Part 2 of the History of the British Infantry Shako
By 1812, the stovepipe shako had become the ugly stepchild. Britain’s contact with other European armies, both allies and enemies, highlighted the lacklustre visual appeal of the cap. Other nations had caps festooned with cords and tassels and seemed to dramatize the height of the soldier to greater advantage. In the final analysis, Britain adopted a cap closely patterned after the Portuguese “barretina” design. Ironically, at the same time the English were adding cords to their headwear, the French were abolishing them. As usual, no improvement in protection to the head was made by the design change.
The new British cap retained several features from the old stovepipe design. The body of the hat was still made from stiffened blocked wool felt. Inside, the linen cap bag was stitched at the edge to the thin leather band that transitioned from the outside to the inside of the cap at the bottom edge. The company affiliation was still denoted by the coloured worsted tufts: white over red for Battalion companies, green for the Light company and white for the Grenadier company. At the base of the tuft there was still the black tooled leather Hanoverian cockade with regimental button. However, the placement of the tuft and cockade had been moved to the left side of the hat to make way for the false front. The body of the new design was about six and one half inches tall, but across the front of the cap was an eight and a quarter inch high tombstone shaped piece of felt. It was bound in black worsted tape and bore a brass plate in the shape of a crowned baroque shield. On the shield was the regimental number or name of the unit. Running from the base of the plume across the front of the cap under the plate and terminating on the right side were worsted cords. Grenadiers and Battalion men had white cords, but Light companies often preferred green. The Light companies in 1814 were ordered to wear a bugle badge and regimental number in place of the baroque plate.
Regimentally marked plates were the norm for this new headwear and a great many of the designs are known.
For the first time, regimental officers wore the same
shako design as the men. Officer’s caps
were made in beaver felt, bound in black silk ribbon, and featured gilded
plates (often incorporating silver applied badges) with black silk cockades and
six inch tall feather plumes in company colours. The square sectioned cap cords were mixed
red and gold with bullion tassels. In 1814, Light company officers followed the
same distinctions as their men.
Once again, the Royal Artillery followed the practice of the army and adopted the same model of cap. They retained the white tufts but made the cords yellow, one of the distinctive colours of the Board of Ordinance, to make their headwear distinctive from that of the infantry. The cap plate was also a crowned baroque shield displaying the image of a mortar.
The Belgic shako proved to be a very short-lived
design. It was replaced by a totally new
style in 1816. Due to the two year life
expectancy of shakos, there were some regiments that still hadn’t received the
1812 model by the time of Waterloo. The
28th Foot was known to still be wearing the stovepipe with the plate
cut apart to make a unique design. There
is also some belief that the Rifles and Light Infantry regiments eventually wore
the Belgic cap, but the date of changeover is unclear.
Part 1 of the History of the British Infantry Shako
Since the middle of the seventeenth century, soldiers had been wearing broad brimmed felt hats. The decline of armour as a result of the increased use of firearms had moved headwear into this more practical direction. For the next one hundred and fifty years the broad brimmed felt hat stayed in use. Its sides were turned up in various ways, but it retained its essential design.
Civil War Diorama created for Pamplin Historical Park by Peter Twist & Sheppard Paine
Peter was asked, in conjunction with Shepherd Paine, to create a series of the American Civil War dioramas for the Pamplin Historical Park. However, the client insisted that all the scenes should be created in sepia tones since they wanted the single army to represent either side in the war. Continue reading →
This sequence of photos shows the authenticity that Peter puts into his exhibits. This could just as easily been a fibreglass casting but would have never achieve the same level of authenticity that Peter does in his artwork.
Below is a short sequence of photos demonstrating the weaving techniques used in creating this “woven” armour. Continue reading →
Peter’s access to authentic period artifacts gives him the unique ability to recreate period clothing, as they would have been, right down to the last, hand-made stitch.
Many of the projects that Peter creates for museums start with an original artifact such as the one documented in this article. Peter goes to great lengths to ensure that colours, materials and even hand-made stitch lengths are as close to the original as is possible, based on the original artifact and his extensive knowledge of the period.
The first step in any recreation is the detailed examination of the original. This chapeau was held in the Lundy’s Lane Historical Society’s care. Continue reading →