19th French Shako or helmet plumet.
Model 1830 French Dragoon Helmet chinstrap.
Model 1830 French Dragoon Helmet Crest.
Bearskin Plate. Restoration of the Monarchy (Louis Philippe).
Second Empire (Gendarmerie Garde Imperiale Napoleon III), Bearskin Plate - Plaque de Bonnet d'Ourson
1st Empire - Grande Armee. Original French fusilier shako model 1812 chinstrap.
2nd Empire - Original French Cuirassier or Dragoon helmet model 1858 chinstrap.
Model 1872 and 1874 Cavalry Helmet (Dragoon & Cuirassier)
The Model 1872 French Dragoon helmet
The Model 1872 French Dragoon helmet was a cornerstone of the Third Republic's cavalry aesthetic, remaining in service until the early stages of World War I.
Made of polished steel (often silvered or nickel-plated for officers) with a leather-lined front peak and rear "lobster tail" neck guard.
A high, ornamental gilded brass comb featuring a Medusa head on the front and laurel leaf or volute decorations on the sides.
A long, falling black horsehair mane (or tail) attached to the rear of the comb. A smaller "marmouset" (red horsehair brush) was often fitted in a socket above the Medusa head.
A brass plate on the front featuring a flaming grenade flanked by laurel branches.
Leather-backed brass chinscales, often worn resting on the peak by convention.
Plumes and Rank Distinctions
Troops: Often featured a small feather plume (red, white, or tricolor) fitted into a brass socket on the left side.
High Officers: Could feature stars (e.g., two silver stars for a Brigadier General) on the forehead plate.
While striking in appearance, the Model 1872 was highly conspicuous. By 1914, the realities of modern warfare led to the introduction of sky-blue cloth covers to hide the glint of the steel and brass from snipers.
Made of polished steel (often silvered or nickel-plated for officers) with a leather-lined front peak and rear "lobster tail" neck guard.
A high, ornamental gilded brass comb featuring a Medusa head on the front and laurel leaf or volute decorations on the sides.
A long, falling black horsehair mane (or tail) attached to the rear of the comb. A smaller "marmouset" (red horsehair brush) was often fitted in a socket above the Medusa head.
A brass plate on the front featuring a flaming grenade flanked by laurel branches.
Leather-backed brass chinscales, often worn resting on the peak by convention.
Plumes and Rank Distinctions
Troops: Often featured a small feather plume (red, white, or tricolor) fitted into a brass socket on the left side.
High Officers: Could feature stars (e.g., two silver stars for a Brigadier General) on the forehead plate.
While striking in appearance, the Model 1872 was highly conspicuous. By 1914, the realities of modern warfare led to the introduction of sky-blue cloth covers to hide the glint of the steel and brass from snipers.
The Model 1874 French Cuirassier helmet
The Model 1874 French Cuirassier helmet was a distinguished piece of heavy cavalry headgear that combined polished steel protection with ornate brass decoration and remained in service through the start of World War I.
The main body of the helmet was made of polished steel, sometimes nickel-plated for officers, and designed to offer protection to the head, with a peak at the front and an extended "lobster tail" neck guard at the back.
It featured a high, ornamental gilded brass comb running from front to back. The front of the comb was decorated with an embossed Medusa head, and the rear attached a long, flowing black horsehair mane.
A brass plate affixed to the front bore an embossed flaming grenade flanked by laurel branches.
The helmet included leather-backed brass chin scales, typically worn resting on the peak of the helmet when not in use.
A brass socket on the left side of the helmet held a feather plume (typically scarlet for all ranks in full dress), while a small red horsehair brush (marmouset) was fitted in a socket above the Medusa head on the comb.
The Model 1874 was virtually identical to the Model 1872 Dragoon helmet, with the key difference being the addition of the red horsehair marmouset on the comb for Cuirassiers. This heavy helmet, along with the cuirass (breastplate), made the French Cuirassiers the last army to ride into action in full armor during the early battles of World War I. The bright metalwork was later covered with khaki fabric to reduce visibility in modern warfare conditions.
The main body of the helmet was made of polished steel, sometimes nickel-plated for officers, and designed to offer protection to the head, with a peak at the front and an extended "lobster tail" neck guard at the back.
It featured a high, ornamental gilded brass comb running from front to back. The front of the comb was decorated with an embossed Medusa head, and the rear attached a long, flowing black horsehair mane.
A brass plate affixed to the front bore an embossed flaming grenade flanked by laurel branches.
The helmet included leather-backed brass chin scales, typically worn resting on the peak of the helmet when not in use.
A brass socket on the left side of the helmet held a feather plume (typically scarlet for all ranks in full dress), while a small red horsehair brush (marmouset) was fitted in a socket above the Medusa head on the comb.
The Model 1874 was virtually identical to the Model 1872 Dragoon helmet, with the key difference being the addition of the red horsehair marmouset on the comb for Cuirassiers. This heavy helmet, along with the cuirass (breastplate), made the French Cuirassiers the last army to ride into action in full armor during the early battles of World War I. The bright metalwork was later covered with khaki fabric to reduce visibility in modern warfare conditions.
Second Empire - Troisième République Bicorn Bicorne Hat. Voltigeur Infantry Unit.
Military and Naval Models
Model 1852 (Army General Officers): This was the standard for high-ranking officials like Marshals and Generals. It featured a black felt body, often high in height, and was heavily decorated with gold bullion oak leaf embroidery around the edges.
Model 1854 (Imperial Navy Officers): Naval bicornes were distinct, often featuring a wide woven silk braid with motifs of anchors and oak leaves. They were typically worn "fore-and-aft" (parallel to the face) to reduce wind resistance on deck.
Model 1852 (Army General Officers): This was the standard for high-ranking officials like Marshals and Generals. It featured a black felt body, often high in height, and was heavily decorated with gold bullion oak leaf embroidery around the edges.
Model 1854 (Imperial Navy Officers): Naval bicornes were distinct, often featuring a wide woven silk braid with motifs of anchors and oak leaves. They were typically worn "fore-and-aft" (parallel to the face) to reduce wind resistance on deck.
