Beyond the Battlefield: How 19th-Century Religious Art Challenged Military Service
"Uncover the surprising anti-war messages hidden within popular religious woodcuts and lithographs, revealing a forgotten critique of military life."
Devotional prints, including engravings, woodcuts, and lithographs, often seen as conservative expressions of religious belief, can also contain surprisingly radical social commentary. One recurring theme in this art form is the "Two Paths" motif—the broad road leading to damnation and the narrow path to salvation. This motif wasn't merely a moral lesson; it became a canvas for exploring complex societal issues.
The concept of the two paths, with roots in antiquity and biblical teachings, experienced a resurgence during the Renaissance and continued to evolve through the 16th and 18th centuries. Visual interpretations of this motif were embraced by humanists, Catholics, Calvinists, and Lutherans. Though a Lutheran lithograph by Charlotte Reihlen from the late 19th century is perhaps the most well-known example, the theme appears in diverse forms across various religious traditions.
This article delves into the representation of soldiers within these religious artworks, specifically focusing on Catholic and Protestant examples. By examining these images, we aim to demonstrate that interpretations of these works as purely conservative are incomplete. These works also offered precise social critiques, reflecting the concerns and values of the communities that produced and consumed them. We will analyze two key artworks: François Georgin's 'Les trois chemins de l'éternité' (1825/1830) and Charlotte Reihlen's 'Der breite und der schmale Weg' (1867), alongside a related anonymous Swiss drawing from 1800.
The Soldier's Place: Analyzing Georgin and Reihlen’s Works
Let's begin by pinpointing where soldiers appear in these artworks. Both complete works are included at the end of this article for your reference. It's helpful to first understand the structure of each piece:
- Soldiers are entirely absent from the narrow path leading to salvation in both Georgin’s and Reihlen’s depictions.
- In Georgin’s woodcut, five figures are on the path to hell.
- Reihlen's lithograph shows twenty-one individuals on the path to salvation.
- Both artists adhere to biblical models: Georgin emphasizes thorns along the path and figures carrying crosses, while Reihlen references the virtues in Matthew 25 and alludes to practices of penance and charity. However, soldiers are not shown engaging in these faith-based practices.
Final Thoughts: A Subversive Message?
The question “Where are the soldiers?” led us to a consistent answer across distinct religious and national contexts: soldiers, regardless of allegiance, are portrayed as heading down a destructive path, leading to self-destruction and eternal damnation. This message challenges simplistic interpretations of these artworks as merely conservative. Instead, they reveal a deep-seated critique of military service and its impact on individuals and society.