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21 the Battle of Blood River (16 December 1838) A3 21 The Battle of Blood River (16 December 1838) A3 B2 C2 D N 21 Blood River 26 27 1 25 2 West wall (panel 25/31) 24 3 h. 2.3 × 4.29 m 4 23 Restored fractures on the vertical edges Sculptor of the clay maquette: Peter Kirchhoff 22 5 Stages of production 21 A1 W.H. Coetzer, pencil drawing retained only in A2 (April–June 1837) 6 A2 Reproduction of A1 (June 1937) 20 A3 W.H. Coetzer, revised pencil drawing A1, h. 13.3 × w. 23 cm 7 (after September 1937) 19 Annotations: ‘nog nie klaar’ (not yet finished) / ‘Zulus in sloot en rivier’ 8 18 (Zulu in ditch and river) / ‘Bloed Rivier’ / (Blood River) 17 9 B1 One-third-scale clay maquette, not extant but replicated in B2 (1942–43) 16 10 B2 One-third-scale plaster maquette, h. 79 × w. 147 × d. c. 8 cm (1942–43) 15 14 13 12 11 C1 Full-scale wooden armature, not extant (1943–46) C2 Full-scale clay relief, not extant but photographed and replicated in C3 0 5 10 m (1943–46) C3 Full-scale plaster relief not extant (1943–46) but illustrated (Die Volk- stem, 10.9.1947); copied in D (1948–50) D Marble as installed in the Monument (1950) Early records SVK minutes (4.9.1937) ― item 4p (see below, ‘Developing the design’) Voorstelle (5.12.1934?) ― item 17 ‘Laertoneel aan Bloedrivier’ (Laager scene at Blood River) [the emphasis in this proposal was on the Vow, where this entry is transcribed in full] Panele (c. Dec. 1934–36) ― item 3 ‘Moelikhede om mee te kamp’ (Difficulties the Voortrekkers faced); b. ‘die inboorling’ (the native); B ‘Gevegte teen Kaffers Vegkop of Bloedrivier. Die metode van verdediging: die rol wat vrou gespeel het indien dit kan’ (Battles against the Kaffirs – Vegkop or Blood River. The system of defence: the role which woman played, if this is possible) Wenke (c. 1934–36) ― item I. F.A. STEYTLER, e. ‘Die Bloedrivierlaer’ (the Blood River laager) / item II. Dr. L. Steenkamp, mnre. A.J. du Plessis en M. Basson, 3. ‘Verhouding met ander volksgroepe’ (Relationship with other ethnic groups); d. ‘Dingaan’ (Dingane); ix. ‘Die slag van Bloedrivier en hinderlaag in die dal van die Witum folosi’ (The battle of Blood River and ambush in the valley of the White Umfolosi) Moerdyk Layout (5.10.1936–15.1.1937) ― scene 18 on panel 24/31 ‘Bloedrivier’ (Blood River) Jansen Memorandum (19.1.1937) ― item 7.18 ‘Bloedrivier’ (Blood River) Open Access. © 2020 Elizabeth Rankin and Rolf Michael Schneider, published by De Gruyter and African Minds. This work is licensed under a Creative Commons Attribution 4.0 International License. https://doi.org/10.1515/9783110668797-026 438 21 Blood River Figure 21.1: D. Blood River. 1950. Marble, 2.3 × 4.29 m (courtesy of VTM; photo Russell Scott) Description 439 Description From the right, a galloping cavalcade of eleven Boer riders attacks superior numbers of Zulu foot soldiers in traditional dress, some twenty visible (fig. 21.1). This uneven juxtaposition represents the Battle of Blood River. Six horses are shown in the front row of the Boer charge. Despite their standardised representation, the thrusting heads of the horses with ears pricked or laid back, and the varied array of their galloping legs suggest the force of the attack.944 It is difficult to work out the spatial relationship between the overlapping forms, or to match horses and riders, so dense is the charge. Yet the Boers are portrayed in their usual impeccable attire, seated upright in rather rigid poses as though on parade, their profile heads and hats neatly aligned. Only three actually have their rifles levelled at the Zulu, and the most prominent horseman who dominates the foreground has his gun slung over his shoulder and holds a sabre aloft theatrically. This is the Voortrekker commandant, Andries Pretorius,945 who rides into battle like a dressage champion, portrayed in the same top hat and formal dress as in Arrival, his long coat tails tucked up behind him. In contrast to the powerful Boer charge, the Zulu attack is represented as failing hopelessly. While from the far left a crowd of warriors still moves forward to assault the trekkers with raised assegais and cowhide shields, they are futile against bullets, and their front line is already com- pletely crushed. The three Zulu in the foreground collapse like a cascade in a slow-motion sequence from left to right in different stages of prostration – from an upright kneeling pose until the third has his forehead on the ground as though in obeisance to the Boer commander, his shield and knobkierie beneath the hooves of Pretorius’ steed.946 In the background there is total disarray. The nearest figure topples backwards, while disorderly limbs and the back views of others show them bolting