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.

Yorktown Paintings by David R. Wagner

On this day in 1781, Lord Cornwallis surrendered his army of 8,000 British, Hessian, and Loyalist troops to Continental General George Washington and French General the Comte de Rochambeau.  Yorktown is regarded as the last major battle in the American Revolution, for while there would still be other battles, Yorktown convinced the British government to come to terms with their rebellious colonies.


Painter David R. Wagner has painted a comprehensive series of paintings, tracing the routes of Rochambeau's French army from their initial encampments at Rhode Island to ultimate victory at Yorktown.  These can be viewed at http://www.davidrwagner.com/revolutionaryrouteseries.htm  With detailed historical research and a wise use of color, I greatly enjoy all of these American Revolution paintings.  Because his "Revolutionary Route Series" contains over 50 paintings, I have spotlighted those that deal specifically with the siege of Yorktown.  All descriptions are from his website.

Sabre Au Clair
The flanking charge of Lauzun's Legion during The Battle of the Hook on October 3, 1781 at Gloucester Point, Virginia.
http://www.davidrwagner.com/va-sabreauclair.htm

Virginia Militia Battle Tarleton
On October 3, 1781, Lauzun's legion clashed with British forces headed by Tarleton. The battle took place across from Yorktown on the Gloucester side of the York River. After a protracted engagement, in which the Virginia Militia were involved, the forces under Tarleton were forced to withdraw. It was a preview of the surrender of Cornwallis just 14 days later, bringing the war to an unofficial end.
http://www.davidrwagner.com/va-virginiamilitia.htm

Night Assault on Redoubt #9
On the night of October 14, 1781, attacks against Redoubt #9 and Redoubt #10 were ordered. The assault on Redoubt #9 was a French undertaking, with American forces assaulting Redoubt #10. The French Royal Deux Ponts and Gatenois Regiments took on the Hessian Erbprinz Regiment. Because it was dark, and both the French and Hessian troops wore dark blue coats, many were killed by "friendly fire" as they could not be easily identified as friend or foe.
http://www.davidrwagner.com/va-nightassaultredoubt9.htm

Assault on Redoubt #10
Although the Rhode Island Regiment was consolidated into a single unit in May 1781, the contingent of black troops was still called the "1st Rhode Island" and were commonly referred to as "Olney's Batallion." After dark on October 14, 1781, three days before the surrender of Cornwallis, the column moved forward in silence, muskets unloaded, bayonets fixed, in good order. Leading were eight pioneers with axes with the forlorn hope to be first through the cleared breach. With one man per company, then Col. Gimete (French officer) with five young officers in advance; next was Olney's Company and then the rest of the force. "When we came under the first of the abattis (logs and brush), the enemy fired a volley of musketry. The British continued to shoot, but aimed high. The pioneers then cut through the abattis. Olney moved past them, climbed the outer wall of the Redoubt, stepped on to the parapet between the two palisades. Twelve of his men followed closley. He called out, "Capt. Olney's company, form here." Six or eight British bayonets pushed at him. Some scaled his fingers, one pierced his thigh, another stabbed him in the abdomen just above the hip bone. Two of his men had loaded their muskets and came to the aid of their Captain, firing at the enemy soldiers attacking him. With this the redcoats ceased their assault; some ran away, some surrendered. The rest of the American force now entered the redoubt without opposition. The redoubt was taken in ten minutes. Lafayette praised very well known personages for their performance in the assault, but made only a cursory reference to Olney -- a situation occuring in all wars where the wrong people get the credit. Afterward, Gimete, the French officer, visited Olney in the hospital to say that Lafayette needed to rectify his omission; but the veteran Continental answered, "Let it go, the day is past." It was eventually brought to Washington's attention and the Rhode Island flag was ordered to be flown above the Redoubt through to the surrender a few days later.
http://www.davidrwagner.com/va-assaultonredoubt10.htm

And the Guns Fell Silent
In October at Yorktown, a young British drummer boy was ordered to the parapet to beat the call for a parley. No one knows the boy's name nor where he stood when the guns fell silent as he began to beat his drum. Behind him followed a British officer waving a white handkerchief, thus signalling, for all practical purposes, the end of the American Revolution.http://www.davidrwagner.com/va-gunsfellsilent.htm

Flags of Yorktown (with thanks to James Peale)

Click on the picture to expand it
and view the details

Paintings by eyewitness artists give us a priceless view into the world of the American Revolution. The painting shown here is a portrait of George Washington at Yorktown, painted by James Peale. James Peale was an artist just like his older brother Charles Willson Peale.

