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. As the inscription relays, shown here is Lieutenant-Colonel Charles Routledge O'Donnell of the 15th (The King's) Hussars. The Hussars were a regiment of light cavalry mounted on particularly fast horses, used in skirmishes and for reconnaissance duties. Taking their name and function from Hungarian cavalry forces, the British Army’s Hussars developed out of Light Dragoon regiments from the beginning of 19th century.

The standard uniform of the 15th Hussars can be seen here. In this painting, however, Drahonet depicts O’Donnell in the dress worn by Officers during royal receptions known as Levées. The red black-plume shako was still worn, but the rest of the uniform varied significantly: red ‘Levée pantaloons’ were stipulated, as were long laced boots and a dark blue, rather than red, pelisse. A short curved sabre known as a Mamluke sword had to be carried, and much of the ornamentation and detailing was silver rather than gold.