British Regimental

Bands of Musick
The Material Culture of Regimental Bands of Music According to Pictorial
Documentation, Extant Clothing, and Written Descriptions 1750-1800
by Sherri Rapp
http://www.scribd.com/sherri_rapp_1
Introduction
In the British military services, there is a distinction between regimental drummers and the
musicians in a regiments band of music. A drummer was a soldier with a specialized and
necessary skill, which was to sound the signals as commanded by an officer or NCO. A military
camp lived by the beat of the drum and the drummers were the soldiers who kept that beat. The
term drummer is a rank just like private or corporal. As such, a soldier with the rank of
drummer may actually play the fife or bugle or other signaling instrument. As he was first a
soldier, drummers were sometimes called upon to perform regular soldierly duties and even lay
down his drum to take up a musket alongside his fellow soldiers. A musician a bandsman is
a different descriptor altogether.
Musicians were skilled instrumentalists who were not necessarily attached to a company of a
regiment for soldierly duties. They served more of a ceremonial purpose for parades, reviews and
other official displays. Musicians were also utilized for more refined affairs such as dances and
celebrations. In this case, the ensemble was referred to as a band of music and consisted of
melodic instruments such as hautboys (oboes), horns, clarinets, flutes and violins. Bandsmen,
their clothing and the instruments were typically paid for by the officers of the regiment.
Additional Bandsmen were sometimes hired to play exotic instruments such as the bass drum,
cymbals, and tambourine to name a few. (These instruments were adopted from the janissary
musicians of the middle east.)
This document is intended to be freely distributed in the spirit of advancing understanding of
the material culture of military bands of music in the latter half of the 18th century.
This is not a scholarly article. I am not a scholar. At best, I am an amateur historian who learns
primarily from the efforts of professional historians and academics, but also from my own
research.
I have given credit when I know the owner or supplier of the artwork. If I have neglected to give
credit where due, or have mis-credited an image, no harm was intended, so please inform me
and I will correct the error.
2
Written Accounts
The following written accounts include inspection returns, a band roster,
newspaper reports, after-action reports of battles, and deserter
advertisements.
In the year 1764, his Majesty thought proper to forbid the use of brass side drums
in the Light Cavalry, and in their room to introduce brass trumpets, so that each
troop has one trumpet, who when they are dismounted, form a band of music,
consisting of two French horns, two clarinetts, and two bassoons, and also one fife,
to a regiment; but when mounted, the trumpets only sound. The Discipline of
the Light Horse, 1778, Captain Robert Hinde,
http://books.google.com/books?id=jB5EAAAAYAAJ

Written Accounts of Bands of Musick and Their Musicians
[I]n 1762 Lieutenant-Colonel Phillips gave instructions for the formation of a band, after
the German model, known as the Royal Artillery Band.
The following are the Articles of Agreement upon which the musicians were engaged. The
original is written in both English and German, the last article, in English only, being added
by Colonel Phillips himself:-
i. The band to consist of eight men. who must also be capable to play upon the
violoncello, bass, violin and flute, as other common instruments.
ii. The regiment's musick must consist of two trumpets, two French horns, two bassoons,
and four hautbois or clarinets ; these instruments to be provided by the regiment, but
kept in repair by the head musician.
iii. The musicians will be looked upon as actual soldiers, and cannot leave the regiment
without a formal discharge. The same must also behave them, according to the articles
of war.
iv. The aforesaid musicians will be clothed by the regiment.

(continued)
4
Written Accounts of Bands of Musick and Their Musicians
v. So long as the artillery remains in Germany each musician to have ten dollars per
month, but the two French horns to have twelve dollars per month, out of which they
must provide their own bread; but when they arrive in England, each musician to
receive one shilling, the two French horns one &hilling and twopence per day; this
payment to commence at their arrival in England.
vi. The musicians &hail be obliged to wait upon the commanding officer so often as he
shall desire to have musick, without any hope of gratification, but if they shall be
desired to attend upon any other officer, they are to have a ducat per night, but in
England half a guinea.
vii. Should the aforesaid musicians be taken sick they are to be attended by the surgeon of
the regiment, for which they are to allow fivepence farthing sterling monthly to be given
out of their wages.
viii. The two French horns will enter into pay, as soon as they sign their articles, the pay of
the other six musicians, to commence as soon as they arrive at the corps.
ix. [In the handwriting of Colonel Phillips.] Provided the musicians are not found to be
good performers at their arrival they will be discharged, and at their own expense. This
is meant to make the person who engages the musicians careful in his choice.
Memoirs of the Royal Artillery Band, Henry George Farmer
5
Written Accounts of Bands of Musick and Their Musicians
Excerpts from Cox & Company, Army Agents, JSAHR Vol. 53
1
st
Foot Guards: 1771, 6 June. Cash received for clothing hautbois from Mar., 1771 to March, 1773,
44 9s.
Hautbois Account : Subsistence for the usic at 1 day.
12
th
Foot: 1766, 23 April. Paid the Music of the 35th Regiment for laying at the Review, 6 6s.
17
th
Foot: 1787/8. Allowance to the Band, 24 Dec., 1787, to 24 June, 1788 (Lt.-Col. n
Johnston), 2 5s. 9d.
22
nd
Foot: 1769, 27 Jan. Cymbals, 1 8s. ; Musics Clothing, 15s. 6d.
36
th
Foot: 1770, 5 Sept. French horns 11 8s. 6d. ; 14 Sept. Bassoons, etc., 10 14s. 6d .
6
Written Accounts of Bands of Musick and Their Musicians
A[n] interesting influence of Masonry on the British Army in America was the Band of
the 23d Reg't of Foot, or Royal Welch Fusiliers, ALL of whom were recruited from
Holyrood Lodge in Edinburgh, Scotland while the regiment was stationed there prior to
deploying to America in 1773. Holyrood Lodge was renowned for the musical
prowess of its Brethren. A Fusilier's Manual

The band of Musick very fine. The whole perfectly well cloathed and appointed. MAY
27, 1768 (23
rd
Regiment Inspection Return at Edinburgh by Major General Oughton)

The band of musick very good. JUNE 8, 1770 (23
rd
Regiment Inspection Return at Fort
George by Lt. General Oughton)

"The band of the Royal Welch Fusiliers (23d Foot) performed at a presentation of Miltons
Comus and later accompanied a soprano soloist in The Soldier Tird of War's Alarms
during one of the intermissions of Romeo and Juliet. New York Gazette, 21 June and 5
July 1773, provided by Dr. Raoul Camus
7
Written Accounts of Bands of Musick and Their Musicians
23
rd
Regiment ROLL OF MUSICIANS, 23