In the Second Empire (1852–1870), the Voltigeurs were the "elite light infantry" of the French Army. Every line infantry regiment had one designated Voltigeur company, composed of the shortest, most agile soldiers.
Skirmishing (Tirailleurs). Their main job was to deploy in a loose "skirmish line" ahead of the main battalion. They harassed the enemy with rapid, accurate fire to mask the movements of their own heavier columns.
Scouting and Screen. They acted as the "eyes and ears" of the regiment, performing reconnaissance and screening the flanks against enemy ambushes.
"Leap-Frog" Tactics. The name Voltigeur (from voltiger, "to vault") originated from the Napoleonic concept of infantrymen jumping onto the backs of cavalry horses to be transported rapidly across the battlefield, though by 1850 this was purely ceremonial/traditional.
Urban & Difficult Terrain. They were specialists in fighting in broken ground, forests, and villages where rigid formations were impossible.
Equipment
They carried the same rifled muskets as the line but were often the first to receive newer models (like the Chassepot in 1866). Marked by yellow collars and yellow-and-green epaulettes, distinguishing them from the red of the Grenadiers or the plain blue of the "Center" companies.
Skirmishing (Tirailleurs). Their main job was to deploy in a loose "skirmish line" ahead of the main battalion. They harassed the enemy with rapid, accurate fire to mask the movements of their own heavier columns.
Scouting and Screen. They acted as the "eyes and ears" of the regiment, performing reconnaissance and screening the flanks against enemy ambushes.
"Leap-Frog" Tactics. The name Voltigeur (from voltiger, "to vault") originated from the Napoleonic concept of infantrymen jumping onto the backs of cavalry horses to be transported rapidly across the battlefield, though by 1850 this was purely ceremonial/traditional.
Urban & Difficult Terrain. They were specialists in fighting in broken ground, forests, and villages where rigid formations were impossible.
Equipment
They carried the same rifled muskets as the line but were often the first to receive newer models (like the Chassepot in 1866). Marked by yellow collars and yellow-and-green epaulettes, distinguishing them from the red of the Grenadiers or the plain blue of the "Center" companies.
Model 1872 Navy / Marine Bicorn
The Model 1872 bicorne was introduced following the establishment of the French Third Republic (1870) to standardize the dress of various branches, most notably the Gendarmerie and the Medical Corps. While the bicorne had become strictly ceremonial for most frontline officers, it remained a mandatory part of "Grande Tenue" (full dress).
French Second Empire General Staff - État-major des Places Tenue.
The Role of an Officer of État-major des Places
These officers were responsible for the administration and security of fortified cities and "places fortes" (garrisons). They functioned as the link between the military command and the civil administration of a city.
Unlike the combat infantry, an officer of the État-major des Places spent significant time in public-facing roles. Their uniforms were designed for "prestige," featuring high-quality wool and precise tailoring to command respect from the local populace. These uniforms typically followed the regulations of the Corps de l'État-major (General Staff).
These officers were responsible for the administration and security of fortified cities and "places fortes" (garrisons). They functioned as the link between the military command and the civil administration of a city.
Unlike the combat infantry, an officer of the État-major des Places spent significant time in public-facing roles. Their uniforms were designed for "prestige," featuring high-quality wool and precise tailoring to command respect from the local populace. These uniforms typically followed the regulations of the Corps de l'État-major (General Staff).
In the early 1850s, the French Army was transitioning from the long-tailed habit-veste to the more practical tunic. An État-major des places tunic from this specific window often retains a "long" cut that bridges the gap between the late July Monarchy (1830–1848) and the standard Second Empire Model 1860.
The État-major des places buttons from the Second Empire (1852–1870) and the early Third Republic featured a distinct heraldic design that distinguished staff officers responsible for garrison and fortress management.
Design Characteristics (1850–1872)
The primary feature of these buttons is a sword (glaive) placed vertically over a bundle of flags (faisceau de drapeaux).
The words "ÉTAT-MAJOR DES PLACES" are stamped in a circular fashion around the central design.
Design Characteristics (1850–1872)
The primary feature of these buttons is a sword (glaive) placed vertically over a bundle of flags (faisceau de drapeaux).
The words "ÉTAT-MAJOR DES PLACES" are stamped in a circular fashion around the central design.
An original tunic from 14 Rue Vivienne labeled for an officer of the État-major des Places (the "Staff of Fortified Places") identifies a highly specialized and prestigious branch of the French military administration.
Because this was a staff position rather than a frontline combat role, these officers were expected to maintain an impeccable appearance for ceremonial duties, which explains why the uniform was commissioned from a high-end Tailleur Civil et Militaire in the luxury district of Paris.
"14 Rue Vivienne, Paris – Tailleur Civil et Militaire was on the heart of the Parisian tailoring district during the 19th century. Rue Vivienne was a prestigious address, located near the Palais Royal and the Bourse, and was the center of high-end fashion and commercial galleries like the Galerie Vivienne.
A "Tailleur Civil et Militaire" (Civil and Military Tailor) was a master craftsman capable of producing both structured, formal civilian suits and the highly regulated, complex uniforms of the French Army.
Being at 14 Rue Vivienne placed the tailor within walking distance of government ministries and the fashionable elite, allowing them to serve high-ranking officers who needed custom-made, parade-ready uniforms.
By 1900, this area was home to many "Maisons" that catered to the affluent. A jacket from this address would be of significantly higher quality than standard-issue military gear, typically featuring hand-stitched silk linings, custom brass buttons, and fine wool construction.
Because this was a staff position rather than a frontline combat role, these officers were expected to maintain an impeccable appearance for ceremonial duties, which explains why the uniform was commissioned from a high-end Tailleur Civil et Militaire in the luxury district of Paris.
"14 Rue Vivienne, Paris – Tailleur Civil et Militaire was on the heart of the Parisian tailoring district during the 19th century. Rue Vivienne was a prestigious address, located near the Palais Royal and the Bourse, and was the center of high-end fashion and commercial galleries like the Galerie Vivienne.
