Illustrations of Officers' Servants 1755-1783

Officers in the 18th Century were often attended by servants, and their dress is a fascinating study.  All images are contemporary 18th Century paintings with information where applicable.  Clicking on an image will enlarge it.

1752 "William Kerr, 4th Marquis of Lothian" by David Morier.

This Marquis of Lothian held commissions as Colonel of the 24th Regiment of Foot and as Colonel of the 11th Dragoons.  He is wearing the uniform of the 24th Foot.  What is of interest to this discussion is the young man just to the left of the horse.  He wears a short white coat with white breeches and stockings.  Underneath the coat is a blue waistcoat (presumably) and very unusual yellow garment.  The yellow garment could be a waistcoat but it has fringe at the ends, along with gold embroidery.  It is also possible that it is a type of apron instead.  His cap is of a type similar to that worn by dragoon musicians.  It bears a sun in splendor under a crown, and has white scrollwork on either side and is trimmed with yellow feathers and a black plume.  The young fellow carries a stick with a silver head and not an instrument--an odd omission if he is intended to depict a member of the regimental band.

1780 "George Washington" by John Trumbull.  

In this painting, George's horse is held by a servant, who is possibly William "Billy" Lee.  He wears a red turban with a red plume.  His jacket is dark blue with red cuffs and his waistcoat is red.  Unfortunately, the large horse obscures the rest of the detail.  It is fairly likely, however, that his breeches and stockings are dark as well.

1781: "Marquis de Lafayette" by Jean-Baptiste LePaon.  

The other person is often identified as James Armistead Lafayette, for no discernible reason.  He is more likely a local individual assigned to serve Lafayette in a personal capacity, rather than an espionage capacity.  He wears a hussar-inspired uniform, with high tan boots, tight red pants, and a silver and red barrel sash.  His jacket is red with green cuffs and silver lace, with a black hat decorated with red, white, and green plumes.  He is equipped with a green cloak, a sword, and another crossbelt, the purpose of which is unknown.

1781: "Death of Major Peirson at the Battle of Jersey".  Perhaps the most famous illustration of an officer's servant shows the servant of Major Peirson firing away doggedly at the onrushing French troops. He wears a short navy blue jacket with yellowish cuffs and collar and silver epaulette.  His waistcoat (two rows of buttons) and breeches are yellowish-tan. Grey stockings and black shoes cover his legs.  He wears a yellow and blue striped sash and a black hat with yellow, blue, and black plumes.

1782: "The Earl of Aldborough reviewing volunteers" by Francis Wheatley.  At least one servant is pictured, sitting behind the center carriage.  He wears a white turban, blue jacket with white collar, adorned with an silver epaulette and silver-laced buttonholes, buff breeches, white stockings and brown shoes.  The epaulette, setting, and general similarity to other officers' servants' uniforms suggests that he also performs this duty.

Uniforms of "Catriona" from Contemporary Pictures

Since I analyzed the uniforms of Robert Louis Stevenson’s popular novel Kidnapped, it is time to tackle the uniforms described in his sequel, Catriona.

The first time we encounter a soldier in this book (aside from a few unnamed privates arresting James More MacGregor) is in the character of Lieutenant Hector Duncansby, who challenges David Balfour to a duel with the intention of killing him. It is not stated what regiment Duncansby belongs to, so this makes it difficult (if not impossible) to determine his uniform.


The fact that Duncansby is specifically mentioned as a “Highland boy” could suggest an association with the 42nd “Black Watch” Highlanders. However, it is also stated that he clasped his hands under his coat’s skirt, and the Black Watch’s coat was specifically cut short (that is, without skirts) and designed to be worn over a kilt. It is likely that Duncansby belongs to the 1st Royal Scots Regiment, which also recruited Scottish personnel. Its coat skirts were of a conventional length and its officers carried smallswords, rather than the broadswords of the 42nd Highlanders. The illustration shows two British officers dressed in a conventional 1750s uniform.


After his run-in with Lieutenant Duncansby, Balfour arrives at Lord Advocate Prestongrange’s house. He spies some halberds tucked away in a corner and suspects that his arrest is near. These “halberds” are the polearms now known as Lochaber axes, and they were carried by the Edinburgh City Guard, who served as a police force for that city. Evidence for their unusual weaponry is found in the 1704 “Act For Regulating the City Guard.”

