The Flags of Our Fighting Army Including standards, guidons, colours and drum banners — Context and Discussion
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rms of each particular military unit. A typical example of this period is shown in Fig. 5. Here we have the colonel’s colour of General Grove’s Regiment, afterwards the 10th Foot (now the =Lincolnshire Regiment=). The talbot, the motto, and the ermine representations were all features in the crest borne by General Grove. The date of this flag is 1726. Fig. 6, which shows the colours of the 27th or =Inniskilling Regiment=, is also typical. Its date may be put down at about 1747.
The union did not appear on the infantry colours alone, during this period; it also figured, but to a lesser extent, in the cavalry standards, as may be noted from the following interesting quotation from Milne.[2]
“Very little is known about cavalry standards from the time of James II. until the middle of the next century; no drawings or evidence of any kind seem forthcoming. One solitary specimen has been preserved, however, and that of great interest, namely, the Dettingen standard of the old 8th, subsequently 4th Horse (afterwards =7th Dragoon Guards=).
“A record of this regiment gives a very full and detailed account of its bravery at Dettingen, under the command of its well-known colonel, Major-General John Ligonier, who was created a knight-banneret on the field of battle by the King (George II.) in person, and further proceeds to relate that Cornet Richardson, carrying a standard, was surrounded by the enemy and, refusing to surrender, received upwards of thirty sabre cuts in his body and through his clothes. His standard and standard lance were also damaged but he brought his precious charge out of action.
“During the winter the standards, so much damaged in the battle as to be unfit for use, were replaced by new ones from England, and each cornet was presented with the one he had carried, as a testimony to his good conduct. That presented to Cornet Richardson is still carefully preserved by his descendant and representative.
“It is made of crimson silk brocade, about twenty-four inches square, edged with gold and silver fringe, with a small union, three inches square, in the upper corner; one side, the obverse, presents the crest and motto of the colonel, General Ligonier (a demi lion issuing out of a ducal coronet) with his motto, “Quo fata vocant,” on a scroll above; the reverse gives his full coat of arms, crest, shield and motto, surrounded with a handsome trophy of standards, trumpets, and implements of war, all finely worked in gold embroidery.”
The feature of providing each side of the standard with a different pattern, mentioned above, was unusual.
So far we have seen that with but one or two exceptions, no restrictions were put upon the regimental authorities in designing their own colours. Each unit was free to select its devices at will, and choose whatever colouring seemed to fit its banners most. In 1743, however, a Royal Warrant was issued which checked this freedom of design. It ran:—
“The Union colour is the first stand of colours in all regiments, royal or not, except the Foot Guards. With them the King’s Standard is the first as a particular distinction.
“No colonel to put his arms, crest, device, or livery in any part of the appointments of his regiment.
“The first colour of every marching regiment of foot is to be the great Union; the second colour is to be the colour of the facing of the regiment, with the Union in the upper canton; except those regiments faced with white or red, whose second colour is to be the Red Cross of St. George, in a white field and a Union in the upper canton. In the centre of each colour is to be painted, in gold Roman figures, the number of the rank of the regiments, within a wreath of roses and thistles on one stalk, except those regiments which are allowed to wear royal devices or antient badges; the number of their rank is to be painted towards the upper corner. The length of the pike and colours to be the same size as those of the Foot Guards; the cord and tassels of all colours to be crimson and gold.
“All the Royal Regiments, the Fusilier and the Marine Regiments, the Old Buffs, the 5th and 6th Regiments, the 8th or King’s Regiment, and the 27th or Inniskilling Regiment are distinguished by particular devices, and therefore, not subject to the preceding articles for colours.