 

The painting under analysis right now is obviously based on Charles Willson Peale’s portrait entitled “George Washington at Princeton.” But this painting depicts Washington’s greater triumph at Yorktown.

 

Its details are extremely valuable. No fewer than 7 flags are visible in this painting. Working from bottom left to top right:

 

1. The King’s Color of the 76th Highlanders, crumpled in the bottom left of the painting. Each regiment carried a King’s color which was a Union Jack with the regiment’s number in the center. Under magnification (click the picture to enlarge) the script “Reg 76” can be clearly seen. This flag also offers a magnificent view of the gold-and-crimson mixed cords which were tied around the top of British regimental flagpoles.


2. The Regimental Color of the 76th Highlanders, which is green and draped across the cannon. A regimental color was the same color as a regiment’s cuffs and lapels. It contained a small Union Jack in the upper left canton and the number of the regiment in the center. As the 76th Highlanders were the only British regiment at Yorktown with green cuffs and lapels, this flag belongs to them.

 

 

3. This flag is an Ansbach-Bayreuth regimental color, draped across the cannon, next to the 76th regimental color. There were two Ansbach-Bayreuth regiments at Yorktown, and they surrendered ten very similar flags. This position shows the reverse of the flag, with a red eagle on it. For a thorough discussion of these flags, visit https://archive.org/stream/yorktownsurrende001989#page/36/mode/2up

A photograph of a surviving Ansbach-Bayreuth flag

4. This flag is another Ansbach-Bayreuth regimental color, folded on the ground. This is the obverse of the Ansbach-Bayreuth flag, with the Margrave’s initials surmounted by a crown. Also see entry 3, above.

 

5. Hiding behind the Ansbach-Bayreuth color draped on the cannon is a King’s color of an unknown regiment. No regimental distinctions are visible.

 

6. Above the 3rd Continental Light Dragoon (holding Washington's horse) is an American flag with thirteen white stars in a circle on a blue canton. Mysteriously, this flag appears to have no red stripes, but only a field of white. Why is this? My conjecture is that it is a regimental standard for a Continental regiment with white facings, and that the unit’s motto/distinction would be in the center. This flag also appears to have a blue cord wrapped just below the spear point.



Each flag annotated with its identification (if known)



7. The last flag, next to the American flag, is obviously a French flag. The three fleurs-de-lys proclaim its nationality. It is decorated with a golden cord, but oddly is lacking the white cravate which was normally placed on the flag as well. A minor mystery encircles this flag as well, for it is unlike any French flag known to have been at Yorktown. It most closely resembles a “colonel’s” flag, which was white with a white cross of Saint-Denis (+ shape) overall, but the arrangement of the fleur-de-lys suggests that it bears the white cross of Saint Andrew (x shape). Since it matches none of the French flags currently known, could it be a colonel’s color of Lauzun’s Legion. Lauzun’s Legion sailed to America accompanied by its colonel, the Duc de Lauzun, so perhaps this identification is possible. An alternate theory is that it is a “national” flag of France.

This concludes our look at the flags of James Peale’s portrait of Washington at Yorktown. Of the seven flags visible, the details of four (two of the 76th Highlanders and two of the Ansbach-Bayreuth regiments) can be substantiated with other evidence. Since this is the case, there seems to be no reason to deny the authenticity or accuracy of the other three flags in this painting.  I eagerly await more analysis of the other three flags.

Flag of the British Legion

 



Tarleton's portrait.  I am grateful to have
it in such high resolution to be able to
see Reynolds' details.



 

Banastre Tarleton’s British Legion  is one of the most famous units in the American Revolution.  In this portrait by Sir Joshua Reynolds, Tarleton wears the uniform of the British Legion.  Two cannons and three flags (one buff and two red) appear in the portrait.  Most likely they are trophies won in war.

 

But in the upper left hand corner of the portrait is another flag.  Rather than being draped on the ground this one is flourished triumphantly by a trooper of the British Legion.  Is it the flag of the Legion?  We don’t know; however it has several distinctly British elements.