A "Tailleur Civil et Militaire" (Civil and Military Tailor) was a master craftsman capable of producing both structured, formal civilian suits and the highly regulated, complex uniforms of the French Army.
Being at 14 Rue Vivienne placed the tailor within walking distance of government ministries and the fashionable elite, allowing them to serve high-ranking officers who needed custom-made, parade-ready uniforms.
By 1900, this area was home to many "Maisons" that catered to the affluent. A jacket from this address would be of significantly higher quality than standard-issue military gear, typically featuring hand-stitched silk linings, custom brass buttons, and fine wool construction.
Rare 8 buttons type 1849 - 1853 Garde Republicaine Gendarmerie Monarchy, Second Empire. (Theater Reissued).
Obert-Régnier Customier Nancy
During the late 19th and early 20th centuries, it was common for prominent "Maisons" (houses) to change names as they were sold or passed down between master costumiers, leading to hyphenated labels that track the business's history
his workshop would have functioned as a Costumier-Tailleur, specifically catering to the military-heavy culture of Nancy. They were masters of "re-issuing" military surplus taking authentic Garde Nationale or regular army tunics and re-tailoring them with theatrical flair.
Nancy was a strategic frontier city with a massive military presence. Labels from this workshop are often found on high-quality Second Empire-style jackets and patriot-themed tunics used in the grand theaters of the Meurthe-et-Moselle region.
During the late 19th and early 20th centuries, it was common for prominent "Maisons" (houses) to change names as they were sold or passed down between master costumiers, leading to hyphenated labels that track the business's history
his workshop would have functioned as a Costumier-Tailleur, specifically catering to the military-heavy culture of Nancy. They were masters of "re-issuing" military surplus taking authentic Garde Nationale or regular army tunics and re-tailoring them with theatrical flair.
Nancy was a strategic frontier city with a massive military presence. Labels from this workshop are often found on high-quality Second Empire-style jackets and patriot-themed tunics used in the grand theaters of the Meurthe-et-Moselle region.
Throughout the 19th and early 20th centuries, French theaters frequently used military-inspired costumes that were either direct reissues of surplus army stock or meticulously crafted copies of historical uniforms. This practice was fueled by the high public visibility of the French military, particularly iconic garments like the pantalon rouge (red trousers), which remained in service from 1867 until 1914.
Surplus and Modification
Authentic 19th-century military jackets were often repurposed for the stage by adding decorative elements like gold metallic ribbon trim, brass buttons, and colored panels to suit specific opera or theater productions.
Theater costumes often mirrored the prestigious "habit-veste" of the Napoleonic era, featuring slim-fitting waists, long tails, and contrasting regimental facings. High-ranking diplomatic or ceremonial dress coats with elaborate gold bullion embroidery were also popular for stage portrayals of the European elite.
The heavy use of military styles in theater and by movie stars helped cement these looks in popular fashion, leading to the public adoption of military-inspired garments like trench coats.
Surplus and Modification
Authentic 19th-century military jackets were often repurposed for the stage by adding decorative elements like gold metallic ribbon trim, brass buttons, and colored panels to suit specific opera or theater productions.
Theater costumes often mirrored the prestigious "habit-veste" of the Napoleonic era, featuring slim-fitting waists, long tails, and contrasting regimental facings. High-ranking diplomatic or ceremonial dress coats with elaborate gold bullion embroidery were also popular for stage portrayals of the European elite.
The heavy use of military styles in theater and by movie stars helped cement these looks in popular fashion, leading to the public adoption of military-inspired garments like trench coats.
The Maison Régnier in Nancy was a prominent theatrical costume workshop and supplier that specialized in the production and reissue of military uniforms for the stage. Nancy, being a major garrison town near the German border, had a constant supply of military surplus and a high public demand for military-themed spectacle, which Régnier leveraged to become a key regional provider.
As Nancy was the headquarters of the 20th Army Corps (the "Iron Corps"), Maison Régnier had access to authentic regimental details and surplus from the local barracks. They provided costumes for the Grand Théâtre de Nancy (now the Opéra National de Lorraine), ensuring that stage portrayals of soldiers met the high standards of accuracy expected by a local audience filled with actual military officers.
Like the major Parisian houses, Régnier functioned as a "costumier-tailleur." They didn't just rent outfits; they manufactured high-quality replicas of Second Empire and Garde Nationale uniforms using professional tailoring techniques that made them indistinguishable from the real ones from a distance.
They were known for acquiring decommissioned uniforms from various militias and national guards. These were often modified shortened, cinched, or adorned with extra gold braid—to transform a standard infantry jacket into a more "theatrical" officer's tunic for operettas and historical dramas.
As Nancy was the headquarters of the 20th Army Corps (the "Iron Corps"), Maison Régnier had access to authentic regimental details and surplus from the local barracks. They provided costumes for the Grand Théâtre de Nancy (now the Opéra National de Lorraine), ensuring that stage portrayals of soldiers met the high standards of accuracy expected by a local audience filled with actual military officers.
Like the major Parisian houses, Régnier functioned as a "costumier-tailleur." They didn't just rent outfits; they manufactured high-quality replicas of Second Empire and Garde Nationale uniforms using professional tailoring techniques that made them indistinguishable from the real ones from a distance.
They were known for acquiring decommissioned uniforms from various militias and national guards. These were often modified shortened, cinched, or adorned with extra gold braid—to transform a standard infantry jacket into a more "theatrical" officer's tunic for operettas and historical dramas.
WWI and Patriotic Propaganda
During World War I, Régnier played a crucial role in Nancy's wartime morale
The workshop outfitted numerous "patriotic revues" that toured the Lorraine region. By reissuing 19th-century pantalon rouge uniforms and older militia gear, they created a visual link between the heroic defenders of 1870 and the "Poilus" of 1914.
Many of the uniforms used in fundraising events for the Red Cross or "les œuvres de guerre" (war charities) in Nancy came from Régnier’s stock, often featuring the specific insignia of local Lorraine regiments to spark regional pride.