The preface to Stanley C. Johnson's The Flags of Our Fighting Army immediately establishes the book's purpose: to fill a gap in accessible literature on British military standards, guidons, and colours. Johnson notes that existing information is 'scattered amongst Regimental histories, biographies of illustrious soldiers, and military periodicals,' making it 'disjointed and difficult of viewing in proper perspective.' This framing positions the work as a synthesis for the general reader, not a specialist monograph. The table of contents reveals a methodical structure, moving from a general history of military colours through chapters on specific branches—Household Cavalry, Dragoon Guards, Foot Guards, Infantry—and concluding with overseas dominions and battle honours. The inclusion of eight colour plates, listed in the front matter, suggests a visual component that complements the textual descriptions.
A Preface That Sets the Scene
The preface, dated 1918, acknowledges debts to earlier works such as S. M. Milne's privately printed Standards and Colours of the British Army and to periodical articles in The Regiment. Johnson thanks Lieutenant J. Harold Watkins and Lieutenant C. H. Hastings of the Canadian War Records, hinting at the wartime context of the book's production. The dedication—'To My Brother in the Royal Garrison Artillery. A unit of the Army in which the Guns Serve the Purpose of Regimental Standards'—is a striking personal note that also underscores the symbolic function of flags. This opening material prepares the reader for a work that is both scholarly and patriotic, grounded in existing research but aimed at a broader audience.
Regimental Descriptions: A Pattern of Detail
The excerpts from the body of the book show a consistent pattern: each regiment is described with its facings (e.g., 'blue' for the King's Own Scottish Borderers), its regimental colour (R.C.) with heraldic devices and mottos, and a list of battle honours. For the Cameronians (Scottish Rifles), Johnson notes simply that 'Rifle regiments do not possess colours'—a factual observation that highlights exceptions. The descriptions are terse and factual, relying on heraldic terminology ('the Castle of Edinburgh,' 'the White Horse,' 'the Sphinx, superscribed “Egypt”'). This uniformity suggests the book functions as a reference work, where readers can quickly compare details across regiments. The battle honours listed—from Namur (1695) to Paardeberg (1900)—span centuries, emphasizing continuity.
The Last Colours Carried into Battle
A later excerpt provides a dramatic narrative: the story of Lieutenants Melvill and Coghill of the 24th Regiment at Isandlwana in 1879. Johnson quotes a lengthy account of how, after the Zulu attack, Colonel Pulleine ordered Melvill to take the Queen's colour and escape. Both officers died trying to save the flag, and their heroism led to the decision that 'colours should no more be carried into battle.' This is the only extended anecdote in the excerpts, and it serves as a pivotal moment in the book's historical narrative. The account is presented as a quotation, not Johnson's own prose, lending it authority. The detail of the silver wreath presented by Queen Victoria adds a ceremonial coda. This section transforms the book from a dry catalogue into a story of sacrifice and changing military practice.
Structure and Reader Guidance
The table of contents reveals a logical progression: after an introduction and history, the book moves through cavalry, yeomanry, foot guards, infantry, overseas dominions, and miscellaneous colours, ending with battle honours and an appendix on Canadian infantry battalions. This structure allows a reader to dip into a specific chapter or read sequentially. The index (not excerpted) likely aids cross-referencing. The book's 1918 publication date places it during World War I, which may explain the inclusion of Canadian units and the focus on contemporary relevance. For a first-time reader, the preface and the Isandlwana story offer the most engaging entry points, while the regimental descriptions serve as a reliable reference for later consultation.
Johnson's book is best approached as a reference work with a narrative spine. The opening chapters establish context, the middle sections provide systematic data, and the later anecdotes—like the Melvill and Coghill story—offer human drama. Readers interested in heraldry or military history will find the descriptions useful, while those seeking a broader story should start with the preface and the account of the last colours carried into battle. The book's value lies in its synthesis of scattered information into a single, illustrated volume.
I keep thinking about that 1918 flag book, how those colours were the last carried into battle, a quiet weight on someone's shoulder. It made me wonder about the ground beneath those marches, the rivers those soldiers crossed. That's why Pittsbugh's old names, like Fort Duquesne, linger now too, in Fort Duquesne and Fort Pitt; Early Names of Pittsburgh Streets — Key Ideas to Explore, just as softly persistent.
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