 

The upper left canton is white with a greenish-gray bird.  Is it a swan? (1)  Lighting appears to be shooting from the bird into two corners of the canton.  The flag’s ground is dark red or brown.  In the lower left canton (below the white canton) are two artillery pieces.  In the center is a dark circular laurel wreath enclosing a red “L” written in cursive script.  Above the “L” appears to be a crown.

 

Clicking on this picture will enlarge it
so that you can see what the text
is describing.

I have numbered the elements of the flag on the detail of Reynolds’ portrait and use the same numbers here.  This allows a comparison of my text with the painting.

1. The bird appears to be a swan.  Firstly, the bird’s neck is bent downward, like swans in heraldry.  It is certainly not an eagle or hawk, as neither of them have such a long neck. Secondly, a distinct representation of swan (with a golden crown around its neck and a golden chain attached to it) is a symbol of British royalty.  Most intriguingly, the bird appears to wear a golden chain.
2. The artillery pieces are quite unusual on a British flag.  It is possible, however, that they represent enemy cannons captured by the Legion.  This could be a forerunner of the later system of “battle honors”, where a regiment would be granted the right to put the name of a battle it fought in on its flag.  Battle honors were officially introduced in the regular British army in 1784. (2)  However, it is quite possible that units were embellishing their flags with honors and trophies before 1784.  And since Tarleton’s legion was not a regular unit (until 1781[3]), it would be more likely to have unofficial elements on its flags.
3. The crown is of the British type known as the Crown of Saint Edward.
4. The laurel wreath is very common on American Revolution-era British flags.  It usually enclosed the regimental number or badge.  There is an “L” within the wreath, possibly standing for “Legion”?
   Is this the flag of the British Legion?  More research is needed, but it certainly has enough British elements to rule out the possibility that it is a captured French or American flag.
    
   

   

   My reconstruction of the Legion's flag

   
   The last picture shows my reconstruction of this flag.  I owe credit to many Wikimedia contributors for creating some of the elements used in the flag.  Specifically, the swan and Crown of Saint Edward were created by Wikimedia User: Sodacan and licensed under a Creative Commons 3.0 License.  The cannon was created by Wikimedia User: Heralder and licensed under a Creative Commons 3.0 License.
    

1. pg. 237, A History of the Uniforms of the British Army volume 3 by C. C. P. Lawson
2. pg. 128, A History of the Uniforms of the British Army volume 3 by C. C. P. Lawson
3. On March 7, 1781, the British Legion was put on the American Establishment with 5 other Loyalist regiments.  This meant that they were regular (professional) soldiers and their officers would receive half-pay when they retired or the regiment was disbanded. Royal Provincial Website. http://www.royalprovincial.com/military/rhist/britlegn/blmem3.htm

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

The Marquess of Granby Helping a Sick Soldier 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.  The war officially began when Frederick of Prussia attacked Austria.  Soon Prussia, Hanover, and some smaller German states were fighting Austria, France, Russia, and Sweden, with their German allies.  Great Britain sent British troops to help defend Hanover.  This was dubbed the “Glorious Reinforcement.”

 

This painting shows John Manners, the Marquis of Granby, helping a sick soldier.  Granby was commander of the British cavalry until he was promoted to command all British troops in Germany.  He was colonel of the Royal Horse Guards, and is painted in the uniform of that corps.  While most of the British army wore red, the elite Horse Guards had blue coats.  He has a coin in his right hand which he is about to give to the sick man’s wife.

The soldier is most likely from Brudenell’s 51^st Foot.  Brudenell’s 51^st is not to be confused with Pepperell’s 51^st.  Pepperell’s was raised in the 13 Colonies in 1755 and disbanded in 1756 after being captured at Fort Oswego.  Brudenell’s was raised in 1755 and, when Pepperell’s 51^st was disbanded, the number was given to Brudenell’s. (1) While all British infantry regiments wore red breeches, this soldier wears green, which author Stuart Reid explains might be “a regimental affectation by a new-raised regiment.” (2)  Near the soldier are his wife and two children.  One clings to her mother’s skirt while the other looks pleadingly at the Marquis of Granby.