The use of military surplus was a practical necessity for French theaters, especially as the army periodically modernized its regulations and unloaded vast quantities of outdated gear. This created a steady pipeline where yesterday’s battlefield attire became today’s stage wardrobe.
When the French military updated uniforms such as the transition away from Napoleonic styles or the later adoption of less "ostentatious" tunics in the late 1800s it authorized the sale of surplus stocks, which flooded the market at a fraction of their original cost.
The Garde Nationale and various local militias provided an even more abundant source of costumes for French theaters than the regular army. Because these units were often self-funded or organized at the municipal level, their uniforms were frequently decommissioned or sold off in bulk during periods of political upheaval, such as after the Franco-Prussian War in 1871.
During World War I, Régnier played a crucial role in Nancy's wartime morale
The workshop outfitted numerous "patriotic revues" that toured the Lorraine region. By reissuing 19th-century pantalon rouge uniforms and older militia gear, they created a visual link between the heroic defenders of 1870 and the "Poilus" of 1914.
Many of the uniforms used in fundraising events for the Red Cross or "les œuvres de guerre" (war charities) in Nancy came from Régnier’s stock, often featuring the specific insignia of local Lorraine regiments to spark regional pride.
The use of military surplus was a practical necessity for French theaters, especially as the army periodically modernized its regulations and unloaded vast quantities of outdated gear. This created a steady pipeline where yesterday’s battlefield attire became today’s stage wardrobe.
When the French military updated uniforms such as the transition away from Napoleonic styles or the later adoption of less "ostentatious" tunics in the late 1800s it authorized the sale of surplus stocks, which flooded the market at a fraction of their original cost.
The Garde Nationale and various local militias provided an even more abundant source of costumes for French theaters than the regular army. Because these units were often self-funded or organized at the municipal level, their uniforms were frequently decommissioned or sold off in bulk during periods of political upheaval, such as after the Franco-Prussian War in 1871.
During the Second Empire (1852–1870) and through the Belle Époque, the distinction between military tailoring and theatrical costuming in France was remarkably thin. Specialized Parisian workshops often held dual roles, producing high-end ceremonial uniforms for the army and lavish, historically inspired costumes for the Opéra de Paris and major theaters.
The "Costumier-Tailleur" Tradition: Prominent costume houses like Maison G. Pascaud and Carpezat employed master tailors who used identical construction techniques for both stage and barracks.
The high-quality wools, gold bullion embroidery, and metallic passementerie (braid trim) required for a general's uniform were the same materials used to outfit stage actors playing historical military figures.
This era saw the crossover of military-style precision into civilian and theatrical dress. Tailors used the same rigorous regimental patterns for the stage to ensure "military bearing" in actors.
The "Costumier-Tailleur" Tradition: Prominent costume houses like Maison G. Pascaud and Carpezat employed master tailors who used identical construction techniques for both stage and barracks.
The high-quality wools, gold bullion embroidery, and metallic passementerie (braid trim) required for a general's uniform were the same materials used to outfit stage actors playing historical military figures.
This era saw the crossover of military-style precision into civilian and theatrical dress. Tailors used the same rigorous regimental patterns for the stage to ensure "military bearing" in actors.
During the Great War (WW1), Parisian stages—from the grand Opéra de Paris to popular music halls like the Folies Bergère became vital engines for the "Union Sacrée" (sacred union). The use of military and militia uniforms shifted from mere historical storytelling to active patriotic propaganda.
The bonnet à poil (bearskin bonnet) is one of the most recognizable icons of French military prestige, particularly associated with the elite Imperial Guard of the First and Second Empires. In the 19th and early 20th centuries, these imposing headpieces transitioned from battlefield symbols of fear to centerpiece props in French theatrical spectacles.
During the build-up to WWI, Parisian theaters used the bearskin bonnet to evoke the "undefeated" spirit of the Napoleonic era. The presence of the bonnet à poil on stage served as a visual shorthand for French military superiority, linking the modern soldier to the legendary grenadiers.
Local militias and the Garde Nationale also wore variations of the bearskin. These were often slightly smaller or less ornate than the Imperial Guard versions, making them more common in provincial theaters like those in Nancy that catered to regional patriotic pride.
Local militias and the Garde Nationale also wore variations of the bearskin. These were often slightly smaller or less ornate than the Imperial Guard versions, making them more common in provincial theaters like those in Nancy that catered to regional patriotic pride.
Antique French Theatre Napoleonic Empire Grenadier Shako Bonnet à poil d'ourson fitted with an original Second Empire (Gendarmerie Garde Imperiale Napoleon III), Bearskin Plate - Plaque de Bonnet d'Ourson.
Model 1872. French 135th Light Infantry - Troisieme Republique
The 135th Line Infantry Regiment (135e Régiment d'Infanterie de Ligne) has a broken history during the period between 1867 and 1871, as it did not exist for the majority of that time. It was essentially a "war-only" unit created in response to the Franco-Prussian War.
Pre-1870.
The regiment was not in service; it had been disbanded decades earlier in 1814 after the fall of Napoleon I.
September 27, 1870
During the Siege of Paris, the 35th March Regiment (35e Régiment de Marche) was created from various depot companies.
October 28, 1870
This unit was officially redesignated as the 135th Line Infantry Regiment.
Post-1871
After the war, the regiment was briefly renamed the 120th Line Infantry Regiment in 1872 before being formally recreated under its own number (135) in late 1873.
Military Actions (1870–1871)
During its brief existence at the end of this period, the regiment was primarily involved in the defense of Paris:
Siege of Paris: It was part of the Corps d'Armée de Saint-Denis.
Combat of Épinay-sur-Seine: On November 30, 1870, the regiment saw action during this battle against Prussian forces.
Semaine Sanglante (1871): Following the armistice with Prussia, the regiment participated in the suppression of the Paris Commune between May 21 and 28, 1871.
