Lalumia, Matthew Paul. – "Lady Elizabeth Thompson Butler in the 1870s". – Woman's Art Journal. – Vol. 4, No. 1, Spring–Summer 1983, pp.9–14 In 1815, on the vast battlefield of Waterloo, an iconic moment unfolded that would be immortalised in history and art. It was here that Elizabeth Thompson, a talented British artist, captured the essence of courage and patriotism in her masterpiece “Scotland Forever!” The painting portrayed the stirring charge of the Royal Scots Greys, a gallant British cavalry regiment, alongside their heavy cavalry comrades, as they prepared to face the chaos and uncertainty of war. The title itself, “Scotland Forever!”, derived from the resounding battle cry of the soldiers, who with hearts ablaze, shouted, “Now, my boys, Scotland forever!” before plunging fearlessly into the fray. Thompson’s artistic brilliance lay not only in her ability to depict the battle’s onset but also in her keen observations of charging horses. Interestingly enough, having never experienced a real battle, she drew inspiration from watching her husband’s regiment during their training manoeuvres. Why did the fame of “Scotland Forever!” reach far and wide, crossing national boundaries? And is it historically accurate? The Battle of Waterloo and its Significance Elizabeth Southerden Thompson (1846 – 1933) was a British painter, who specialized in painting scenes from British military campaigns and battles. To the Front: French Cavalry Leaving a Breton City on the Declaration of War (1888–89 – Private Collection) On her husband's retirement from the army, she moved with him to Ireland, where they lived at Bansha Castle, County Tipperary. She showed pictures at the Royal Hibernian Academy from 1892. Among the paintings that she took with her to County Tipperary was a set of water-colours that she had painted while with her husband in Palestine. During the Irish Civil War they were transferred to her daughter in Gormanston Castle for safekeeping, but were almost all destroyed later by German bombs in London during the Second World War.

Later again, they were moved to London. Ironically most of them were destroyed during the WWII German Blitz of London. On her husband’s retirement from the army, they moved to County Tipperary, Ireland. During the Irish Civil War, a collection of watercolors she had created from their time in Palestine was moved for safekeeping. He was referring to an episode early on in the battle, when the north gate of the chateau that formed the key defensive position on his right flank was forced shut after having been breached by the French. Had Napoleon’s troops taken the chateau, they would have dominated the flank and would simply have rolled up Wellington’s army.

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During the First World War both the Germans and the British used this image in their propaganda material. Lady Butler was one of Britain’s leading history painters – and she specialised in battles. In 1880, she painted The Defence of Rorke’s Drift during the Zulu war. She was not uncritical of either empire or war. Her painting Remnants of an Army depicts the last survivor of the British retreat from Kabul in 1842. Born at the Villa Claremont in Lausanne, Switzerland, Butler was the daughter of Thomas James Thompson (1812–1881) and his second wife, Christiana Weller (1825–1910). Her sister was the noted essayist and poet Alice Meynell. Elizabeth began receiving art instruction in 1862, while growing up in Italy. In 1866, she entered the Female School of Art in South Kensington in London. She began exhibiting her artwork, usually watercolours, as a student. In 1867, one watercolour, Bavarian Artillery Going into Action, was shown at the Dudley Gallery, one of the galleries preferred by women artists. The same year, she exhibited an oil painting, Horses in Sunshine, at the Society of Female Artists. Scotland Forever! is an 1881 oil painting by Lady Butler depicting the start of the charge of the Royal Scots Greys, a British cavalry regiment that charged alongside the British heavy cavalry at the Battle of Waterloo in 1815. The painting has been reproduced many times and is considered an iconic representation of the battle itself, and of heroism more generally. Congress protests against Khushbu Sundar’s ‘cheri language’ remark; ‘shows how much you respect women’, says BJP leader