The re-created Edinburgh City Guard.
From facebook.com/edinburghcityguard

"That the Captain of the Guard cause two men of the best qualified in their guard walk nightly through the streitts with a large batton or poleaxe in their hand, who are hereby appointed to give notice immediately to the firemasters and guard in case of fire, and the said Captain is to take accompt of the diligence each morning and the Captain of the guard is always to keep a list of the firemasters and ane accompt of their dwelling places." (1)

Halkett's Regiment in Dutch service

David Balfour is not arrested by the Edinburgh City Guard, but is later kidnapped by a band of wild Highlanders and imprisoned on the Bass Rock. There, Andie Scougall tells a tale of his father Tam Dale, who served as a soldier on the Bass when it was a prison for Covenanters. The Bass Rock was garrisoned by an independent company (2), that is, a company that is not part of a regiment but serves on its own. The deputy-governor of the Bass Rock was Charles Maitland, later 4th Earl of Lauderdale (3).

Balfour is eventually reunited with his friend Alan Breck Stewart, who mentions that he has a cousin who serves in the Scots-Dutch Brigade, in Halkett’s Regiment. The Scots Brigade was a unit of 3 Scottish regiments who had served in the Dutch Army since 1572. Halkett’s Regiment was a unit in that brigade and its uniform is illustrated in the picture above.

Near the climax of the book, Balfour again meets Captain Hugh Palliser, who is an actual naval captain from history. (4) This picture (left) is an actual portrait of Captain Palliser in the uniform of a captain of the Royal Navy. The ship in the background (which also features in Catriona) is Palliser’s frigate the Sea Horse.

At the very end of the book, a company of French infantrymen manning Dunkirk’s garrison is mentioned. The illustration above shows French infantrymen’s uniforms of the 1750s.  The vast majority of French infantrymen wore grey-white coats.

This concludes our two-part study of the uniforms of Kidnapped and Catriona. Perhaps soon I will analyze the uniforms of another novel set in the 18th century.

Notes
(1) https://www.facebook.com/edinburghcityguard/
(2) pg. 57, The History of the Uniforms of the British Army, volume 1, by C. C. P. Lawson.
(3) pg. 267, Memorials and Letters of John Graham of Claverhouse, Viscount Dundee, volume 2, by Mark Napier.
(4) pg. 69, Braddock’s Defeat by David Preston

Uniforms of "Kidnapped" from Contemporary Pictures

Robert Louis Stevenson’s novel Kidnapped is an interesting look at Scotland in the aftermath of the last great Jacobite rising. What sets this novel (and its sequel, Catriona) apart from others set in the same era is the thorough research that Stevenson put into them.

Early in the book, David Balfour comes into Edinburgh, where he sees a regiment on parade, where the grenadiers described as wearing “pope-hats.” This is perfectly correct, as British grenadiers wore tall pointed miter caps, much like bishops’ hats. Painter David Morier painted this group of three grenadiers in c. 1751, giving us excellent detail on the appearance of their miter caps. This painting depicts the 46th, 47th, and 48th Regiments of Foot, and while none of these may be the regiment Balfour saw, their general appearance would be the same. The major differences between most regiments were the different colors of their lapels and cuffs, and differently-colored decorations in their white lace trim.

After several adventures, David meets a Highland Jacobite named Alan Breck Stewart. Based on a real character from history, Stewart was a former British soldier who switched sides after the battle of Prestonpans. After fighting through the ’45, Stewart escaped to France, where he enlisted with the French Army under Louis XV.

