Kit Review - 42nd Royal Higlander Regt.

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Kisifer

Well-Known Member
Joined
Oct 14, 2004
Messages
3,809
Introduction

When Pegaso introduced the 42nd Royal Higlander Regt. I was really excited about it, since Highlanders is one of my favorite subjects in figures. So I didn't hesitate at all and ordered my figure. I was really anxious to open the box and when I did I found myself amazed by a beautifully sculpted figure calling me to get my brushes wet and start painting it.


Historical Notes

The first independent companies of the Black Watch were raised as a militia in 1725 by George Wade to occupy and keep peace in the Scottish Highlands after the 1715 Jacobite Rising. In these early days, members were recruited from local clans, the first six companies were one company from the Munro clan, one of Frasers, one of Grants three of Campbells.

The Regiment of the Line was formed officially in 1739 as the 42nd Highland Regiment of Foot under John, the Earl of Crawford, and first mustered in 1740, at Aberfeldy. In May 1740, when the Independent companies were formed into the 43d Highland regiment (now the 42d Royal Highlanders), Sir Robert Munro was appointed lieutenant-colonel, John Earl of Crawford and Lindsay being its colonel. Among the captains were his next brother, George Munro of Culcairn, and John Munro, promoted to be lieutenant-colonel in 1745. The surgeon of the regiment was his younger brother, Dr James Munro. The regiment's earliest days were inauspicious; ordered to London in 1743 for an inspection by King George II, rumors flew that they were to be shipped to the West Indies to fight in the War of Austrian Succession, and many left for Scotland. They were recaptured, three of the leaders shot in the Tower of London, and the remainder of the regiment shipped to Flanders. The regiment's first full combat was the Battle of Fontenoy in Flanders in 1745, where they surprised the French with their ferocity, and greatly impressed their commander, the Duke of Cumberland.

When the 1745 Jacobite Rising broke out, the regiment returned to the south of Britain in anticipation of a possible French invasion. From 1747 to 1756 they were stationed in Ireland and then were sent to New York.

During the French and Indian War, at the first battle of Fort Ticonderoga (then named Fort Carillon) in 1758 the regiment lost over half of its men in assault. At that time they were already officially recognized as a Royal regiment. The second battalion of the Black Watch was sent to the Caribbean but after the losses of Ticonderoga, the two battalions were consolidated in New York. The regiment was present at the second battle of Ticonderoga in 1759 and the surrender of Montreal in 1760. They were sent to the West Indies again where they saw action at Havana, Martinique and Guadeloupe.

Between 1758 and 1767 it served in America. In 1763, the Black Watch fought in the Battle of Bloody Run while trying to relieve Fort Pitt, modern Pittsburgh, Pennsylvania, during Pontiac's Rebellion. The regiment went to Cork, Ireland in 1767 and returned to Scotland in 1775.

During the American Revolutionary War, the regiment was involved in the defeat of George Washington in the Battle of Long Island and the later battles of Brandywine, Germantown, Monmouth, the siege of Charleston, and the final Battle of Yorktown. The regiment returned to Glasgow in 1790.

The Black Watch fought in a dozen battles of the Napoleonic Wars. During the battle of Alexandria in 1801 a regiment major captured a standard from the French. It also served in the Battle of Waterloo where its 73rd Battalion was in the most intense fighting and lost 289 men. It was one of the component parts of the Highland Brigade in the Crimean War, at Cawnpore and Lucknow in 1858, and the Anglo-Boer War.

The regiment captured its regimental gong during the Indian Mutiny. After that the gong has tolled hours in Black Watch quarters. The regiment received a new name from Queen Victoria in 1861 when it became The Royal Highland Regiment (The Black Watch).


The kit

Article 54-214

Sculptor: Maurizio Bruno
Painter: Danilo Cartacci

Material: white metal
Pieces: 10
Weight: 150 gr.
Size: 54 mm.

The classic dark blue hard carton box with the two dark grey foams, holds all the 10 pieces of the kit safely and secure.
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Below you can see each piece individually and admire the quality of them.

Torso Front:
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Torso Back:
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The rest of the pieces:
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The Arms:
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The Head:
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The Feile:
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The Sporran and part of the sash:
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The Plume:
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The Scabbard:
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For more pictures of the finished figure please visit Pegasos website:
http://www.pegasomodels.com/details_en.asp?code=54-214


Quality and Detail

The quality of Pegaso Models is well know and everyone is expecting nothing less when opens a box with a Pegaso figure. The same pattern is applied here. Excellent piece of crisp detail in every single piece of the kit. Minimal seam lines that will be disapeared easily.
Also the dry fit test scored a 10, which means that the modeler will not find any problems assemplying this kit.