Uniform Distinctions
As a line infantry unit formed during the "Republican Phase" of the war, its equipment was often a mix of standard regulation and whatever was available from depots:
Standard Tunic: Based on the Model 1867, featuring a single-breasted front with nine brass buttons for enlisted men.
Regimental Identification: The number "135" would have been worn in madder-red on the front of the kepi and likely on the collar patches.
Trousers: Iconic madder-red (garance) wool trousers, which became synonymous with French soldiers during the 1870 campaign.
Pre-1870.
The regiment was not in service; it had been disbanded decades earlier in 1814 after the fall of Napoleon I.
September 27, 1870
During the Siege of Paris, the 35th March Regiment (35e Régiment de Marche) was created from various depot companies.
October 28, 1870
This unit was officially redesignated as the 135th Line Infantry Regiment.
Post-1871
After the war, the regiment was briefly renamed the 120th Line Infantry Regiment in 1872 before being formally recreated under its own number (135) in late 1873.
Military Actions (1870–1871)
During its brief existence at the end of this period, the regiment was primarily involved in the defense of Paris:
Siege of Paris: It was part of the Corps d'Armée de Saint-Denis.
Combat of Épinay-sur-Seine: On November 30, 1870, the regiment saw action during this battle against Prussian forces.
Semaine Sanglante (1871): Following the armistice with Prussia, the regiment participated in the suppression of the Paris Commune between May 21 and 28, 1871.
Uniform Distinctions
As a line infantry unit formed during the "Republican Phase" of the war, its equipment was often a mix of standard regulation and whatever was available from depots:
Standard Tunic: Based on the Model 1867, featuring a single-breasted front with nine brass buttons for enlisted men.
Regimental Identification: The number "135" would have been worn in madder-red on the front of the kepi and likely on the collar patches.
Trousers: Iconic madder-red (garance) wool trousers, which became synonymous with French soldiers during the 1870 campaign.
Model 1867 and 1872 tunic featuring two rows of seven large buttons (14 in total), is a double-breasted tunic-skirt, two rows of seven large buttons (14 in total) on a dark blue wool base.
The primary difference between the Model 1867 and Model 1872 French tunics lies in their standardization and button configuration following the French defeat in the Franco-Prussian War.The Model 1872 pattern was a deliberate simplification of French military dress following the Franco-Prussian War, and a primary distinction was the removal of daffodil (jonquille) yellow piping that had been a hallmark of the previous Imperial regulations
The primary difference between the Model 1867 and Model 1872 French tunics lies in their standardization and button configuration following the French defeat in the Franco-Prussian War.The Model 1872 pattern was a deliberate simplification of French military dress following the Franco-Prussian War, and a primary distinction was the removal of daffodil (jonquille) yellow piping that had been a hallmark of the previous Imperial regulations
The large brass buttons typically featured the flaming grenade (the symbol of the Infantry).
Circa 1870 Rare French Dolman - Hussards - Artillery - Band
Model 1893 Sapeur Pompier Tunic
The French Model 1893 tunic (Tunique modèle 1893) was introduced after the French defeat in the Franco-Prussian War as part of a universal uniform redesign. It largely retained the visual style of the previous 1867 model but standardized features across almost all army branches.
Model 1872 Dolman French 20th Artillery Regiment
The 20th Artillery Regiment (20e Régiment d’Artillerie) has a significant history spanning from the late Second Empire through World War I, transitioning from a specialized "horse artillery" unit to a primary field artillery regiment.
On April 20, 1872, the unit ceased being exclusively horse artillery and was redesignated as the 20th Artillery Regiment. It was subsequently garrisoned in Rennes (1872) and Poitiers (1874).
Boxer Rebellion (1900–1901): Three batteries were deployed to China to help suppress the Boxer Rebellion, participating in the combats of Che Maen and Tze Ouen.
World War I (1914–1916):
1914: The regiment decimated Prussian Guard units during the Battle of the Saint-Gond Marshes (September 6–8, 1914), effectively halting an advance near Fère-Champenoise.
1916: The regiment earned the "Verdun 1916" battle honor for its critical role in the Battle of Verdun, one of the costliest artillery-driven battles in history.
For its repeated bravery and "thirteen collective citations," the regiment was awarded the Fourragère in the colors of the Croix de Guerre in 1919.
Uniform and Insignia
Between 1872 and 1914, the regiment's appearance evolved with the broader French Army reforms:
The Dolman (1872–c.1884): Artillerymen wore a dark blue wool triple-breasted dolman with red collars, red cuffs, and black frogging/braid. The number "20" would have been prominently displayed on the collar in metal or embroidery.
By the early 20th century, unmounted personnel moved toward standard tunics, while mounted personnel (drivers) retained cavalry-influenced items like breeches and spurs.
The artillery's official colors remained midnight blue and scarlet (red), often seen on trouser stripes and collar patches.
Standard buttons were brass and stamped with the iconic crossed cannons and a flaming grenade.
On April 20, 1872, the unit ceased being exclusively horse artillery and was redesignated as the 20th Artillery Regiment. It was subsequently garrisoned in Rennes (1872) and Poitiers (1874).
Boxer Rebellion (1900–1901): Three batteries were deployed to China to help suppress the Boxer Rebellion, participating in the combats of Che Maen and Tze Ouen.
World War I (1914–1916):
1914: The regiment decimated Prussian Guard units during the Battle of the Saint-Gond Marshes (September 6–8, 1914), effectively halting an advance near Fère-Champenoise.
1916: The regiment earned the "Verdun 1916" battle honor for its critical role in the Battle of Verdun, one of the costliest artillery-driven battles in history.
For its repeated bravery and "thirteen collective citations," the regiment was awarded the Fourragère in the colors of the Croix de Guerre in 1919.
Uniform and Insignia
Between 1872 and 1914, the regiment's appearance evolved with the broader French Army reforms:
The Dolman (1872–c.1884): Artillerymen wore a dark blue wool triple-breasted dolman with red collars, red cuffs, and black frogging/braid. The number "20" would have been prominently displayed on the collar in metal or embroidery.
