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The Recruit, 1830 circa (oil on canvas)
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The Recruit, 1830 circa (oil on canvas)
5919848 The Recruit, 1830 circa (oil on canvas) by Liverseege, Henry (1803-32); National Army Museum, London; (add.info.: The Recruit, 1830 circa.
Oil on canvas by Henry Liverseege (1803-1832), 1830 circa.
In the interior of an inn, a bemused young man sits between his lady friend and a recruiting sergeant and his companion. He looks out of the painting, as if inviting the viewer to assist him in his decision between military and civilian life, although perhaps he is already too intoxicated to care. To the right, in another room, a disabled veteran sits alone. He still wears uniform, either because he cannot afford civilian clothing, or because the sight of limbless veterans in uniform could inspire charity. In contrast to the image of military life no doubt presented by the proud and smartly dressed recruiting sergeants, this was the reality for many soldiers after their discharge from the Army.
In 1858, J R Godley, Assistant Under-Secretary of State for War, wrote,
A no thoughtful man can have observed the scenes that take place daily and nightly at the taverns frequented by our recruiting staff A...without feeling shame and disgust that such proceedings should form part of the recognised machinery of the British Military Service.
Drunkenness and poverty were the principle reasons for enlistment in the nineteenth century. Inns were a common location for recruiting sergeants to coerce potential recruits into joining up. Many a drunken man accepted the QueenAs shilling, only to regret it once sober. Recruiting parties had the inducement of a fee for each man they enlisted, while cash bounties, which were sometimes as much as three pounds, were used to tempt civilians to join the colours.); eNational Army Museum; English, out of copyright
Media ID 22763210
© National Army Museum / Bridgeman Images
Disability Recruit Recruiting Recruitment Tavern Veteran
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The Recruit, 1830 circa
EDITORS COMMENTS
is a captivating oil painting by Henry Liverseege that offers a glimpse into the harsh realities of military life in the early 19th century. The scene takes place inside an inn, where a bewildered young man finds himself torn between two worlds: his lady friend on one side and a persuasive recruiting sergeant on the other. With a gaze that seems to implore the viewer for guidance, it becomes evident that this decision holds great significance for him. In stark contrast to the polished image presented by the recruiters, another room reveals a disabled veteran sitting alone. Still wearing his uniform, he serves as a poignant reminder of what awaits those who choose military service. This portrayal sheds light on the grim aftermath faced by many soldiers upon their discharge from duty – poverty and despair. The painting also highlights some unsavory practices employed by recruiting sergeants during this era. Drunkenness and destitution were common reasons why individuals enlisted in the army, with inns often serving as hunting grounds for these recruiters seeking vulnerable targets. Many men would accept "the Queen's shilling" while under intoxication only to regret their decision later. Through Liverseege's masterful brushwork and attention to detail, "The Recruit" invites contemplation about societal attitudes towards military service at that time. It prompts us to reflect upon our own perceptions of duty and sacrifice while reminding us of the hardships endured by those who answered their country's call.
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