Bad Squiddo figure, Catherine the Great eschews the fine dresses of court and appears in full military uniform, on a white charger with sword drawn.
Catherine is wearing the full uniform of the Russian Life Guards. The Bad Squiddo figure (above) cleverly takes the Vigilius Eriksen portrait (below) as its inspiration.
The Eriksen portrait of her formed part of an enormous collection of paintings which Catherine acquired with the stupendous wealth that she enjoyed;
Among many portraits of the empress is Vigilius Eriksen’s Equestrian Portrait of Catherine II. She is on her horse Brilliant (Russian for “Diamond”) on the summer’s day in 1762 when she set out from St Petersburg to demand the abdication of her weak, stupid and unpopular husband, Peter III. Her backers included her lover, Count Grigory Orlov, and one of his successors, Prince Grigory Potemkin. Her sword is drawn, and she would clearly be happy to use it on her husband. Peter caved in, but within days had been murdered by his wife’s supporters. She claimed he had died of one of “his habitual haemorrhoidal attacks, together with a violent colic”. The Guardian
The lady who wore that uniform, sword drawn and “happy to use it on her husband”, intended it to indicate to all of Russia that a more dynamic and stronger sort of ruler was about to take power. Catherine the Great was a supremely successful leader, subject to the same trappings of power as male leaders (opulence, sex, etc.). Autocrats and despots are hardly loveable. But this ruthless lady was very charismatic, with personal qualities and achievements that were extremely impressive. What’s more, she looks splendid in a Guards uniform to boot!
And with that grey horse, Brilliante, it’s time for me to get painting horses again.