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20 the Vow (9 December 1838) A3 20 The Vow (9 December 1838) A3 B2 C2 D N 20 The Vow 26 27 1 25 2 West wall (panel 24/31) 24 3 h. 2.3 × 2.28 m 4 23 Restored fractures on the vertical edges Sculptor of the clay maquette: Laurika Postma 22 5 Stages of production 21 A1 W.H. Coetzer, pencil drawing, retained only in A2 (April–June 1937) 6 A2 Reproduction of A1 (June 1937) 20 A3 W.H. Coetzer, revised pencil drawing A1, h. 13.4 × w. 15.4 cm 7 (after September 1937) 19 Annotations: ‘nog nie klaar’ (not yet finished) / ‘C Celliers moet op 8 18 Kanon wa staan’ (C Celliers must stand on cannon carriage) / 17 9 ‘Gelofte Danskraal’/ Vow Danskraal 16 10 B1 One-third-scale clay maquette, not extant but replicated in B2 (1942–43) 15 14 13 12 11 B2 One-third-scale plaster maquette, h. 72.5 × w. 81.5 × d. c. 8 cm (1942–43) 0 5 10 m C1 Full-scale wooden armature, not extant (1943–46) C2 Full-scale clay relief, not extant but photographed; replicated in C3 (1943–46) C3 Full-scale plaster relief (1943–46), not extant but illustrated (Die Volkstem, 10.9.1947); copied in D (1948–49) D Marble as installed in the Monument (1949) Early records SVK minutes (4.9.1937) ― item 4p (see below, ‘Developing the design’) Voorstelle – (5.12.1934?) ― item 17 ‘Laertoneel aan Bloedrivier. Die gelofte van Dingaansdag word afgelê. Hiervoor is verskeie suggesties voorradig, uit rolprent sowel as die simpatieke sketse van Henry Lea. Wenslik om in hierdie toneel Pretorius die aanvoerder (en ontwerper van die gelofte-gedagte) sterker op voorgrond te laat tree dan Cilliers, wat slegs gelofte afgelê het, en dit ook enigste geleentheid om Pretorius, die held by uitstek van Dingaansdag, te huldig’ (Laager scene at Blood River. The vow of Dingaan’s Day is made. For this various suggestions are on hand, from the film as well as the sympathetic sketches of Henry Lea.881 It is desirable in this scene that Pretorius the leader [and the originator of the concept of the vow] should feature more strongly in the foreground than Celliers, who only delivered the vow, and it is also the only opportunity to honour Pretorius, the pre-eminent hero of Dingaan’s Day) Panele (c. Dec 1934–36) ― item 11 ‘Die gelofte by Danskraal’ (The vow at Danskraal) Wenke (c. 1934–36) ― item I. F.A. STEYTLER, h. ‘Die gelofte by Danskraal’ (The vow at Danskraal) / item II. Dr L. Steenkamp, mnre. A.J. du Plessis en M. Basson, A. ‘MAATSKAPLIK’ (Social), 1. ‘Godsdienstig’ (Religious), c.‘Die gelofte by Danskraal’ (The vow at Danskraal) Moerdyk Layout (5.10.1936–15.1.1937) ― scene 17 on panel 23/31 ‘Gelofte’ (Vow) Jansen Memorandum (19.1.1937) ― item 7.17 ‘The Vow’ 881 For the English artist Henry Lea and his Voortrekker drawings, see Marthinus Oosthuizen. 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/10.1515/9783110668797-025 416 20 The Vow Figure 20.1: D. The Vow. 1949. Marble, 2.3 × 2.28 m (courtesy of VTM; photo Russell Scott) Description 417 Description The focal point of the scene (fig. 20.1) is the prominent Voortrekker, Sarel (Charl) Arnoldus Cilliers (1801–71).882 He stands on top of a gun carriage supporting a cannon, his left foot stepping up next to the wheel, somewhat precariously, and his arms raised aloft. In contrast to his fellow countrymen around him, who are shown in typical trekker attire, Cilliers wears a long coat. He has also longer, slightly curling hair and heavy side whiskers (‘bakkebaarde’ in Afrikaans, sometimes known as ‘mutton chops’ in English), in place of the more usual Voortrekker beard. Cilliers’ upward gaze and gesture are fixed on some higher being beyond the frame. Cilliers’ importance is enhanced by his position above the seven Boers who stand below him. They are of different ages, neatly attired and mostly clean shaven, but notably neither too young nor too old for combat. Two men are presented from the back, leading us into the scene, and all face towards the elevated figure. Although the heads of the audience are at different heights, they are arranged to slope down from the right, guiding the viewer’s eyes to Cilliers. So too does the gaze of two older Boers of shorter and heavier stature who turn their faces up to look at him from either side. Many figures have their heads lowered and their eyes closed in prayer, however, and all are respectfully bare-headed. Their demeanour speaks of a solemn, sanctified moment, also suggested by the Bible held by the central man in the foreground – perhaps the same Dordrecht Bible as that given to the parting Voortrekkers by the English settlers of Grahamstown in Presentation. Yet while this scene too has a Christian emphasis and sense of decorum, the cannon and the powder barrel pictured amongst the men suggest the hostilities to come. And in the background, beyond two wagons, the hill line continues the mountainous landscape that runs from Women spur men on to the battle at Blood River. 