sepoy was an Indian soldier, drilled and dressed in semi-European style. Tipu used European soldiers in his pay to drill his own troops, and the French and the English both had sepoy regiments, battalions and companies. Those who fought with the British in 1799 are commemorated on the monument which stands today at the Breach at Seringapatam.

This soldier wears the uniform of the 36 Madras Native Infantry, which was raised in 1794, and was not affected by the army reforms of 1796. On 12th October 1798, the unit was converted into the 2nd Battalion 13 Regiment. After March 1797, all the Madras Native Infantry were required to wear a uniform turban, and blue cummerbund, but a manuscript letter of 1806 in the British Museum comfirms that the 13th (formerly 36th) were allowed special dispensation: 'as a particular indulgence, granted at the intercession of the commanding officer' they were allowed to retain their distinctive turban. The inscription on the Tanjore artist's page describes this as 'A turban corresponding to the Scoth bonnet used in Highland regions.' The 'Scotch bonnet' to which it is compared is comparable to the Kilmarnock bonnet worn by Highland Regiments, and seen in Zoffany's portrait of Lt. Col. Macleod.

An interesting Scottish manuscript from the Walker of Bowland papers describes the training and regulations for a Company of Native Infantry 'according to the new Establishment.' The Company consisted of a European Subaltern, a European Serjeant and Subedar; a Jemedar; 4 Havildars; 4 Naigues; 1 drummer; 1 Fifer and 60 Sepoys. The men were drawn up in open order, and 1 file of Naigues would fall in on the left and right of the Company while 2 occupied the centre front ranks. 'The Officers were drawn up in line, 3 paces in front of the Company, the European Subadar opposite to the 3rd file on the right, and the Subaltern opposite to the 3rd file on the left, and the Jemedar in the Center (sic). The European Serjeant takes his station 3 paces in the rear and opposite to the center of the Company and the Havildars form and drop in a line with the Serjeant.' The text continues 'The alacrity of the Corps depends upon the interior arrangements established for the Companies or Troops composing it. If these are neglected the duties of the Camp and Garrison will be performed in a slovenly manner.' Marching should be practised in 3 measures:- slow (70 steps a minute) for parade; quick (120 steps per minute) and running step for the charge.' Music is also a vital ingredient: 'Precision can only be acquired by the determinate notes of Music and it is only by such assistance that men can soon perform the same step with uniformity.' Corresponding with the parade step, slow march music should be limited to 70 bars in one minute, and the fife and drum should practise set measures of time 'and no others.'

The drill for 'Firings' is set down, and the instructions for forming Square: 'If a Battn. (Battalion) is attacked by a large Body of Horse on a plain, it is to form the Square or Oblong, half and face outwards. Should the Horse appear within the distance of 300 Yds the Bttn with a well directed fire of Grape or Case shot will in all probability keep them at bay; if however from superior numbers and the intoxication of Bang they should approach within the distance of 100 yds, the front rank will make ready. If the Cavalry should still persist in advancing to the distance of 60 yds, the front rank will present and the rear rank make ready…. It is of the first importance that men should preserve their fire on this occasion. If the Cavalry should however persist in advancing to the distance of 50 yds the front rank will fire….' The instructions continue until the Cavalry is within 20 yards of the Square, which is to remain 'steady and fully determined to defend themselves like Gallant soldiers to the last extremity.'

Another Tanjore painting in the British Library, (OIOC Add. Or. 190), 'A Man from the Upland (palai yaskkaran) carrying a spear' is inscribed ' A Polygar - or Indian Highlander.' Since these Tanjore paintings were primarily made for sale to European, rather than Indian patrons, the European allusions are perhaps a little less surprising. Certainly, the presence of so many Europeans in South India during the period of the Mysore Wars guaranteed a market for these paintings, with their distinctive style. After c.1780, the standard images of man and wife, soldiers, or tradesmen at work, were also sold in sets, attractive illustrations of life in India for those returning home or writing from 'exile.' Scots 'exiled' in India still dreamed of their native land: 'I think myself in the Highlands every morning,' wrote Dirom, exhilarated by the landscape near Rathore, while Thomas Munro, writing home, thought of his mother 'busy with her myrtle pots.' But in September 1798, he wrote, 'The only letter I have received from home since May 1797 was one dated in January last from Erskine.' - a reminder that the safe arrival of letters, books and news from home could never be anticipated or guaranteed.