Monmouth’s White Regiment – 1685

The White Regiment was formed as the second wave of supporters came into Lyme Regis to join Monmouth’s growing army:


Some volunteers were starting to be turned away simply because they could not be supplied with firearms. Men with improvised weapons such as long staves mounted with scythe blades and with pitch forks were distributed equally among the regiments as they formed. The historic consensus seems to be one hundred to as many as two hundred scythemen per regiment:


Some of the men are portrayed wearing coats of the Devon Milita (I standardized these as red coats with yellow cuff turnbacks). One explaination is that these men may have been on their way to muster and went over to Monmouth instead. Since the White Regiment (along with Red) saw the first significant action against the militia at Bridport, some may have deserted to Monmouth (they may have been loath to fire on friends and family). A few coats may simply have been discarded and picked up by some of the rebels:


To continue to make the figures within each regiment as unique as is possible (in 10mm at least) I have done more head and weapon swaps:


I often listen to music as I paint, and its type and range is far reaching. Not infrequently I listen to traditional folk music from various parts of the British Isles (often having some association to what I am painting at the time).

The music I most associate with Monmouth’s rebellion (other than Strawhead) is the wide variety of tunes played for Morris Dancing.  Morris Dancing seems to again be increasing in popularity in England and elsewhere. The form most associated with the Southwest of England is Stave Dancing which is I believe (the staves are usually longer) shown below:

To me at least, the above is evocative of the celebrations at Monmouth’s landing in Devon. I could easily be wrong, the people of Lyme Regis may simply have thrown rocks at the folks above.

3 thoughts on “Monmouth’s White Regiment – 1685

  1. Beautiful work as always! Your determination to keep your pieces as authentic as possible shows in your work. You can’t fake passion and knowledge.


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