back into their own lines. Yet curiously, the heroically bared torsos of the Zulu are unblem- ished by wounds. They seem leaderless. Only the warrior who kneels at the far left is distinguished by a double ring around his neck and an unusual patch of tight curls on the back of his shaved head, and the one in front of him by a ball-like ornament on his head. Beyond the warring figures, twelve Voortrekker wagons locate this battle outside a laager, as they curve away to the left to indicate the semi-circular form. Above each wagon are two or three lanterns suspended on tall whips, some perhaps belonging to wagons on the other side of the laager. The hill line in the distance, continuing from The Vow, coincides with the landscape of Blood River. 944 They reflect Kirchhoff’s abiding interest in horses, and are comparable with Muybridge’s famous Animal loco- motion. An electro-photographic investigation of consecutive phases of animal movements, vol. 9: Horses (1887, pl. 631); see https://commons.wikimedia.org/wiki/Category:Photographs_by_Eadweard_Muybridge_in_the_Metropolitan_ Museum_of_Art?uselang=de#/media/File:-Horse_and_Rider_Galloping-_MET_DP275559.jpg. 945 Potgieter 1987, 32. For his title at the time, see Arrival. 946 Their staged prostration in front of Boer gun power echoes an incident reported to have taken place on 14 Febru- ary 1940, when the new Zulu king was present at the salute of twenty-one guns. As Mpande ‘could not bear the violent roaring of our guns … he and his captains then ran with great fear to his camp, and, for fear, stooped down on the earth at every discharge of a gun’ (Bird, Annals 1, 1888, 596; the original Dutch text: Breytenbach c. 1958, 336–337). 440 21 Blood River Figure 21.2: A2. W.H. Coetzer. Reproduction of first sketch for Blood River. June 1937 (courtesy of ARCA PV94 1/75/5/1; photo the authors) Figure 21.3: A3. W.H. Coetzer. ‘Bloed Rivier’. After September 1937. Pencil, 13.3 × 23 cm. Revised first sketch (photo courtesy of Museum Africa, no. 66/2194R) Developing the design 441 Developing the design The reproduction of Coetzer’s drawing (fig. 21.2) and the almost identical revised drawing (fig. 21.3) provide a radically different composition of the Battle of Blood River from the final relief.947 His sketch captures a sense of high drama in a chaotic melee of figures and animals. The view he selected showed the interior of the laager with Boers defending their wagons from Zulu attack- ing on the far side, reminiscent of the composition of Vegkop, which was originally planned to be opposite this scene. But here Coetzer has assumed that the laager was left open on the side of the river and deep ravine used by the Boers as part of their defensive position at Blood River, which occupies the foreground of his portrayal. It was a concept he would revisit when he later designed a tapestry series for the Monument (fig. 21.4). He was obviously trying to picture ‘authentic’ historical detail, including the lanterns that it was recounted were attached to the wagons during the night before the Zulu assault. The foreground is filled with attacking Zulu warriors in wild disarray, many wounded and dying. Dominating the most prominent part of the composition, they vastly outnum- ber those who defend the laager at this side, making it all the more impressive that the Boers fought off the Zulu successfully. The Historiese Komitee meeting on 4 September 1937 required the following alterations: Blood River. Make another scene that shows the wagons on the bank of the small ravine; the form was a half-moon; the lanterns hang on whips.948 Coetzer’s careful consideration of the recorded history evidently did not match the expectations of the SVK experts. However, when Peter Kirchhoff started to work on the small plaster maquette (fig. 21.5),949 he rethought Coetzer’s design completely, choosing to represent a different concept of the battle. His choice of one of the mounted forays outside the laager may have been prompted by his interest in horses, but it also serves to more clearly show the Boers as victors. Taking all the Zulu to the left side so that they are less dominant than in the sketch, Kirchhoff depicted the heroic Voortrekker riders charging their adversaries from the opposite side, all the more prominent because they move against our conventional reading from left to right. In the maquette, the bodies and limbs of the figures are stiffer, thinner and longer than in the full-scale clay relief (fig. 21.6), and they lack its more three-dimensional quality. Indeed, the Zulu that take up positions that correspond to their final poses are quite emaciated, something that is modified in the final marble.
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