In the historical “Wanted” advertisement after the Appin Murder, it is stated that Stewart came from Ogilvy’s Regiment. This was one of two units of Scots in the service of Louis XV of France. Ogilvy’s Regiment is illustrated by an important manuscript entitled “Troupes du Roi” and this manuscript was drawn in 1757. For more details about Ogilvy’s Regiment, visit http://kronoskaf.com/syw/index.php?title=Ogilvy_Infanterie. I am greatly indebted to Ian Nimmo for his short biography, The Man with the Belt of Gold, where he reproduces the original advertisement for Alan Breck Stewart. (which can be read at http://www.battleofprestonpans1745.org/heritagetrust/documents/alanbreck.pdf),

While David and Alan are talking aboard ship, Alan mentions that his father Duncan Stewart was a gentleman-soldier in the Black Watch when it was raised. Originally numbered the 43rd Regiment, it received the number 42 after the disbanding of Oglethorpe’s 42nd Regiment. The Black Watch was a unit of Highlanders, dressed in traditional Highland clothing with short red jackets. The tartan pattern known today as “Black Watch” is the same as that which was worn by the 42nd Regiment in the 1740s. This illustration is taken from the 1742 Cloathing Book. 



When Alan Breck Stewart and David Balfour flee through the heather, they are pursued by redcoated line infantry companies and dragoons. The line infantry dressed similarly to the grenadiers (above), wearing a tricorne hat instead of a miter and with no “wings” on the shoulders. Dragoons were mounted infantry who would (in theory) ride to a battlefield and then dismount to serve as infantry. In practice, however, they were more often treated like cavalry, charging on horseback at enemy infantry. The illustration is of a trooper from the 13th Regiment of Dragoons, as depicted in the 1742 Cloathing Book.

I hope that you enjoyed this look at the uniforms of the time. Stay tuned for a post on the uniforms of Stevenson’s sequel—Catriona!

Montcalm's Army from "Troupes Du Roi 1757"

These plates are from a book called "Troupes du Roi, Infanterie française et étrangère, année 1757."  This book, written in 1757, has provided a priceless window into the uniforms of French infantry during the Seven Years War.  The plates selected depict French regiments who fought with Montcalm to defend New France (Canada) from 1755 to 1760.


All photographs are courtesy of the Reunion des Musees Nationaux at http://www.photo.rmn.fr/C.aspx?VP3=SearchResult&VBID=2CO5PC7S6ADBL&PN=6

These regiments are arranged in order of seniority, that is, from oldest raised to newest raised.  Clicking on a picture will enlarge it.

First is the Regiment La Reine, the queen's own regiment.  This regiment fought at Lake George (1755), Fort William-Henry (1757), Fort Carillon (1758) and Sainte-Foy (1760).  Read more about Regiment La Reine at http://kronoskaf.com/syw/index.php?title=La_Reine_Infanterie

Next is the Regiment La Sarre.  In the picture, the soldier is fighting an enemy with his sword.  This regiment fought at Fort Oswego (1756), Fort William-Henry (1757), Fort Carillon (1758), the Plains of Abraham (1759) and Sainte-Foy (1760).  Read more about Regiment La Sarre at http://kronoskaf.com/syw/index.php?title=La_Sarre_Infanterie 

This flagbearer is from Regiment Royal-Roussillon, raised in the Roussillon province with King Louis XV as its colonel.  This regiment fought at Fort William-Henry (1757), Fort Carillon (1758), the Plains of Abraham (1759) and Sainte-Foy (1760).  Read more about Regiment Royal-Roussillon at

http://kronoskaf.com/syw/index.php?title=Royal_Roussillon_Infanterie

 

Regiment Languedoc was raised in the Languedoc province where General Montcalm was born.  This regiment fought at Lake George (1755), Fort William-Henry (1757), Fort Carillon (1758), the Plains of Abraham (1759) and Sainte-Foy (1760).  Read more about Regiment Languedoc at http://kronoskaf.com/syw/index.php?title=Languedoc_Infanterie

This reclining soldier is from Regiment Guyenne which was raised in the Guyenne province.  This regiment fought at Fort William-Henry (1757), Fort Carillon (1758), the Plains of Abraham (1759) and Sainte-Foy (1760).  Read more about Regiment Guyenne at http://kronoskaf.com/syw/index.php?title=Guyenne_Infanterie

This soldier holding a pipe is from Regiment Berry.  Regiment Berry was originally supposed to sail to India, but was sent to Canada instead.  This regiment fought at Fort Carillon (1758) and Sainte-Foy (1760). Read more about Regiment Berry at http://kronoskaf.com/syw/index.php?title=Berry_Infanterie