April 1786 From A Fusilier's Manual
Master Le CROIX, Jacob : It is likely that he was a civilian, presumably of Swiss, or
French, nationality.
Private McCARTNEY, Alexander : Born at Midlothian, Scotland. Enlisted at age 26 years.
To date he has served for 13 years, including service in America. A musician (1st
cornet[?]) in Colonel Grenville's Company.
Private BURGESS, S. : Born at Elgin, Scotland. Enlisted at age 16 years. To date he
served for 10 years, including service in America. A musician (1st hautboy) in Captain
French's Company.
Private BOWMAN, J. : Born at Aberdeen, Scotland. Enlisted at age 16 years. To date he
has served for 9 years, including service in America. A musician (2nd cornet[?]) in Capt.
Peter's (Light lnfantry) Company.
Private NICHOLSON, J. : Born at Hampshire, England. Enlisted at age 15 years. To date
he has served for 18 years, but not in America. A musician (2nd hautboy) in Captain
Julian's Company.
(continued)
8
Written Accounts of Bands of Musick and Their Musicians
Private BURCHER, J. : Born at Hanover, Germany. Enlisted at age 21 years. To date he has
served for 10 years, including service in America. A musician (1st bassoon) in Lt. Colonel Balfour's
Company.
Private HOBBS, W. : Born at Cumberland, England. Enlisted at age 20 years. To date he has
served for 10 years including service in America. A musician (2nd bassoon) in Captain Gibbing's
Company.
Private McCULLOCH, William. : Born at Devon, England. Enlisted at age 20 years. To date he has
served for 8 years, including service in America. A musician (1st horn) in Captain Julian's
Company.
Private BLACK(E), J. : Born at Amsterdam, Holland. Enlisted at age 19 years. To date he has
served for 5 years, including service in America. A musician (2nd horn) in Lt. Colonel Balfour's
Company.
Private CLIST, J. : Born at Gloucester, England. Enlisted at age 20 years. To date he has served
for 13 years, including service in America. A musician (timpani) in Captain French's Company.
So, the makeup of the Band at that time was: Master, 2 Cornets, 2 Hautboys (Oboes), 2 Bassoons,
2 Horns and a tympani.
*Note: Military music historian, Dr. Raoul Camus, noted on proofing this section that: "The
cornet, as a musical instrument, was not invented yet. Since there are no clarinets mentioned in
the list of 1786, I would strongly assume that is what these men (McCartney and Bowman)
played." He pointed out that clarinets would be more appropriate.
9
Written Accounts of Bands of Musick and Their Musicians
College of Philadelphia, June 28, 1771.
THIS being the Day appointed for the Anniversary COMMENCEMENT in the College of
this City, the Trustees, at Half an Hour past Nine o'Clock, proceeded from the Apparatus
Room to the PUBLIC HALL, followed by the Provost, Vice provost and Professors, with
the different Candidates in their Gowns; the Band of Music belonging to the Twenty-first
Regiment (or Royal North British Fuzileers) playing during the whole Procession. The
Pennsylvania Gazette, July 11, 1771, from Don Hagist

On Tuesday, the 20
th
Instant, a Commencement was held in the College of this City,
before a very crouded and splendid Assembly of the Inhabitants, of all Denominations.
The Commencement was opened with Prayer by the Provost....
Several Gentlemen of the Town were pleased to entertain the Audience with some
excellent Pieces of Psalmody and Church Music, accompanied by the Organ, and the
Band belonging to the 18
th
or Royal Irish Regiment, which the Commander of that
Regiment, with his usual Politeness, was pleased to lend on that Occasion. The
Pennsylvania Gazette, PHILADELPHIA, July 28, 1773.
10
Written Accounts of Bands of Musick and Their Musicians
Band of Music good and genteelly dressed. 15
th
Foot Inspection return of May 20, 1772, Dr.
Gregory Urwin, Redcoat Images, No. 1,613
In 1772, The 44
th
inspecting officer noted that the regiment had a "Band of Music", and it was now
"Very Fit for Service". Don Hagist
The 20
th
Foot had a band of eight musicians Inspection return of April 2, 1774, from Don
Hagist
On Friday last [20 October 1775], Major Stopford and other officers, with their band of music,
taken at Chamblee, arrived at Trenton, in New-Jersey, where they are to remain prisoners of
war, till they are exchanged. Newspaper Datelines of the American Revolution, Vol. 2; A. F.
Lucier, ed., Heritage Books, 2001
A few days ago the shattered remains of the 18
th
regiment of foot, which was engaged in the
action at Bunkers Hill, and reduced to only 25 men, arrived at Maidstone. They consisted of 2
officers, 3 serjeants, 2 drummers, and the band of music. A subscription was immediately
opened for their relief. Edinburgh Advertiser, 12 March 1776, Extract of a letter from Deal,
March 4., from Don Hagist
Band of Music genteelly dressed. 70
th
Foot Inspection return of May 5, 1777, Dr. Gregory
Urwin, Redcoat Images No. 1,659
11
Written Accounts of Bands of Musick and Their Musicians
According to Raoul Camuss Military Music of the American Revolution, the 29th Regt. did
indeed have a band of music during most of it's service before, during, and after the
Revolution . Some of the highlights Camus notes are as follows:
1769 Benefit concert for the Fife Major
1771 Concert in New York
1785 Band performing at Ft. Niagara
This band probably followed the normal fashion of the day and would have numbered 8-10
musicians and been comprised of pairs of clarinets, oboes, bassoons and horns. The band
members were usually professional musicians that had been hired by the officers to serve as
a regimental band. They usually were not enlisted as soldiers, and were normally clothed
and paid for out of the officer's personal funds. Here and there, enlisted men with the
proper talents also served in the band. It is noted for the 29th Regt. in 1774 that Only 2
musicians enlisted as soldiers. Don Hagist
12
Written Accounts of Bands of Musick and Their Musicians
Fort George. Guest of Sir Eyre Coote of the 37th Regiment of Foot.
Saturday 28 August [1773] We had a dinner of two complete courses, variety of
wines, and the regimental band of music playing in the square before the windows after
itWe left the fort between six and seven. Sir Eyre, the Colonel, etc., went downstairs
and saw us into our chaise. There could not be greater attention paid to any visitors.
Boswells Journal of a Tour to the Hebrides with Samuel Johnson, 1773. Pottle,
Frederick A., and Bennett, Charles H., eds. Mc Graw-Hill, NY, 1936, page 94.

