Regiment of Patricians "Regimiento Patricios" Top Hat "Galera".
The Top Hat, was the typical civilian gentleman's hat of the late 18th century but militarized in many conflicts in its time. Often seen on naval crews. In the Río de la Plata he saw it in use in several militias created to contain the British invasion of 1806 and 1807 and continued to be used during the indpendence war. The Patricios Regiment currently uses it, not only as part of the historical uniform but also as a regimental symbol.
The "Galera" top hat bears the cockade of the Spanish Empire, and a feather just as it was militarized in its time.
This is a collage with old engraving from the time (Justo Doldan, 1772 Spain - 1818 Argentina), of the English invasions and on the right my interpretation of the uniform that may have been the original used by the Patricians in 1807. The galera or top hat was the headpiece of the bourgeois gentlemen of those times, only in central areas of the colony, since other types of headgear and more practical garments that were already traditional at that time were reserved for the countryside.
The Patricios were a militia of "vecinos" (distinguished citizens) of Buenos Aires, composed of men from the city's merchant and professional classes. Their uniform reflected their higher social standing through several specific choices.
Top Hats (Galeras)
At the time, the top hat was standard civilian attire for the middle and upper classes. By wearing them as part of their uniform (adorned with the Bourbon cockade and a white plume), they signaled that they were "gentlemen-soldiers" rather than common recruits.
The Bourbon cockade where the feather was attached, was attached to the top hat with a few chevrons of white laces or fabric making a V-shape.
The "militarized" top hat often called a round hat in English was a hallmark of Naval and Naval Infantry (Marines) units during the late 18th and early 19th centuries.
Elite naval infantry, such as the Spanish Batallones de Marina , often utilized this headgear because it was more stable on a swaying ship than the wide-brimmed bicornes.
Webbing Sling Straps.
On strap is the bayonet's frog. The other could be the canvas ammunition bag that was common in the royalist troops, and it was in the painting of Francisco Javier Cortés; "Entrada en la ciudad de Quito de las tropas remitidas por el Virrey del Perú en 1809" - View of the Spanish troops’ entrance in the city of Quito in 1809.
The Faja or Waist Sash
The Regimiento de Patricios, formed in 1806 in Buenos Aires to defend against the British Invasions, used the waist sash or faja as a key indicator of rank and status. The use of the waist sash (faja) was not universal for every person in the regiment in the same way. While it was a signature of the Regimiento de Patricios, its presence and quality were strictly tied to rank and hierarchy. It is very likely that not all of the troop wore this as well as the left arm patch.
Officers and Chiefs. For them, the crimson silk sash was mandatory. It was a primary mark of their status and command, worn knotted on the left side with gold-fringed ends.
While many historical accounts and modern ceremonial uniforms show the common soldier with a simpler version (often made of wool or plain silk without the gold thread), its use in the field for every single private was less consistent. In the chaos of the British Invasions (1806–1807), many volunteer "Patricios" fought in whatever uniform parts were available, and the full formal sash was often the first item to be simplified or omitted for the rank-and-file.
Sergeants and other NCOs often used the sash as a functional tool as much as a rank indicator—specifically to support their NCO sword belts.
The Embroidery Buenos Aires Arm-Patch
Most of the famous "old engravings" and illustrations of the Buenos Aires militias from the 1806–1807 period are
contemporary or near-contemporary works, meaning they were produced around the time of the events or shortly thereafter to commemorate the victory. So if the engravings were made to commemorate the victory, it is likely that the arm patches embroidered with the initials Buenos Aires and the laures were made for the veterans of the Victory (Reconquista).
Dolman Jacket type Hussars and Hungarian style boots
The presence of three rows of buttons is the defining characteristic of a hussar-style dolman (the short, tight-fitting jacket). In a functional hussar uniform, these buttons were used to fasten the bradenbourgs or horizontal laces (alamares) across the chest.
The theory that the Patricios' jackets were modeled after cavalry patterns (Dolman) rather than standard infantry tunics is supported by the presence of buttons for collar tabs patches, or pinted braids sardinetas, and specially the Hessian, Hungarian type Hussars boots. Also the two-button collar with chevrons that almost certainly confirms a direct hussar inspiration, rather than standard infantry regulations. It is also likely that they used carbines and short infantry sabers.
The jacket with three rows of buttons may have been the Spanish version of the French 1786-1793 Hussars jackets, as Spain incorporated the French style into its uniforms.
They looked like infantry on horseback (or dismounted cavalry) aligns with the specific tactical evolution of that era.
In military history, the term you are looking for is Dismounted Dragoons (or Foot Dragons) .
During the Napoleonic Wars, Napoleon faced a shortage of horses and famously created regiments of Dismounted Dragoons ( Dragons on Foot) ). These men wore cavalry uniforms including the Hessian/Hungarian boots and cavalry-style jackets but fought as infantry.
The Patricios were a militia of "vecinos" (distinguished citizens) of Buenos Aires, composed of men from the city's merchant and professional classes. Their uniform reflected their higher social standing through several specific choices.
Top Hats (Galeras)
At the time, the top hat was standard civilian attire for the middle and upper classes. By wearing them as part of their uniform (adorned with the Bourbon cockade and a white plume), they signaled that they were "gentlemen-soldiers" rather than common recruits.
The Bourbon cockade where the feather was attached, was attached to the top hat with a few chevrons of white laces or fabric making a V-shape.
The "militarized" top hat often called a round hat in English was a hallmark of Naval and Naval Infantry (Marines) units during the late 18th and early 19th centuries.
Elite naval infantry, such as the Spanish Batallones de Marina , often utilized this headgear because it was more stable on a swaying ship than the wide-brimmed bicornes.
Webbing Sling Straps.
On strap is the bayonet's frog. The other could be the canvas ammunition bag that was common in the royalist troops, and it was in the painting of Francisco Javier Cortés; "Entrada en la ciudad de Quito de las tropas remitidas por el Virrey del Perú en 1809" - View of the Spanish troops’ entrance in the city of Quito in 1809.
The Faja or Waist Sash
The Regimiento de Patricios, formed in 1806 in Buenos Aires to defend against the British Invasions, used the waist sash or faja as a key indicator of rank and status. The use of the waist sash (faja) was not universal for every person in the regiment in the same way. While it was a signature of the Regimiento de Patricios, its presence and quality were strictly tied to rank and hierarchy. It is very likely that not all of the troop wore this as well as the left arm patch.
Officers and Chiefs. For them, the crimson silk sash was mandatory. It was a primary mark of their status and command, worn knotted on the left side with gold-fringed ends.
While many historical accounts and modern ceremonial uniforms show the common soldier with a simpler version (often made of wool or plain silk without the gold thread), its use in the field for every single private was less consistent. In the chaos of the British Invasions (1806–1807), many volunteer "Patricios" fought in whatever uniform parts were available, and the full formal sash was often the first item to be simplified or omitted for the rank-and-file.
Sergeants and other NCOs often used the sash as a functional tool as much as a rank indicator—specifically to support their NCO sword belts.
The Embroidery Buenos Aires Arm-Patch
Most of the famous "old engravings" and illustrations of the Buenos Aires militias from the 1806–1807 period are
contemporary or near-contemporary works, meaning they were produced around the time of the events or shortly thereafter to commemorate the victory. So if the engravings were made to commemorate the victory, it is likely that the arm patches embroidered with the initials Buenos Aires and the laures were made for the veterans of the Victory (Reconquista).
Dolman Jacket type Hussars and Hungarian style boots
The presence of three rows of buttons is the defining characteristic of a hussar-style dolman (the short, tight-fitting jacket). In a functional hussar uniform, these buttons were used to fasten the bradenbourgs or horizontal laces (alamares) across the chest.
The theory that the Patricios' jackets were modeled after cavalry patterns (Dolman) rather than standard infantry tunics is supported by the presence of buttons for collar tabs patches, or pinted braids sardinetas, and specially the Hessian, Hungarian type Hussars boots. Also the two-button collar with chevrons that almost certainly confirms a direct hussar inspiration, rather than standard infantry regulations. It is also likely that they used carbines and short infantry sabers.
The jacket with three rows of buttons may have been the Spanish version of the French 1786-1793 Hussars jackets, as Spain incorporated the French style into its uniforms.
They looked like infantry on horseback (or dismounted cavalry) aligns with the specific tactical evolution of that era.
In military history, the term you are looking for is Dismounted Dragoons (or Foot Dragons) .
During the Napoleonic Wars, Napoleon faced a shortage of horses and famously created regiments of Dismounted Dragoons ( Dragons on Foot) ). These men wore cavalry uniforms including the Hessian/Hungarian boots and cavalry-style jackets but fought as infantry.
The "Hungarian boots" seen in portraits of Captain Luis Daoíz y Torres are a reflection of his status as an artillery officer and the prevailing military fashions of the Napoleonic era. Hungarian boots (also known as hussar boots) were originally popularized by Hungarian light cavalry. They typically featured a decorative tassel and a curved top, designed to be practical for riding while remaining stylish.
Horse Artillery. In these units, every single gunner and officer was individually mounted on a horse. This allowed them to keep pace with cavalry for rapid maneuvers. Because they spent their entire service on horseback, they wore cavalry-style boots (like the Hungarian/Hussar boots) and shorter jackets to avoid tangling with the saddle.
Light (Field/Foot) Artillery. This artillery was also pulled by horse teams, but the gunners typically walked or ran alongside the guns, or occasionally rode on the ammunition limbers.
Also the Daoiz's painting shared highlights a fascinating historical "lag" in military fashion. While Captain Luis Daoíz y Torres wore the latest Napoleonic-style regulations in Spain, the Spanish colonies (the Ultramar) often remained stuck in the styles of the late 18th century.
While Captain Daoíz is depicted in the modern Model 1802/06 uniform a dark blue, French-style "short" coat with red facings the Spanish colonies (the Ultramar) typically lagged behind by one or two decades. Probably a 1797 regulation (Bourbon style).
The Spanish American Wars of Independence (1810–1833) created a unique visual "melting pot" where revolutionary armies moved away from the obsolete Spanish Model 1797 and adopted a hybrid of Napoleonic (French) flair and British industrial supply.
Horse Artillery. In these units, every single gunner and officer was individually mounted on a horse. This allowed them to keep pace with cavalry for rapid maneuvers. Because they spent their entire service on horseback, they wore cavalry-style boots (like the Hungarian/Hussar boots) and shorter jackets to avoid tangling with the saddle.
Light (Field/Foot) Artillery. This artillery was also pulled by horse teams, but the gunners typically walked or ran alongside the guns, or occasionally rode on the ammunition limbers.
Also the Daoiz's painting shared highlights a fascinating historical "lag" in military fashion. While Captain Luis Daoíz y Torres wore the latest Napoleonic-style regulations in Spain, the Spanish colonies (the Ultramar) often remained stuck in the styles of the late 18th century.
While Captain Daoíz is depicted in the modern Model 1802/06 uniform a dark blue, French-style "short" coat with red facings the Spanish colonies (the Ultramar) typically lagged behind by one or two decades. Probably a 1797 regulation (Bourbon style).
The Spanish American Wars of Independence (1810–1833) created a unique visual "melting pot" where revolutionary armies moved away from the obsolete Spanish Model 1797 and adopted a hybrid of Napoleonic (French) flair and British industrial supply.
Collage photo showing the Napoleonic Era French and Swedish uniforms with the cockade and feathers on the left side od the shakos, just like the Patricios Regiment in Buenos Aires in 1807. The collage serves as an idea of how the Patricios regiment originally became uniformed.
Notice the similarity of how the French cockade is fastened to the shako with that of the top hat of the Patricios Regiment. .
The "Habit-Long" (Pre-1812 Regulations)
This is the style most closely associated with the height of Napoleon's early victories and the uniform Captain Daoíz’s M1802/06 jacket was based on.
