During the period of peace following the Napoleonic Wars, increasingly elaborate (and often quite impractical) military attire was devised, particularly by George IV. By the time William IV came to the throne in 1830, uniforms had become too expensive and were simplified and adapted once again. The result of these changes was codified and promulgated in the 1831 Dress Regulations. These paintings were intended to provide a visual record of the recent changes to military dress. Their value is not only historical, however, but also aesthetic: Drahonet produces lively, slightly elongated figures, capturing their facial expressions and setting them in a variety of organic poses.

Each painting in the series depicts a single figure against a neutral background. Although their uniform and accoutrements are the focus, the sitters are often identified by name, as well as regiment and rank. Seen here is a member of the Royal Horse Guards, part of the Household Cavalry. The inscription identifies him as a Troop Corporal-Major, and indeed he holds the red and gold Sovereign’s Standard carried by this rank. However, there is some confusion about the specific identity of the sitter: the ‘R Goldie’ named has been linked to Robert Goldie, but he did not achieve the rank of Troop Corporal-Major until several years after this painting was made. 

Illustrated here is the blue coatee which gave the Royal Horse Guards their nickname, the Blues. When a General Order of 1830 stipulated that the whole Cavalry be dressed in red, the Horse Guards were permitted to retain their traditional blue uniform. On top of the coatee, Goldie wears a cuirass, as well as white gauntlets. His steel, gilt-mounted helmet has a black crest. The white leather breeches and high jack-boots he wears were considered particularly suited to mounted troops.