Tag Archives: Bradford Volunteers

The Grand Review on Heath Common

Since prestige confers publicity, the iconography of the great volunteer movement of 1794-1808 is very London-centric. This is true not only of the uniform prints and portraits of obscure colonels, but also of commemorative prints of reviews, among which Hyde Park predominates.

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An exception is this coloured print of a painting by a Mr Hopkins (possibly William Hopkins, miniature painter) of the Grand Review of volunteers of West Yorkshire, held on Heath Common, Wakefield, in August 1796. In November 1798, almost two years after the event, an advert in the Leeds Intelligencer announced:

“GRAND REVIEW Of the GENTLEMEN VOLUNTEERS of Leeds, Wakefield, Halifax, Bradford, and Huddersfield, as commanded by Lieutenant-Colonel Lloyd, and reviewed by Lieutenant-General Scott. MR. HOPKINS, Miniature-Painter, No. 27, King-street, Bloomsbury-square, London, begs to acquaint the Ladies and Gentlemen of the above-mentioned Places, and their Environs, that the PRINT of the GRAND REVIEW, from his PICTURE taken on the Spot, is now finished, and to be seen at Mr. Wright’s, Printer, and at Mr. Greenwood’s, Bookseller, Leeds; Mr. Meggitt’s and Mr. John Hurst’s, Booksellers, Wakefield; Mr. Brook’s. Huddersfield; and at Mr. Edward’s, Halifax; where Subscriptions are received.

The above Print contains several Hundred Figures, so richly coloured as to represent a Painting and the respective Corps in their full Uniforms; the Whole forming a grand and interesting Spectacle.”

The enterprising Mr Hopkins’ original painting may be lost, but a few prints survive. In 1976 I looked at the copy held by the Thoresby Society in Leeds, thickly varnished and a bit the worse for wear. Forty years on, this has been donated to Leeds Museum; despite conservation efforts, it has suffered further in the interval, but at least a nice big image is available online here.

Hopkins’ detached perspective means that the assembled ranks appear far smaller than the less interesting foreground figures, but there’s still plenty here to round out our otherwise patchy view of this 1794 generation of volunteers. From the left of the picture stand the Leeds, Bradford, Huddersfield, Royal Wakefield and Halifax Volunteers in that order, all in scarlet faced respectively with blue, buff, blue, blue and black. The Bradford and Halifax “battalion guns” (two brass six pounders in each case) hold the ends of the line, while the West Riding Yeomanry keep the field and chase away stray dogs and naughty boys.

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The front ranks of the Halifax Volunteers – grenadiers at left, battalion company, band and regimental colour at right

The artillery detachments are in blue with round hats, while all the drummers except the Wakefield are in white. All in are short gaiters. The grenadier company of the Halifax are in fur caps, while all the light companies (at the viewer’s right of the rear echelons), and all ranks of the Huddersfield Fusiliers wear Tarleton helmets.

Not at the event (at too much of a distance, presumably) are the Loyal Independent Sheffield Volunteers, the Doncaster Volunteers, York Volunteers and Royal Knaresborough Foresters, all likewise raised in 1794.

Mr Hopkins’ advertisement doesn’t give a price for a copy of this grand and interesting Spectacle. These can’t have been cheap, though; the hand colouring must have been one heck of a chore.

The Yeomanry scares off two boys and a dog, while the Halifax gunners look on

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‘In their best Turbans’: black musicians in the Militia and Volunteers

The presence of black musicians in the British Army of the later 18th and early 19th centuries is well documented. The craze for “Turkish” or “Janissary” music brought percussion instruments into regimental bands – bass drum or kettledrum, cymbals, tambourine, triangle, crescent or “Jingling Johnnie” – and black percussionists to play them, perhaps chosen for perceived exotic value as well as for percussive ability. Though band uniforms were already extravagant products of regimental vanity, these musicians were even further distinguished by their fantastical and pseudo-oriental costumes, often involving ornamented turbans and Turkish-style “shells”.

This rather interesting thesis outline notes that 41 line regiments of foot are known to have employed black musicians (the actual number was perhaps much higher), but observes that their novelty and visibility rather eclipsed the honourable record of ordinary black soldiers who served in the ranks, who were often overlooked in contemporary accounts and imagery.

Cymbalist, Buckinghamshire Militia, 1793, Anne S K Brown collection

Cymbalist, Buckinghamshire Militia, 1793, Anne S K Brown collection

Tambourine player, Buckinghamshire Militia, 1793, Anne S K Brown collection

Tambourine player, Buckinghamshire Militia, 1793, Anne S K Brown collection

 

 

 

 

 

 

 

 

 

 

 

 

Less widely recognised, perhaps, are the black musicians who served as frequently with the Militia, so here are a few examples. The watercolours by Captain Sir William Young of the Buckinghamshire Militia of 1793 include a “cymbalist” and a “tamborin”. (The originals, in the British Museum collection, are not available online, but copies are in the Anne S K Brown collection.)

A regimental order of June 1797 of the Staffordshire Militia required “Grenadiers, Light Infantry & Drummers [to parade] in their respective dress caps. Musick in jackets. The Blacks in their best Turbans.”

Service in a regimental band must have been an attractive option for those fallen on hard times. In November 1807 Adjutant Butterfield of the 1st West Yorkshire Militia wrote to his Colonel that “Major Dearden has this moment directed me to express his wish to have a Black, taken from the Prison here, as a Tamboreen in the Band to complete our number.”

That number might be as many as five percussionists. Among the clothing supplied to the Shropshire Militia for 1811 were five “Cymbol &c dress Jackets, Shells, Pantaloons and Waistcoats”; in 1813 the same five musicians were supplied with “Fancy Caps” with “Ornaments” and “long feathers”.

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“Music jacket & Shell” for the North Gloucestershire Militia, 1796, from the Pearse tailor’s books, Canadian War Museum collection

A 1796 tailor’s drawing for the North Gloucestershire Militia gives some idea of the construction of such garments. One element of the many curious and fossilised features of military musicians’ dress of the era was a fringe around the elbow or wrist, and the drawing shows a scarlet long sleeved “waistcoat” (or jacket) worn under an open white “jacket” (or shell) with short, elbow length sleeves to which this fringe was attached.

The Bishop Blaize procession from Walker's 'Costume of Yorkshire'

The Bishop Blaize procession from Walker’s ‘Costume of Yorkshire’

There is some evidence that showier or better heeled volunteer regiments may also have employed black musicians. The print of John Hopkins’ painting of the 1796 “Grand Review of the Gentleman Volunteers” at Wakefield seems to indicate white turbaned percussionists among the bands of the Bradford, Leeds and Royal Wakefield Volunteers. A plate from Walker’s Costume of Yorkshire (1814) shows the Bishop Blaise procession in Bradford, held in 1804 and 1811. If the original sketch was made in 1804 the military in the procession would be the Bradford Volunteers. (If in 1811, their successors in the Morley Local Militia.) Prominent in the relatively small band are a black bass drummer and cymbal player, in red sleeveless shells over yellow jackets, yellow pantaloons, red fezzes and white turbans.

The movements of the cymbal player suggest that, in contrast to the formal composure of the brass and wind players, free expression was the norm. Period accounts of regular infantry bands mention black players’ “contortions and evolutions” – “throwing up a bass drum-stick into the air after the beat, and catching it with the other hand in time for the next, shaking the ‘Jingling Johnnie’ under their arms, over their heads, and even under their legs, and clashing the cymbals at every point they could reach.”