The Cut: It featured long tails that reached down to the knees.
The Front: The jacket had an "inverted V" shape at the waist. This meant the coat did not close all the way down, purposely leaving a gap to show a white waistcoat (vest) underneath.
The Lapels: The lapels were wide and decorative, often buttoned back to show a contrasting color (usually white for line infantry).
Drawback: It was expensive to make, required more fabric, and the long tails were often cumbersome during long marches or in muddy conditions.
The "Habit-Veste" (Bardin Regulations of 1812)
Introduced to simplify production and save material during the later, more desperate years of the Napoleonic Wars, this is the model many pro-independence colonial units began to copy.
The Cut: The tails were significantly shortened, ending just below the seat (a "coatee" style).
The Front: The jacket was designed to close completely down to the waist. This made the waistcoat underneath invisible and eventually redundant, saving on extra clothing layers.
The Lapels: The lapels were "closed" and cut square at the bottom, creating a more solid, streamlined block of color on the chest.
Logistics: This design saved a considerable amount of wool and labor, which was critical as Napoleon’s empire began to face supply shortages.
At the start of the French Revolution (1789), the French army was in a state of uniform transition, moving from the elaborate styles of the Ancien Régime to the more standardized, practical look of the Republic. As the Revolution progressed, the new government sought to distance the army from the "Royal" white. The Model 1791 was the first major step toward the iconic Napoleonic look. There were several major regulation updates between the 1791 and 1812 models. The most significant "middle" step was the
Model 1806, which is actually what Daoíz’s Spanish uniform (M1802/06) was most closely emulating.
The Overlap (1810–1812)
In the early years of the Independence War (1810–1814), the "Top Hat" and the "Shako" existed side-by-side. While the frontline battalions of the Army of the North began receiving standard infantry shakos, the city-based or reserve units in Buenos Aires often still wore the brimmed hats.
Notice the similarity of how the French cockade is fastened to the shako with that of the top hat of the Patricios Regiment. .
The "Habit-Long" (Pre-1812 Regulations)
This is the style most closely associated with the height of Napoleon's early victories and the uniform Captain Daoíz’s M1802/06 jacket was based on.
The Cut: It featured long tails that reached down to the knees.
The Front: The jacket had an "inverted V" shape at the waist. This meant the coat did not close all the way down, purposely leaving a gap to show a white waistcoat (vest) underneath.
The Lapels: The lapels were wide and decorative, often buttoned back to show a contrasting color (usually white for line infantry).
Drawback: It was expensive to make, required more fabric, and the long tails were often cumbersome during long marches or in muddy conditions.
The "Habit-Veste" (Bardin Regulations of 1812)
Introduced to simplify production and save material during the later, more desperate years of the Napoleonic Wars, this is the model many pro-independence colonial units began to copy.
The Cut: The tails were significantly shortened, ending just below the seat (a "coatee" style).
The Front: The jacket was designed to close completely down to the waist. This made the waistcoat underneath invisible and eventually redundant, saving on extra clothing layers.
The Lapels: The lapels were "closed" and cut square at the bottom, creating a more solid, streamlined block of color on the chest.
Logistics: This design saved a considerable amount of wool and labor, which was critical as Napoleon’s empire began to face supply shortages.
At the start of the French Revolution (1789), the French army was in a state of uniform transition, moving from the elaborate styles of the Ancien Régime to the more standardized, practical look of the Republic. As the Revolution progressed, the new government sought to distance the army from the "Royal" white. The Model 1791 was the first major step toward the iconic Napoleonic look. There were several major regulation updates between the 1791 and 1812 models. The most significant "middle" step was the
Model 1806, which is actually what Daoíz’s Spanish uniform (M1802/06) was most closely emulating.
The Overlap (1810–1812)
In the early years of the Independence War (1810–1814), the "Top Hat" and the "Shako" existed side-by-side. While the frontline battalions of the Army of the North began receiving standard infantry shakos, the city-based or reserve units in Buenos Aires often still wore the brimmed hats.
At the time of the Battle of Trafalgar in 1805, British Royal Marines did not wear the standard Army shako, but instead a unique, cylindrical hat commonly referred to by historians as the "Round Hat" or informally as a "Top Hat". This was the most distinctive feature. It was made of lacquered felt or hardened leather, tall and black, with a small peak (visor) in front. It resembled the civilian top hat that was emerging at the time, leading to the informal nickname.
The Patricios Regiment hat from the British Invasions (1806–1807) and the British Royal Marine "Round Hat" are essentially the same style of headgear.
This was not a coincidence; it reflects a major transition in global military fashion between the Bicorn of the 1700s and the Shako of the 1800s. By the time of the British Invasions, many Spanish "Provincial" and "Urban" militias had adopted the sombrero redondo because it was cheaper and easier to produce than the formal bicorns used by regular line infantry.
This was not a coincidence; it reflects a major transition in global military fashion between the Bicorn of the 1700s and the Shako of the 1800s. By the time of the British Invasions, many Spanish "Provincial" and "Urban" militias had adopted the sombrero redondo because it was cheaper and easier to produce than the formal bicorns used by regular line infantry.
These are historic Swedish uniforms from 1792 – 1815. The photo on the right is a modern reenactment. Notice the use of the top hat.
The Swedish "Round Hat" (Rundhatt)
The Swedish version (notably the m/1799 and m/1807 models) was a tall, cylindrical felt hat with a distinctive extended brim turned up on the left side. A tall plume (usually white for infantry) was attached to the upturned left side, where a regimental cockade or badge was also placed.
Campaign History
This was the iconic headgear of the Swedish infantry during the Pomeranian War (1805–1807) and the Finnish War (1808–1809) against Russia. While the British and French had moved to shakos, the Swedes were still wearing these "old-fashioned" high felt hats in the German campaigns of 1813.
Use in Other 18th/19th Century Armies. The "Top Hat" style was surprisingly widespread during the Napoleonic era and the late 1700s:
United States (1790s–1810s). The early U.S. Army and many state militias used the "Round Hat." It was the standard headgear for the Lewis and Clark Expedition (1804).
French Revolutionary Army. Before Napoleon standardized the Shako, many French revolutionary "Volunteer" units wore the Chapeau Tarleton or basic round hats with large tricolor cockades.
British Light Dragoons. In the 1780s and 90s, light cavalry units often wore a "Round Hat" with a large turban wrap and a bearskin crest (the "Tarleton" helmet evolved from this).
Portuguese Army. They utilized a version of the round hat known as the Barretina before adopting the shako.
The Swedish "Round Hat" (Rundhatt)
The Swedish version (notably the m/1799 and m/1807 models) was a tall, cylindrical felt hat with a distinctive extended brim turned up on the left side. A tall plume (usually white for infantry) was attached to the upturned left side, where a regimental cockade or badge was also placed.
Campaign History
This was the iconic headgear of the Swedish infantry during the Pomeranian War (1805–1807) and the Finnish War (1808–1809) against Russia. While the British and French had moved to shakos, the Swedes were still wearing these "old-fashioned" high felt hats in the German campaigns of 1813.
Use in Other 18th/19th Century Armies. The "Top Hat" style was surprisingly widespread during the Napoleonic era and the late 1700s:
United States (1790s–1810s). The early U.S. Army and many state militias used the "Round Hat." It was the standard headgear for the Lewis and Clark Expedition (1804).
French Revolutionary Army. Before Napoleon standardized the Shako, many French revolutionary "Volunteer" units wore the Chapeau Tarleton or basic round hats with large tricolor cockades.
British Light Dragoons. In the 1780s and 90s, light cavalry units often wore a "Round Hat" with a large turban wrap and a bearskin crest (the "Tarleton" helmet evolved from this).
Portuguese Army. They utilized a version of the round hat known as the Barretina before adopting the shako.
WW1, Belgian carabiniers with top hat. In World War I, the Belgian Army also famously utilized a "top hat" style, specifically within their elite light infantry unit, the Carabiniers.
The "Corsican Hat" of the Carabiniers
At the outbreak of war in 1914, the Belgian Carabiniers marched into battle wearing a unique, archaic-looking headpiece known as the "Corsican Hat" (Chapeau de Carabinier). It was a tall, cylindrical black felt hat that closely resembled a civilian top hat or a simplified shako. It often featured a green pompom or a black plume, and was frequently protected by an oilskin rain cover that made it appear even more like a glossy top hat.
Combined with their very dark green (nearly black) coats, these hats led German soldiers to nickname the Belgian Carabiniers the "Black Devils" (Schwarze Teufel).
The "Corsican Hat" of the Carabiniers
At the outbreak of war in 1914, the Belgian Carabiniers marched into battle wearing a unique, archaic-looking headpiece known as the "Corsican Hat" (Chapeau de Carabinier). It was a tall, cylindrical black felt hat that closely resembled a civilian top hat or a simplified shako. It often featured a green pompom or a black plume, and was frequently protected by an oilskin rain cover that made it appear even more like a glossy top hat.
Combined with their very dark green (nearly black) coats, these hats led German soldiers to nickname the Belgian Carabiniers the "Black Devils" (Schwarze Teufel).
Campaigns to Upper Peru (Today Bolivia)
The Image is a work with AI, recreating the general infantry uniform worn by the 1st Patricios Infantry Regiment and its subsequent conversion to the 5th Infantry Regiment. Following the Motín de las Trenzas (December 1811), the Regimiento de Patricios was effectively dissolved as a prestigious "citizen militia" and incorporated into the regular army as the 5th Infantry Regiment (Regimiento N° 5 de Infantería). The image recreates the uniform described in the regulations and the real state of the uniforms in the campaign. In Upper Peru there were decimated regiments.
First Campaign (1810–1811): Led by Juan José Castelli. It began with the victory at Battle of Suipacha but ended in a total rout at the Battle of Huaqui.
Second Campaign (1812–1813): Led by Manuel Belgrano. This included the Jujuy Exodus and the victories at Tucumán and Salta, but stalled after the defeats at Vilcapugio and Ayohuma.
Third Campaign (1815): Led by José Rondeau. This campaign reached Potosí but was crushed at the Battle of Sipe-Sipe (Viluma), effectively ending Buenos Aires' offensive capabilities in the north.
Fourth Campaign (1817): A smaller-scale offensive led by Gregorio Aráoz de Lamadrid, which ended with the defeat at the Battle of Sopachuy.
The First Upper Peru campaign (1810–1811) was the first major military expedition sent by the revolutionary government in Buenos Aires (the Primera Junta) to spread the May Revolution and secure the northern territories of the former Viceroyalty of the Río de la Plata. The campaign is characterized by an initial rapid advance followed by a total collapse that left Upper Peru (modern-day Bolivia) in Royalist hands.
(Army of the North): Led politically by Juan José Castelli and militarily by Antonio González Balcarce.
Royalists (Viceroyalty of Peru): Led by José Manuel de Goyeneche and Vicente Nieto.
Initial Setback at Cotagaita (Oct 1810): The Patriot vanguard was initially repulsed by Royalist forces.
Victory at Suipacha (Nov 1810): This was the first major Patriot victory of the war. It lasted only 30 minutes but allowed the revolutionary army to occupy almost all of Upper Peru.
During the occupation, Castelli implemented radical Enlightenment reforms, including the abolition of native slavery and forced labor (mita), which gained indigenous support but alienated local elites.
Defeat at Huaqui (June 1811): While a 40-day truce was in effect, Royalist forces launched a surprise attack. The Patriot army was routed, leading to a disorganized retreat and the loss of the entire region.
The campaign ended in disaster, resulting in the arrest and trial of Castelli and Balcarce upon their return to Buenos Aires. While the military goals failed, the resistance of local guerrilla groups (the republiquetas) prevented the Royalists from advancing further south into Argentina, effectively creating a stalemate.
