The History of the German Section
of the Theosophical Society
1902–1913
GA 250
21 May 1907, Munich
Translated by Steiner Online Library
34. The Theosophical Congress in Munich
Article by Rudolf Steiner in *Lucifer-Gnosis*, No. 34/1907
[ 1 ] It was the task of the German Section of the Theosophical Society to host this year’s congress of the “Federation of European Sections.” It is therefore fitting that here, from the perspective of the organizers, we speak less about what has been achieved and more about what was intended and strived for. For the organizers know only too well how little of what was achieved has lived up to the goals one might set for such an occasion. Therefore, we ask that the following be taken with understanding, merely as a description of the underlying ideas.
[ 2 ] Munich was chosen as the venue: The dates were the days of Pentecost, May 18, 19, 20, and 21. - The questions the organizers asked themselves during the preparations were: How can such a congress give expression to the mission of the Theosophical Movement within contemporary intellectual life? How can it convey a picture of the ideals and goals of theosophical work? Since the event is, of course, bound by the limitations imposed by the circumstances, it can only provide a limited answer to these questions. - It now seems particularly important that, on such occasions, the comprehensive nature of the Theosophical Movement be emphasized. First and foremost, at the heart of this movement lies the cultivation of a worldview grounded in insights into the supersensible. And at such a congress, people come together who, in the spirit of this worldview and transcending all national boundaries and other human differences, work toward spiritual ideals common to all humanity. Mutual inspiration in the best sense will be the most beautiful fruit of such events. In addition, it will be demonstrated how theosophical work should truly be integrated into the whole of life in our time. For the spiritual foundation of this movement is not merely destined to find expression in thoughts and ideas, in theories, and so on; rather, as a spiritual content emerging in our time, it can have a fertilizing effect on all branches of human activity and creativity. One can truly grasp Theosophy only when one holds up the ideal that its content serves as a source of inspiration not only for the mental image and the human inner life in general, but for the whole person. If one wishes to interpret its mission in this direction, one may recall how, for example, the Egyptians expressed the worldview of their time through their architecture and sculptures (such as the Sphinx). The ideas of the Egyptian worldview were not merely conceived in the soul; they became visually tangible in the human environment. And consider how everything known of Greek sculpture and drama represents the worldview of the Greek soul—shaped in stone and depicted in poetry. Consider how, in medieval painting, Christian ideas and sentiments were revealed to the eye, and how, in the Gothic period, Christian devotion took on form and shape. True harmony of the soul can, after all, only be experienced where what the soul recognizes as its most precious thoughts, feelings, and impulses is reflected in the human senses through form, shape, color, and so on in the surrounding environment. — From such thoughts arises the intention to convey, even in the external organization of a congress, an image of theosophical striving. The room in which the gathering takes place can reflect theosophical sentiment and thought all around the visitor. Given our circumstances, we were able to offer no more than a sketch of what might serve as an ideal in this regard. We had decorated the assembly hall so that a fresh, stimulating red formed the base color of all the walls. This color was intended to express the fundamental festive mood in its outward appearance. It stands to reason that many objections will be raised against the use of “red” for this purpose. These objections are valid as long as one relies on exoteric judgment and experience. They are well known to the esotericist, who nevertheless, in harmony with all occult symbolism, must use the color red for the purpose under consideration here. For he must not be guided by what that part of his being perceives that surrenders to the immediate sensory environment; rather, by what the higher self experiences in the hidden realm while creatively working in the spiritual, even as the external environment is physically perceived as red. And this is the exact opposite of what the ordinary perception of “red” suggests. Esoteric knowledge states: “If you wish to attune yourself inwardly as the gods were attuned when they bestowed the green mantle of vegetation upon the world, then learn to endure ‘red’ in your surroundings, just as they had to.” This points to a—relevant here — connection between higher human nature and “red,” which the genuine [esotericist] has in mind when, in occult symbolism, he depicts the two opposing entities of the creative world-principle in such a way that green points downward as a sign of the earthly, while “red” points upward as a sign of the heavenly (Elohimic) creative forces. Much more could be said about the counterarguments against this “red,” and much could be said in its refutation; yet let this brief allusion suffice here to indicate that this color was chosen in accordance with occultism.