1778. [T]he Town Band performed with the band of the 44th Regiment of Foot on the
occasion of the passing of the Bill to prevent the exportation of live sheep and wool
Local press report (Leeds Mercury?) in July of that year, cited in Musical Leeds in the
eighteenth century, E Hargrave, Thoresby Society Proceedings 28 (1928). This was of
course legislation to protect the domestic textiles industry.
http://www.btinternet.com/~alan.radford/waithis.htm

13
Written Accounts of Bands of Musick and Their Musicians
St. Patrick's Day Celebration
New York, March 20 [1779]

Last Wednesday, the Anniversary of Saint Patrick, the Tutelar Saint of Ireland, was
celebrated in New York by the Natives of that Kingdom, with their accustomed Hilarity.
The Volunteers of Ireland, preceded by their Band of Music, marched into the City, and
formed before the House of their Colonel, LORD RAWDON, who put himself at their Head,
and, after paying his compliments to his Excellency General KNYPHAUSEN, and to General
JONES, accompanied them to the BOWERY, where a Dinner was provided, consisting of five
hundred Covers; after the Men were seated, and had proceeded to the enjoyment of a noble
Banquet, the Officers returned to Town, and dined with his Lordship. The New York
Gazette and the Weekly Mercury, March 22, 1779.
14
Written Accounts of Bands of Musick and Their Musicians
A musician in the Guards, W. T. Parke, in writing his memoirs says the following:
"The Bands of the three Regiments of Guards consisted in 1783 of only eight performers, two Oboes, two
Clarinets, two Horns and two Bassoons. They were excellent performers on their instruments and hired
by the month being well paid. They were not attested and only played for parade from the Horse Guards
to St. James's Palace while the King's Guard was mounted and back again from there to the Horse
Guards.
Lieutenant Colonel P. L. Binns, late of The East Yorkshire Regiment (Duke of York's Own), A HUNDRED
YEARS OF MILITARY MUSIC, pp. 15

Since the bands were composed entirely, in most cases, of civilian musicians working under a form of
contract (usually to the officers of the regiment) they tended to be somewhat independent and quite
unlike the enlisted bandsmen who would later replace them. An officer of the Coldstream Regiment of
Foot Guards, Lord Cathcart, had planned a boat excursion to Greenwich and wished to be provided with
the services of the regimental band for that occasion. The members of the band for reasons unspecified
politely declined his offer. Since this was outside the scope of their contract and because they were
civilians he could not order them to comply with his wishes. The officers of the regiment desiring to have
a band which they could more easily command applied to the Duke of York, who happened to be in
Hanover at the time.
Recognizing the problem the Duke, after seeking the King's approval, enlisted a number of German
musicians and send them to the regiment's headquarters in London. Presumably the contract with the
civilian musicians was allowed to lapse. Don Hagist
15
Written Accounts of Bands of Musick and Their Musicians
In 1783 an Order permitted soldiers with three years of continuous service could apply for
their discharge from their regiment. The 33d.Regiment of Foot were in garrison on Long
Island, New York during that time. Major William Dansey in writing to his commanding
officer said the following:
"By the order about the three years we lose two of the musick. Three are entitled to their
discharge, viz.: Collier, Lisk and Carey, but the two latter will not enlist again (ungrateful
dogs). So my dear Colonel, do enlist two clarinets and what other musick you think proper,
especially a horn or two. I never wish to be without a Band as long as I have a penny to
spare and the whole of us here are of that opinion. Lieutenant Colonel P. L. Binns, late of
The East Yorkshire Regiment (Duke of York's Own), A HUNDRED YEARS OF MILITARY MUSIC,
pp. 15 16, provided by Don Hagist

16
Written Accounts of Bands of Musick and Their Musicians
DESERTED, from His Majesty's 35th Regiment of Foot, at Plymouth, JAMES COGGAN,
aged 22 Years, Five Feet Nine Inches high, round Visage, Fresh Complexion, grey Eyes, light
coloured Hair, is a little Bow Legg'd, and has a remarkable Scar on the Back of his Right
Wrist; born in the City of Canterbury, by Trade a Taylor. He belonged to the Band of Musick,
and went off the 10th Instant in his new Regimental Cloathing, viz Silver laced Hat, Scarlet
Coat, (without lappels) looped with white Silk Braid, and turned up with a round Cuff, and a
fall down Collar of Orange Cloth. Whoever therefore shall apprehend the said Deserter, shall
(besides the Allowance by Act of Parliament) receive Three Guineas Reward, by applying to
the Commanding Officer, at Plymouth, or to GEORGE ROSS, Esq.; Conduit Street, London.
Trewman's Exeter Evening Post; Or, The Plymouth and Cornish Advertiser, Vol. VII No. 353
Friday, June 15th June 22nd, 1770, provided by Don Hagist
17
Written Accounts of Bands of Musick and Their Musicians
DESERTED, on the 4th of this instant December, belonging to the band of music, of his
Majestys 21st regiment of foot (or Royal North British Fusiliers) JOHN GRANT, aged 23
years, 5 feet 2 3/4 inches high, born in Beverly, in Yorkshire, England, by trade a jockey,
has brown hair, grey eyes, fair complexion, a little pitted with the smallpox, and very thin
made; had on, when he deserted, his uniform blue jacket, turned up with a red cape, and
cuffs. Whoever apprehends and secures the above deserter, shall, by giving proper notice to
Captain NICHOLAS SUTHERLAND, Commanding Officer of the said regiment, at
Philadelphia, receive ONE GUINEA reward, over and above what is allowed by Act of
Parliament for apprehending deserters. N.B. He is supposed to be gone to Maryland, as he
has a wife and a plantation in that province. The Pennsylvania Gazette, December 12, 1771,
provided by Don Hagist