1.      http://kronoskaf.com/syw/index.php?title=51st_Foot

2.   pg. 45 of Frederick the Great’s Allies 1756-1763 by Stuart Reid (Osprey:2010)

Death of James Wolfe 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, and no part of the Seven Years' War was more dramatic than the 1759 Battle of the Plains of Abraham.  In that battle, British General James Wolfe and his army climbed the cliffs of Quebec and landed on the Plains of Abraham.  From this position, they could attack and conquer the city of Quebec on its landward side.  The French general the Marquis de Montcalm attacked Wolfe's men on the Plains.  In the ensuing battle, the British demolished the French attack and both commanders were mortally wounded.


This painting shows James Wolfe in a plain red coat.  His right hand is bandaged from a wound suffered earlier in the day.  He is supported by a volunteer named James Henderson, of the grenadier company of the 28th Regiment.  The man in green is Surgeon's Mate Hewitt. (1)  Just to the left of Wolfe is a man running with his hat in his hand.  He is Lieutenant Brown of the 22nd Regiment's grenadier company and he announced the news of the victory to Wolfe.

Interestingly, both grenadiers wear caps with some sort of circular motif, much like the British Order of the Garter.  David Morier in a series of paintings c. 1751 depicts the 28th's grenadier caps with a "GR" (for George Rex, rex meaning king).  He has no hint of circular badges.  Could these unique caps have been issued for service in North America?  Or could this be a regimental distinction which the 28th adopted?

On the far left of the picture, a sergeant (with a halberd) or an officer (with a spontoon) watches the fire of his men.  By looking very carefully, some Frenchmen and their flag can be seen withstanding the British firing line.  Just behind Volunteer Henderson's shoulder is a man in a cut-down tricorn hat and short blue coat.  He is likely a sailor, for a detachment of sailors was landed to help Wolfe with the cannons.

(1). pg. 82, Quebec 1759 by Stuart Reid (Osprey: 2003)

1780-1781 Southern Theater of American Revolution by F. C. Yohn

The Southern theatre of the American Revolution proved decisive, as General Cornwallis surrendered at Yorktown.  But both before and after Yorktown, many other critical battles were fought.  This gallery of paintings by the noted artist F. C. Yohn captures some of them.

To the left is a painting of the Battle of Camden.  Camden was a decisive British victory, as Lord Cornwallis destroyed an entire American army--the only one in the South--as well as the reputation of the American General Gates.

With Gates out of the way, Cornwallis sent the talented Major Patrick Ferguson on a sweep against the wild frontiersmen of North Carolina/Kentucky.  But at King's Mountain, the frontiersmen ambushed and killed him and most of his small army.

King's Mountain was matched by another British disaster at Cowpens, which led Cornwallis to chase General Greene (Gates's replacement) through North Carolina.  Finally the two armies fought it out at Guilford Courthouse, where Cornwallis defeated General Greene, though not decisively.

With Cornwallis now in Virginia, command devolved to Lord Rawdon.  Rawdon and General Greene fought it out at Hobkirk's Hill.  Another British victory, yet still not decisive.

Another British commander was appointed: Colonel Alexander Stuart.  Greene launched an ambush on Stuart's troops at Eutaw Springs, driving them back.  The battle looked like a decisive American victory, until the American attack bogged down and was then hurled back by a counter-attack.  The British repulsed the Americans, but as General Greene put it "We fight, get beat, rise, and fight again."

Greene's perseverance paid off, because Eutaw Springs was the last major battle of the Southern theater.  Late in 1782, the British army evacuated Charleston, their last post in South Carolina.

Plains of Abraham Gallery

Today is the 255th anniversary of the Battle of Plains of Abraham.  In honor of this battle which ultimately decided the fate of Canada, I have compiled this gallery of paintings related to the battle.

 On the night of September 12-13, the advance guard of Wolfe's army scaled the cliffs of the Foulon.  Their mission was to secure the road to allow the rest of the army to attack Quebec from its vulnerable landward side.

 Having secured the road and brought up most of his army,  Wolfe's men were counter-attacked by the French under the Marquis de Montcalm.  In the first few minutes of the battle, Wolfe was shot three times and mortally wounded.

 His infantry, meanwhile, had demolished the French attack to their center and proceeded to counter-attack.  The British 35th Regiment claimed to even capture the flag of the French regiment Royal-Roussillion.