The last of Montcalm's regular regiments is Regiment Bearn.  This illustration shows a grenadier, distinguished by his mustache.  This regiment fought at Fort Oswego (1756), Fort William-Henry (1757), Fort Carillon (1758), the Plains of Abraham (1759) and Sainte-Foy (1760).  Read more about Regiment Bearn at http://kronoskaf.com/syw/index.php?title=B%C3%A9arn_Infanterie

Analyzing Benjamin West's painting Sir William Johnson Saving a French Officer

The French & Indian War was a significant event in pre-Revolutionary America, and some of its events were chronicled by Benjamin West.  West painted one painting entitled “General Johnson saving a wounded French officer from the tomahawk of a North American Indian.”  The General Johnson in question is Sir William Johnson, Superintendent of Indian Affairs.  Johnson was a good friend of the Iroquois and recruited them to help the British during the French & Indian War.

The title of the painting gives little detail as to when this event happened but with the aid of history, we can put it in its proper setting.  Johnson only fought in two battles: Lake George (1755) and the Siege of Fort Niagara (1759).  But which battle does it depict?

Marechal-de-camp, licensed under GNU License

The painting is traditionally set during the Battle of Lake George, with the French officer being identified as the defeated French commander Baron Dieskau (1), who was wounded, captured, and nearly killed by the Mohawks, a part of the Iroquois Confederacy(2).  But there are several clues within the painting that disprove this theory.

First is the uniform of the French officer.  Baron Dieskau was a marechal-de-camp (3), and their uniform was decreed by Louis XV in 1755.  The picture shows how a marechal-de-camp’s uniform would appear (4).  This is clearly nothing like the uniform portrayed in West’s painting, which is white with green cuffs and lapels.  The uniform does match the French regiment Volontaires-Etrangers, and a detachment of them were sent to reinforce the Canadian Compagnies Franches de la Marine.

Volontaires-Etrangers, licensed under GNU License

Just to the right of Johnson’s arm are two soldiers in red coats.  One has blue cuffs and lapels and the other has yellowish cuffs and lapels.  The red color usually denotes regular (professional) British infantry, as most provincials (troops raised in the 13 colonies) wore blue or green.  But no provincial regiment wore red coats with blue cuffs (5), (6).  Therefore these two are British soldiers.  The soldier with blue cuffs belongs to the 60^th Royal American Regiment which fought at Fort Niagara.  The other soldier wearing yellow cuffs is from either the 44^th or 46^th Regiments which also fought under Johnson’s command at Fort Niagara.  Unfortunately, there are no visible characteristics to pin which of these two regiments he belongs to, as he has stripped the lace off his coat and waistcoat. These two wear the “jockey caps” that were popular for light infantrymen.  They are marked with a “G R” which stands for “Georgius Rex”—Latin for “King George.”


While on the subject of British uniforms, it might be observed that Sir William Johnson is wearing a general's “undress” coat.  These were popular because of their plainness—there was no gold lace to mark one out as a general, or to be ruined by camping in the woods. (7)

But the final clue that this painting is set during the Siege of Fort Niagara is that a fort is depicted in the background of the painting (behind the soldier of the 60^th Royal Americans).  There was no fort during the Battle of Lake George (8), so this painting must be set during the Siege of Fort Niagara.





Footnotes





(1) This is the prominent identification of the painting on Wikipedia, despite a note that details more closely correspond with Fort Niagara: https://en.wikipedia.org/wiki/General_Johnson_Saving_a_Wounded_French_Officer_from_the_Tomahawk_of_a_North_American_Indian

(2) pg. 31, Fort William-Henry 1755-57 by Ian Castle (Oxford: Osprey, 2013)

(3) pg. 10, Fort William-Henry 1755-57 by Ian Castle (Oxford: Osprey, 2013)

(4) http://kronoskaf.com/syw/index.php?title=French_Maréchal_de_Camp

(5) At http://kronoskaf.com/syw/index.php?title=British_Army, uniform information for the provincial troops of all 13 colonies can be found.  None have red coats with blue cuffs for a uniform.