18
Written Accounts of Bands of Musick and Their Musicians
Deserted from His Majestys 28th Regiment of Foot, Henry Piscadore, Musician, about
twenty years of age, five feet ten inches high, fresh complexion, round visage, grey eyes,
dark brown hair, born at Brussells and Parish of St. Singore, was inlisted by Lord
Townshend as Master of a Band for said Regiment the 12th of July 1773. He went off in a
scarlet frock, laced, with buttons the number of the Regiment, laced hat, white cloth
breeches and waistcoat, speaks tolerable good English. Whoever will apprehend him and
lodge him in any of His Majestys gaols or guard houses, so as he may be delivered to the
Regiment, shall have a Reward of five Guineas, by applying to the Commanding Officer at
Cork, or sir William Montgomery, Bart. Dublin.
H. Johnson, Major, Commanding the 28th Regiment.
N. B. Any person harbouring or entertaining the above Deserter after this notice, shall be
punished as the law directs.
[Hibernian Chronicle (Dublin), 9 October 1775]
Don Hagist
19
Written Accounts of Bands of Musick and Their Musicians
Deserted from the Second Battalion of His Majestys First (or Royal) Regiment of Foot,
commanded by his Grace the Duke of Argyle, Lieutenant-general, quartered at Fort George
in the County of Inverness, William Sutherland, Five feet 10 inches high, aged 25 years,
fresh complexion, dark brown hair, black eyes, had on a scarlet frock, white waistcoat and
breeches, by trade a Shoemaker, was one of the Band of Music, born in the town and
county of Wicklow, inlisted at Fort Augustus, in the county of Inverness, the 16th of July,
1767. Deserted from Fort George, in said county, the 18th of March, 1777.
Whoever secures the said Deserter, so that he may be brought to justice, as a perjured
Defrauder of the Public, of his Colonel, and of his Officers, and given notice to the
Commanding Officer of the said Regiment at Fort George, or to Messrs. Ross and Gray,
Agents to the said Regiment, in London, shall receive Five Guineas over and above the
Twenty Shillings allowed by Act of Parliament.
N. B. It is supposed the above Deserter is lurking about London or St. Albans.

-London Chronicle, April 14, 1777, Don Hagist
20
Written Accounts of Bands of Musick and Their Musicians
On rare occasions, musicians might be pressed into service, such as happened
when Colonel Sir Francis Rawdon, Commander of the garrison at Camden, SC,
ordered the musicians there to take up arms and march with his army to meet
the Continentals at Hobkirks Hill, 25 April 1781:

By arming the musicians, drummers, and every being in the army that was able
to carry a firelock, he [Colonel Rawdon] mustered above nine hundred for the
field, including sixty dragoons. A History of the Campaigns of 1780 and 1781 in
the Southern Provinces of North America, Lieutenant-Colonel Tarleton, 1787
21
Pictorial Record
22
Specific things well be looking for
This section will pay special attention to the presence, absence,
and style of the following clothing and equipment items:
Type of musician or the instrumentation of the band
Headgear: cocked hats, bearskin caps and others
Coat details: Coat and facing colors, sleeve darts, placement and
amount of drummers lace
Sword: is one clearly present or not?
Comparisons with other soldiers depicted, if any
Age of musician: Does he appear to be a boy, teenager or adult?
Any additional observations
23
24
Lady
Louisa
Lennox
with Her
Husband's
Regiment,
25th
Regiment
of Foot
with Lord
George
Lennox
Beside Her,
1771

Artist:
Giuseppe
Chiesa

Location:
National
Army
Museum
25
Lady
Louisa
Lennox
with Her
Husband's
Regiment,
25th
Regiment
of Foot
with Lord
George
Lennox
Beside Her,
1771

Artist:
Giuseppe
Chiesa

Location:
National
Army
Museum
No swords. Officers uniforms
faced deep yellow narrow
gold-laced button-holes; white
waistcoat and breeches plain
epaulette narrow-laced hats,
boots. Serjeants carry canes.
Have a bag-piper in the Band of
Music. Inspection return for
the 25th Regiment of Foot, May
13, 1768, Redcoat Images, No.
50 (Revisited-Addendum) Erik
Goldstein to Dr. Gregory Urwin

HIS MAJESTY REVIEWING THE VOLUNTEER CORPS ASSEMBLED IN HYDE PARK, IN HONOR OF HIS
BIRTH DAY, JUNE 4, 1799
Artist: J. & J. Boydell, 1801
Location: Anne S. K. Brown Military Collection
http://dl.lib.brown.edu/catalog/catalog.php?verb=render&id=1244085872281250

26
HIS MAJESTY REVIEWING THE VOLUNTEER CORPS ASSEMBLED IN HYDE PARK, IN HONOR OF HIS
BIRTH DAY, JUNE 4, 1799
Artist: J. & J. Boydell, 1801
Location: Anne S. K. Brown Military Collection
http://dl.lib.brown.edu/catalog/catalog.php?verb=render&id=1244085872281250

27
Band of Music in red
coats positioned
alongside a blue-
coated infantry
regiment. Specific
instruments unclear,
but there are what look
like clarinets and/or
oboes and a janisarry at
the right rear.
HIS MAJESTY REVIEWING THE VOLUNTEER CORPS ASSEMBLED IN HYDE PARK, IN HONOR OF HIS
BIRTH DAY, JUNE 4, 1799
Artist: J. & J. Boydell, 1801
Location: Anne S. K. Brown Military Collection
http://dl.lib.brown.edu/catalog/catalog.php?verb=render&id=1244085872281250

28
Band of Music in cocked hats
and red coats with blue
facings, positioned at the rear
of the artillery. All wear sashes
around their waists. Specific
instruments unclear, but there
are what look like clarinets
and/or oboes and a janisarry
(with turban) and a bass
drummer (arms raised) in the
rear rank. Drum Major at the
head of the band. No swords.
Bass Drummer, 7th Regiment of Foot (Royal Fusiliers), c 1789-90
Artist: L. Rousselot
Location: Anne S. K. Brown Military Collection, Brown University Library
Redcoat Images, No. 1,297
29
Bass Drummer, 7th Regiment of Foot (Royal Fusiliers), c 1789-90
Artist: L. Rousselot
Location: Anne S. K. Brown Military Collection, Brown University Library
Redcoat Images, No. 1,297
30
Bass Drummer, 7th Regiment of Foot (Royal Fusiliers), c 1789-90
Artist: L. Rousselot
Location: Anne S. K. Brown Military Collection, Brown University Library
Redcoat Images, No. 1,297
This bass drummer is typical of others during this time period. Arabs and
Black Africans were commonly employed to play bass drum, cymbals,
tambourines, jingling johnnys and other exotic instruments.
His all-white clothing has striking embellishments: the coat and weskit are
edged with gold and red lace, the blue shoulder wings have the same lace
set vertically and around the edges, the blue coat cuffs are pointed up and
edged with lace as are the blue shoulder straps. There are no lapels, but
false buttonhole loopings decorate the edges of the coat where lapels would
normally be. They are set in a Bastion of flower-pot design with blue
tassels at their points. This configuration of lace and tassels set against a
coat without lapels is referred to as Brandenburg holes. These are also
present on the weskit.
This drummer wears headgear similar to a turban, keeping in line with the
exotic look.
The bass drum is rather large. It is pictured here resting on its side.
Turned the proper orientation, the same design seen on the previous 2
drums is painted on a field of blue on a wooden shell. On the left side
there is also painted the kings arms.
31
Drum Major, 7th Regiment of Foot (Royal
Fusiliers), c 1789-90
Artist: L. Rousselot
Location: Anne S. K. Brown Military Collection,
Brown University Library
Redcoat Images, No. 1,297
32
John Fraser of the Coldstream Guards,
c.1790
Artist:
Location:
Janissary (or Exotic Bandsman) of black
African descent.
His red coat has no cape, nor has it cuffs
of the navy blue facing color of the
Coldstream Regiment of Foot Guards. In
lieu of lapels, the coat sports
Brandenburg holes of navy blue cloth
edged with silver lace and finished at the
outside points with tassels. The sleeves
are unique in that red cloth only covers
the arms to the elbows, at which point
white cloth is used the elbows to the
cuffs. At the seam between the red and
white fabric, there is silver fringe, and
the usual sleeve seam tape is added but
no sleeve darts. There are shoulder
wings of a sort, but they cover from the
armscye toward the neck rather than
downward in the direction of the elbow.
Finally, the coat sports navy blue
shoulder straps.

