Civic Guard (c1400). Schutterij refers to a voluntary city guard or citizen militia in the medieval and early modern Netherlands, intended to protect the town or city from attack and act in case of revolt or fire. Their training grounds were often on open spaces within the city, near the city walls, but, when the weather did not allow, inside a church. They are mostly grouped according to their district and to the weapon that they used: bow, crossbow or gun. Together, its members are called a Schuttersgilde, which could be roughly translated as a shooter's guild. It is now a title applied to ceremonial shooting clubs and to the country's Olympic rifle team. The schutterij, civic guard, or town watch, was a defensive military support system for the local civic authority. Its officers were wealthy citizens of the town, appointed by the city magistrates. In the Northern Netherlands, after the formal changeover in civic authority after Beeldenstorm, which depending on the town, was sometime between 1566 and 1580, the officers had to be a member of the Dutch Reformed Church. Its captain was usually a wealthy inhabitant of the district, and the group's ensign was a wealthy young bachelor. Joining as an officer for a couple of years was often a stepping-stone to other important posts within the city council. The members were expected to buy their own equipment: this entailed the purchase of a weapon and uniform. Each night two men guarded their district in two shifts, from 10:00 p.m. until 2:00 a.m., and from 2:00 a.m. until 6:00 a.m., closing and opening the gates of the city. At a set time each month, the schutters would parade under the command of an officer. The ideal was that, for every hundred inhabitants, three would belong to the schutterij. The Dutch Mennonites were excluded from a position in the schutterij in the 16th, 17th and 18th centuries and paid a double tax in lieu of service. Roman Catholics were permitted in the lower regions. Persons in the service of the city, and the city's Jews, did not need to serve. The beer and peat bearers had to serve as the town's firefighters instead. The schutters or cloveniers met at target practice grounds called Doelen. These fields were generally adjoining a large building where they met indoors for gymnastic exercises and held their meetings. It was in these great halls where the large group portraits hung for centuries, and many paintings suffered dramatically from enthusiastic gymnasts over the years. These locations were not the only place the schutters met each other. These guilds also kept altars in local churches, where they met for religious reasons. Most schutterij guilds had as patron saints Saint Sebastian, Saint Anthony, Saint George, or Adrian of Nicomedia. These religious duties were a significant part of the guild membership since that is also where they paid their dues. After the Protestant Reformation, all the altars were disbanded in the Dutch Reformed churches in the Northern Netherlands, and membership dues were no longer paid in church, but at the city hall. In Amsterdam, the guilds were no longer allowed to make rules or spend money on their own, but in Haarlem, there were two guilds who kept their original rules, such as holding banquets and collecting for sick members or widows. Though they moved premises several times, some of the old Haarlem schutterij Doelen halls still stand where the schutters met and where their group paintings hung, though these paintings are now preserved carefully in the Frans Hals Museum. After 1581, the schutterij were officially prohibited from influencing city politics, but since the ruling regenten were all members of these guilds, that was quite hard to do. Once a year they held a banquet, with beer and a roasted ox. Whenever a changeover of the leading officers occurred, a local painter was invited to paint the members, and the scene most popularly chosen for these group portraits was the banquet scene. Though occasionally they were shown outside in active duty, the members were usually portrayed for posterity dressed in their Sunday best, rather than their guard dress. These militia group portraits include some of the grandest portraiture in Dutch Golden Age painting. Group portraits were popular among the large numbers of civic associations that were a notable part of Dutch life, such as the officers of a city's schutterij or militia guards, boards of trustees and regents of guilds and charitable foundations and the like. Especially in the first half of the century, portraits were very formal and stiff in composition. Early examples showed them dining, with each person looking at the viewer. Later groups showed most figures standing for a more dynamic composition.