Manuel Belgrano's Second Upper Peru campaign (1812–1813) is generally characterized as a military failure in its final stages, though it was strategically vital for the survival of the Argentine revolution. While it did not achieve its ultimate goal of liberating Upper Peru (modern-day Bolivia), it successfully prevented a Royalist invasion of central Argentina.
The Patricios Regiment (officially the 1st Infantry Regiment) underwent a dramatic transformation during this period, shifting from a prestigious citizen militia to a professionalized unit that suffered heavy losses in the struggle for independence.
In December 1811, the regiment mutinied in Buenos Aires. The conflict was sparked by the First Triumvirate's attempt to professionalize the militia, which included stripping the soldiers of their traditional privilege to elect officers and ordering them to cut their symbolic braids (trenzas).
The soldiers viewed the braids as a badge of honor from their defense of the city against the British.
The government, led by Bernardino Rivadavia, suppressed the rebellion with force. The mutiny ended in failure; eleven ringleaders were executed, and the regiment was severely punished by being merged and renamed as the 1st Infantry Regiment under a more rigid, regular military structure.
After the Motín de las Trenzas in December 1811, the Patricios Regiment was stripped of its "Number 1" status and reorganized as the 5th Infantry Regiment (Regimiento N° 5 de Infantería).
Vilcapugio and Ayohuma (1813)
Now reorganized under Manuel Belgrano as part of the Army of the North, the 1st Regiment played a central role in the second campaign to Upper Peru.
Vilcapugio: The regiment fought in the center of the line. Despite early successes, the patriot army was surprised and routed by Royalist General Pezuela.
Ayohuma: Only weeks later, the regiment was part of the final stand. They faced superior Royalist artillery and cavalry on a flat plain that favored the enemy.
The Patricios regiment was decimated, and many of its veteran soldiers were killed or captured. These defeats forced Belgrano’s retreat and led to his replacement by San Martín.
The Battle of Sipe-Sipe (1815)
By the time of the third campaign under José Rondeau, the 1st Regiment had been replenished with new recruits but remained a shadow of its former self.
Also known as the Battle of Viluma, it was the most disastrous defeat for the Army of the North.
The 1st Regiment, commanded by Colonel Forest, consisted of roughly 675 men at the start of the engagement.
The patriot army was outmaneuvered and nearly annihilated. The defeat at Sipe-Sipe effectively ended Buenos Aires' attempts to control Upper Peru (modern-day Bolivia) through the northern route.
First Campaign (1810–1811): Led by Juan José Castelli. It began with the victory at Battle of Suipacha but ended in a total rout at the Battle of Huaqui.
Second Campaign (1812–1813): Led by Manuel Belgrano. This included the Jujuy Exodus and the victories at Tucumán and Salta, but stalled after the defeats at Vilcapugio and Ayohuma.
Third Campaign (1815): Led by José Rondeau. This campaign reached Potosí but was crushed at the Battle of Sipe-Sipe (Viluma), effectively ending Buenos Aires' offensive capabilities in the north.
Fourth Campaign (1817): A smaller-scale offensive led by Gregorio Aráoz de Lamadrid, which ended with the defeat at the Battle of Sopachuy.
The First Upper Peru campaign (1810–1811) was the first major military expedition sent by the revolutionary government in Buenos Aires (the Primera Junta) to spread the May Revolution and secure the northern territories of the former Viceroyalty of the Río de la Plata. The campaign is characterized by an initial rapid advance followed by a total collapse that left Upper Peru (modern-day Bolivia) in Royalist hands.
(Army of the North): Led politically by Juan José Castelli and militarily by Antonio González Balcarce.
Royalists (Viceroyalty of Peru): Led by José Manuel de Goyeneche and Vicente Nieto.
Initial Setback at Cotagaita (Oct 1810): The Patriot vanguard was initially repulsed by Royalist forces.
Victory at Suipacha (Nov 1810): This was the first major Patriot victory of the war. It lasted only 30 minutes but allowed the revolutionary army to occupy almost all of Upper Peru.
During the occupation, Castelli implemented radical Enlightenment reforms, including the abolition of native slavery and forced labor (mita), which gained indigenous support but alienated local elites.
Defeat at Huaqui (June 1811): While a 40-day truce was in effect, Royalist forces launched a surprise attack. The Patriot army was routed, leading to a disorganized retreat and the loss of the entire region.
The campaign ended in disaster, resulting in the arrest and trial of Castelli and Balcarce upon their return to Buenos Aires. While the military goals failed, the resistance of local guerrilla groups (the republiquetas) prevented the Royalists from advancing further south into Argentina, effectively creating a stalemate.
Manuel Belgrano's Second Upper Peru campaign (1812–1813) is generally characterized as a military failure in its final stages, though it was strategically vital for the survival of the Argentine revolution. While it did not achieve its ultimate goal of liberating Upper Peru (modern-day Bolivia), it successfully prevented a Royalist invasion of central Argentina.
The Patricios Regiment (officially the 1st Infantry Regiment) underwent a dramatic transformation during this period, shifting from a prestigious citizen militia to a professionalized unit that suffered heavy losses in the struggle for independence.
In December 1811, the regiment mutinied in Buenos Aires. The conflict was sparked by the First Triumvirate's attempt to professionalize the militia, which included stripping the soldiers of their traditional privilege to elect officers and ordering them to cut their symbolic braids (trenzas).
The soldiers viewed the braids as a badge of honor from their defense of the city against the British.
The government, led by Bernardino Rivadavia, suppressed the rebellion with force. The mutiny ended in failure; eleven ringleaders were executed, and the regiment was severely punished by being merged and renamed as the 1st Infantry Regiment under a more rigid, regular military structure.
After the Motín de las Trenzas in December 1811, the Patricios Regiment was stripped of its "Number 1" status and reorganized as the 5th Infantry Regiment (Regimiento N° 5 de Infantería).
Vilcapugio and Ayohuma (1813)
Now reorganized under Manuel Belgrano as part of the Army of the North, the 1st Regiment played a central role in the second campaign to Upper Peru.
Vilcapugio: The regiment fought in the center of the line. Despite early successes, the patriot army was surprised and routed by Royalist General Pezuela.
Ayohuma: Only weeks later, the regiment was part of the final stand. They faced superior Royalist artillery and cavalry on a flat plain that favored the enemy.
The Patricios regiment was decimated, and many of its veteran soldiers were killed or captured. These defeats forced Belgrano’s retreat and led to his replacement by San Martín.
The Battle of Sipe-Sipe (1815)
By the time of the third campaign under José Rondeau, the 1st Regiment had been replenished with new recruits but remained a shadow of its former self.
Also known as the Battle of Viluma, it was the most disastrous defeat for the Army of the North.
The 1st Regiment, commanded by Colonel Forest, consisted of roughly 675 men at the start of the engagement.
The patriot army was outmaneuvered and nearly annihilated. The defeat at Sipe-Sipe effectively ended Buenos Aires' attempts to control Upper Peru (modern-day Bolivia) through the northern route.
"Tarleton" and "Cahouk or Sahouk" Patterns.
Artilleria Ligera Volante (Horse Artillery) 1810 - 1812
The Tarletons, black leather helmets decorated with skins, appear in 1805 on the plates of the Royal Spanish Army in the Corps of Engineers. During the English invasions, they were widely used by militias.
The "cahouk" was a tall, cylindrical headdress type Fez or Shako (often reinforced with leather) wrapped in a cloth turban. Luqui-Lagleyze describes the 1812 Flying Artillery headgear as a black leather shako with a black cloth turban and metallic chains.
Gorras de suela charolada con con turbante negro redondo, con cadenillas y una granada grande de laton al frente. Source: "Del Morrion al Casco de Acero" - Los Cuerpos Militares en la Historia Argentina 150 - Organziacion y Uniformes - 1950. This silhouette almost perfectly mirrors the orientalist aesthetic that was "high fashion" in European elite circles following Napoleon’s Egyptian Campaign.
The gauchos, and soldiers in the pampas, used to wear white handkerchiefs and cloths to avoid the heat and the effects of the sun in what they called the 'desert'. In some illustrations they gave the appearance of dressing like Arabs.
That "Arab" or "Bedouin" look in the 19th-century Pampas was a direct result of practical adaptation to the intense sun, dust, and wind of what was then called the "desert." This aesthetic was created by several key garments that mirrored Middle Eastern or North African attire:
This same type of shakó, exotic to America, is mentioned again in the Music Band of the Argentine Guard Battalion in the time of Rosas. Also, the Granaderos a Caballo, mounted grenadiers in Peru in 1822 wore the "Mamelouk" type pants.
The Blue and White National Cockade
The official transition from the Spanish Bourbon cockade to the blue and white national cockade occurred in February 1812.
While 1810 marked the start of the revolution, the symbols of the Spanish Crown were not immediately discarded due to the "Mask of Ferdinand VII" the political stance of governing on behalf of the imprisoned Spanish King.
During the May Week, supporters of the revolution reportedly used ribbons to identify themselves. While some historical accounts by Bartolomé Mitre suggest French and Beruti distributed blue and white ribbons, other records mention white ribbons (symbolizing union) or even red ones at different stages.
1811: Members of the Patriotic Society (Sociedad Patriótica), a more radical revolutionary group, were known to wear blue and white ribbons as a distinct partisan badge.
February 13, 1812. General Manuel Belgrano formally requested that the government establish a single national cockade. He argued that his troops were using various colors and needed a unified insignia to distinguish themselves from the Royalists, who used red.
The "cahouk" was a tall, cylindrical headdress type Fez or Shako (often reinforced with leather) wrapped in a cloth turban. Luqui-Lagleyze describes the 1812 Flying Artillery headgear as a black leather shako with a black cloth turban and metallic chains.
Gorras de suela charolada con con turbante negro redondo, con cadenillas y una granada grande de laton al frente. Source: "Del Morrion al Casco de Acero" - Los Cuerpos Militares en la Historia Argentina 150 - Organziacion y Uniformes - 1950. This silhouette almost perfectly mirrors the orientalist aesthetic that was "high fashion" in European elite circles following Napoleon’s Egyptian Campaign.
The gauchos, and soldiers in the pampas, used to wear white handkerchiefs and cloths to avoid the heat and the effects of the sun in what they called the 'desert'. In some illustrations they gave the appearance of dressing like Arabs.
That "Arab" or "Bedouin" look in the 19th-century Pampas was a direct result of practical adaptation to the intense sun, dust, and wind of what was then called the "desert." This aesthetic was created by several key garments that mirrored Middle Eastern or North African attire:
This same type of shakó, exotic to America, is mentioned again in the Music Band of the Argentine Guard Battalion in the time of Rosas. Also, the Granaderos a Caballo, mounted grenadiers in Peru in 1822 wore the "Mamelouk" type pants.
The Blue and White National Cockade
The official transition from the Spanish Bourbon cockade to the blue and white national cockade occurred in February 1812.
While 1810 marked the start of the revolution, the symbols of the Spanish Crown were not immediately discarded due to the "Mask of Ferdinand VII" the political stance of governing on behalf of the imprisoned Spanish King.
During the May Week, supporters of the revolution reportedly used ribbons to identify themselves. While some historical accounts by Bartolomé Mitre suggest French and Beruti distributed blue and white ribbons, other records mention white ribbons (symbolizing union) or even red ones at different stages.
1811: Members of the Patriotic Society (Sociedad Patriótica), a more radical revolutionary group, were known to wear blue and white ribbons as a distinct partisan badge.
February 13, 1812. General Manuel Belgrano formally requested that the government establish a single national cockade. He argued that his troops were using various colors and needed a unified insignia to distinguish themselves from the Royalists, who used red.
The Shako Model 1810
The Juntas that succeeded the Spanish Viceroy in 1810, immediately created a uniform regulation for the new army. Here the shako is mentioned for the first time. The description of this shaco is small. A shako cannot be small, if in fact it was not the French type copied by Spain, but the British type of light infantry.