882 DSAB 4, 1987, 83–85; Visagie 2011, 103–104. 418 20 The Vow Figure 20.2: A2. W.H. Coetzer. Reproduction of first sketch for The Vow. June 1937 (courtesy of ARCA PV94 1/75/5/1; photo the authors) Figure 20.3: A3. W.H. Coetzer. ‘Gelofte Danskraal’. After September 1937. Pencil, 13.4 × 15.4 cm. Revised first sketch (photo courtesy of Museum Africa, no. 66/2194D) Developing the design 419 Developing the design Coetzer’s first drawing and its Gestetner reproduction (fig. 20.2) are almost identical with his revised drawing (fig. 20.3), except for the annotations on the latter, which includes the comment ‘not yet fin- ished’ (nog nie klaar). This possibly explains why the drawing provides only a little more pencilling of detail in hair and fabric, and augmenting the outlines. Elevated on the right-hand side, Cilliers dominates the scene. He stands upright on the front of a wagon, which, with a prominent patch in its canvas cover that suggests the hardships of a long trek, is just visible at the right edge of the drawing. With a Bible at his feet and wearing the usual trekker outfit, Cilliers addresses the audience beneath with outstretched arms, his head raised heavenwards. There are twenty-one Voortrekkers in the crowd, all males in similar attire but of different ages, who become smaller as they recede to fill the space that is surrounded by seven more wagons. We see the scene from a high eye level, slightly behind Cilliers, which emphasises his predominance over the listening men who look up at him attentively. Beyond the laager lie open hills, the nearest with bare rocks and several trees. At the Historiese Komitee meeting on 4 September 1937 the following alterations were demanded: Danskraal. The scene must give a view of Gen Pretorius and Sarel Celliers; in other words the specta- tor should look at the two over the heads of a multitude of people, as they stand next to each other; they stand on a gun carriage (consult Hofstede [1876]). Show the moment where Celliers raises his folded arms [hands] in prayer.883 The small plaster maquette shows profound modifications in the composition (fig. 20.4). Coetzer’s drawing did not respond to the instructions of the SVK, but the new design that Laurika Postma developed for the relief picked up on at least one of them, the idea of Cilliers being mounted on a gun carriage instead of a wagon. Now positioned on the left and wearing a long coat, he seems almost to balance on one of the wheels as his raised left leg is supported by it. However, there is no sign of Pretorius being partnered with Cilliers as the SVK had proposed, and Postma has reduced the audience to seven people. They are still placed lower than Cilliers, but on the same large scale and distributed across the foreground, graduated in height from the tallest on the right. They avoid the pictorial recession in Coetzer’s sketch, and use the full width of the panel; indeed, the leftmost figure is cut off by the edge of the panel, which implies the continuation of the group beyond the frame. The wagons in the background are also reduced in number, and there is the merest sugges- tion of hills. The focus is on Cilliers as part of a close circle of people; he gestures portentously, his hands closer together than in the Coetzer sketch, but not clasped in prayer, although some of those listening respond with bowed heads. Apart from the different format, rectangular at the Voortrekker Monument, semi-circular at Blood River, Postma’s composition corresponds fairly closely with the relief of the Vow developed by Coert Steynberg for his centenary monument at Blood River (fig. 20.5), a colossal Voortrekker wagon made of granite (fig. 20.13), which we discuss in more detail below. Completed in 1939/40, it would likely have been known to the frieze sculptors. As in the Monument frieze, Cilliers is mounted – and similarly posed – on a partly concealed gun carriage in the open air, indicated by a wagon and two trees squeezed into the upper background. Placed in the centre of the scene, closely surrounded by packed Boers, all of the same scale, but in frontal, profile and back view, Cilliers is both the axis and the dominating apex of the symmetrical scene.
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