[ 3 ] The so-called seven apocalyptic seals were affixed to the walls (on both sides and on the back wall) in a size appropriate to the room. They depict, after all, certain experiences of the astral world. There is, of course, a special significance to this. At first glance, some viewers may regard such pictorial representations as mere symbols. But they are much more than that. Anyone who attempts to interpret what is depicted in them merely symbolically with the intellect has not penetrated the spirit of the matter. One should experience the content of these seven images with one’s whole soul, with undivided attention; one should shape it within oneself—in form, color, and content—so that it lives inwardly in the imagination. For this content corresponds to very specific astral experiences of the clairvoyant. What the clairvoyant seeks to express in such images is by no means an arbitrary symbol, or even a flimsy allegory, but rather something best illustrated, at first, through a comparison. Consider a person standing in a room, illuminated by a light in such a way that their shadow is cast upon a wall. The silhouette is, in a certain sense, similar to the person casting the shadow. But it is, after all, a two-dimensional image of a three-dimensional being. Just as the shadow relates to the person, so does what is depicted in the apocalyptic seals relate to certain experiences of the clairvoyant in the astral world. The seals are—in a figurative sense, of course—silhouettes of astral processes. Therefore, they are not arbitrary representations created by an individual; rather, anyone familiar with the corresponding supersensory processes will recognize their silhouettes in the physical world. One cannot invent such things in their essential content; rather, they are drawn from the existing teachings of the initiates. A connoisseur of these matters may have noticed that some of our seals correspond to what he finds on the subject in this or that work, while others do not. The reason for this is that much of what pertains to the imaginations of esoteric science has already been communicated in books; the most important aspects, however—and the true ones—are only now permitted to come to light in our time. And part of the theosophical work must consist of revealing to the public some of what has hitherto been strictly guarded as a secret by the appointed guardians. The development of the spiritual life of our time demands this of the bearers of the secret science.
[ 4 ] It is the evolution of humanity—whose expression in the astral world must form one of the most essential foundations of occult knowledge—that is reflected in these seven seals. The Christian esotericist will recognize them in a certain way in the descriptions of the “Revelation of St. John.” However, the form in which they have been presented in our banquet hall corresponds to the esoteric spiritual current that has set the tone in the West since the fourteenth century. Such mysteries of existence, as reflected in these images, represent ancient wisdom; the clairvoyants of various epochs of human history perceive them from different perspectives. That is why the forms change somewhat in accordance with the necessary developmental needs of the times. In the “Revelation of St. John,” what is to happen “in brief” is “set forth in symbols.” Anyone who knows how to properly interpret a form of expression rooted in esoteric science understands that this means nothing other than a reference to the esoteric symbols for certain imaginative experiences that can be had in the astral world and that are connected to the human being’s essence, insofar as this essence reveals itself over time. And the Rosicrucian seals also represent the same thing. - Only very briefly, in a few words, shall we allude to the infinitely rich content of the seals. Essentially, everything—even the seemingly most insignificant detail—in these images has significance. - The first seal depicts the entire earthly evolution of humankind in the most general terms. In the “Revelation of St. John,” this is alluded to with the words: “And when I turned, I saw seven golden lampstands, and in the midst of the seven lampstands one like the Son of Man, clothed in a long robe and girded across the chest with a golden sash. But his head and his hair were white as white wool, as white as snow, and his eyes were like a flame of fire, and his feet were like burnished bronze, as if refined in a furnace, and his voice was like the sound of many waters, and he had seven stars in his right hand; and from his mouth came a sharp, double-edged