By smacdowall, Aug 2 2020 05:34PM
Decades ago, when my eyes were better and my hands steadier, I painted Edward III King of England and herald (Essex miniatures). I am still rather proud of the job I managed on the surcoats, caparisons and trumpet banner.
Knowing just how many fleur-de-lys I would have to paint, I have been putting off painting Edward’s opponent — Philip VI Valois, King of France. In many ways my painting style has improved over the years, but not the ability or patience to execute repetitive finely detailed designs.
I toyed with the idea of transfers. Battle Flag has a transfer set for King Philip’s shield, surcoat and barding to fit a First Corps miniature. I decided to try it out but I did not get on well with it. To my eye the transfers just don’t look right. They are far too pristine and look like the machine created designs that they are.
So it was back to hand painting using the transfers as a guide.
I am rather pleased with the result.
I took my time, painting only as many fleurs-de-lys as I could handle in a single siting. In this way I took several days to paint the horse caparison, doing one side first and then the other. The tedium of the job was not helped by the fact that it is almost impossible to paint a yellow design directly on blue and have it look good. Therefore I first painted all the fleurs-de-lys in white then came back the following day to overpaint them in yellow. Painting just for an hour or two each day, doing only a few designs at a time, took all the tedium out of the job.
Accompanying the king are (from right to left, their perspective): Bernard seigneur de Moreuil (Front Rank), Louis de Montmorency sieur de Laval (Perry),
Miles VIII sieur de Noyers carrying the Oriflamme (Perry),
King Philip VI (First Corps), his herald (Crusader)
and Guillaume de Martel (Front Rank) whose descendant and namesake also fought at Agincourt.
Keen medievalists will note that the Perry figures are a bit ahead of their time when it comes to fashion. This is because they are designed for the Agincourt period when plate armour had become more complete.
I decided some time ago not to worry too much about this as they are such lovely miniatures. I find that one or two in early 1400’s armour does not jar too much, especially if I stick to models with surcoats.
The figure I have painted up as Louis de Montmorency was designed by the Perrys to represent the comte de Fauquembergues at Agincourt and rather annoyingly has his coat of arms cast in relief on the surcoat.
Fortunately Montmorency had the same design of a cross with scallops, just in different colours with the addition of four eagles in the quadrants.