While the French shako was evolving into a tall, flared "inverted cone" (reaching roughly 18-19 cm in height by 1810), the British "Stovepipe" model was a simpler, shorter cylinder of approximately 15-16 cm.
These were produced locally in Buenos Aires. A "small" or compact model was easier to manufacture with limited resources and local felt compared to the complex, reinforced French shako.
Although British supplies included large quantities of French surplus captured after Napoleon's defeat and British occupation of French territory. When Napoleon fell, the monarchist allies restored a French king (Bourbon Restoration), who reduced the French army to facilitate foreign occupation. The arms and uniform depots, factories and workshops were under British occupation.
The "French Connection" through British hands is a well-documented, if complex, part of the history of the Wars of Independence. Your point about the Bourbon Restoration (1814–1815) and the subsequent reduction of the French army is key to understanding why so much equipment became available.
When Louis XVIII was restored to the throne, the French army was drastically reduced from its Napoleonic peak.
During the Allied occupation of France (1815–1818), the country was forced to pay for the maintenance of 150,000 coalition troops. Part of this "de-Napoleonization" involved the decommissioning of the massive Imperial depots.
The "Family Compact" (Pacto de Familia) spirit was still very much alive. Because both Louis XVIII and Fernando VII were Bourbons, the French restoration was a double-edged sword for the South American revolutionaries.
The Bourbon Dilemma. While the British were selling off captured French surplus to anyone with silver (including the Juntas in Buenos Aires), the official French government under Louis XVIII was politically aligned with Spain.
The British Connection
The theory that the Juntas copied the British Stovepipe is historically sound:
Thousands of British uniforms and pieces of equipment were captured during the 1806–1807 invasions. Local workshops used these as physical templates.
As the Revolutionary government distanced itself from Spanish (French-style) influence, adopting a "British-style" silhouette was both a practical choice and a subtle political nod to their new primary trading partner.
The "Napoleonic" Distortion in Art
The tall, dramatic shakos you see in "Independence" paintings (like those by Subercaseaux or later 19th-century artists) are often anachronisms.
While the French shako was evolving into a tall, flared "inverted cone" (reaching roughly 18-19 cm in height by 1810), the British "Stovepipe" model was a simpler, shorter cylinder of approximately 15-16 cm.
These were produced locally in Buenos Aires. A "small" or compact model was easier to manufacture with limited resources and local felt compared to the complex, reinforced French shako.
Although British supplies included large quantities of French surplus captured after Napoleon's defeat and British occupation of French territory. When Napoleon fell, the monarchist allies restored a French king (Bourbon Restoration), who reduced the French army to facilitate foreign occupation. The arms and uniform depots, factories and workshops were under British occupation.
The "French Connection" through British hands is a well-documented, if complex, part of the history of the Wars of Independence. Your point about the Bourbon Restoration (1814–1815) and the subsequent reduction of the French army is key to understanding why so much equipment became available.
When Louis XVIII was restored to the throne, the French army was drastically reduced from its Napoleonic peak.
During the Allied occupation of France (1815–1818), the country was forced to pay for the maintenance of 150,000 coalition troops. Part of this "de-Napoleonization" involved the decommissioning of the massive Imperial depots.
The "Family Compact" (Pacto de Familia) spirit was still very much alive. Because both Louis XVIII and Fernando VII were Bourbons, the French restoration was a double-edged sword for the South American revolutionaries.
The Bourbon Dilemma. While the British were selling off captured French surplus to anyone with silver (including the Juntas in Buenos Aires), the official French government under Louis XVIII was politically aligned with Spain.
The British Connection
The theory that the Juntas copied the British Stovepipe is historically sound:
Thousands of British uniforms and pieces of equipment were captured during the 1806–1807 invasions. Local workshops used these as physical templates.
As the Revolutionary government distanced itself from Spanish (French-style) influence, adopting a "British-style" silhouette was both a practical choice and a subtle political nod to their new primary trading partner.
The "Napoleonic" Distortion in Art
The tall, dramatic shakos you see in "Independence" paintings (like those by Subercaseaux or later 19th-century artists) are often anachronisms.
Shako History
The shako is a tall, cylindrical military cap with a visor that originated in the late 18th century as a practical, lightweight alternative to cumbersome tricorns and bicornes. It became the predominant military headgear across Europe and the Americas throughout the 19th century.
The name "shako" comes from the Hungarian word csákós süveg, meaning "peaked cap". It evolved from the caps worn by Hungarian hussars (light cavalry) and Grenzers (border light infantry) in the Austrian Empire in the mid-18th century.
The shako was more comfortable and offered better weather protection (with a visor) than the hats it replaced. Its fashion and functionality led to its rapid adoption across European armies in the late 1700s and early 1800s, including the British Army in 1800.
Napoleonic Wars:
The shako was standard headwear during the Napoleonic Wars. Various nations developed distinct styles, such as the British "stovepipe" shako and the French inverted cone shape. The height and embellishments (plumes, cords, badges) were believed to make soldiers look taller and more imposing on the battlefield.
The shako underwent numerous design changes throughout the 19th century, with different "fashions" such as the "bell-top" and "Albert" shakos in Britain. These were often heavy and provided little protection from anything other than saber cuts.
As military tactics changed and more practical headgear was needed, the shako began to fall out of favor for active service in the mid-to-late 19th century. It was replaced by softer caps like the French kepi, the German Pickelhaube (spiked helmet), and practical felt campaign hats.
WWI:
By the outbreak of World War I, most armies had phased out the shako for field use, though some, like the Swiss and Dutch, still used them in the field until after 1916. Belgian forces also retained it as field dress in the early weeks of the war.
Modern Ceremonial Use
Today, the shako has a second life as a ceremonial hat, preserving 19th-century military tradition.
The shako is a tall, cylindrical military cap with a visor that originated in the late 18th century as a practical, lightweight alternative to cumbersome tricorns and bicornes. It became the predominant military headgear across Europe and the Americas throughout the 19th century.
The name "shako" comes from the Hungarian word csákós süveg, meaning "peaked cap". It evolved from the caps worn by Hungarian hussars (light cavalry) and Grenzers (border light infantry) in the Austrian Empire in the mid-18th century.
The shako was more comfortable and offered better weather protection (with a visor) than the hats it replaced. Its fashion and functionality led to its rapid adoption across European armies in the late 1700s and early 1800s, including the British Army in 1800.
Napoleonic Wars:
The shako was standard headwear during the Napoleonic Wars. Various nations developed distinct styles, such as the British "stovepipe" shako and the French inverted cone shape. The height and embellishments (plumes, cords, badges) were believed to make soldiers look taller and more imposing on the battlefield.
The shako underwent numerous design changes throughout the 19th century, with different "fashions" such as the "bell-top" and "Albert" shakos in Britain. These were often heavy and provided little protection from anything other than saber cuts.
As military tactics changed and more practical headgear was needed, the shako began to fall out of favor for active service in the mid-to-late 19th century. It was replaced by softer caps like the French kepi, the German Pickelhaube (spiked helmet), and practical felt campaign hats.
WWI:
By the outbreak of World War I, most armies had phased out the shako for field use, though some, like the Swiss and Dutch, still used them in the field until after 1916. Belgian forces also retained it as field dress in the early weeks of the war.
Modern Ceremonial Use
Today, the shako has a second life as a ceremonial hat, preserving 19th-century military tradition.
Morrion - Shako (Mounted Grenadiers):
Historic uniform from the Grenadier horseback corps, custodians for the government house or Casa Rosada ("Pink House") as well as escorts. The uniform was approved with a regulation of 1909/1913 Chapter IV.
Source: Los Cuerpos Militares en la Historia Argentina 1550-1950 by Julio Mario Luqui-Lagleyze
Source: Los Cuerpos Militares en la Historia Argentina 1550-1950 by Julio Mario Luqui-Lagleyze
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Granaderos A Caballo del General San Martin - Cruce de los Andes 1816 - 1917
Horse Mounted Grenadier - Andean Army, Crossing of the Andes.
The charivari was essentially an "overall" or over-breeches worn by French light cavalry (Hussars and Chasseurs-à-cheval) and, later, heavy cavalry during the Napoleonic period. They were intended to protect the primary uniform breeches during campaign, marching, and battle.
They were generally made of sturdy wool or kersey, often grey or dark blue, and featured a long row of buttons or hooks running down the outer seam of the leg. They sometimes had a contrasting colored stripe (piping) along the button line.
This design allowed the rider to put the trousers on or take them off while still wearing their boots, a practical necessity for soldiers who spent long periods mounted. They typically featured leather strapping on the inside leg and leather cuffs with stirrup straps that fastened under the sole of the boot to keep them in place while riding.
The charivari first appeared in French military regulations (specifically mentioned in the 1812 Bardin regulations) and were widely used by the French Army throughout the 19th century. They were a very practical and defining feature of the French cavalry uniform during that time.
They were generally made of sturdy wool or kersey, often grey or dark blue, and featured a long row of buttons or hooks running down the outer seam of the leg. They sometimes had a contrasting colored stripe (piping) along the button line.
This design allowed the rider to put the trousers on or take them off while still wearing their boots, a practical necessity for soldiers who spent long periods mounted. They typically featured leather strapping on the inside leg and leather cuffs with stirrup straps that fastened under the sole of the boot to keep them in place while riding.
The charivari first appeared in French military regulations (specifically mentioned in the 1812 Bardin regulations) and were widely used by the French Army throughout the 19th century. They were a very practical and defining feature of the French cavalry uniform during that time.
The uniform of the mounted grenadiers of the Río de la Plata was based on that worn by the Napoleonic horse artillery in 1815. After 1815, the end of the Napoleonic Wars resulted in massive amounts of surplus arms and ammunition in Britain, which were cheap and readily available for the South American revolutionaries.
Granadero French type Morrion and jacket, belt and buckle, French charivari riding equestrian breeches pants troussers. French Hussards type pelisse and carabine bandolier and ammo box.
According to "The Armies of Bolivar and San Martin" published by Ospres: "The high boots of the grenadiers were replaced by San Martin on 18 March 1815 for Russian boots and blue saxon type trousers with leather reinforcement".
According to "The Armies of Bolivar and San Martin" published by Ospres: "The high boots of the grenadiers were replaced by San Martin on 18 March 1815 for Russian boots and blue saxon type trousers with leather reinforcement".
Trooper Horse Grenadier 1816. "The Armies of Bolivar and San Martin" #232.
Osprey UK. Terry Hooker. Illustrated by Ron Paulter.
Osprey UK. Terry Hooker. Illustrated by Ron Paulter.
The armies during the Napoleonic era used shako covers made from cotton or linen canvas that was treated to be water-resistant, often referred to as oilskin.
The covers were made from simple, undyed (beige/off-white) cotton or linen canvas. This was the cheapest and most durable fabric available for mass army production. The "waterproof" quality was achieved by coating the fabric with wax or linseed oil, turning it into "oilskin". This treatment made the material highly water-resistant, shedding rain effectively, though it wasn't perfectly waterproof. The primary purpose of the cover was not just to keep the soldier's head dry, but to protect the felt or leather body of the expensive shako itself from rain and mud, preserving the uniform's appearance and longevity during field service.
The covers were made from simple, undyed (beige/off-white) cotton or linen canvas. This was the cheapest and most durable fabric available for mass army production. The "waterproof" quality was achieved by coating the fabric with wax or linseed oil, turning it into "oilskin". This treatment made the material highly water-resistant, shedding rain effectively, though it wasn't perfectly waterproof. The primary purpose of the cover was not just to keep the soldier's head dry, but to protect the felt or leather body of the expensive shako itself from rain and mud, preserving the uniform's appearance and longevity during field service.
Cazadores de los Andes 1817 - General San Martin Guard - Custodia Coronel Necochea. Andean Army.
Colbac, dolman and pelisse.
