A surreal depiction of the two paths, one bright and the other dark, with soldiers heading towards the dark path.

Beyond the Battlefield: How 19th-Century Religious Art Challenged Military Service

Elliot Brynn in Culture & Society June 2025 • 5 min read.

"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

A surreal depiction of the two paths, one bright and the other dark, with soldiers heading towards the dark path.

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:

François Georgin’s woodcut (Figure 18) from 1824/1830, titled 'The Three Paths to Heaven,' and a related Swiss drawing, depict three distinct paths: a path to heaven, characterized by the New Jerusalem, at the top; and two paths to hell, symbolized by the mouth of hell, below. The French work shows the paths entering from the left, while the Swiss drawing shows them entering from the right. Each path features people, with the infernal paths also including angels and demons. Biblical verses accompany the figures.

Here are some key observations about the presence of soldiers in these artworks:

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.

In stark contrast, soldiers are heavily associated with the broad path to damnation. Reihlen depicts soldiers in combat as being closest to hell, including cavalry and artillery. The images evoke a sense of violence and moral decay, underscoring a condemnation of military life as incompatible with Christian ideals. These depictions leverage powerful symbolism and societal anxieties to critique the glorification of war and the moral compromises it demands.

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.

About this Article -

This article was crafted using a human-AI hybrid and collaborative approach. AI assisted our team with initial drafting, research insights, identifying key questions, and image generation. Our human editors guided topic selection, defined the angle, structured the content, ensured factual accuracy and relevance, refined the tone, and conducted thorough editing to deliver helpful, high-quality information.See our About page for more information.

This article is based on research published under:

DOI-LINK: 10.23925/1677-1222.2018vol18i2a11, Alternate LINK

Title: Por Onde Andam Os Militares? Soldados Em Uma Xilogravura E Em Uma Litografia Religiosa Popular Do Século 19

Journal: REVER - Revista de Estudos da Religião

Publisher: Pontifical Catholic University of Sao Paulo (PUC-SP)

Authors: Helmut Renders

Published: 2018-08-31

Everything You Need To Know

How are soldiers depicted in François Georgin’s 'Les trois chemins de l'éternité' and Charlotte Reihlen's 'Der breite und der schmale Weg', and what does this suggest about the artists' views on military service?

In François Georgin’s 'Les trois chemins de l'éternité' and Charlotte Reihlen's 'Der breite und der schmale Weg', soldiers are consistently depicted on the broad path to damnation rather than the narrow path to salvation. Specifically, Reihlen portrays soldiers in combat, including cavalry and artillery, as closest to hell. This absence from the path to salvation and prominent placement on the path to damnation suggests a critique of military life.

What is the historical background and religious significance of the 'Two Paths' motif, and how did artists like Charlotte Reihlen use it to convey social commentary?

The 'Two Paths' motif, including works such as Charlotte Reihlen's lithograph, has roots in antiquity and biblical teachings. Visual interpretations were embraced by various religious groups including humanists, Catholics, Calvinists, and Lutherans. The concept experienced a resurgence during the Renaissance and continued to evolve through the 16th and 18th centuries, serving as a canvas for exploring complex societal issues beyond just moral lessons.

Beyond religious symbolism, how do François Georgin’s 'Les trois chemins de l'éternité' and Charlotte Reihlen's 'Der breite und der schmale Weg' critique the glorification of war and reflect societal anxieties?

Both François Georgin’s 'Les trois chemins de l'éternité' and Charlotte Reihlen's 'Der breite und der schmale Weg' leverage powerful symbolism to critique the glorification of war. The violent imagery and moral decay associated with soldiers in these artworks underscore a condemnation of military life as incompatible with Christian ideals. This suggests that the artists used these prints to express social and spiritual anxieties about the impact of military service on individuals and society.

In what ways do devotional prints, such as François Georgin’s woodcut and Charlotte Reihlen's lithograph, offer a radical social commentary despite often being perceived as conservative expressions of religious belief?

While devotional prints like François Georgin’s woodcut and Charlotte Reihlen's lithograph are often viewed as conservative expressions of religious belief, their depiction of soldiers reveals a radical social commentary. The consistent portrayal of soldiers on the path to damnation challenges the notion that these artworks are merely conservative. This challenges simplistic interpretations of these artworks as merely conservative, revealing a deep-seated critique of military service.

What are the implications of the absence of soldiers from the path to salvation in artworks like Charlotte Reihlen’s 'Der breite und der schmale Weg', and how does this absence relate to Christian ideals?

The absence of soldiers engaging in faith-based practices on the narrow path in works like Charlotte Reihlen’s 'Der breite und der schmale Weg' carries significant implications. While the path to salvation emphasizes virtues, penance, and charity, soldiers are not depicted participating in these activities. This absence underscores the idea that military life and its inherent violence are seen as conflicting with Christian ideals and practices necessary for salvation. This would have significant implications for people considering joining the military.