33
John Fraser of the Coldstream Guards, c.1790
Artist:
Location:
This tambourinist wears a blue and silver sash over his left shoulder and across his
body. From his right shoulder hangs a sword belt with an oval belt plate. The
pommel of the sword can just be seen at the bottom right of the painting.
The white turban with feathers and other embellishments worn by Bandsman
Fraser is typical for exotic bandsmen of the time period in the British army. Note
the crescent at the top front of the turban. The crescent in this position with the
points at the top, or horns to chief is a symbol in heraldry of the second born
child. As John Fraser is said to be fro the Coldstream, or 2nd, Regiment of Foot
Guards, the crescent is well at home.
The tambourine is elaborately decorated in blue and red (colors of a royal regiment)
with various embellishments including the device of the regiment.
Further variations and information can be found at
http://www.christies.com/lotfinder/after-mrs-ross-military-bandsman-fraser-
of/5179238/lot/lot_details.aspx?pos=1&intObjectID=5179238&sid=&page=10
http://www.concertina.net/forums/index.php?showtopic=7552&st=18
http://www.britishempire.co.uk/forces/armyunits/britishinfantry/coldstreamban
d1800.htm
34
Drum Major, Drawings of Uniforms of the Bucks [Buckinghamshire] Militia, 1793
Artist: Sir William Young (Original), F. Edwards (Reproduction)
Location: British Library (Original), Anne S. K. Brown Collection (Reproduction)
http://sofo.org.uk
35
Original
Reproduction
Drum Major, Drawings of Uniforms of the Bucks [Buckinghamshire] Militia, 1793
Artist: Sir William Young (Original), F. Edwards (Reproduction)
Location: British Library (Original), Anne S. K. Brown Collection Reproduction)
http://sofo.org.uk
This drum major is wearing the reverse colors of the regiment to which he
is attached. The yellow coat is faced in red at the cape and cuffs and edged
in white. Instead of lapels, there are red and white buttonhole decorations
reminiscent of the Brandenburg style. Simple red shoulder wings are
included with white fringe.
The cocked hat is trimmed in fancy red and white lace, white a red and
white plume or hackle.
In addition to a vertical hanging sword, the drum major sports two badges
of his office: a drum majors baldric and a mace. The baldric is black,
edged with red cloth or worsted tape, has a zig-zag design in white, and is
worm from the left shoulder. The mace is typical of the time period and is
embellished with red and white accents.
The remainder of the clothing here is standard to the 1768 Cloathing
Warrant: white shirt (this one with ruffles), weskit, and breeches; and
black gaiters.
36
Musician, Drawings of Uniforms of the Bucks [Buckinghamshire] Militia, 1793
Artist: Sir William Young (Original), F. Edwards (Reproduction)
Location: British Library (Original), Anne S. K. Brown Collection (Reproduction)
http://www.bridgemanart.com/asset/254047/Young-Sir-William-fl.1793/A-Cymbalist-from-Sir-William-
Young's-'Drawings-of
I have been unable to acquire the
original of this piece, but the
reproduction is provided.
Bands of Music were not necessarily
subject to the 1768 Cloathing
Warrant, so a wide range of coat and
headgear configurations can be
found. Aside from his instrument and
headgear, his musician is clothed
identical to the drummer we saw
earlier, including the presence of a
sword.
His hat is the larger cocked hat style,
trimmed in red feathers or fur and
finished with a red-tipped white
hackle or plume.

37
Reproducti
on
Cymbalist, Drawings of Uniforms of the Bucks [Buckinghamshire] Militia, 1793
Artist: Sir William Young (Original), F. Edwards (Reproduction)
Location: British Library (Original), Anne S. K. Brown Collection (Reproduction)
http://www.bridgemanart.com/asset/254047/Young-Sir-William-fl.1793/A-Cymbalist-from-Sir-William-
Young's-'Drawings-of
38
Original Reproduction
Cymbalist, Drawings of Uniforms of the Bucks [Buckinghamshire] Militia, 1793
Artist: Sir William Young (Original), F. Edwards (Reproduction)
Location: British Library
http://www.bridgemanart.com/asset/254047/Young-Sir-William-fl.1793/A-Cymbalist-from-Sir-William-
Young's-'Drawings-of
Janissary musician
As we saw in the painting John Fraser of the Coldstream Guards, the
exotic musicians can have a very unique look. This cymbalist has a
short yellow coat with red collar and shoulder straps and wings, half-
sleeves with red tape or cloth on the seams, sleeve forearms of white,
and regimental or drummers lace along the front of the coat sans
lapels.
The trousers here are fitted and tuck into what looks like short red
boots with tassels. He also wears a short white weskit and black
neckstock.
The last piece of exotic clothing is the turban with its embellishments
(possibly beads?), very large white cockade, and black and yellow
hackle.
39
Cymbalist, Drawings of Uniforms of the Bucks [Buckinghamshire] Militia, 1793
Artist: Sir William Young (Original), F. Edwards (Reproduction)
Location: British Library (Original), Anne S. K. Brown Collection (Reproduction)
http://www.bridgemanart.com/asset/254047/Young-Sir-William-fl.1793/A-Cymbalist-from-Sir-William-
Young's-'Drawings-of
I have been unable to acquire the
original of this piece, but the
reproduction is provided.
This regiment apparently had a full
complement of musicians in its Band
of Music and was quite proud of it.
There is not much to be stated here
about this tambourine player as he is
clothed nearly identical to the
cymbalist, the only difference being
the headgear. This fellows cap is
reminiscent of the shako style that
would become popular well after this
was painted, complete with a cap
plate, decorative chains or rope, and
a yellow plume or hackle.
40
Reproduction
LEntre triumphale de troupes royales a Nouvelle Yorck, 177?
Artist: Francis Xazier Habermann
Location: Library of Congress
http://www.loc.gov/exhibits/british/brit-2.html
41
LEntre triumphale de troupes royales a Nouvelle Yorck, 177?
Artist: Francis Xazier Habermann
http://www.loc.gov/exhibits/british/brit-2.html
42
LEntre triumphale de troupes royales a Nouvelle Yorck, 177?
Artist: Francis Xazier Habermann
http://www.loc.gov/exhibits/british/brit-2.html
This type of artwork is known as a vue doptique, or perspective view, and
is intended to be used in a peep box which contained a magnifying glass
and gave the viewer the perception of a 3D image. Also note that the text is
reversed because the image is also mirrored. They were not necessarily
intended to be 100% accurate. (For more information on this genre, see
http://www.philographikon.com/vuedoptique.html). This particular piece
depicts the entry of the British troops into New York City in 1776, but the
artist had never been to New York and was not familiar with the cityscape.
Neither does this scene necessarily reflect an actual event. Some may
consider this piece to be of no redeeming value in terms of material
culture. However, I feel this piece can still tell us a little about these
military musicians, and there are many to consider.
At the far left of the drawing, we se a 6-member military band of music
nearly marching out of view. They play the usual instruments of horns,
clarinets (or oboes), and bassoons. They all wear standard length
regimental coats and cocked hats.
43
The Lynn Association as Reviewed in the Year 1782
Artist: Unknown
Location: Unknown
44
The Lynn Association as Reviewed in the Year 1782
Artist: Unknown
Location: Unknown
45
The Lynn Association as Reviewed in the Year 1782
Artist: Unknown
Location: Unknown
In progress. The following may provide more information on the Lynn Association.