Cazadores de los Andes 1820 - Chasseur à Cheval Andin - Horse Mounted Andean Hunter. Independence War.
Hunter, Chasseur Hussards, Dolman, pelisse and chavari chaps riding equestrian pants troussers.
1818 Maipo, Maipu Battle by Braun.
The Battle of Maipú was a decisive military engagement fought on April 5, 1818, that effectively secured the independence of Chile from Spanish colonial rule. The patriot forces, a combined Argentine and Chilean army under the command of General José de San Martín, decisively defeated the Spanish royalist army near Santiago, Chile.
The Battle of Maipú was a decisive military engagement fought on April 5, 1818, that effectively secured the independence of Chile from Spanish colonial rule. The patriot forces, a combined Argentine and Chilean army under the command of General José de San Martín, decisively defeated the Spanish royalist army near Santiago, Chile.
Independence War era shakos:
Line infantry/cavalry shako with French style, waterproof cover.
Battle of Carabobo 1821 by Martin Tovar
Date: June 24, 1821
Location: The plains of Carabobo, west of Caracas, Venezuela
Commanders:
Patriots: Simón Bolívar (overall commander), General José Antonio Páez, and volunteers from the British Isles.
Royalists: Field Marshal Miguel de la Torre.
Forces Involved:
Bolívar's army of approximately 6,500 to 8,000 troops (including a British Legion) faced a slightly smaller or comparable royalist force.
Outcome: A decisive victory for the patriot forces, which lasted less than an hour but resulted in heavy casualties for the Spanish army.
Location: The plains of Carabobo, west of Caracas, Venezuela
Commanders:
Patriots: Simón Bolívar (overall commander), General José Antonio Páez, and volunteers from the British Isles.
Royalists: Field Marshal Miguel de la Torre.
Forces Involved:
Bolívar's army of approximately 6,500 to 8,000 troops (including a British Legion) faced a slightly smaller or comparable royalist force.
Outcome: A decisive victory for the patriot forces, which lasted less than an hour but resulted in heavy casualties for the Spanish army.
Battle of Ayacucho 1824.
Paso de Vencedores by Francisco Antonio Cano shows General José María Córdova leading the 2nd Colombian division into their assault.
Battle of Ayacucho 1824 by Martin Tovar.
Date: December 9, 1824.
Location: Pampa de Ayacucho (also known as Pampa de La Quinua), near the town of Quinua in the Huamanga province of Peru.
Patriot Forces: Approximately 6,000 men led by Antonio José de Sucre, a trusted lieutenant of Simón Bolívar. The army included soldiers from Peru, Gran Colombia (modern-day Venezuela, Colombia, Panama, and Ecuador), Argentina, and Chile, as well as British and Irish volunteers.
Royalist Forces: Approximately 9,000 to 10,000 men commanded by Viceroy José de La Serna. They held a significant advantage in artillery, possessing ten times as many pieces as the patriots.
The Conflict: Despite being outnumbered and outgunned, Sucre utilized tactical positioning on the high-altitude terrain. The battle began with a Spanish feint, but a brilliant patriot cavalry charge led by José María Córdoba routed the royalist lines.
Outcome:
Decisive Victory: The victory consolidated the independence movement across Latin America, directly leading to the establishment of the Republic of Bolivia, named in honor of Bolívar.
Date: December 9, 1824.
Location: Pampa de Ayacucho (also known as Pampa de La Quinua), near the town of Quinua in the Huamanga province of Peru.
Patriot Forces: Approximately 6,000 men led by Antonio José de Sucre, a trusted lieutenant of Simón Bolívar. The army included soldiers from Peru, Gran Colombia (modern-day Venezuela, Colombia, Panama, and Ecuador), Argentina, and Chile, as well as British and Irish volunteers.
Royalist Forces: Approximately 9,000 to 10,000 men commanded by Viceroy José de La Serna. They held a significant advantage in artillery, possessing ten times as many pieces as the patriots.
The Conflict: Despite being outnumbered and outgunned, Sucre utilized tactical positioning on the high-altitude terrain. The battle began with a Spanish feint, but a brilliant patriot cavalry charge led by José María Córdoba routed the royalist lines.
Outcome:
Decisive Victory: The victory consolidated the independence movement across Latin America, directly leading to the establishment of the Republic of Bolivia, named in honor of Bolívar.
Captain Rufino Guido - Cazadores a Caballo de los Andes by Gil de Castro circa 1816/18 with type British shako.
Captain Rufino Guido (1796–1880) was an Argentine military officer who played a significant role in the South American wars of independence, particularly in the campaigns to liberate Chile and Peru. He was the younger brother of General Tomás Guido, another prominent figure in the independence movement.
Captain Rufino Guido (1796–1880) was an Argentine military officer who played a significant role in the South American wars of independence, particularly in the campaigns to liberate Chile and Peru. He was the younger brother of General Tomás Guido, another prominent figure in the independence movement.
Gral Arenales (1770 - 1831) with type lancer shako.
General Juan Antonio Álvarez de Arenales (1770–1831) was a Spanish-born military officer and a key figure in the South American wars of independence, fighting for the United Provinces of the Río de la Plata, Chile, and Peru. He is considered an Argentine and Bolivian general for his significant contributions to those nations.
General Juan Antonio Álvarez de Arenales (1770–1831) was a Spanish-born military officer and a key figure in the South American wars of independence, fighting for the United Provinces of the Río de la Plata, Chile, and Peru. He is considered an Argentine and Bolivian general for his significant contributions to those nations.
Colonel José Valentín de Olavarría (1801–1845) was a notable Argentine military leader and patriot who fought in the South American wars of independence. He served in key campaigns led by José de San Martín and Antonio José de Sucre.
Grenadier Regiment on Horseback with colback. General Jose de San Martin. Painting by unknown author.
Argentine Confederation Era:
Oil of Felix Revol preserved in the Historical Museum of Santa Fe with the image of General Pascual Echagüe, governor of the province to the time of the battle of Quebracho in June 1846. Photo: ellitoral.com
On the left, an original Argentine-Confederation Shako, possibly in some Montevideo Museum or Collection; Note the wavy gallon,which probably came from the bicorn pattern for Superior Officers. Photos: Kalipedia.com
Reproduction n the right.
Reproduction n the right.
Argentine Confederation Era Replica Uniforms:
While Juan Manuel de Rosas did not have an "army" of aides-de-camp in the modern sense, he maintained a distinct group of trusted edecanes who functioned as his most loyal military and political inner circle.
Unlike a large administrative staff, Rosas's aides were typically high-ranking officers who demonstrated absolute loyalty to the Federalist cause.
Under Rosas, the color crimson (punzó) was mandatory. Artists like Leon Cámara weren't just making "pretty" clothes; they were creating a visual manifesto of loyalty to the Federalist cause.
Also General San Martín had a strong preference for crimson (and other vibrant colors) for his elite units. When San Martín founded the Regimiento de Granaderos a Caballo (Mounted Grenadiers) in 1812, he initially envisioned them in striking uniforms. While the main coat became dark blue due to the abundance of indigo-dyed wool in the Río de la Plata.
The impression that Rosas had "so many" edecanes often comes from the fact that he used entire elite battalions—like the Guardia Argentina or the Escolta de la Libertad—as his personal guard. While only a few officers held the official title of edecán, hundreds of soldiers were constantly visible as his "protective shield," all dressed in the striking red (punzó) uniforms designed to catch the eye and intimidate rivals.
Unlike a large administrative staff, Rosas's aides were typically high-ranking officers who demonstrated absolute loyalty to the Federalist cause.
Under Rosas, the color crimson (punzó) was mandatory. Artists like Leon Cámara weren't just making "pretty" clothes; they were creating a visual manifesto of loyalty to the Federalist cause.
Also General San Martín had a strong preference for crimson (and other vibrant colors) for his elite units. When San Martín founded the Regimiento de Granaderos a Caballo (Mounted Grenadiers) in 1812, he initially envisioned them in striking uniforms. While the main coat became dark blue due to the abundance of indigo-dyed wool in the Río de la Plata.
The impression that Rosas had "so many" edecanes often comes from the fact that he used entire elite battalions—like the Guardia Argentina or the Escolta de la Libertad—as his personal guard. While only a few officers held the official title of edecán, hundreds of soldiers were constantly visible as his "protective shield," all dressed in the striking red (punzó) uniforms designed to catch the eye and intimidate rivals.
The sprawling area today known as Parque Tres de Febrero (or "Bosques de Palermo") was once the private estate of Juan Manuel de Rosas, known as San Benito de Palermo. Following his defeat at the Battle of Caseros on February 3, 1852, his properties were confiscated and eventually transformed into the public landmarks we see today.
The Original Estate (San Benito de Palermo)
Built in 1838, the mansion served as both Rosas's residence and the nerve center of the Argentine Confederation. It functioned as a de facto chancellery where he received foreign diplomats and conducted state business, away from the traditional seat of government at the Fort (now the Casa Rosada).
His estate was massive, covering approximately 400 hectares (nearly 1,000 acres). It included swampy lowlands that Rosas drained and landscaped to create an oasis in what was then the outskirts of the city.
After the fall of the regime, the land was repurposed to create the city's "lungs," with several iconic institutions built directly on his former grounds:
Parque Tres de Febrero: The main park complex, named specifically to commemorate the date of Rosas's defeat.
El Rosedal (Rose Garden): This famous garden, designed by Carlos Thays, occupies the very site where Rosas's country villa once stood before it was demolished in 1899.
The Zoo (Ecoparque) & Botanical Garden: Both the Botanical Garden and the adjacent zoo grounds were part of the original estate's extensive northside territory.
Sarmiento Avenue: The wide boulevard that cuts through the park follows the path of an original channel on the estate.
The Original Estate (San Benito de Palermo)
Built in 1838, the mansion served as both Rosas's residence and the nerve center of the Argentine Confederation. It functioned as a de facto chancellery where he received foreign diplomats and conducted state business, away from the traditional seat of government at the Fort (now the Casa Rosada).
His estate was massive, covering approximately 400 hectares (nearly 1,000 acres). It included swampy lowlands that Rosas drained and landscaped to create an oasis in what was then the outskirts of the city.
After the fall of the regime, the land was repurposed to create the city's "lungs," with several iconic institutions built directly on his former grounds:
Parque Tres de Febrero: The main park complex, named specifically to commemorate the date of Rosas's defeat.
El Rosedal (Rose Garden): This famous garden, designed by Carlos Thays, occupies the very site where Rosas's country villa once stood before it was demolished in 1899.
The Zoo (Ecoparque) & Botanical Garden: Both the Botanical Garden and the adjacent zoo grounds were part of the original estate's extensive northside territory.
Sarmiento Avenue: The wide boulevard that cuts through the park follows the path of an original channel on the estate.
On the left a real period artistic work by the painter Carlos Morel (1813-1894). It is a detailed area of a shako of a drum of the Buenos Aires artillery company (circa 1840), the time of Juan Manuel de Rosas. On the right, the refinement of it by taking advantage of AI technology. The original painting is in the Brigadier Cornelio Saavedra Museum in Buenos Aires.
Morel was a meticulous observer of the Federalist aesthetic. The soldiers in the painting are wearing the distinct "ponzó" red accents required by Rosas’s government.
This piece is part of his famous series of lithographs and oil paintings documenting the Artillery and Cavalry of the Argentine Confederation. His work is characterized by a "costumbrista" style, which captured everyday military activities, such as soldiers resting or preparing cannons, rather than just grand battle scenes.
The Saavedra Museum holds one of the most important collections of his work, specifically because his paintings serve as a visual record of Argentine history between 1830 and 1850.
The Drummers, typically wore the same base colors as the battalion but were distinguished by specific chevrons or decorative lace (often in the "punzó" red federal color) on their sleeves. And the Trumpeters wore inverted colors (red coats with blue facings instead of the standard blue with red) to ensure they were immediately identifiable to officers amidst the smoke and chaos of the battlefield.
