This hand-coloured print shows various sketches made by Henry Alken in the years leading up to 1820. The central figure of a lancer galloping to the left depicts the uniform and horse furniture of a rank and file man. He may be a private but rank was displayed on the right arm only so he could be a corporal or sergeant. The jacket is dark blue with crimson facings, and this angle allows a view of the short coat-tail below the red and yellow striped girdle. The turn-backs are crimson and there are six buttons. The back seams are piped with crimson which runs down the sleeves to the cuffs.
His lance cap is exaggerated, probably too wide at the top, but the large front peak agrees with a known example of an officer’s lance cap. The plume is red and white horsehair. The chin chains are shown as being worn properly under the chin, whereas other paintings and prints usually show them tied up above the front plate. The rider’s trousers are pale blue-grey with a crimson stripe. The ungainly flapping of the sword and sabretache is convincingly depicted. The shabraque has devices embroidered on all four corners and the saddle is covered by a white sheepskin.
The sketch of a horse’s head on the left gives a clearer view of the bridle on the rider’s horse, worn over a white halter, and having a small throat ornament. The other figures at the top of the print wear the old light dragoon helmet which suggests that they were sketched from life some years earlier, prior to 1812 when the shako was adopted by the light dragoons. If the drawings were made later, it indicates that the regiment conducted training and drill wearing their out-dated helmets to save wear and tear on the lance-caps. But the absence of weapons indicates that these are scenes from the riding school.
The lettering at the bottom of the print tells us that these are ‘Scraps from the sketch-book of Henry Alken, Engraved by himself’. It is not clear if he coloured the engravings himself. This print comes from the collection of Godfrey Brennen who was fond of colouring prints and photos. His handiwork can be identified by his liberal use of white paint.