By the early 20th century, unmounted personnel moved toward standard tunics, while mounted personnel (drivers) retained cavalry-influenced items like breeches and spurs.
The artillery's official colors remained midnight blue and scarlet (red), often seen on trouser stripes and collar patches.
Standard buttons were brass and stamped with the iconic crossed cannons and a flaming grenade.
Meyer (first part is illegible) was the private tailoring and Bourges the city, 1877 the date of manufacturing: Bourges was a major military hub in central France. It was home to a large regional clothing depot (magasin d'habillement) and served as a strategic center for the artillery, housing famous arsenals and training grounds.
Between 1872 and 1884, the 20th Artillery Regiment transitioned through three major generations of field guns as the French Army modernized following the Franco-Prussian War.
The Reffye System: Adopted in 1873, the 85mm Reffye was an interim solution while better designs were tested. It was eventually outclassed by newer steel designs.
The Lahitolle 95mm: Though powerful, this gun was considered too heavy for the active field artillery. By 1878, it was being withdrawn from primary field units and replaced by the lighter de Bange system.
The De Bange 90mm: This became the standard shell of the French Artillery until the introduction of the famous "French 75" in 1897. It provided the 20th Regiment with a modern, reliable breech-loading weapon that defined French artillery for the remainder of the century.
Between 1872 and 1884, the 20th Artillery Regiment transitioned through three major generations of field guns as the French Army modernized following the Franco-Prussian War.
The Reffye System: Adopted in 1873, the 85mm Reffye was an interim solution while better designs were tested. It was eventually outclassed by newer steel designs.
The Lahitolle 95mm: Though powerful, this gun was considered too heavy for the active field artillery. By 1878, it was being withdrawn from primary field units and replaced by the lighter de Bange system.
The De Bange 90mm: This became the standard shell of the French Artillery until the introduction of the famous "French 75" in 1897. It provided the 20th Regiment with a modern, reliable breech-loading weapon that defined French artillery for the remainder of the century.
The artillery version of the 1872 Dolman is distinguished from cavalry versions by its specific color scheme and specialized insignia. The main body is constructed from dark blue (midnight blue) wool cloth.
Unlike infantry tunics, the artillery dolman features a red collar, red cuffs, and red shoulder knots (trèfles).
It is a triple-breasted coat featuring three rows of spherical brass buttons. The central row is functional, while the two outer rows are decorative, typical of the hussar style.
The front is adorned with black wool braid (frogging), usually in nine horizontal rows, which provides a striking contrast against the dark blue cloth.
The brass buttons are often stamped with the crossed cannons and a flaming grenade, the universal symbol of the French Artillery.
Unlike infantry tunics, the artillery dolman features a red collar, red cuffs, and red shoulder knots (trèfles).
It is a triple-breasted coat featuring three rows of spherical brass buttons. The central row is functional, while the two outer rows are decorative, typical of the hussar style.
The front is adorned with black wool braid (frogging), usually in nine horizontal rows, which provides a striking contrast against the dark blue cloth.
The brass buttons are often stamped with the crossed cannons and a flaming grenade, the universal symbol of the French Artillery.
Model 1872 Chasseur a Cheval Tunic
(sky blue) tunics. These were often paired with a wide red woolen sash worn around the waist and red breeches.
French Sword (Superior Officer) - Premier Empire Bourbon Restoration épée
During the Bourbon Restoration (1815-1830), swords were produced with prominent royal symbols, most notably the fleur-de-lis or the full Arms of France on the guard or pommel. When the monarchy was overthrown in the July Revolution of 1830, the new government under Louis Philippe ordered that these royal emblems be removed from existing military equipment to erase the symbols of the prior regime.
The image above shows a "Mirliton" model. It was a conical shako without a visor, surrounded by a cloth band with the colors of the regiment of belonging. This head cover was an emblem of the body of Husares, until the appearance of the Colbac. Adopted and adapted by many armies of the world. It was used by the French Husares during the early days of the Napoleonic Wars. The one in the photo is an old reproduction for theater or cinema, however it is a great example of what this type of shako was.
Bonnet de police model 1855, jacket type Garde de Paris model 1849; Troussers and gaiters circa 1852, sword and dragone.
Model 1830 French Shako (5e 5th Carabinier light Infantry Regiment Monarchy Restoration Era - Monnarchie de Juillet):
The Model 1830 shako was a tall, cylindrical hat, generally constructed with a cardboard body covered in felt (black for line infantry, blue for chasseurs a' pied), and featuring leather components.
As an Elite Carabinier, the shako would typically feature red cords and a red plume (or pompom) to distinguish the wearer from the center companies (chasseurs), who wore green.
As an Elite Carabinier, the shako would typically feature red cords and a red plume (or pompom) to distinguish the wearer from the center companies (chasseurs), who wore green.
In many regiments, especially under the 1815/1816 regulations, expensive brass plates were sometimes replaced by painted insignia directly on the felt or a simple stamped leather/metal symbol to save costs during the reconstruction of the army.
The Symbol: The Grenade was the universal symbol for "Elite" companies (Grenadiers in the Line, Carabiniers in the Light Infantry).
The Symbol: The Grenade was the universal symbol for "Elite" companies (Grenadiers in the Line, Carabiniers in the Light Infantry).
During the Bourbon Restoration (1814–1830) and the July Monarchy (1830–1848), the 5th Light Infantry Regiment (5ème Régiment d'Infanterie Légère) followed strict dress regulations, the painted grenade with the number 5 highlights a specific elite-company variation.
Restoration Era (1815–1830): In this period, cost-saving measures often led to simpler insignia. While official models like the Model 1821 featured brass plates, many units utilized painted or stamped leather symbols. The grenade was the universal symbol for elite troops (Carabiniers), and the number 5 identified the regiment.
July Monarchy (Post-1830): The official Model 1830 shako typically introduced the Gallic Rooster on a metal plate. However, elite companies often retained the grenade symbol or combined it with a hunting horn (the light infantry symbol) on their specific insignia.