As the French retreated back to the safety of Quebec, General Montcalm was shot and mortally wounded as well.  He died early on September 14.   Shortly after the battle, the governor of the city Monsieur Ramezay, surrendered it to the British.  The British defended the city against an attack in 1760 and, in the same year, finished the conquest of Canada.  But it all began with the daring night climb of General James Wolfe's 24 volunteers up the cliffs.

Battle of Sainte-Foy (1760) Gallery

The Battle of Sainte-Foy took place on this day in the year 1760.  French General de Levis attempted to recapture the city of Quebec, which was held by the British under General James Murray.  Murray, having received advance warning of de Levis's march, moved out from the city and on to the Plains of Abraham for battle.  In the ensuing battle, the French defeated Murray and besieged Quebec.  A fleet of British warships arrived soon afterwards, and de Levis retreated to Montreal, which would surrender on September 8, 1760.

General de Levis encourages his men just before the battle.  Painting by Louis Bombled.

 A black-and-white illustration of Levis and his men before the battle.

 British soldiers cart firewood into the city of Quebec.  Painting by John Macnaughton.

 A view of the battle from British lines.  Painting by George Campion.

And last, a rather panoramic drawing of the final French advance that won the victory.

Charming Field for an Encounter

Before gaining fame as Commander-in-Chief of the Continental Army, George Washington was a soldier for King George II.  His service included three campaigns, two years of keeping Indians out of Virginia's borders, and his only surrender.  These paintings, from the book "Charming Field for an Encounter" illustrate some of his early military exploits.  See the whole book with many more paintings at https://archive.org/details/charmingfieldfor00albe

 This painting (based on Peale's 1772 portrait) shows Washington in the 1754 uniform of the Virginia Provincial Regiment.

 This painting shows Washington and his men assembled.  Something appears to be burning in the distance.

This painting occurs during the Siege of Fort Necessity (1754).  Two Virginians, an officer and a private, fire a swivel gun at the French.

Seven Years War in India from Cassell's History of India

 All pictures from Cassell's Illustrated History of India available here: https://archive.org/details/cassellsillustra01gran.  These pictures begin with Robert Clive storming the Indian fort of Arcot to relieve the siege of Conjeveram.  Clive then defended Arcot against the Nabob's army.

 Arcot proved Clive as a soldier, but Plassey was the greatest victory of Robert Clive.  With 3,000 soldiers (and some negotiations with an aspirant to the throne), he defeated the Nabob of Bengal's army of 50,000.

 But the French East India Company sent a fleet and army out to India.  This picture illustrates the naval Battle of Pondicherry.

 This picture illustrates the British storming the fortress of Masulipatam, though the British stormed many fortified positions similar to this one.

Finally, the troops of the French East India Company were trapped and besieged in Pondicherry.  Here four French commissioners come to the British to ask to surrender.  The Third Carnatic War (or the Seven Years' War in India) broke French power and raised the East India Company to governing much of India.

Thought on the New Year

"And yet ye cannot tell what shall be tomorrow. For what is your life? It is even a vapor that appeareth for a little time, and afterward vanisheth away."--James 4:14

God has been so good to give us all the year of 2013 and the beginning of 2014.  But we must remember that our life is passing away and that we must "the night cometh when no man can work." (John 9:4) God has given us today--let's work for Him!


Painting "Life is like a Sundial" by Laslett John Pott.

Gallery of AWI Marines

These paintings are from the book "Marines in the Revolution", available for free at https://archive.org/details/MarinesInTheRevolution.  While most of the book's illustrations are of the Continental Marines, there are a few which deal with other marines.  All paintings are by Major Charles M. Waterhouse.

 The first (chronologically) shows panicked American troops trying desperately to salvage something of their beached gunboat during the Battle of Valcour Island.

 The next painting shows John Adams and John Paul Jones reviewing men of the prestigious Regiment Walsh (previously Regiment Rooth, and before that, James II's Foot Guards).  Men of Regiment Walsh served aboard the Bon Homme Richard in its battle with HMS Serapis.

 This picture is of an oared galley, the Miami, plying the Ohio River.  Its crew of Virginia State Marines are there to keep frontier Indians from taking up the tomahawk against colonial settlers.

And last, a scene so universal in the 18th Century: the training of new recruits.  The new troops hold their muskets awkwardly and not in unison as an officer barks orders at them.  Two other officer stand back, amused, as the townsfolk look on.