One weird militia cap

This blog has been grievously neglected for several months. Family stuff; my apologies.

The more you look at the uniforms of a particular regiment in this era, the more you appreciate the deviations from the greater uniformity. Where colonels were allowed licence, such as in the clothing of musicians, this is especially so. Drummers are a particular headache, and faced with the arcane and variant complexities of drummers’ lacing, one begins to doubt the detail of many artists’ reconstructions.

Here’s an extremely weird drummer’s cap of the Royal Lancashire Militia from the notebooks of P W Reynolds in the V&A. (Many thanks to  Ben Townsend for the photo.) It’s a “Belgic”, or at least a sort of Belgic, attributed to the First Regiment of Lancs Militia around 1814, and Reynolds’s sketch is based on a previous sketch by “JCL”, whoever he or she was – Charles Lyall, maybe?

Reynolds’s assumption is that the cap was of black felt. The front is said to be 9 inches high, so about the norm, but the “pole”, which I understand to mean the cap part, though I’ve never seen that term used elsewhere, is just over 5 inches deep, so more shallow than usual – perhaps scaled down to fit a boy. The front is steeply arched – quite different to the squareish front of the standard Belgic, and so more reminiscent of the shape of the pre-1802 drummer’s fur cap. In place of the usual folding flap at rear is a drum badge, as previously used on the rear of drummers’ fur caps, measuring 2⅛ by 1½ inches and presumably in brass.

The circular plate at front is 3 inches in diameter, again presumably of brass, and Reynolds notes correctly that the elements of the design – “LANCASTER”, rose and wreath – correspond to those of the known Belgic cap plates of the regiment, which are of the standard size and shape. The peak is narrower than the norm at 1½ inches, though that is a feature seen on some officers’ and volunteer caps. JCL had noted that a “festoon” had been worn on the cap and that there was a small hole “in upper part of front”, presumably to take a tuft and cockade, but exactly where was not marked in his sketch.

The cap is said to have been seen at Hawkes’s, the military outfitters. Where is it now?  A search of the NAM inventory throws up nothing, though that’s not to be wondered at.

This cap raises all kinds of questions. Why the odd shape, and does it have any relation to drummers’ fur caps or to the tall fronted light infantry caps discussed in this post? Why the small plate when the front was tall enough to take the standard pattern? Does it actually date to circa 1814? Was it a regimental one-off? Or did other regiments adopt similarly mutant forms? And how much can we trust modern illustrations that show drummers of the period wearing the same caps and plates as everyone else?

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

The presence of black musicians in the British Army of the later 18^th and early 19^th 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

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 1^st 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”.

“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’

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.”