sword; and his face shone like the bright sun.” In general terms, such words point to the most comprehensive mysteries of human development. If one were to describe in detail what each of these profoundly significant words contains, one would have to write a thick volume. Our seal depicts this figuratively. Let us offer just a few hints: Among the physical organs and forms of expression of human beings are those which, in their present form, represent the descending stages of development of earlier forms—forms that have thus already passed their peak of perfection; others, however, represent the initial stages of development; they are now, as it were, the seeds of what they are to become in the future. The esotericist must know these secrets of development. One organ that will be something much higher and more perfect in the future than it is at present is the organ of speech. By uttering this, one touches upon a great mystery of existence, which is often called the “mystery of the creative word.” This serves as a hint at the future state of this human speech organ, which will one day—when humanity has become spiritualized—become an organ of spiritual production (generation). In myths and religions, this spiritual production is symbolized by the appropriate image of the “sword” emerging from the mouth. Thus, every line and every point in the image signifies, in a sense, something connected to the mystery of human development. The creation of such images does not stem merely from a need to make the supersensible processes tangible; rather, it corresponds to the fact that immersing oneself in these images—if they are the right ones—truly stimulates forces that lie dormant in the human soul, and through their awakening, the mental images of the supersensible world emerge. For it is not correct in Theosophy to describe the supersensible worlds merely in schematic terms; the true path is to evoke the mental image of such images as are presented in these seals. (If the occultist does not have such images at hand, he should verbally describe the higher worlds using appropriate imagery.) - The second seal, with its accompanying elements, represents one of the earliest stages of development of humanity on Earth. In its primeval times, this humanity had not yet developed what is called the individual soul. What existed then was still present in animals even today: the group soul. Anyone who, through imaginative clairvoyance, can trace the ancient human group souls on the astral plane will find the four types of them, which are represented in the four apocalyptic beasts of the second seal: the lion, the bull, the eagle, and the human. This touches upon the truth of what is often “interpreted” in such a dry, allegorical manner with regard to the four beasts. - The third seal represents the mysteries of what is known as the harmony of the spheres. Human beings experience these mysteries in the interval between death and a new birth (in the “spirit realm” or what is called “Devachan” in common theosophical literature). However, the depiction is not presented as it is experienced in the “spirit realm” itself, but rather as the processes of that realm are, as it were, reflected into the astral world. It must be noted, in general, that all seven seals are experiences of the astral world; yet the other worlds can indeed be perceived in their reflections within the astral. The trumpet-blowing angels in the image represent the primordial spiritual beings of worldly phenomena; the book with the seven seals indicates that the mysteries of existence are “unsealed” in the experiences illustrated in this image. The “four apocalyptic horsemen” represent the stages of human development throughout long Earth cycles. - The fourth seal depicts, among other things, two columns, one rising from the sea and the other from the earth. These columns allude to the mystery of the role played by red (oxygen-rich) blood and blue-red (carbon-rich) blood in human evolution, and how this blood transforms in accordance with human evolution from distant primeval times to distant future times. The letters on these columns point to this mystery of development in a way known only to the initiated. (Old interpretations of the two letters, found in public writings or even within certain societies, remain merely superficial, exoteric explanations.) The book in the cloud points to a future state of humanity in which all knowledge will be internalized. In the “Revelation of St. John,” one finds the following significant words: “And I took a little book from the angel’s hand, and I opened it...”
