Hospitaller Sergeant by Pegaso
The Hospitaller orders origins are shrouded in mystery. Early writings tie their beginnings to a group of Jewish priests, made to build a Hospice for the sick and dying after their desecration of the tomb of King David. Another theory is that they were founded by a group of merchants, granted lands in Jerusalem.
The military order we know, became active around 1160, being involved in political and tactical advisory roles to the hierarchy of the Holy land. By the time of the Muslim incursions the Hospitallers had become involved in all the major military actions in the Holy land.
When in 1291 Acre finally fell, the Hospitallers became refugees. Fleeing to Cyprus the order attacked Rhodes with the intention of making it there permanent home. By 1542 the Hospitallers were forced to flee once again, when Rhodes was captured by the Turks. Moving on to Malta (many of the fortification seen today are of Hospitaller origin), the Order made a new Home, until expelled by Napoleon in 1798.
I have always had a soft spot in my heart for the island of Malta. During my early 20s I spent a much extended holiday there, and was amazed at the rich history of the Island. An interesting part of the history being the occupation of the Island by the Hospitallers or knights of Malta . My interest was re-ignited during the research for my last medieval figure, Soldiers Knight Templer. Many of the Templers battles were fought alongside the Hospitaller, so I thought it would be interesting to do a companion article on the Hospitallers. I really enjoy painting Black but was very disappointed to discover that at this time period the Hospitaller Knights wore Red, which is a colour very difficult to paint. After a discussion on the internet I discovered that Hospitaller Sergeants at this time wore Black or Brown. A colour much easier to paint than Red. A word here on research, last year I discovered a forum on the internet called Medrom WWW.Delphiforums.com, then use the search facility to find Medrom. This is a community of figure painters, offering historical expertise from Roman to Medieval times. Special thanks to Ivan Cocker and Jon Sneddon for all there help with the colours and cross shape. If you have internet access and if these time periods are of interest to you give it a go.
Face Mixes
Undercoat-50/50 mix of acrylic Yellow Ochre+Yellow
Basecoat-Oil colour Venetian Red+Ochre+Cadmium Yellow
First Highlight-Basecoat+Naples Yellow+Titanium White
First Shadow-Venetian Red
Second Highlight-First highlight+Titanium White
Deepest Shadow-Lamp Black
Final Highlight-Titanium White
First I painted on an Andrea acrylic mix of Yellow and Yellow Ochre. This is a 50/50 mix and is applied in heavily diluted washes. When dry an oil base coat was applied, this consisted of an equal mix of Venetian Red, Ochre and Cadmium Yellow. I diluted this mix using Daler and Rowney turpentine.
Next the first highlight was applied, this was the base colour plus Naples yellow and Titanium white. When this was finished I began painting the shadows in, for this I used Venetian Red straight from the tube. Because the Hospitaller is wearing a large helm, black was employed under the chin and in the gap between the face and the mail coif. This gives great depth to the face and makes it stand out. Another lighter highlight was then painted on. The mix for this was the same as the first highlight only with more Titanium white added. I always paint the eyes after the main face painting has been completed, to do this I used Venetian Red to paint in each of the eye sockets. Then the second highlight was used to paint an oval shape over the Venetian Red, being careful to leave a very thin red line around the oval. Semicircles of Brown acrylic were then painted on to the eyes and a catch light added. When the paint had had at least one week drying time I gave the whole face a wash of heavily thinned licquin, this gives the face a very slight sheen which adds life to the skin.
Hair
Basecoat-Naples Yellow
Shadow-Sepia
Highlight-Naples Yellow
Because I felt the forehead on this figure was a little high, oil paint was employed to suggest hair. Firstly I painted Naples yellow on the forehead areas, making sure to make little tufts and furrows leaving the paint as uneven as possible. Oil paint undiluted has a margarine like texture that holds a pattern well. After ample drying time, a week in this case. A Sepia oil paint wash was used to shade the hair. If the wash is the right consistency it will lay in the furrows on the paint giving the impression of depth. When finished the tousled hair accentuates the unkempt look that I tried to achieve with this figure.