Restoration Era (1815–1830): In this period, cost-saving measures often led to simpler insignia. While official models like the Model 1821 featured brass plates, many units utilized painted or stamped leather symbols. The grenade was the universal symbol for elite troops (Carabiniers), and the number 5 identified the regiment.
July Monarchy (Post-1830): The official Model 1830 shako typically introduced the Gallic Rooster on a metal plate. However, elite companies often retained the grenade symbol or combined it with a hunting horn (the light infantry symbol) on their specific insignia.
Between 1830 and 1850, the Carabiniers (elite flank company) of the 5th Light Infantry Regiment (5ème Régiment d'Infanterie Légère) were involved in several significant military and domestic actions during the transition from the Bourbon Restoration to the July Monarchy and the Second Republic.
Conquest of Algeria (1830–1847): The 5th Light Infantry participated extensively in the French colonization of North Africa. As Carabiniers, they were the elite "shock" troops of the regiment, often leading assaults or serving in the most dangerous skirmishing roles. Notable actions in this theater included:
Siege of Constantine (1836–1837): Parts of the regiment were involved in the challenging campaigns to capture this key Algerian stronghold.
Battles against Abd el-Kader: The 5th Light Infantry saw action against the forces of the Algerian resistance leader throughout the 1830s and 1840s.
Belgian Intervention (1832): The regiment took part in the Siege of Antwerp, where French forces intervened to support Belgian independence against the Dutch. The elite Carabiniers were essential in trench warfare and storming fortifications.
Domestic Actions and Revolutions
The July Revolution (1830): At the start of this period, the 5th Light Infantry was stationed in or near Paris. During the "Three Glorious Days," units were forced to choose between the Bourbon King Charles X and the revolutionary forces. Following the victory of the revolution, the regiment transitioned to the service of Louis Philippe I.
Suppression of Uprisings (1830s): Under the July Monarchy, the regiment was frequently deployed to maintain order during frequent republican and worker insurrections, such as the Canut revolts in Lyon (1831 and 1834) and various riots in Paris.
Revolution of 1848: The 5th Light Infantry was again present in Paris during the February Revolution. In June 1848, during the "June Days" uprising, the regiment participated in the bloody suppression of the working-class revolt that followed the closure of the National Workshops.
As Carabiniers, these men were selected for their height and experience. They were the equivalent of "Grenadiers" for the Light Infantry and were expected to "get stuck in where the fighting was the hardest".
Unlike the center companies (chasseurs), Carabiniers were often issued the sabre briquet (a short infantry sword) in addition to their musket, though official regulations sometimes tried to restrict this to save weight.
Conquest of Algeria (1830–1847): The 5th Light Infantry participated extensively in the French colonization of North Africa. As Carabiniers, they were the elite "shock" troops of the regiment, often leading assaults or serving in the most dangerous skirmishing roles. Notable actions in this theater included:
Siege of Constantine (1836–1837): Parts of the regiment were involved in the challenging campaigns to capture this key Algerian stronghold.
Battles against Abd el-Kader: The 5th Light Infantry saw action against the forces of the Algerian resistance leader throughout the 1830s and 1840s.
Belgian Intervention (1832): The regiment took part in the Siege of Antwerp, where French forces intervened to support Belgian independence against the Dutch. The elite Carabiniers were essential in trench warfare and storming fortifications.
Domestic Actions and Revolutions
The July Revolution (1830): At the start of this period, the 5th Light Infantry was stationed in or near Paris. During the "Three Glorious Days," units were forced to choose between the Bourbon King Charles X and the revolutionary forces. Following the victory of the revolution, the regiment transitioned to the service of Louis Philippe I.
Suppression of Uprisings (1830s): Under the July Monarchy, the regiment was frequently deployed to maintain order during frequent republican and worker insurrections, such as the Canut revolts in Lyon (1831 and 1834) and various riots in Paris.
Revolution of 1848: The 5th Light Infantry was again present in Paris during the February Revolution. In June 1848, during the "June Days" uprising, the regiment participated in the bloody suppression of the working-class revolt that followed the closure of the National Workshops.
As Carabiniers, these men were selected for their height and experience. They were the equivalent of "Grenadiers" for the Light Infantry and were expected to "get stuck in where the fighting was the hardest".
Unlike the center companies (chasseurs), Carabiniers were often issued the sabre briquet (a short infantry sword) in addition to their musket, though official regulations sometimes tried to restrict this to save weight.
Model 1837. French NCO Garde Nationale Shako. Louis Philippe Era.
The Model 1837 shako represented a slight evolution of the previous Model 1830 used during the July Monarchy. Official regulations typically prescribed a metal plate featuring the Gallic Rooster.
Usually constructed of a cardboard frame covered in black felt for line infantry or dark blue felt for light infantry.
It stood approximately 19–21 cm tall, often slightly higher at the back than the front to create a forward-leaning appearance.
Featuring a flat black patent leather crown (approx. 19.5 cm diameter) and a quarter-moon shaped black leather visor.
Usually constructed of a cardboard frame covered in black felt for line infantry or dark blue felt for light infantry.
It stood approximately 19–21 cm tall, often slightly higher at the back than the front to create a forward-leaning appearance.
Featuring a flat black patent leather crown (approx. 19.5 cm diameter) and a quarter-moon shaped black leather visor.
Model 1845, French Grenadier Shako.
The French Model 1872 bicorne was a formal dress hat predominantly used by general officers and the Gendarmerie during the Third Republic (1870–1940). By this era, the bicorne had largely transitioned from a common military headgear into an item reserved for high-ranking officials and ceremonial uniforms.
The French Model 1845 shako, used during the latter part of the July Monarchy and into the Second Republic, was the standard infantry headdress, replacing the earlier 1830 and 1837 models. Grenadier companies within regiments were distinguished by specific colored trimmings and a flaming grenade insignia.
The Model 1845 was slightly lower in height than its predecessors and had a slightly bell-topped (conical) shape, designed to be less top-heavy and more stable than earlier cylindrical designs.