Haarmann, A.W. "King's Lynn Volunteers." Journal of the Society for Army Historical Research, 53
(Summer, 1975).
46
Drawing of Band, c 1800
Artist: Thomas Stothard
Location: British Museum

47
British Foot Guards Parading at St James Place, c. 1792
Artist: Unknown
Location:
Redcoat Images, 1,529
48
British Foot Guards Parading at St James Place, c. 1792
Artist: Unknown
Location:
Redcoat Images, 1,529
49
Horns
Serpent
Bassoon
Clarinets
or Oboes
The Band of Music
British Foot Guards Parading at St James Place, c. 1792
Artist: Unknown
Location:
Redcoat Images, 1,529
50
Kettle Drum
Cymbals, Bass Drum, Tambourine
Drummer
s
Fifers
Triangle
Janissary Musicians Regimental Fifes & Drums
British Foot Guards Parading at St James Place, c. 1792
Artist: Unknown
Location:
Redcoat Images, 1,529
Band of Music
This band of music consists of 8 adult musicians an octet consisting of 1 long horn
similar to a trumpet, 1 round orchestral horn with additional crooks for changing the
pitch, 1 serpent, 3 clarinets or oboes or combination, and 1 bassoon. It is not apparent
what the eighth musician is playing as it is obscured by the orchestral horn.
All musicians wear red coats with dark capes and cuffs. Instead of lapels, the front of the
coats are faced with what could be 1) worked button holes, 2) thin lace, or 3) Brandenburg
holes. There is no lace placed on the body of the coats nor on the sleeve seams. The coats
have shoulder straps which are laced. The shoulder wings lace is set vertically and the
wings have fringe at the bottom. The pocket flaps are edged in lace and have the same
style of buttonhole work as the fronts.
The hats are cocked, trimmed with white fur and finished with white and red feathers.
The musicians hair is powdered and clubbed. Each carries a sword on a whitened buff
sword belt.
The Drum Majors uniform differs only in that lace is placed on the sleeve seams and in
darts pointing up. A red sash with fringe and a drum majors mace completes his uniform.
51
British Foot Guards Parading at St James Place, c. 1792
Artist: Unknown
Location:
Redcoat Images, 1,529
There are 2 smaller musicians positioned between the band of music
and the exotic bandsmen. In a style that is not uncommon for the time
period, these very small fellows are meant to depict young boys.
One plays a kettle drum and, except for his hat, is dressed identical to the
band of music.
The other boy plays only a triangle and, except for his hat, is dressed
identical to the regimental drums and fifes.
As their hats are different than any others Ive seen for this period, I must
leave their identification and description to others.
52
British Foot Guards Parading at St James Place, c. 1792
Artist: Unknown
Location:
Redcoat Images, 1,529
Exotic Bandsmen
Here we see 3 exotic bandsmen also called Janissaries of either Arab or
black African descent. From left to right, they play a pair of small cymbals, a
bass drum, and a tambourine.
The most obvious difference from the rest of the players in this parade is the
white turbans with chain-like decoration and red-and-white feathers jutting
from the top of the turbans. The musicians also wearing dangling earrings.
Their red coats are shorter than all the other musicians laced quite elaborately.
In addition to the buttonhole, shoulder strap and shoulder wing configuration
similar to the band of music, these coats feature lace set vertically on the upper
sleeves and horizontally on the lower sleeves.
Unlike the other musicians who are wearing knee breeches and white long
gaiters, these bandsmen wear long trousers tucked in to half gaiters.
Similar to the drum major, a red fringed sash and sword with shoulder belt.
There is an additional dark colored belt crossing underneath the sword belt, but
it is not clear what exactly that is.
53
Caricatures
The nature of caricatures prevents us from accepting the depiction of its
subjects as a true and accurate representation. However, just as cartoons
and political satire shines a reflection of partial truth, the exaggerated
features that define caricatures can provide some degree of insight into the
clothing and equipment of the British military musicians who are subjects in
those caricatures.
The Band, c. 1780
Artist: Attributed. Thomas Rowlandson
Location:
Redcoat Images, 1,529
55
The Band, c. 1780
Artist: Attributed. Thomas Rowlandson
Location:
Redcoat Images, 1,529
This band of music consists of traditional instruments normally used for
such a purpose. From left to right they are bassoon, horn (or trumpet),
clarinets (or oboes, or one of each), and a natural horn (also called
orchestral horn and English horn).
They all wear red coats with blue facings. There is no lace on the coats,
but they sport gold coloured shoulder straps much like officer epaulettes.
They all have on knee breeches with white long gaiters.
The most interesting clothing item even taking into consideration that
this is a caricature is the hats. They look more like modern baseball caps
than any sort of hat from this time period. They are not cocked at all, but
are not really round hats either.
Their hair is powdered, curled on the sides, and clubbed.
They play their instruments while reading sheet music atop 2 drums. It
must be a sort of celebration or ceremony of sorts judging by the soldiers
standing at attention and the standard in the background.
There are swords present on these musicians.
56
A New Way to Pay the NATIONAL-DEBT, Dedicated to Monsr. Necker, April 21, 1786
Artist: James Gillray
Location: New York Public Library
Redcoat Images, No. 1,530
57
A New Way to Pay the NATIONAL-DEBT, Dedicated to Monsr. Necker, April 21, 1786
Artist: James Gillray
Location: New York Public Library
Redcoat Images, No. 1,530
58
A New Way to Pay the NATIONAL-DEBT, Dedicated to Monsr. Necker, April 21, 1786
Artist: James Gillray
Location: New York Public Library
Redcoat Images, No. 1,530
As often happens with other popular images of this time period, this piece
of artwork has been copied and recoloured. Some details change from the
original to the copy, so we will focus more on the larger elements of these
images.
This band of music is rather large. Some of the musicians are not readily
visible as they are in the background. The band consists of traditional
instruments normally used for such a purpose. From left to right they are
oboes, natural horns, bassoon, clarinets.
They all wear red coats with blue facings. There is lace on the coats (white
in the first, yellow or gold in the second). They gold coloured shoulder
straps much like officer epaulettes.
They all have on knee breeches with white long gaiters.
Their hair is powdered and worked into long queues wrapped with black
silk or worsted tape.
Their hats are trimmed with fur (red on the first, white on the second).