Rohit Bal is ‘critical, on ventilator’, says treating doctor: ‘He has a heart condition and some infection’ Manipur violence: Prohibit civil society organisations from ‘interfering’ with compensation process, says SC panel Her fame increased as the paintings toured Europe, along with photographs of Elizabeth. She gained even more notice because people found out that she was both young and pretty, something normally not associated with painters of battle scenes. It also helped that during this time, there was a huge swell of Victorian pride and romanticism for the growing British Empire. [2] [3] [4] While Lady Butler's topics reflected such romanticism, her paintings were generally realistic in detail, with aspects such as confusion, mud and exhaustion being accurately portrayed. Her works tend to focus on British troops shown in action, or shortly after it, but avoiding scenes of hand-to-hand combat. The troops are often shown as their opponents might have seen them, but relatively few of the opponents themselves are shown. Elizabeth Thompson, Lady Butler, Calling the Roll After An Engagement, Crimea (1874; Royal Collection)The title comes from the battle cry of the soldiers who called “Now, my boys, Scotland forever!” as they charged. Butler had never observed a battle; however, she did watch her husband’s regiment during training maneuver, and she positioned herself in front of charging horses to study their movement. Irish Arts Review. – "The Royal Scottish Academy Exhibitors 1826–1990". – Volume 4 Number 4: Winter 1987. (Calne 1991) The painting was exhibited at the Egyptian Hall in Piccadilly in 1881. Tzar Nicholas II of Russia and Kaiser Wilhelm II of Germany both received copies and later during the First World War both the British and the Germans used the image in their propaganda material, with the Scots Greys transformed into Prussian cavalry by the Germans. Calling the Roll After An Engagement, Crimea, better known as The Roll Call, is an 1874 oil-on-canvas painting by Elizabeth Thompson, Lady Butler. It became one of the most celebrated British paintings of the 19th century, but later fell out of critical favour [ citation needed]. Harrington, Peter. (1993). – British Artists and War: The Face of Battle in Paintings and Prints, 1700–1914. – London: Greenhill. – ISBN 1-85367-157-6

Uddhav calls Shinde ‘useless to run govt’ as CM goes to Telangana to campaign for BJP when farmers face crop loss What we are looking at is the corner of an infantry square. This strange looking arrangement was considered the best way for men on foot to defend themselves against much speedier, heavier cavalry. The idea was to form an impregnable perimeter with four sides. The front ranks would kneel and plant their bayonet capped muskets like spears towards the enemy while those behind them would fire. Rigid discipline and granite nerves were required for this configuration to do its work. If anyone lost their resolve or hesitated, it could easily allow a gap to open in the wall. Experienced cavalry would be through that in the blink of an eye. Whenever a square was opened in this way, it had been curtains for almost everyone involved. Napoleon abdicated four days later, and coalition forces entered Paris. The defeat at Waterloo ended Napoleon’s rule as Emperor of the French and marked the end of his Hundred Days return from exile. This battle ended the First French Empire. Scotland Forever! Lady Butler was widowed in 1910, but continued to live at Bansha until 1922, when she took up residence with the youngest of her six children, Eileen, Viscountess Gormanston, at Gormanston Castle, County Meath. She died there shortly before her 87th birthday and was interred at nearby Stamullen graveyard. [2] [3] [4] For military historians, the painting does have some minor historical inaccuracies. The horses which dominate the picture are heavy grey mounts that were used by the regiment through most of its history until mechanization.The painting has highly popular and was reproduced many times and is considered an iconic representation of the battle itself and heroism more generally. At a time when Scotland seems on a road that leads ultimately out of the union, it’s worth remembering that Waterloo did much to create the British patriotism that is now disintegrating. “Scotland Forever!” was these riders’ battle cry, but they were not calling for independence. Rather they were proudly articulating a Scottish identity within the British army. Their courage at Waterloo helped seal the image of Scottish military toughness within the mythology of the British Empire. Lady Butler painted Scotland Forever! in 1881, at the height of empire. The connection between kilts and courage would be a cliche of British imperialism right through to the 1968 film Carry On Up the Khyber. James Macdonell, a colonel of the Coldstream Guards, had been put in command of Hougoumont by the Duke. His 200 men of the light companies of both the Coldstream and the Scots Guards were charged with holding the buildings and gardens of the chateau. From 11.30 on the morning of 18 June until the close of the battle that evening, the Guards, together with their Dutch and German allies, defended the chateau. Most crucially, when a French assault party managed to force open the north gate into the courtyard, it was Macdonell and seven of his men who through sheer brute strength managed to shut it again.