Hauberk
Shadow-Sepia
Highlight-Silver acrylic
As usual I choose to use no undercoat for the Hauberk. My method involves the use of several washes of well diluted Sepia oil paint. These are gradually built up until the mail becomes a very dark metallic grey. When dry a little silver acrylic was painted on in places subject to high wear and tear. And a rust coloured oil mix (Burnt Umber and Venetian Red) was used very sparingly to depict rust in suitable areas.
Gambeson and Shield Face
Undercoat-Acrylic Confederate Grey
Basecoat-Naples Yellow+Lamp Black
Highlights-Naples Yellow+Lamp Black
Shadow-Lamp Black
My mind was set on a rather worn appearance for the Hospitaller Sergeant, and to try and depict a woollen texture in miniature. So I began by painting the Gambeson with an acrylic undercoat of Andrea Confederate Grey. Then I painted on a Basecoat of Naples Yellow+ Lamp Black oil paint, this is a 70/30 % mix. After giving this time to set (about 30mins) I started painting in the shadows using heavily thinned Lamp Black. Gradually building the shadows up until the Gambeson looked like Black. For highlighting the Gambeson I used the Grey base coat. This was used mainly around the shoulder areas. The woollen fabric look was achieved by randomly painting dots of the basecoat colour onto the Gambeson. When painting the shield I used the same techniques as the Gambeson, but this time I used Naples Yellow after the shading process which gives the shield that dusty look.
The Cross
Undercoat-Acrylic White
Basecoat-Sepia
Highlight-Titanium White
The Hospitaller cross was first sketched out on the figure using a White acrylic. When dry a Sepia oil base coat was painted on, I then began to highlight the Cross using Titanium White until a dirty white had been achieved. When dry a very thin line of Black was painted along the undersides of the cross. The other Cross on the shield was painted in exactly the same way as the one on the Gambeson. All highlights and shadows on the crosses were painted wet on wet.
Cuir-Bouilli armour, Leather Belt, Gloves and Scabbard
Undercoat-Acrylic Ochre
Basecoat-Lamp Black+Venetian Red
Highlight-Naples Yellow
Because I had aimed for a lived in look for the Hospitaller, I sought to reproduce a heavily worn appearance on the leather. As usual for my leather technique an acrylic Ochre undercoat was painted on to the leather areas. Then the oil basecoat was applied, I then began to stipple the basecoat with an old brush. This gives the leather the dotty worn look. All highlights are Naples yellow and are painted wet on wet. To add interest to the figure I decided on different shades for all the different leather items. This was achieved by darkening the basecoat with more Lamp Black, and using more Naples yellow as a highlight. When the leather had totally dried dots and dashes of acrylic Yellow ochre were painted randomly on the belt and cuir-bouilli areas to reinforce the worn look. This was not repeated on the gloves and scabbard because I wanted to recreate a suede leather look. By the way, cuir-bouilli is a technique for hardening leather by boiling. In this case the arm and lower leg protection.
Mace and Helm
I painted all steel areas using a Lamp Black wash painted straight onto bare metal. Areas of the Mace and Helm such as the blades which are subject to heavy wear and tear were highlighted with Silver acrylic. Yellow metals are treated in the same way accept a Gold undercoat and highlight were used instead of Silver. The handle of the mace was undercoated with Acrylic Ochre then washes of Lamp Black oil paint were flowed on to accentuate the detail on the handle grip. All metal areas were then given a coat of thinned licquin.
Groundwork
The groundwork is straight from the box and offers a detailed and secure base for the figure. After undercoating in Grey acrylic paint, washes of Burnt umber and Sepia oil paint were used in washes to create a stone look.
Conclusion
Once again another stunner from Pegaso, lots to paint and lots of conversion potential. The figure is marketed as a Templer, but its up to you. I took this figure down to Euro Militaire 2003 and was honoured to receive a Silver medal for him in class 1, a splendid result for me and him.
