The Camp Fighters
During a restoration of the church of Westerwijtwerd in 1897, a large piece of plasterwork fell down. Behind it emerged a drawing of two men with swords. It is a wondrous drawing, primitive, but full of life.
Take a closer look
During a restoration of the church of Westerwijtwerd in 1897, a large piece of plasterwork fell down. Behind it emerged a drawing of two men with swords. It is a wondrous drawing, primitive but full of life. The figures are harnessed and have raised their swords, ready for a life-and-death fight. One is accompanied by a dangerous dog or cat, the other has a dragon-like creature at his side.
Who are these wondrous camp fighters? And why were they painted on the church wall of Westerwijtwerd?
Frisian Warriors
Research has revealed that the painting from the ...
During a restoration of the church of Westerwijtwerd in 1897, a large piece of plasterwork fell down. Behind it emerged a drawing of two men with swords. It is a wondrous drawing, primitive but full of life. The figures are harnessed and have raised their swords, ready for a life-and-death fight. One is accompanied by a dangerous dog or cat, the other has a dragon-like creature at his side.
Who are these wondrous camp fighters? And why were they painted on the church wall of Westerwijtwerd?
Frisian Warriors
Research has shown that the painting must date from the 14th century. But the weapons and clothing of the warriors seem to be from the 12th century. So probably the fresco was made after a 12th-century example. Perhaps it was based on a pen drawing, or a miniature from an illuminated Bible.
Both warriors have the same distinctive hairstyle: a short tuft on the forehead and the rest cut short or shaved. This was the typical hairstyle of Frisian warriors of the time. Only noble Frisians were allowed to wear their hair this way and it was an important status symbol. The shorter the hair, the higher the warrior was in rank. It was also a symbol of the independence of the Frisians. Only Frisians who did not want to swear allegiance to Charlemagne were allowed to wear their hair this way.
At the time, Groningers were also Frisians and fell under the area of Frisia Magna. The lack of a feudal structure in this area meant that the Frisians did not have to obey a higher authority and so there was no central government. This period lasted until the late 14th, early 15th century when the power vacuum was filled by the city of Groningen. Perhaps the typical attire was also a paragon of Frisian freedom? Did the church want to show that it did not have much to do with the bishop or other authority? In any case, the image fits the 'feudal society' that Frisian society was then. Noble families disputed and resolved disputes among themselves. The camp fight was a common means of settling disagreements.
Battle of good and evil
The camp fight was also a means of arriving at a divine judgment. The winner had justice on his side and thus God's blessing. At the Fourth Council of Lateran (1215), the clergy were forbidden to take part in these practices, but in practice this was not always heeded. Other tests for divine blessing were the crucifixion test, the fire test or the water test. In the fire trial, the defendant was forced to walk over hot coals or grasp a red-hot rod. If the resulting burns healed properly, innocence was proven. The water test was often used to prove witchcraft. If the accused stayed afloat, he or she was a witch. The cross test was a lot more innocent. Both parties in conflict with each other had to remain in the cross position, i.e. with their arms raised, for as long as possible. Whoever lowered their arms first confessed guilt.
In churches, the depiction of the camp fight is more common as an example of the struggle between good and evil, a classic theme in Christian symbolism. The physical battle then symbolises man's spiritual struggle, against temptations and evil. Often, such depictions are accompanied by beasts symbolising good and evil. The animals in the image of Westerwijtwerd should also be interpreted in this context.
Other murals in Groningen
Other churches in Groningen also have pictures of camp fighters on the ceiling. For example, the churches of Den Andel, Woldendorp and Stedum also have frescoes of fighting figures. In Den Andel, these are two fighting horsemen seated on a horse. One horseman has the colours black and white, while the other has been given a red and yellow colour. Diagonally opposite this depiction of a knight, two mythical beasts are depicted, strongly reminiscent of the animals in the image from Westerwijtwerd. The beasts face each other with their claws raised. The left animal is in red and has the head of a cat-like creature. The animal on the right has a more pointed snout with horns and appears to have wings. This is probably the dragon, the symbol of evil, while the feline animal could be a panther, its enemy and symbol of good.
The image from Stedum is of a somewhat later date, the last quarter of the 15th century. This depiction does not show professional warriors, but 'ordinary' fighting citizens attacking each other with short swords. In the context of the other depictions in this church, including the Fall, it can be concluded that this too is a depiction of the fight against evil.
The camp fighters from Woldendorp in particular bear a striking resemblance to those from Westerwijtwerd. For instance, both left figures have a spear in their hand and a spear has been deflected on their shield. Also, the right figure stands in the same hunched posture. However, the hairstyle of the warriors from Woldendorp is not the same and the fresco from Woldendorp does not depict any animals. Still, it is unlikely that the images were made by the same hand. The one from Woldendorp is slightly younger and is depicted with more expertise. It is likely that the paintings were made in response to the same example, such as a miniature.
The camp fighter theme was thus a common image, intended to teach churchgoers about the human struggle against evil and point out their own sins. As witnesses to a feudal society where disputes were fought, they symbolise the eternal struggle of good and evil.