While the painting in the Museo Saavedra often depicts the formal shako and structured trousers, historical records confirm the shift for actual combat "Gorro de Manga", "Bluson" and "Chiripa". But in the case of drums, they usually kept the chevrons up their sleeves.
In campaign, the rigid shako was replaced by the sleeved cap (bonet de police AKA "gorrete or gorro de manga") or the traditional poncho used as a hood. The poncho and the chiripá were fundamentally the same piece of fabric a large, rectangular wool or cotton cloth repurposed based on the soldier's immediate needs.
The stiff uniform jacket was swapped for a more flexible blouse or a "Poncho Patria" (a blue poncho with red lining).
Instead of regulation pants, troops famously used the chiripá (a gaucho-style wrap) over calzoncillos cribados (lace-fringed drawers), which allowed for better mobility on horseback.
This piece is part of his famous series of lithographs and oil paintings documenting the Artillery and Cavalry of the Argentine Confederation. His work is characterized by a "costumbrista" style, which captured everyday military activities, such as soldiers resting or preparing cannons, rather than just grand battle scenes.
The Saavedra Museum holds one of the most important collections of his work, specifically because his paintings serve as a visual record of Argentine history between 1830 and 1850.
The Drummers, typically wore the same base colors as the battalion but were distinguished by specific chevrons or decorative lace (often in the "punzó" red federal color) on their sleeves. And the Trumpeters wore inverted colors (red coats with blue facings instead of the standard blue with red) to ensure they were immediately identifiable to officers amidst the smoke and chaos of the battlefield.
While the painting in the Museo Saavedra often depicts the formal shako and structured trousers, historical records confirm the shift for actual combat "Gorro de Manga", "Bluson" and "Chiripa". But in the case of drums, they usually kept the chevrons up their sleeves.
In campaign, the rigid shako was replaced by the sleeved cap (bonet de police AKA "gorrete or gorro de manga") or the traditional poncho used as a hood. The poncho and the chiripá were fundamentally the same piece of fabric a large, rectangular wool or cotton cloth repurposed based on the soldier's immediate needs.
The stiff uniform jacket was swapped for a more flexible blouse or a "Poncho Patria" (a blue poncho with red lining).
Instead of regulation pants, troops famously used the chiripá (a gaucho-style wrap) over calzoncillos cribados (lace-fringed drawers), which allowed for better mobility on horseback.
19th - Confederation Era. Argentine Shako Rosette.
Mirliton or Miter Pattern:
Plates of the Royal Spanish Army uniform regulations of 1805. In cavalry, the shakos-type Mirlitons are seen in use, Hungarian-style uniforms, charivari riding pants.
1807 - 1809. King's 1st Buenos Aires Hussar Squadron (Husares de Pueyrredon)
Juan Martín de Pueyrredón (1777–1850) was a crucial Argentine general and politician during the South American wars of independence. He is best known for his role in repelling the British invasions of the Río de la Plata and for serving as the Supreme Director of the United Provinces of the Río de la Plata from 1816 to 1819.
Pueyrredon's Hussar image from Justo Doldan.
In 1806, he was a leader in organizing local resistance against the first British invasion of Buenos Aires. He formed a volunteer cavalry regiment, the Hussars of Pueyrredón (Húsares de Pueyrredón), which participated in the recapture of the city and the subsequent defense against the second invasion.
Pueyrredon's Hussar image from Justo Doldan.
In 1806, he was a leader in organizing local resistance against the first British invasion of Buenos Aires. He formed a volunteer cavalry regiment, the Hussars of Pueyrredón (Húsares de Pueyrredón), which participated in the recapture of the city and the subsequent defense against the second invasion.
Mirliton pattern shako with visor.
The Combat of Perdriel was a minor but significant skirmish that occurred on August 1, 1806, between local militia led by Juan Martín de Pueyrredón and British troops during the First British Invasion of the Río de la Plata.
The British had captured Buenos Aires in June 1806. Juan Martín de Pueyrredón was actively recruiting volunteers to form a local resistance force to counter the invasion.
The engagement took place at the Chacra de Perdriel (Perdriel farm) near Buenos Aires, where the local forces were training.
Forces Involved:
Local Militia: Around 300 poorly armed gauchos and a few artillery pieces, led by Pueyrredón.
British Troops: Soldiers, primarily from the 71st Highlanders Regiment (Scots), under the command of William Beresford.
The local forces were quickly overwhelmed and dispersed by the better-armed and disciplined British soldiers. Pueyrredón himself narrowly avoided capture when his horse was killed by a cannonball, escaping with the help of a local farmer.
The Combat of Perdriel was a minor but significant skirmish that occurred on August 1, 1806, between local militia led by Juan Martín de Pueyrredón and British troops during the First British Invasion of the Río de la Plata.
The British had captured Buenos Aires in June 1806. Juan Martín de Pueyrredón was actively recruiting volunteers to form a local resistance force to counter the invasion.
The engagement took place at the Chacra de Perdriel (Perdriel farm) near Buenos Aires, where the local forces were training.
Forces Involved:
Local Militia: Around 300 poorly armed gauchos and a few artillery pieces, led by Pueyrredón.
British Troops: Soldiers, primarily from the 71st Highlanders Regiment (Scots), under the command of William Beresford.
The local forces were quickly overwhelmed and dispersed by the better-armed and disciplined British soldiers. Pueyrredón himself narrowly avoided capture when his horse was killed by a cannonball, escaping with the help of a local farmer.
On the left in the photo above, a French "Mirliton" from the late 18th century. On the right, the humble infantry of the Argentine Confederation (1829 - 1852) in an early twentieth century illustration. Like this drawing, many drawings and paintings reproduce the image of this type of rigid bonnet, but without determining what type of headgear it is. At first glance it looks like a fatigue cloth cap, called at the time "Cap de Manga", but it would not be the same. This pattern is rigid and maintains its shape like a shako. It could have been a Mirliton, a simple conical shaped shako, covered by a continuous band of felt. Some old documents speak of a conical shako with a viewer, towards the beginning of 1830, but they would not have been of the model of the French model 1837, since they were earlier. Probably these conical shakos with visor and without visor, would have been successors in Argentina of the classic Mirliton of the Husares, but completely conical. Or it could have been another, unidentified shako.
On the left, soldiers of the Argentine confederation. Painting from that time. National Historical Museum.
Right: Uruguayan Army shako, from the 1st Florida Infantry Battalion.
As it is known, Argentina and Uruguay have a common history until their separation. During the government of Juan Manuel de Rosas while in charge of the Argentine Confederation, an intense struggle was fought in support of the Federales of the Oriental Band against the Unitarians of Montevideo until the defeat of the Argentine Confederation in 1852. This Uruguayan shako is very similar to those of the time of the Argentine Confederation, probably inspired by those civil wars of the 19th century. The 1st Florida Battalion is in charge of the custody of the presidential palace in Montevideo. Photo of item C.R.S.L
Right: Uruguayan Army shako, from the 1st Florida Infantry Battalion.
As it is known, Argentina and Uruguay have a common history until their separation. During the government of Juan Manuel de Rosas while in charge of the Argentine Confederation, an intense struggle was fought in support of the Federales of the Oriental Band against the Unitarians of Montevideo until the defeat of the Argentine Confederation in 1852. This Uruguayan shako is very similar to those of the time of the Argentine Confederation, probably inspired by those civil wars of the 19th century. The 1st Florida Battalion is in charge of the custody of the presidential palace in Montevideo. Photo of item C.R.S.L
1) Horse-Grenadier San Martin 1812 pattern replica.
2 - 3 - 4) 1826 pattern Grenadiers on horseback of the Presidential Escort "Rivadavia": 1910 model. 1940s Peron Era and 1970/80 shakos
2 - 3 - 4) 1826 pattern Grenadiers on horseback of the Presidential Escort "Rivadavia": 1910 model. 1940s Peron Era and 1970/80 shakos
Shako Replica 1812 Pattern
1804/1815 British type "Stovepipe" shako" replica.
On the right, Cazadores (Officer) de los Andes 1816 based on Man-at-Arms", "The Armies of Bolivar and San Martin". On the left. it's the drawing of a plate of historical Argentine military uniforms by Guillermo Roux..On the middle, an AI recreation of the uniform of Cazadores de los Andes (Troops) according to Luqui-Lagleizye.
Next to San Martín is drawn a Second Lieutenant of the Cazadores de los Andes Battalion. The officer is wearing the shako type "Stovepipe". The Armies of Bolivar and San Martin. Osprey. Series Men-at-Arms.
In the South American Wars of Independence, the stovepipe shako served as a distinctive link between European military tradition and the revolutionary forces of Simón Bolívar and José de San Martín.
British Legion "Rifles" (Bolívar)
The British Legions recruited by Simón Bolívar were largely equipped with British-pattern gear, reflecting the origin of the volunteers and their suppliers.
San Martin's Cazadores de los Andes". Why the Stovepipe?
For the British Legion, it maintained their professional connection to the British Army; for San Martín’s troops, it symbolized their transformation into a modern, disciplined regular force.
In the South American Wars of Independence, the stovepipe shako served as a distinctive link between European military tradition and the revolutionary forces of Simón Bolívar and José de San Martín.
British Legion "Rifles" (Bolívar)
The British Legions recruited by Simón Bolívar were largely equipped with British-pattern gear, reflecting the origin of the volunteers and their suppliers.
San Martin's Cazadores de los Andes". Why the Stovepipe?
For the British Legion, it maintained their professional connection to the British Army; for San Martín’s troops, it symbolized their transformation into a modern, disciplined regular force.
Stovepipe shape shako ( type 95th rifles). Seargeant Venezuelan Rifles (British) 1818. Series Men-at-Arms. Osprey "The Armies of San Martin and Bolivar.
The British Legions were foreign volunteer units composed of over 7,000 veterans and adventurers mostly from Great Britain and Ireland who fought under Simón Bolívar during the Spanish American wars of independence.
Often called the Albion Legion by Venezuelans, these soldiers provided critical military professionalization and combat experience to the Patriot forces between 1817 and 1824.
The "Stovepipe" Shako (1800–1816)
While most of the British Line Infantry switched to the "Belgic" (or Waterloo) shako around 1812, the Rifle regiments famously kept the Stovepipe model throughout the entire Peninsular War and at Waterloo.
It was a tall, cylindrical cap made of stiffened felt with a leather peak. Unlike the brass plates worn by line infantry, the Rifles wore a bronzed (blackened) bugle horn badge.
Bugle badge. This symbol represented their role as light infantry. Because they operated in skirmish chains rather than tight blocks, they used the bugle to communicate commands over long distances and through the smoke of battle.
Instead of a white-over-red tuft, the Rifles wore a green tuft (or plume) on the left side or front, matching their iconic green jackets.
The shako was entirely black, including the badge, to maintain the "camouflage" effect of the Green Jackets, avoiding any shiny brass that could give away their position to French scouts.
Why a Bugle and not a Trumpet?
In British military terminology, there is a distinction:
Trumpet. Associated with the Cavalry.
Bugle. Associated with Light Infantry and Rifles.
The badge on the shako is technically a "crowned bugle horn" with strings.
The British Legions were foreign volunteer units composed of over 7,000 veterans and adventurers mostly from Great Britain and Ireland who fought under Simón Bolívar during the Spanish American wars of independence.
Often called the Albion Legion by Venezuelans, these soldiers provided critical military professionalization and combat experience to the Patriot forces between 1817 and 1824.
The "Stovepipe" Shako (1800–1816)
While most of the British Line Infantry switched to the "Belgic" (or Waterloo) shako around 1812, the Rifle regiments famously kept the Stovepipe model throughout the entire Peninsular War and at Waterloo.