The Hospitaller orders origins are shrouded in mystery. Early writings tie their beginnings to a group of Jewish priests, made to build a Hospice for the sick and dying after their desecration of the tomb of King David. Another theory is that they were founded by a group of merchants, granted lands in Jerusalem.
The military order we know, became active around 1160, being involved in political and tactical advisory roles to the hierarchy of the Holy land. By the time of the Muslim incursions the Hospitallers had become involved in all the major military actions in the Holy land.
When in 1291 Acre finally fell, the Hospitallers became refugees. Fleeing to Cyprus the order attacked Rhodes with the intention of making it there permanent home. By 1542 the Hospitallers were forced to flee once again, when Rhodes was captured by the Turks. Moving on to Malta (many of the fortification seen today are of Hospitaller origin), the Order made a new Home, until expelled by Napoleon in 1798.
I have always had a soft spot in my heart for the island of Malta. During my early 20s I spent a much extended holiday there, and was amazed at the rich history of the Island. An interesting part of the history being the occupation of the Island by the Hospitallers or knights of Malta . My interest was re-ignited during the research for my last medieval figure, Soldiers Knight Templer. Many of the Templers battles were fought alongside the Hospitaller, so I thought it would be interesting to do a companion article on the Hospitallers. I really enjoy painting Black but was very disappointed to discover that at this time period the Hospitaller Knights wore Red, which is a colour very difficult to paint. After a discussion on the internet I discovered that Hospitaller Sergeants at this time wore Black or Brown. A colour much easier to paint than Red. A word here on research, last year I discovered a forum on the internet called Medrom WWW.Delphiforums.com, then use the search facility to find Medrom. This is a community of figure painters, offering historical expertise from Roman to Medieval times. Special thanks to Ivan Cocker and Jon Sneddon for all there help with the colours and cross shape. If you have internet access and if these time periods are of interest to you give it a go.
Face Mixes
Undercoat-50/50 mix of acrylic Yellow Ochre+Yellow
Basecoat-Oil colour Venetian Red+Ochre+Cadmium Yellow
First Highlight-Basecoat+Naples Yellow+Titanium White
First Shadow-Venetian Red
Second Highlight-First highlight+Titanium White
Deepest Shadow-Lamp Black
Final Highlight-Titanium White
First I painted on an Andrea acrylic mix of Yellow and Yellow Ochre. This is a 50/50 mix and is applied in heavily diluted washes. When dry an oil base coat was applied, this consisted of an equal mix of Venetian Red, Ochre and Cadmium Yellow. I diluted this mix using Daler and Rowney turpentine.
Next the first highlight was applied, this was the base colour plus Naples yellow and Titanium white. When this was finished I began painting the shadows in, for this I used Venetian Red straight from the tube. Because the Hospitaller is wearing a large helm, black was employed under the chin and in the gap between the face and the mail coif. This gives great depth to the face and makes it stand out. Another lighter highlight was then painted on. The mix for this was the same as the first highlight only with more Titanium white added. I always paint the eyes after the main face painting has been completed, to do this I used Venetian Red to paint in each of the eye sockets. Then the second highlight was used to paint an oval shape over the Venetian Red, being careful to leave a very thin red line around the oval. Semicircles of Brown acrylic were then painted on to the eyes and a catch light added. When the paint had had at least one week drying time I gave the whole face a wash of heavily thinned licquin, this gives the face a very slight sheen which adds life to the skin.
Hair
Basecoat-Naples Yellow
Shadow-Sepia
Highlight-Naples Yellow
Because I felt the forehead on this figure was a little high, oil paint was employed to suggest hair. Firstly I painted Naples yellow on the forehead areas, making sure to make little tufts and furrows leaving the paint as uneven as possible. Oil paint undiluted has a margarine like texture that holds a pattern well. After ample drying time, a week in this case. A Sepia oil paint wash was used to shade the hair. If the wash is the right consistency it will lay in the furrows on the paint giving the impression of depth. When finished the tousled hair accentuates the unkempt look that I tried to achieve with this figure.