Painting

If you are not familiar with painting tartans and in general Scottish uniforms of Highlanders, then this kit can be considered a difficult one to paint. Defenately though the finished result can reward the patient painter since the compination of red and black watch tartan is certainly an eye catcher.


Conclusion

Overall that's another great kit, released by Pegaso, sculpted by the Master of the Napoleonic era Maurizio Bruno. If you are a fun of the Highlander history and want a fine kit then, 42nd Royal Higlander Regt. " The Black Watch" , 1815 by Pegaso Models at 54mm is the choice.
Highly Recommended.


Bibliography

Osprey Publishing - The Black Watch (Men-at-Arms 8)
 
This was review was very timely as I just received this exact figure in the mail yesterday. I was a little nervous, I was afraid it might not be positive but the figure is beautiful. It will be my first tartan so I am looking forward to it.
 
Gentlemen,
I join in the praise for this wonderful figure of a subject very dear to my heart.
While I agree with everything mentioned above, and indeed, Signor Bruno has sculpted a beautiful figure, it suffers from one glaring error shared by many kilted figures, and re-enactors alike; THE GLARING KNEES! JOCK'S KILT IS TOO SHORT! When being measured for a kilt, military or civilian, the wearer kneels, on his knees with his upper body erect and perpendicular to the floor. The tailor then measures the distance from waist to the floor. That is the length of the kilt and, barring abnormal physiques, the knees will remain, gratefully, hidden.
I believe I come by this information honestly, being the "surrogate son" of a man who was a member of the Forty Twa during THE war, as was his father before him during the Great War (and blinded at the battle of the Somme), and as was his grandfather during the Boer War. I also had the priviledge of being a piper in the re-enactment 42nd during the American bi-centennial, and exhaustive research for accuarcy's sake was an important issue. Highland uniforms and the differences between what the different regiments wore, and when they wore them, is a fascinating, but amazingly tricky, topic. (How many tassles on his sporran, spats square toed or pointed, and why, what color is the dicing on the bonnet, kilt back pleated to line or to set???) However, the knees smiling at us in so many figures seems to be the one big and very obvious mistake, and because so many figures, and reenactors make it, it seems to have become accepted as fact. (The re-enactors can be forgiven as so many times uniforms are borrowed. This might have also been the case in a real regiment during campaign, but not with a dress uniform as depicted on this figure.) So, in future, maybe we can keep visible knees limited to the likes of Angelina and Brittany.
Again, I say this figure is otherwise wonderful and mean to take nothing away from Bruno's artistic ability.
Thanks for listening,
Michael
 
Thank you all for your kind comments and especially Michael. Hopefully the sculptors will read that and keep it in mind. Personally I didn't know that detail.

Xenofon
 
Dear Mr. Scarborough
thanks for Compliments that well are accepted and appeals to a lot to me to accept also the critics.
Then I hope to write well and correctly.
I have learned its critic on the kilt over the Knees and in truth they are remained been strange from its note.
A lot is that they have gone to recheck the supplied documentation to me from a historian of the period, but in truth I have found that the Knees they are exposed in all my documentation.

Not content of this they have gone to control all the Osprey in my possession and account is rendered me that all the kilt represents you from the Wars of Culloden to the Second world war is short to the Knees.

Unfortunately I am a sculptor small and I do not have an acquaintance total of all the uniforms that have fought in last the 2000 years therefore must be trusted these banns made from historical students of several the periods.

Then I have arrived to a conclusion, not creed that all my Osprey are mistake to you? (I joke)

Thanks for its detection, will report to the issue to my historian and the beacon to know.


Best Regards

Maurizio Bruno


Ps. I enclose of the images
 

Attachments

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Sorry for adding to this debate after so long has gone by...

Whilst Mr Scarborough is in the main correct about the process for fitting and the fact that many figures are produced with the jocks looking like they are wearing a womens kilt (which does sit above the knee), a mans kilt should actually cut across the knee, hence the requirement to kneel when being fitted.

Most military kilts as issued since WW1 are very high waisted, the top of the kilt actually sitting just below the ribs of the wearer (which is grand in winter as it helps keep you that little bit warmer, but a pain if your wearing all the gear either in the summer or a tropical climate) and can for those of a larger figure act as a sort of corset!!!!

It would be lovely to see more kilted figures on the market, especially if they had the kilt at the right lengths!
 
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