It was a tall, cylindrical cap made of stiffened felt with a leather peak. Unlike the brass plates worn by line infantry, the Rifles wore a bronzed (blackened) bugle horn badge.
Bugle badge. This symbol represented their role as light infantry. Because they operated in skirmish chains rather than tight blocks, they used the bugle to communicate commands over long distances and through the smoke of battle.
Instead of a white-over-red tuft, the Rifles wore a green tuft (or plume) on the left side or front, matching their iconic green jackets.
The shako was entirely black, including the badge, to maintain the "camouflage" effect of the Green Jackets, avoiding any shiny brass that could give away their position to French scouts.
Why a Bugle and not a Trumpet?
In British military terminology, there is a distinction:
Trumpet. Associated with the Cavalry.
Bugle. Associated with Light Infantry and Rifles.
The badge on the shako is technically a "crowned bugle horn" with strings.
1830 Pattern
When the remains of General San Martin were repatriated in 1880, a corps of guards for his mausoleum was created. This unit had obsolete (historic) French uniforms from the mid-19th century, and among these, came the old French shako model 1830.
1826 - Horse Grenadier Custody of Presidente Rivadavia.
The Regimiento de Granaderos a Caballo (Horse Grenadiers) played a unique and controversial role in the custody of Bernardino Rivadavia, the first president of Argentina. After 13 years of fighting for South American independence under José de San Martín, the last remaining 78 (some sources say up to 105) Granaderos returned to Buenos Aires in January 1826.
Presidential Guard
Upon their arrival, the Granaderos were assigned to the Presidential Custody of Bernardino Rivadavia. The modern ceremonial uniform used by the Granaderos today is actually based on the "1826 pattern" uniforms worn during their time as Rivadavia's guards, rather than the original San Martín-era designs.
The Dissolution (1826–1827)
Despite their prestigious history, Rivadavia's relationship with the unit was strained due to his intense political rivalry with their creator, José de San Martín.
Strategic Disbandment
In April 1826, Rivadavia ordered the dissolution of the regiment. Historians often argue this was done to "erase the traces" of San Martín’s influence in the capital.
Reassignment
The soldiers were not simply sent home; they were absorbed into other units, such as the 4th Cavalry Regiment, to fight in the ongoing Cisplatine War against Brazil.
The regiment ceased to exist as an independent entity for nearly 80 years until it was recreated by President Julio Argentino Roca in 1903.
Today, the Granaderos are the official Presidential Escort, a tradition that connects back to this brief but significant period of custody in 1826.
Bernardino Rivadavia was the first president of Argentina.
He served from February 8, 1826, to June 27, 1827. However, his claim to being the "first" depends on how to define the presidency, as he was the first to use the title, but his authority was limited and contested.
The 1826 Constitution
Rivadavia was appointed by a General Congress during the Cisplatine War with Brazil. This was the first time the title "President of the United Provinces of the Río de la Plata" was officially used.
His presidency was largely rejected by the interior provinces, which favored a federalist system over Rivadavia’s centralized "unitarian" approach.
He resigned after only 16 months due to the ongoing war with Brazil and intense political opposition from the provincial caudillos.
Bernardino Rivadavia is often referred to as the "father of Argentina's external debt" because he contracted the country's first major foreign loan.
Other "First" Presidents
Because Rivadavia's government collapsed and led to a long period without a central president, two other figures are sometimes cited as "firsts":
Justo José de Urquiza: The first president to rule under the Constitution of 1853, which remains the foundation of the modern Argentine state.
Bartolomé Mitre: Considered the first president of a fully unified Argentina (including Buenos Aires) within its current national borders, starting in 1862.
Presidential Guard
Upon their arrival, the Granaderos were assigned to the Presidential Custody of Bernardino Rivadavia. The modern ceremonial uniform used by the Granaderos today is actually based on the "1826 pattern" uniforms worn during their time as Rivadavia's guards, rather than the original San Martín-era designs.
The Dissolution (1826–1827)
Despite their prestigious history, Rivadavia's relationship with the unit was strained due to his intense political rivalry with their creator, José de San Martín.
Strategic Disbandment
In April 1826, Rivadavia ordered the dissolution of the regiment. Historians often argue this was done to "erase the traces" of San Martín’s influence in the capital.
Reassignment
The soldiers were not simply sent home; they were absorbed into other units, such as the 4th Cavalry Regiment, to fight in the ongoing Cisplatine War against Brazil.
The regiment ceased to exist as an independent entity for nearly 80 years until it was recreated by President Julio Argentino Roca in 1903.
Today, the Granaderos are the official Presidential Escort, a tradition that connects back to this brief but significant period of custody in 1826.
Bernardino Rivadavia was the first president of Argentina.
He served from February 8, 1826, to June 27, 1827. However, his claim to being the "first" depends on how to define the presidency, as he was the first to use the title, but his authority was limited and contested.
The 1826 Constitution
Rivadavia was appointed by a General Congress during the Cisplatine War with Brazil. This was the first time the title "President of the United Provinces of the Río de la Plata" was officially used.
His presidency was largely rejected by the interior provinces, which favored a federalist system over Rivadavia’s centralized "unitarian" approach.
He resigned after only 16 months due to the ongoing war with Brazil and intense political opposition from the provincial caudillos.
Bernardino Rivadavia is often referred to as the "father of Argentina's external debt" because he contracted the country's first major foreign loan.
Other "First" Presidents
Because Rivadavia's government collapsed and led to a long period without a central president, two other figures are sometimes cited as "firsts":
Justo José de Urquiza: The first president to rule under the Constitution of 1853, which remains the foundation of the modern Argentine state.
Bartolomé Mitre: Considered the first president of a fully unified Argentina (including Buenos Aires) within its current national borders, starting in 1862.
1909 - 1910. Recreation of the Historic Corps of Grenadiers on Horseback based on the 1826 pattern (Custody of President Rivadavia)
The Casa Rosada stands on the exact site that was once occupied by the Buenos Aires Fort and the Taylor Customs House. The current palace is essentially a "patchwork" that incorporates or replaced these earlier structures over centuries of development.
The Royal Fort (1594–1850s)
Originally built as the Real Fortaleza de San Juan Baltasar de Austria in 1594, it served as the seat of Spanish colonial power and the residence of viceroys.
In 1713, it was replaced by a more solid stone structure known as the Castillo San Miguel, complete with a moat and drawbridge.
While the fort was mostly demolished in the mid-19th century to make way for new government buildings, parts of its original brick walls and a cannonball hole are still visible in the Casa Rosada Museum.
Taylor’s Customs House (1855–1894)
Designed by British architect Edward Taylor, this massive semicircular building was constructed behind the fort, directly facing the river. At the time, it was the largest public building in the city and served as the gateway for thousands of European immigrants.
It was eventually demolished to allow for the expansion of the Casa Rosada and the creation of Parque Colón, though its excavated foundations can still be toured underground.
The Casa Rosada we see today was created by joining two separate 19th-century buildings the Presidential Seat and a Post Office using a large central archway designed by Francesco Tamburini in 1890.
Legend says President Sarmiento chose pink in the 1870s to blend the red of the Federalists and the white of the Unitarians, symbolizing national unity.
The Royal Fort (1594–1850s)
Originally built as the Real Fortaleza de San Juan Baltasar de Austria in 1594, it served as the seat of Spanish colonial power and the residence of viceroys.
In 1713, it was replaced by a more solid stone structure known as the Castillo San Miguel, complete with a moat and drawbridge.
While the fort was mostly demolished in the mid-19th century to make way for new government buildings, parts of its original brick walls and a cannonball hole are still visible in the Casa Rosada Museum.
Taylor’s Customs House (1855–1894)
Designed by British architect Edward Taylor, this massive semicircular building was constructed behind the fort, directly facing the river. At the time, it was the largest public building in the city and served as the gateway for thousands of European immigrants.
It was eventually demolished to allow for the expansion of the Casa Rosada and the creation of Parque Colón, though its excavated foundations can still be toured underground.
The Casa Rosada we see today was created by joining two separate 19th-century buildings the Presidential Seat and a Post Office using a large central archway designed by Francesco Tamburini in 1890.
Legend says President Sarmiento chose pink in the 1870s to blend the red of the Federalists and the white of the Unitarians, symbolizing national unity.
The recreation of the historical uniform of the mounted grenadiers of San Martín is based on the uniform of the grenadiers who acted as guards of Rivadavia. Bernardino Rivadavia was a significant political rival and opponent of José de San Martín. While both men were involved in the Argentine independence movement, their differing political ideologies and visions for the new nation led to a long-standing and well-documented conflict.
Model 1910 Grenadier Shako.
1940s "Peron Era"
Left: Model 1936 Uniform. Center and Right: Model 1967 Uniform. R.R. M. 44
1980s Grenadier Shako
Birretina - Granaderos Provinciales - Granaderos de Terrada - Custodia del Virrey Liniers
A birretina is a specific type of military headgear worn by Spanish Grenadiers during the 18th and early 19th centuries.
While similar to the famous tall fur "bearskin" caps seen on British Guards today, the Spanish birretina had several unique features.
It was a tall, cylindrical cap typically made of black fur (bearskin or sometimes sealskin).
The "Flame" (Manga). A defining characteristic was a long, colored fabric sleeve (often royal blue or red) called a flame or manga that hung from the top down the back of the wearer.
These sleeves were often intricately embroidered with regimental crests or coats of arms, and finished with a tassel (borlón).
While similar to the famous tall fur "bearskin" caps seen on British Guards today, the Spanish birretina had several unique features.
It was a tall, cylindrical cap typically made of black fur (bearskin or sometimes sealskin).
The "Flame" (Manga). A defining characteristic was a long, colored fabric sleeve (often royal blue or red) called a flame or manga that hung from the top down the back of the wearer.
These sleeves were often intricately embroidered with regimental crests or coats of arms, and finished with a tassel (borlón).
In the Viceroyalty of the Río de la Plata, the use of the birretina (often spelled biretina or referred to as a morrión de piel) followed the strict Spanish Military Regulations of the late 18th century.
While regular infantry wore the tricorn, elite Grenadier companies were distinguished by these tall fur caps to make them appear more imposing and to prevent their wide hats from interfering with the tall reach required to throw grenades.
During the British Invasions (1806–1807), several volunteer and regular units adopted this headgear:
Provincial Grenadiers (Granaderos Provinciales): As part of the regular Spanish colonial defense, they wore the regulation birretina. It was typically made of black fur—ideally bearskin, though in the Río de la Plata, materials like sealskin, goat, or even monkey fur were often substituted due to local availability.
Guard of Viceroy Liniers: The personal guard of Santiago de Liniers (the "Reconquista" hero) used the birretina to signify their elite status. Their uniforms were designed to be highly visible and prestigious during ceremonies in Buenos Aires.
Tercio de Montañeses (Grenadiers): This volunteer militia unit, formed mainly by settlers from Cantabria, featured a grenadier company that wore the birretina with a distinctive brass frontal plate featuring a lion.
While regular infantry wore the tricorn, elite Grenadier companies were distinguished by these tall fur caps to make them appear more imposing and to prevent their wide hats from interfering with the tall reach required to throw grenades.
During the British Invasions (1806–1807), several volunteer and regular units adopted this headgear:
Provincial Grenadiers (Granaderos Provinciales): As part of the regular Spanish colonial defense, they wore the regulation birretina. It was typically made of black fur—ideally bearskin, though in the Río de la Plata, materials like sealskin, goat, or even monkey fur were often substituted due to local availability.
Guard of Viceroy Liniers: The personal guard of Santiago de Liniers (the "Reconquista" hero) used the birretina to signify their elite status. Their uniforms were designed to be highly visible and prestigious during ceremonies in Buenos Aires.
Tercio de Montañeses (Grenadiers): This volunteer militia unit, formed mainly by settlers from Cantabria, featured a grenadier company that wore the birretina with a distinctive brass frontal plate featuring a lion.