[ 5 ] The sun in the image points to a cosmic process that will unfold simultaneously with the depicted future stage of humanity; the Earth will enter into a relationship with the sun that is entirely different from its current one in the cosmos. And everything in the image is depicted in such a way that the arrangement of all the parts, all the details, and so on, correspond precisely to specific real events. The fifth seal depicts the further development of humankind in the future within a cosmos in which the conditions just described will have come to pass. The human being of the future, who will himself have a different relationship to the Sun than the present one, is represented by the “woman who gives birth to the Sun”; and the power he will then have over certain forces of the world—forces that today manifest in his lower nature—is represented by the “Sun-Woman” standing upon the beast with seven heads and ten horns. The woman has the moon under her feet: this points to a future cosmic relationship between the sun, Earth, and moon. — The sixth seal depicts the further-developed human being with even greater power over the lower forces of the universe. The way the image expresses this echoes Christian esotericism: Michael holds the dragon bound. - Finally, the seventh seal is that of the “Mystery of the Grail,” as it was understood in the esoteric movement that began in the fourteenth century. In the image, there is a cube representing the world of space, from which the World Serpent springs forth on all sides of the cube, insofar as it represents the higher forces manifesting themselves in the lower realms: From the serpent’s mouth emerges the World Line (as a spiral), the symbol of the purified and refined cosmic forces; and springing from it is the “Holy Grail,” opposite which stands the “Dove”: all of this pointing—and quite appropriately so—to the mystery of the creation of the world, of which the earthly world is a lower reflection. The deepest mysteries lie in the lines, figures, and so on of this seal. — A column was inserted between each pair of seals. These seven columns could not be executed in sculpture; they had to be painted instead. Yet they are certainly conceived as actual architectural forms and correspond to the “seven columns” of the “true Rosicrucian temple.” (Of course, the arrangement in Munich does not entirely correspond to that in the “Rosicrucian Initiation Temple,” for there each such column is doubled, so that, proceeding from the back wall toward the front, one passes through fourteen columns, with two identical ones facing each other. This is merely a hint for those who know the true facts; here, we merely wish to awaken a general mental image of the meaning of this mystery of the columns.) The [capitals] of these columns represent the planetary evolution of our Earth system. Our Earth is, after all, the fourth incarnation in a planetary evolutionary system, and the potentials inherent within it point to three future incarnations. (More detailed information on this can be found in the articles in this journal titled “From the Akashic Records.”) The seven successive incarnations of the Earth are designated as the Saturn, Sun, Moon, Earth, Jupiter, Venus, and Vulcan states. In the representations commonly used in esoteric science, the Vulcan state is omitted as a state too far in the future, and—for reasons whose discussion would go too far here—Earth’s evolution is divided into a Mars and a Mercury state. (These reasons can also be found in the essays on the “Akasha Chronicle.”) These seven incarnations of the Earth—Saturn, Sun, Moon, Mars, Mercury, Jupiter, and Venus—are now expressed in esotericism through seven capital columns. The inner life of each such stage of development is represented in the forms of these capitals. Here, too, the intention is not that one should delve into the forms of the capitals intellectually, but rather entirely through feeling, in genuine artistic experience, and through the imagination. For every line, every curve, everything about these forms is such that, when one immerses oneself in them, one awakens powers slumbering in the soul; and these powers lead to mental images of the great mysteries of the world that underlie the cosmic development of the Earth and the associated development of humanity. Anyone who might wish to criticize the design of such columns should bear in mind that even the Corinthian and Ionic columns, for example, arose from the embodiment of the mysteries of existence, and that such facts are unknown only to the materialistic mindset of our time. From the way in which the motifs of world development are expressed in these column capitals, one can gauge how esotericism is meant to have a fruitful influence on art. The ancient columns, too, were born out of esotericism. And the architecture of the future will have to present to people what the esoteric worldview of theosophy can offer today as a hint.
[ 6 ] In Munich, for example, an attempt was made to sketch an interior designed in the spirit of the theosophical worldview with just a few strokes; of course, only a few of the necessary elements could be included, and even these only in general terms—and certainly not in the precisely appropriate arrangement. Yet the aim was simply to evoke a sense of what is essential. Among the elements in our meeting hall that alluded to esotericism were two columns standing in the front part of the hall. What they symbolize is evident from the description of the fourth seal, on which the two columns are also depicted. They symbolize the mystery of blood and embody the “mystery of human evolution.” The color of the columns is connected to the mystery of blood. One is red; the other is a deep blue-red. Esoteric science inscribes four profoundly meaningful maxims on these two columns. When the human soul immerses itself meditatively in these four maxims, entire mysteries of the world and of humanity well up from their depths. One would have to write many books to fully explore the meaning of these sayings, for not only is every word significant, but so too is the symmetry of the words, the way they are distributed among the four sayings, the gradations within them, and much more—so that only a long, patient devotion to the subject can fully uncover what lies within. In German, the four sayings of the “Wisdom of the Pillars” read as follows:
In pure thought you will find
the Self that can sustain itself.When you transform thought into an image,
you experience creative wisdom.When you condense feeling into light,
you reveal the formative power.When you materialize will into being,
you create within the fabric of the universe.