59
British Military Band, c 1790s
Artist: Attributed to Thomas Rowlandson
Location: Private Collection: Sold by Christies, 2000
Redcoat Images, 1,529
60
British Military Band, c 1790s
Artist: Attributed to Thomas Rowlandson
Location: Private Collection: Sold by Christies, 2000
Redcoat Images, 1,529
Although a caricature, this is another great image showing a band of
music with janissary accompaniment.
The band of music consists of an oboe, an English horn, 2 clarinets and a
bassoon. They wear red coats with blue facings, knee breeches with white
long gaiters, and cocked hats with red fur trim. The coats have no lace.
Their hair is powdered and queued.
Like the previous Thomas Rowlandson image, this band of music plays
while reading sheet music sitting on top of 2 stacked drums.
The janissaries consist of a cymbal player and a bass drummer. Their
coats are noticeably shorter than those of the band of music, but are still
red with blue facings. The coats have white lace on the sleeve seams and
around the upper arms. Their trousers are tucked into black half-gaiters.
Their white turbans are decorated in the front and sport a red hackle on
top.
All the musicians wear swords from shoulder belts.
61
Extant Clothing and
Equipment
Tambourine, Fife case, Horn and Drum
Location: National Army Museum
http://picasaweb.google.com/nsvorp/114TowerOfLondonHMSBelfastNationalArmyMuseum#5427057572
678976146
63
Copper ha;f-moon bugle,
Yorkshire Light Dragoons, c. 1800
Painted wood drum
Tambourine
Brass half-moon fife case,
Royal Carmarthen Militia
64
Long Drum, Britain, 1714-1727
Location: Pressler Gallery, National Music Museum
http://orgs.usd.edu/nmm/Drums/BassDrums/10467/LongDrum.html
65
Long Drum, Britain, 1714-1727
Location: Pressler Gallery, National Music Museum
http://orgs.usd.edu/nmm/Drums/BassDrums/10467/LongDrum.html
Bass drum from the
Royal Maritime
Museum Greenwhich,
ca. 1790
66
Regimental Bass drum, c. 1778-1783
Location: War Museum of Scotland
http://www.nms.ac.uk/our_museums/war_museum/things_to_see/in_defence.aspx
67
Regimental Bass or Side Drum of the
Carmarthenshire Militia, c. 1803 This striking
bass drum was used by the band of the
Carmarthenshire Regiment (Welsh Militia)
during the late 18th and into the early 19th
century. It bears a stag on a yellow ground,
the remainder of the shell being painted blue.
The stag is presumed to be the old regimental
device (or the crest of its colonel-commandant)
prior to it being redesignated the Royal
Carmarthen Fusiliers, upon which the device
was changed to the Prince of Wales feathers.
Like the snare drum above, the yellow ground
indicates the earlier facing color of the
regiment. The blue around the balance of the
shell may have been applied when the facing
color changed in 1799. The shell and rims are
original and the heads and cords are modern
replacements. $3000/3500 Provenance: same
as above lot.
68
Regimental Bass or Side Drum of the Carmarthenshire Militia, c. 1803
Location: Part of an auction lot from the private collection of James Kochan , listed through Richard
Opfer Auctioneering, Inc.
http://www.opferauction.com/sales/oaSale_031804_4.php
Oboe, ca. 1800, Boxwood, ivory, brass
Maker: Jacob Anthony (German, 17361804), Philadelphia
Location: The Metropolitan Museum of Art
http://www.metmuseum.org/toah/works-of-art/1997.272
From the website:
Jacob Anthony was born in
Germany in 1736 and emigrated to
the United States, where he
established his own shop in the
1760s. Like many other musical
instrument manufacturers, Anthony
used his skills to produce a variety
of products. He is listed in
Philadelphia directories as a musical
instrument maker and a wood
turner. This oboe is a typical
German-made instrument from the
eighteenth century and one of the
earliest known examples to have
been made in the United States.
69
Clarinet in A
Maker: August Grenser, Dresden, 1785
Location: National Music Museum
http://orgs.usd.edu/nmm/Clarinets/Grenser.html
From the website:
This is the only dated clarinet in A by Grenser
known to survive. It has the one-piece bell and
bottom joint typical of the earliest clarinets, and
was originally a four-keyed instrument, typical of
early clarinets, which were just becoming a
mainstream instrument. The addition of the fifth
key probably took place soon after the clarinet
was built.
August Grenser was one of the great woodwind
makers of the time (and the uncle of Heinrich
Grenser, who was also his son-in-law and took
over his shop, when he retired in 1796). Born in
1720, August opened his shop in Dresden in
1744, the first in a long line of esteemed
woodwind makers who worked in the capital city
of Saxony on the Elbe River. His flutes and
bassoons were among the best in Europe.
Purchase funds gift of Tom and Cindy Lillibridge,
Bonesteel, South Dakota, 1999.
70
Bassoon, Maple and brass, ca. 1811
Maker: John Meacham (American, 17851844)
Location: The Metropolitan Museum of Art
http://www.metmuseum.org/toah/works-of-art/89.4.884
From the website:
This bassoon is built in the typical four
sections: bell, long or bass, butt, and wing.
The instrument has four brass keys (one of
which is missing), mounted in brass
saddles, and four brass rings and a brass
crook. This instrument is one of the earliest
bassoons made in North America known to
survive.
John Meacham was one of the earliest
musical instrument makers native to the
United States, having been born in Enfield,
Connecticut, in 1785. He began
manufacturing instruments in about 1810
in Albany, New York. His brother Horace
joined him in 1813. The Meachams also
sold hardware and military goods. The
company became Meacham and Pond in
1828 when the brothers partnered with
Sylvanus Pond.
71
Orchestral hand horn, master crooks and couplers
Maker: John Christopher Hofmaster, London, c 1760
Location: University of Edinburgh
http://www.flickr.com/photos/14702822@N03/4525510098/in/photostream
72
2 Serpents typical of the period
Pearwood and leather, c 1820
Maker: C. Baudouin
Location: Leslie Lindsey Mason Collection, Museum of Fine Arts,
Boston
http://educators.mfa.org/galleries/slideshow/2801
Copper, c 1825
Maker: William Lander, Mere, Wiltshire, c. 1825. Location: Joe and
Joella Utley Collection, National Music Museum
Photo by Mark Olencki.jpg
http://orgs.usd.edu/nmm/UtleyPages/Serpents/serpents.html
73
Hunting Horn, Brass, Jacob Schmid, c 1710-20
Location: The Metropolitan Museum of art
http://www.metmuseum.org/toah/works-of-art/14.25.1623
From the website:
Jacob Schmid (16421720) was the founder of a
trumpet-making workshop in Nuremberg, which
flourished under his son Johann Jacob and
grandson Paulus for about a century. So far, six
instruments by Jacob Schmid are known to have
survived, one natural trumpet, two trombones, and
three horns, of which two are in the Museum's
collection. The present horn is in original condition
and marked with the inscription "MACHT IACOB
SCHMIDT IN NURNBERG" and the master's sign, a
bird with the monogram JS. The instrument,
pitched in A-flat, is furnished with a metal ring for a
leather strap and decorated with cast game animals
applied to the garland. Both features indicate that
the instrument was designed as a hunting horn
and/or as a horn to be used in a Jagdcorps (hunting
choir), where it was played with oboes and
bassoons. Horns of this kind and with a large 1-1/2
coil, came into fashion around 1680 in the regal
hunt. About 1700, horns began to be included in
opera and concert orchestras and were built in a
slightly different way. From this time onward, horns
were usually built in lower pitches than C and
furnished with larger bells, following the trend
toward a softer and mellower sound. Schmid's horn
clearly follows this new trend.
74
Kettle drums (Silver, iron, calfskin), 1779
Maker: Franz Peter Bunsen (German, master 175495), Hannover
Location: The Metropolitan Museum of Art
http://www.metmuseum.org/toah/works-of-art/2010.138.1-.4
75
Kettle drums (Silver, iron, calfskin), 1779
Maker: Franz Peter Bunsen (German, master 175495), Hannover
Location: The Metropolitan Museum of Art
http://www.metmuseum.org/toah/works-of-art/2010.138.1-.4