(6) There was one exception to this rule.  Some deserters from the Virginia Regiment in 1754 were recorded as wearing red coats with blue cuffs; however, others wore red coats with red cuffs and others, civilian clothing.  Besides, the Virginia provincials did not take part in the battle of Lake George.  Information from http://kronoskaf.com/syw/index.php?title=Virginia_Provincials

(7) pgs. 42-43, Cumberland's Culloden Army 1745-46 by Stuart Reid (Oxford: Osprey, 2012)

(8) A good map of the battlefield is available on page 29 of Fort William-Henry 1755-57 by Ian Castle (Oxford: Osprey, 2013)

"Lord Clive receiving from the Nawab of Bengal" by Edward Penny

Edward Penny was a noted British artist of the 18th Century.  He was born in 1714 and died in 1791.  He painted military subjects and was known to be accurate in his details. The Seven Years' War comprised some of his subject matter.  While fighting raged in Europe and North America, the Seven Years’ War was also fought in India.  During the war, a young man named Robert Clive rose to command some of the Company’s troops and scored an important victory at Plassey.  Clive’s forces contained regular British soldiers, Englishmen who served the Company, and natives who served the Company. These last were known as Sepoys.

This painting is titled “Lord Clive receiving from the Nawab of Bengal a grant of money for disabled officers and soldiers.” Edward Penny also painted another canvas about high-ranking military leaders helping sick soldiers.  Read about it here: http://www.defendingthelegacy.blogspot.com/2015/09/the-marquess-of-granby-helping-sick.html

Robert Clive stands in the center of the painting, with Mir Jafar, the Nawab of Bengal.  The strange looking knife in the Nawab’s sash is known as a katar (or kattary).  Clive returned to England in 1772, and Mir Jafar died in 1765, so this painting must be between 1757-1765. In other words, it is set during the era of the Seven Years’ War.  The uniforms of the East India Company in the Seven Years’ War are poorly recorded, so this painting may provide several important clues. 

The seated man in blue is an artilleryman of the British Royal Artillery (1).  The two soldiers standing in the back of the group are European infantry raised in Bengal (2).  By looking closely behind the artilleryman’s head, a sepoy’s head and turban can be made out.  His jacket is red and his turban is white with a blue center.  

With infantry, artillery, and sepoys in the painting, the last seated figure is likely to be a cavalryman.  The EIC did raise some units of European cavalry (3, 4).  Furthermore, his uniform is unlike any known British regular cavalry unit (5).  He appears to be wearing short gaiters over his shoes.  His coat is red, with red lapels and cuffs, and gold buttons, but no lace on the buttonholes.  His waistcoat is blue with gold lace edging the buttonholes.  His hat is black with gold trim.  It is quite possible that Edward Penny painted him to record the uniform of the Company’s European cavalry.

To the right of the group of soldiers is a European woman and three children.  They are likely the family of one of the soldiers.

(1)  Uniforms of the Seven Years War by John Mollo and Malcolm McGregor (Blandford: 1977) pgs. 92, 157-158

(2)  http://kronoskaf.com/syw/index.php?title=Bengal_European_Regiment

(3)  http://kronoskaf.com/syw/index.php?title=Bengal_European_Regiment

(4)  Armies of the East India Company 1750-1850 by Stuart Reid (Osprey: 2010) pg. 23

(5)  A History of the Uniforms of the British Army by C. C. P. Lawson (Kaye & Ward Ltd: 1971) pgs. 107-150, especially pg. 120

1761 Uniforms of the Bombay Marine

"The officers [of the Bombay Marine] were increased in number, by two commanders, ten more lieutenants; and, to improve the morale of the whole, divine service was now first performed on board, and all gambling, swearing &c., strictly forbidden; and in 1761, a regular uniform was adopted by the officers, who, by the Governor in Council, were 'ordered to wear blue frock coats, turned up with yellow, dress-coats and waistcoats of the same colour, and according to regulation pattern.  Large boot-sleeves and facings of gold lace were the fashion for the superior grades, while the midshipmen and masters of gallivats were to rest contented with small round cuffs and no facings.'"--pg 210, Cassell's Illustrated History of India by James Grant