[ 7 ] We sought to convey the underlying mood we wished to express in our “interior space” even in the program booklet that was handed out to visitors. There is probably no need to say anything further about the red color of this book’s cover, since the significance of the color red in esoteric symbolism has already been discussed above. On this cover (in the upper left corner), a black cross entwined with red roses can be seen within a blue oval; to the right of it are the letters: E. D. N. - J. C.M. - P. S. S. R. — These are the first ten letters of the words that summarize true Rosicrucianism in a motto: “Ex deo nascimur, in Christo morimur, per spiritum sanctum reviviscimus.” The symbol of the cross, entwined with roses, expresses exoterically the meaning of Rosicrucianism. Given the relationship our organization has established with Rosicrucianism through such matters, it seems necessary to point out the serious misunderstandings that have arisen regarding it. Here and there, people have attempted to form a mental image of Rosicrucianism based on historical traditions. Of those who have come to know it in this way, some currently view it with a certain degree of goodwill; most, however, see it as charlatanism, fanaticism, or something similar—perhaps even worse. It can readily be conceded: If Rosicrucianism were what it must appear to be to those who know it only from mere historical documents and traditions, it would certainly not be worth a reasonable person’s attention. But at present, no one who has not approached it through the means of esoteric science knows anything at all about true Rosicrucianism. Outside the circle of esoteric science, there are no genuine records of it; the name refers to the spiritual movement mentioned here, which has been the dominant one in the West since the fourteenth century. Only now may we begin to reveal to the public some of the mysteries of Rosicrucianism. - When we drew upon this source in Munich, we naturally had no intention of presenting it as the sole path to salvation within the Theosophical Movement, but rather as one of the paths along which spiritual insights can be sought. It cannot be said that we gave one-sided preference to this source, whereas the Theosophical Movement should give equal consideration to all forms of religion and paths to truth. However, it can never, under any circumstances, be the task of the Theosophical Movement to study the diversity of religions as an end in itself; it must penetrate through the religious forms to their unity, to their core; and we certainly did not intend to show what Rosicrucianism looks like, but rather, through Rosicrucianism, we wanted to point the way to the one core of truth in all religions. And this is precisely the true mission of the Theosophical Movement. In the program booklet, one finds five drawings. These are the motifs of the first five of the seven [column capitals] mentioned above, rendered in vignette form. These five drawings also contain something of what is called “occult writing.” Whoever immerses themselves wholeheartedly in the lines and figures will have something within them illuminated—what is described as the states essential for [the] understanding of human evolution (the Saturn, Sun, Moon, Mars, and Mercury states).
[ 8 ] The intention was to describe the goals the conference organizers had in mind when preparing the framework within which the festivities were to take place. The venue was the Tonhalle (Kaim-Säle), which seemed particularly well-suited for this event.
[ 9 ] Before describing the proceedings of the congress, we must express the deepest satisfaction felt by all participants at Mrs. Besant’s presence. The highly esteemed Mrs. Besant had just returned to Europe after spending two years working in India; and Munich was the first place where the European members were able to welcome her back and hear her powerful speech. The German committee of the congress had asked Mrs. Besant to assume the honorary chairmanship; and so the esteemed leader of the assembly set the tone and imbued it with the spirit that radiates from her very being to all those among whom she dwells and to whom the magic of her words reaches.
[ 10 ] Our visit to the congress was entirely satisfactory. We had the great pleasure of welcoming many members of the other European sections, as well as members of the Indian section. Members of the German section had turned out in large numbers. Officially, the British Section was represented by its General Secretary, Miss Spink; the French Section by General Secretary Dr. Th. Pascal; the Dutch Section by General Secretary Mr. Fricke; the Italian Section by General Secretary Prof. Dr. Penzig; the Scandinavian Section by General Secretary A. Knös; and the Hungarian Section by General Secretary D. Nagy.