Hauberk
Shadow-Sepia
Highlight-Silver acrylic
As usual I choose to use no undercoat for the Hauberk. My method involves the use of several washes of well diluted Sepia oil paint. These are gradually built up until the mail becomes a very dark metallic grey. When dry a little silver acrylic was painted on in places subject to high wear and tear. And a rust coloured oil mix (Burnt Umber and Venetian Red) was used very sparingly to depict rust in suitable areas.
Gambeson and Shield Face
Undercoat-Acrylic Confederate Grey
Basecoat-Naples Yellow+Lamp Black
Highlights-Naples Yellow+Lamp Black
Shadow-Lamp Black
My mind was set on a rather worn appearance for the Hospitaller Sergeant, and to try and depict a woollen texture in miniature. So I began by painting the Gambeson with an acrylic undercoat of Andrea Confederate Grey. Then I painted on a Basecoat of Naples Yellow+ Lamp Black oil paint, this is a 70/30 % mix. After giving this time to set (about 30mins) I started painting in the shadows using heavily thinned Lamp Black. Gradually building the shadows up until the Gambeson looked like Black. For highlighting the Gambeson I used the Grey base coat. This was used mainly around the shoulder areas. The woollen fabric look was achieved by randomly painting dots of the basecoat colour onto the Gambeson. When painting the shield I used the same techniques as the Gambeson, but this time I used Naples Yellow after the shading process which gives the shield that dusty look.
The Cross
Undercoat-Acrylic White
Basecoat-Sepia
Highlight-Titanium White
The Hospitaller cross was first sketched out on the figure using a White acrylic. When dry a Sepia oil base coat was painted on, I then began to highlight the Cross using Titanium White until a dirty white had been achieved. When dry a very thin line of Black was painted along the undersides of the cross. The other Cross on the shield was painted in exactly the same way as the one on the Gambeson. All highlights and shadows on the crosses were painted wet on wet.
Cuir-Bouilli armour, Leather Belt, Gloves and Scabbard
Undercoat-Acrylic Ochre
Basecoat-Lamp Black+Venetian Red
Highlight-Naples Yellow
Because I had aimed for a lived in look for the Hospitaller, I sought to reproduce a heavily worn appearance on the leather. As usual for my leather technique an acrylic Ochre undercoat was painted on to the leather areas. Then the oil basecoat was applied, I then began to stipple the basecoat with an old brush. This gives the leather the dotty worn look. All highlights are Naples yellow and are painted wet on wet. To add interest to the figure I decided on different shades for all the different leather items. This was achieved by darkening the basecoat with more Lamp Black, and using more Naples yellow as a highlight. When the leather had totally dried dots and dashes of acrylic Yellow ochre were painted randomly on the belt and cuir-bouilli areas to reinforce the worn look. This was not repeated on the gloves and scabbard because I wanted to recreate a suede leather look. By the way, cuir-bouilli is a technique for hardening leather by boiling. In this case the arm and lower leg protection.
Mace and Helm
I painted all steel areas using a Lamp Black wash painted straight onto bare metal. Areas of the Mace and Helm such as the blades which are subject to heavy wear and tear were highlighted with Silver acrylic. Yellow metals are treated in the same way accept a Gold undercoat and highlight were used instead of Silver. The handle of the mace was undercoated with Acrylic Ochre then washes of Lamp Black oil paint were flowed on to accentuate the detail on the handle grip. All metal areas were then given a coat of thinned licquin.
Groundwork
The groundwork is straight from the box and offers a detailed and secure base for the figure. After undercoating in Grey acrylic paint, washes of Burnt umber and Sepia oil paint were used in washes to create a stone look.
Conclusion
Once again another stunner from Pegaso, lots to paint and lots of conversion potential. The figure is marketed as a Templer, but its up to you. I took this figure down to Euro Militaire 2003 and was honoured to receive a Silver medal for him in class 1, a splendid result for me and him.
This figure has now arrived in its new home, Australia!!!
Hope you enjoy it .
Hope you enjoy it .