Guardia Argentina Grenadier Bearskin - Bonnet de Poil - Bonnet d'Ourson Oursin Reproduction Replica
The Guardia Argentina was originally formed from the No. 4 Hunters (Cazadores) Battalion which fought in the War against Brazil.
In 1829, it was reorganized as the No. 2 Cazadores (Chasseur, Jagers, Hunters), and by 1832, it officially adopted the name Guardia Argentina. By the mid-1840s, it was a specialized unit including sappers (engineers), a full band, and hundreds of soldiers.
Its uniforms were notably designed by the artist Leon Camara at the specific request of General Rolón. Artists would produce detailed watercolor or lithograph plates. These weren't just for the tailor; they were often published or displayed to build prestige for the unit.
The Guardia Argentina specifically blended European Napoleonic styles (like the tall shakos and fringed epaulettes) with local Federalist symbols. This artistic approach is why the uniforms of that era specifically those of the Guardia Argentina and the Escolta de la Libertad are considered some of the most ornate and visually striking in Argentine history.
Just as Napoleon’s Old Guard was formed from battle-hardened veterans, the Guardia Argentina was built upon the No. 4 Hunters Battalion, veterans of the War against Brazil.
The Batallón Guardia Argentina was a fully operational combat unit, though its high-profile appearance and elite status often gave it a "ceremonial" flair in historical descriptions. Far from being merely decorative, the battalion was built on the veteran core of the No. 4 Hunters (Cazadores) who had fought in the War against Brazil. By the 1840s, it was a sophisticated combined-arms unit. Under General Rolón, it included specialized sappers (engineers), a full military band, and hundreds of riflemen and grenadiers.
While the unit was a pillar of the Rosas regime for decades, its history effectively ended with the Battle of Caseros:
General Rolón had already passed away in 1849, but the battalion he built was part of the military apparatus that collapsed following this defeat. After Caseros, many Federal units were disbanded or reorganized as the nation began its transition toward the Constitution of 1853.
In 1829, it was reorganized as the No. 2 Cazadores (Chasseur, Jagers, Hunters), and by 1832, it officially adopted the name Guardia Argentina. By the mid-1840s, it was a specialized unit including sappers (engineers), a full band, and hundreds of soldiers.
Its uniforms were notably designed by the artist Leon Camara at the specific request of General Rolón. Artists would produce detailed watercolor or lithograph plates. These weren't just for the tailor; they were often published or displayed to build prestige for the unit.
The Guardia Argentina specifically blended European Napoleonic styles (like the tall shakos and fringed epaulettes) with local Federalist symbols. This artistic approach is why the uniforms of that era specifically those of the Guardia Argentina and the Escolta de la Libertad are considered some of the most ornate and visually striking in Argentine history.
Just as Napoleon’s Old Guard was formed from battle-hardened veterans, the Guardia Argentina was built upon the No. 4 Hunters Battalion, veterans of the War against Brazil.
The Batallón Guardia Argentina was a fully operational combat unit, though its high-profile appearance and elite status often gave it a "ceremonial" flair in historical descriptions. Far from being merely decorative, the battalion was built on the veteran core of the No. 4 Hunters (Cazadores) who had fought in the War against Brazil. By the 1840s, it was a sophisticated combined-arms unit. Under General Rolón, it included specialized sappers (engineers), a full military band, and hundreds of riflemen and grenadiers.
While the unit was a pillar of the Rosas regime for decades, its history effectively ended with the Battle of Caseros:
General Rolón had already passed away in 1849, but the battalion he built was part of the military apparatus that collapsed following this defeat. After Caseros, many Federal units were disbanded or reorganized as the nation began its transition toward the Constitution of 1853.
General Mariano Benito Rolón (1790–1849) had a deep and symbolic connection to the Iglesia de la Merced in Buenos Aires, both during his life and after his death. A prominent Argentine military figure and aide-de-camp to Juan Manuel de Rosas, Rolón's life and final rites were closely tied to this historic landmark.
General Rolón was known to attend the Iglesia de la Merced every year on February 2nd. He attended alongside the "Guardia Argentina" to celebrate the Mass of the Purification of Our Lady (Candlemas).
Rolón passed away on the morning of February 2, 1849 notably at the exact same hour he would typically have been attending that annual mass at the church. His formal funeral services were later held at the Iglesia de la Merced on May 9, 1849.
As a key commander and edecán (aide) to Rosas, Rolón's public religious displays at La Merced were part of the official ceremonial life of the Argentine Confederation.
General Rolón was known to attend the Iglesia de la Merced every year on February 2nd. He attended alongside the "Guardia Argentina" to celebrate the Mass of the Purification of Our Lady (Candlemas).
Rolón passed away on the morning of February 2, 1849 notably at the exact same hour he would typically have been attending that annual mass at the church. His formal funeral services were later held at the Iglesia de la Merced on May 9, 1849.
As a key commander and edecán (aide) to Rosas, Rolón's public religious displays at La Merced were part of the official ceremonial life of the Argentine Confederation.
Left, Guardia Argentina Grenadier Photo-Impression. Right, In that old engraving by Joseph Fontenau, a grenadier officer of the Argentine Guard Battalion greets an officer of the Cazadores del Río de la Plata Battalion.
The disbanding of the Batallón de Cazadores del Río de la Plata in 1833 was tied to the intense political conflict between the "Restorer" (pro-Rosas) and "Legalist" (pro-Balcarce) factions during the Revolution of the Restauradores.
Colonel Félix Olazábal commander of the Cazadores del Rio de la Plata, was a key figure in the defense of the sitting governor, Juan Ramón Balcarce.
In October 1833, when the Rosas-backed rebellion broke out, Olazábal commanded a significant portion of the forces loyal to the governor.Because the rebellion (the Revolución de los Restauradores) was successful, the pro-Balcarce forces were defeated. This led to Olazábal's forced emigration to Uruguay (Montevideo), where he spent the rest of his life in poverty.
Following the victory of the Rosistas, the military was reorganized to ensure loyalty to Juan Manuel de Rosas. Units that had remained loyal to the ousted government, or whose leadership was deemed untrustworthy, were often disbanded or integrated into "restored" regiments.
Historically, there is some nuance regarding the naming and command of these units during the chaotic 1830s:
Olazábal's Command is most frequently associated with the Regimiento de Infantería 1 "Patricios" during this specific 1833 period. Mariano Benito Rolón led the Cazadores who supported the rebellion.
The "disbanding" likely refers to the purge of the government-loyalist elements of the army after the October revolution, as the new Rosas-aligned administration sought to eliminate any military remnants of the Balcarce faction.
The disbanding of the Batallón de Cazadores del Río de la Plata in 1833 was tied to the intense political conflict between the "Restorer" (pro-Rosas) and "Legalist" (pro-Balcarce) factions during the Revolution of the Restauradores.
Colonel Félix Olazábal commander of the Cazadores del Rio de la Plata, was a key figure in the defense of the sitting governor, Juan Ramón Balcarce.
In October 1833, when the Rosas-backed rebellion broke out, Olazábal commanded a significant portion of the forces loyal to the governor.Because the rebellion (the Revolución de los Restauradores) was successful, the pro-Balcarce forces were defeated. This led to Olazábal's forced emigration to Uruguay (Montevideo), where he spent the rest of his life in poverty.
Following the victory of the Rosistas, the military was reorganized to ensure loyalty to Juan Manuel de Rosas. Units that had remained loyal to the ousted government, or whose leadership was deemed untrustworthy, were often disbanded or integrated into "restored" regiments.
Historically, there is some nuance regarding the naming and command of these units during the chaotic 1830s:
Olazábal's Command is most frequently associated with the Regimiento de Infantería 1 "Patricios" during this specific 1833 period. Mariano Benito Rolón led the Cazadores who supported the rebellion.
The "disbanding" likely refers to the purge of the government-loyalist elements of the army after the October revolution, as the new Rosas-aligned administration sought to eliminate any military remnants of the Balcarce faction.
Based on the above drawing by Fonteneau, I believe the collar grenades of that era are very similar to those used by today's grenadiers. The shako is French bearskin with a plate from the late 18th century, typical to foot grenadiers of the time.
Comparison between a Felipe VII Grenadier (Buenos Aires Colonial era 1810-1811) and Argentina Confederation era, Grenadier 1843-1849. Note the details on the sleeves. They seem to have characteristics in common. The ranks did not change much between eras.
The Regimiento de Granaderos de Fernando VII was a key military unit during the Napoleonic Wars and the early South American independence movements.The
Batallón de Granaderos de Fernando VII (Ferdinand VII Volunteer Grenadiers) of Buenos Aires was a key infantry unit during the final years of the Spanish colonial administration, formed during the intense military reorganization that followed the British Invasions.
On September 11, 1809, Viceroy Santiago de Liniers dictated a provision to reorganize the capital's volunteer forces. This order officially created the battalion by renaming and expanding the previous Batallón de Granaderos del General Liniers.
The unit was under the command of Colonel Juan Florencio Terrada, a native of Buenos Aires who had distinguished himself during the defense of the city against the British in 1806 and 1807. It was composed of six companies and a General Staff (Plana Mayor), which included a colonel and a major (sargento mayor).
The battalion's flag followed the Royal Order of Charles III (1768). It was a "sencilla" (simple) banner with a white background and the red Cross of Burgundy (St. Andrew’s Cross). In each of the four corners, it featured the shield of the city of Buenos Aires, crowned by the Royal Crown of Spain.
Similar to other elite units of the time, they favored a European style that projected prestige and loyalty to King Ferdinand VII, who was then a prisoner of Napoleon. They often wore high bearskin caps (colpacks) or shakos featuring the F-VII monogram.
Despite its name honoring the Spanish King, many of its members and its commander, Terrada, eventually joined the revolutionary cause. Following the May Revolution of 1810, the unit was integrated into the new national army of the United Provinces of the Río de la Plata.
After 1810, the men of this battalion participated in the early campaigns of the Argentine War of Independence, fighting in Upper Peru (modern-day Bolivia) and the Banda Oriental
The Regimiento de Granaderos de Fernando VII was a key military unit during the Napoleonic Wars and the early South American independence movements.The
Batallón de Granaderos de Fernando VII (Ferdinand VII Volunteer Grenadiers) of Buenos Aires was a key infantry unit during the final years of the Spanish colonial administration, formed during the intense military reorganization that followed the British Invasions.
On September 11, 1809, Viceroy Santiago de Liniers dictated a provision to reorganize the capital's volunteer forces. This order officially created the battalion by renaming and expanding the previous Batallón de Granaderos del General Liniers.
The unit was under the command of Colonel Juan Florencio Terrada, a native of Buenos Aires who had distinguished himself during the defense of the city against the British in 1806 and 1807. It was composed of six companies and a General Staff (Plana Mayor), which included a colonel and a major (sargento mayor).
The battalion's flag followed the Royal Order of Charles III (1768). It was a "sencilla" (simple) banner with a white background and the red Cross of Burgundy (St. Andrew’s Cross). In each of the four corners, it featured the shield of the city of Buenos Aires, crowned by the Royal Crown of Spain.
Similar to other elite units of the time, they favored a European style that projected prestige and loyalty to King Ferdinand VII, who was then a prisoner of Napoleon. They often wore high bearskin caps (colpacks) or shakos featuring the F-VII monogram.
Despite its name honoring the Spanish King, many of its members and its commander, Terrada, eventually joined the revolutionary cause. Following the May Revolution of 1810, the unit was integrated into the new national army of the United Provinces of the Río de la Plata.
After 1810, the men of this battalion participated in the early campaigns of the Argentine War of Independence, fighting in Upper Peru (modern-day Bolivia) and the Banda Oriental
Grenadier Plate (French Restauration/Louis Philippe Era 1815-1830).
Sapeur (Engineers) Colback Replica.