[ 11 ] The opening of the congress took place on May 18 at 10:00 a.m. It began with a musical introduction. Emanuel Nowotny played Johann Sebastian Bach’s Toccata in F major on the organ. - Following this, the Secretary-General of the German Section, on behalf of the German Committee, welcomed the participants. He greeted Mrs. Besant and emphasized the significance of the fact that the Munich Congress was honored by her visit. After greeting the representatives of the other sections and the German visitors, the speaker expressed words of love, high esteem, and gratitude for the founding president, H. S. Olcott, who had passed away in February. - In this opening address, reference was also made to the comprehensive mission of the Theosophical Movement within contemporary spiritual life, and the necessity was emphasized that the cultivation of spiritual life must form the foundation of Theosophical work. Following this, representatives from the European sections and other regions spoke: from England (Mr. Wedgwood), from France (Dr. “Th. Pascal”), from the Netherlands (Mr. Fricke), from Italy (Prof. Penzig), from Scandinavia (Mr. A. Knös), from Hungary (Mr. D. Nagy), from Bohemia (Mr. Bedrnicek), from Russia (Miss Kamensky, Ms. Forsch, Ms. N. v. Gernet), from Bulgaria, and Belgium (among others).
[ 12 ] As at previous congresses, each speaker spoke in his or her native language.
[ 13 ] Mrs. Besant then took the floor to welcome the German Section and emphasize the nature of the Theosophical Movement, as well as to highlight, in a few powerful sentences, spiritual life and its fundamental importance for society.
[ 14 ] Saturday afternoon was devoted to lectures and presentations by Mr. Alan Leo, Dr. Th. Pascal, Michael Bauer, Mr. James Wedgwood, and Miss Kamensky. Mr. Alan Leo read his paper on “Astrology and Personal Fate.” He discussed the esoteric aspect of astrology and spoke illuminatingly about free will in relation to predestined fate, illustrating the manner in which planetary forces influence human life. In a thoughtful essay, Dr. Th. Pascal expounded on the results of his long inner research in the field of theosophy. It was fascinating to follow the subtle discussions of these intimate trains of thought. Michael Bauer spoke about the relationship between nature and humanity. This highly commendable leader of our Nuremberg branch demonstrated, in his warm-hearted and spirited manner, how the inner essence of nature and the innermost being of humanity are interconnected in their depths. Mr. Wedgwood read his essay on “The Value of the Theosophical Society.” He explained how the study of the occult elevates human beings to an awareness of their higher destiny by providing them with insight into their place in the world process. What matters are the perspectives that occultism offers the human soul. (No summary of the individual lectures and papers is provided here, as they will appear in detail in the “Congress Yearbook.”) That same afternoon, Miss Kamensky read her captivating paper on “Theosophy in Russia.” Her brief but meaningful remarks showed how many theosophical ideas are embedded in Russian literary and intellectual life. The work was a prime example of how one can seek out those seeds in the intellectual life of a people that need only the light of the spirit to grow into theosophy in the proper way.
[ 15 ] The first day of the conference concluded with the evening’s artistic performances. Emanuel Nowotny’s organ performance of Johann Sebastian Bach’s “Prelude and Fugue in B minor” opened the evening. This was followed by Marie von Sivers’ recitation of the monologue from the beginning of the second part of Goethe’s *Faust*—“The pulse of life beats fresh and alive…”—as an example of poetry rooted in esoteric principles. The two members, Ms. Alice von Sonklar and Toni Völker, then performed Robert Schumann’s “Pictures from the East” on the piano, which seemed perfectly suited to fostering a mystical atmosphere. Miss Gertrud Garmatter then sang, in her charming and expressive manner, two songs by Schubert: “An die Musik” and “Di hist die Ruhr,” and Miss Toni Völker concluded the evening with her beautiful, artistic piano performance of Scarlatti’s “Pastorale and Capriccio.”