It was constructed with a cardboard body covered in black felt or moleskin, a black leather top, and a flat, patent leather visor.
The front typically featured a large metal (brass or silvered copper) plate. While the standard plate for the period often featured the Gallic Rooster emblem (a symbol of the July Monarchy), this could be replaced by unit-specific symbols.
For Grenadiers, the main identifying feature was a flaming grenade symbol. This badge appeared on the chin scales' bosses and sometimes replaced the central emblem on the front plate.
Grenadier units were traditionally associated with red accents. This included:
Red wool pompom or plume inserted into a socket on the top.
Red cords (raquettes) worn around the shako, often draped around the back and sides.
A band of red wool lace or a colored band around the top circumference.
Chin Scales. Articulated metal chin scales (brass for line infantry, sometimes silvered for officers) were attached to the sides. The bosses on the side often incorporated the small flaming grenade symbol for grenadiers.
The Model 1845 remained in use for some time, eventually being modified in 1848 with the removal of royal symbols and later replaced by updated models.
The French Model 1845 shako, used during the latter part of the July Monarchy and into the Second Republic, was the standard infantry headdress, replacing the earlier 1830 and 1837 models. Grenadier companies within regiments were distinguished by specific colored trimmings and a flaming grenade insignia.
The Model 1845 was slightly lower in height than its predecessors and had a slightly bell-topped (conical) shape, designed to be less top-heavy and more stable than earlier cylindrical designs.
It was constructed with a cardboard body covered in black felt or moleskin, a black leather top, and a flat, patent leather visor.
The front typically featured a large metal (brass or silvered copper) plate. While the standard plate for the period often featured the Gallic Rooster emblem (a symbol of the July Monarchy), this could be replaced by unit-specific symbols.
For Grenadiers, the main identifying feature was a flaming grenade symbol. This badge appeared on the chin scales' bosses and sometimes replaced the central emblem on the front plate.
Grenadier units were traditionally associated with red accents. This included:
Red wool pompom or plume inserted into a socket on the top.
Red cords (raquettes) worn around the shako, often draped around the back and sides.
A band of red wool lace or a colored band around the top circumference.
Chin Scales. Articulated metal chin scales (brass for line infantry, sometimes silvered for officers) were attached to the sides. The bosses on the side often incorporated the small flaming grenade symbol for grenadiers.
The Model 1845 remained in use for some time, eventually being modified in 1848 with the removal of royal symbols and later replaced by updated models.
Model 1850, French Kepi (Algeria, Crimean War, Italian War of Independence, Intervention in Mexico, French Prussian War).
French Model 1850 Kepi marks a critical turning point where the informal, lightweight headgear used in North Africa was officially adopted for service in mainland France. It served as the transition between the rigid, tall shako and the softer, more practical caps that became famous during the Second Empire and the Crimean War.
The Model 1850 was essentially a "formalized" version of the casquette d'Afrique. Unlike the tall, stiff shakos of the 1830s, the 1850 model was lower and softer in construction.
It featured a broad, square-shaped leather visor known as the bec de canard ("duck bill").
High-ranking officers, such as Brigade Generals, wore kepis with elaborate gold embroidery, often featuring oak leaf motifs and triple gold cords on the crown.
The Model 1850 was essentially a "formalized" version of the casquette d'Afrique. Unlike the tall, stiff shakos of the 1830s, the 1850 model was lower and softer in construction.
It featured a broad, square-shaped leather visor known as the bec de canard ("duck bill").
High-ranking officers, such as Brigade Generals, wore kepis with elaborate gold embroidery, often featuring oak leaf motifs and triple gold cords on the crown.
Model 1872, French Infantry Shako.
The Model 1872 French Infantry Shako was a key piece of headgear for the French Third Republic, introduced following the Franco-Prussian War to modernize and simplify military dress.
The body was typically made of cardboard or pressed felt covered with a thin layer of black wool.
It featured a flat, rigid top, often made of black painted leather or wool.
A distinctive yellow worsted wool band was placed at the top for standard infantry. For officers, this band was replaced with gold or silver bullion tape to indicate rank.
The front featured a stamped brass insignia, most commonly a hunting horn (cor de chasse) for light infantry or Chasseurs, sometimes with a regimental number or letter applied.
It had a rigid, raw-edge leather visor and a thin black leather chin strap, often secured by buttons featuring the French eagle or other regimental symbols.
The Model 1872 represented a shift toward more practical, lightweight headwear compared to the heavy, ornate shakos of the First and Second Empires. While the kepi became the primary field headgear, the shako remained the standard for full dress (grande tenue) and parade ceremonies until the late 19th century.
The body was typically made of cardboard or pressed felt covered with a thin layer of black wool.
It featured a flat, rigid top, often made of black painted leather or wool.
A distinctive yellow worsted wool band was placed at the top for standard infantry. For officers, this band was replaced with gold or silver bullion tape to indicate rank.
The front featured a stamped brass insignia, most commonly a hunting horn (cor de chasse) for light infantry or Chasseurs, sometimes with a regimental number or letter applied.
It had a rigid, raw-edge leather visor and a thin black leather chin strap, often secured by buttons featuring the French eagle or other regimental symbols.
The Model 1872 represented a shift toward more practical, lightweight headwear compared to the heavy, ornate shakos of the First and Second Empires. While the kepi became the primary field headgear, the shako remained the standard for full dress (grande tenue) and parade ceremonies until the late 19th century.
Colonial Model 1872, Chasseur d'Afrique shako.
The Colonial Model 1872 Chasseur d'Afrique shako was a variation of the metropolitan French light cavalry shako, distinguished by its unique color scheme and specific covers used for service in North Africa.
Grenadier Collar Col Tunique Modele 1860s.
Some Modern Replicas
French Dragon helmet. M 1874 replica.
French Grenadier Shako Napoleon I Empire, M 1812. (Replica)
Imperial Guard. Grenadier Bearskin and Hussar Colback Shako. Replicas.
Rare French shako kepi. Second Empire Style. (Replica).
Napoleonic bicorne or bicorn. Replica.