From the website:
This magnificent pair of royal kettle drums was made for the Royal Life
Guards of George III (17381820), king of Great Britain and Ireland and
elector of Hanover, whose royal coat of arms they bear. These ceremonial
instruments would have been played by a drummer on horseback
accompanied by similarly mounted trumpeters leading the royal procession
for state events. Sets of silver kettle drums were made for royals from the
seventeenth through the nineteenth century as symbols of splendor and
wealth. Only a handful of sets survive, as many were melted down for the
immense amount of precious material they contained. This is the oldest of
four pairs built for English monarchs of the House of Hanover; two later
pairs remain in the possession of the British Crown, and a set
commissioned by William IV in the 1830s is in the Museum of Fine Arts,
Boston. The original crimson banners that would have been draped around
the lower portion of the drums while they were being played have also
survived.

76
British 9th Regt Kettle Drum
location: West Point Museum
http://www.history.army.mil/html/museums/aom/2007-0809.html
This kettle drum is in the Museum at West
Point Military Academy. It is purported to
be from the 9th Regiment at the surrender
of Saratoga in 1777. That is unlikely as the
Royal Arms painted on this drum are from
a later period.
According to Jay Callaham of the recreated
Brigade of Guards in America, [I]t's a post-
1801 drum. You can tell by the King's Coat
of Arms painted on it. While it is King
George, III's arms, note that the quarter for
France has been removed and a small
shield overlays the whole. That coat of arms
was adopted after the Act of Union in 1800
or so, the same time that the additional red
St. Andrew's Cross was added to the Union
Flag for Ireland.
77
Drum Majors Baldric of the Royal Meath regiment of Irish Militia, c. 1810
Location: Part of an auction lot from the private collection of James Kochan , listed through Richard
Opfer Auctioneering, Inc.
http://www.opferauction.com/sales/oaSale_031804_4.php
From the auctioneers website:
Drum Majors Belt of the Royal Meath
Militia, c. 1810 The Meath Regiment of
Irish Militia was raised during the
French Revolutionary War, at which
time it was numbered 119 in
precedence. By 1810 it had been
designated a royal militia regiment,
its facings changed to blue, and its
number changed to the 17th Regiment
of Irish Militia. This is a rare example
of a Georgian drum-majors belt or
baldric. Its is made of superfine scarlet
cloth edged with silver lace and bears
an embroidered device in the center
and has a tasseled end. One of the two
ebony drumsticks still remain; it has
an ivory tip and is capped in silver,
with the regimental device of a harp
engraved upon it. The belt is lined with
blue wool. $1250/1500
78
Drummers Lace, Unknown Regiment, c. 1810
Location: Canadian war Museum
Photo Carl Johnson
79
Further Resources
80
Raoul Camus: Military Music of the American Revolution (Chapel Hill,
1976, reprinted Westerville, 1993). http://www.raoulcamus.com/
Don Hagist: Author of several books about the common British regular
soldier; Blogger of same. http://redcoat76.blogspot.com/, Of particular
note is Dons Notes on Bands of Music in the British Regiments at
http://revwar75.com/library/hagist/band.htm.

81
Acknowledgements
This collection of images would not have been possible without the generous assistance and support of the
following:
Dr. Gregory Urwin, editor Redcoat Images
Todd Braisted, commander 4th Battalion New Jersey Volunteers and noted authority on Loyalists during the
American War of Independence
James Kochan, noted authority on 18th century military clothing
Don Troiani, Historical Artist
Dr. Raoul Camus
Will Tatum, III
Carl Johnson
Joel Bohy
Eric Schnitzer
Alexander Good
Andrew Watson Kirk
Jay Callaham
Bob Sherman
Tim Logue
Gary Vorwald
Alexander Bosch
82