[ 16 ] On Sunday, May 19, the morning meeting began with the atmospheric “Trio in E-flat Major” by Johannes Brahms (1st movement), performed by Miss Johanna Fritsch (violin), Marika v. Gumppenberg (piano), and Mr. Tuckermann (French horn). Mrs. Besant then delivered her significant lecture: “The Place of Phenomena in the Theosophical Society.” She explained the role that phenomena, as described by H. P. Blavatsky, played in the early days of the Theosophical Society and how important they were at a time when there was skepticism regarding higher worlds. She emphasized that observations of phenomena relating to higher worlds can never be dangerous if one approaches them with the same spirit of inquiry that one applies to observations in the physical world. She strongly emphasized how detrimental it would be for the Theosophical Society if, out of fear of the danger posed by psychic forces, it were to leave the pursuit of the goal—“the study of those forces in the world and in man that are not accessible to sensory observation”—to other societies.
[ 17 ] It would be quite impossible to convey the diverse content of this lecture within the scope of a brief report. Therefore, as with all earlier and later lectures at the congress, reference must be made to the “Yearbook” of the “Federation of European Sections,” which will be published following this event.
[ 18 ] The second lecture of the morning was given by Dr. Rudolf Steiner on “The Initiation of the Rosicrucian,” in which he discussed the method for attaining knowledge of the supersensible worlds in accordance with the esotericism that has set the tone in the West since the 14th century, while also demonstrating the necessity of these methods for humanity’s current stage of development.
[ 19 ] In the late afternoon on Sunday (5:00 p.m.), Edouard Schuré’s “Sacred Drama of Eleusis” was performed. The German organizers regarded this performance as a particularly important part of the congress. For it was able to demonstrate in a particularly striking way how theosophical ideas and sensibilities find expression in true, high art. Edouard Schuré is the great French artist and writer who, through his works, conveys the theosophical spirit to our contemporaries in so many ways. Schuré’s works *Les Grands Initiés* (*The Great Initiates*) and *Sanctuaires d’Orient* (*The Sanctuaries of the Orient*) embody Theosophy in the noblest sense of the word. And Schuré’s Theosophical worldview is fully transformed into vibrant creative power when he creates as an artist. Within him lives that connection between imagination and fantasy upon which the fundamental mystery of all high art is based. Edouard Schuré’s truly mystical drama *The Children of Lucifer* is a shining example of how a worldview striving toward the heights of knowledge is completely translated into the forms of art. Only a spirit of this kind could undertake what Schuré undertook: to resurrect the “sacred drama” of Eleusis before the soul and the eyes of modern man. This drama leads us to the threshold of that ancient time, when knowledge, religion, and art were still one, when the imagination was the faithful witness to truth and the consecrated guide to piety; and when the radiance of the imagination fell upon this imagination, transfiguring and revealing it. In Edouard Schur& lives a modern artistic soul, illuminated by the light of that age of mysteries, and thus he was able to recreate what the priest-sages of ancient Greece revealed to the audience in the “Drama of Eleusis”: the profound mystery of the world, reflected in the symbolic events of Persephone’s seduction by Eros and her abduction by Pluto; of Demeter’s grief and the advice she sought from the “Goddess of Transformations,” Hecate, to go to Eleusis; of Demeter’s initiation of Triptolemus as a priest in Eleusis; of Triptolemus’s daring journey into Pluto’s realm to free Persephone, and of the emergence of a “new Dionysus,” who arises from Zeus’s fire and the light of Demeter through Triptolemus’s sacrifice. - The conference organizers sought to present the drama adapted by Schuré to the audience in German. This was made possible by the selfless efforts of a number of our members and by the gracious, loving cooperation of Bernhard Stavenhagen, who created a magnificent musical accompaniment for Schuré’s drama. Stavenhagen prefaced each of the four acts with a musical introduction that atmospherically prepared the audience for the dramatic action. With true congeniality, this eminent composer immersed himself in the fundamental motifs of the mystery play and rendered them musically. This musical performance was received with the greatest satisfaction by the congress participants. - The selfless dedication with which members of the German Section worked on this performance can be gauged from the fact that all roles were played by members. Miss von Sivers played Demeter, Miss Sprengel played Persephone, Miss Garmatter played Eros, Mrs. von Vacano played Hecate, and Mr. Stahl played Pluto; in the role of Triptolemus, we were delighted to have the participation of our member, the excellent actor Mr. Jürgas, who created a striking character; Baroness von Gumppenberg played Metanira, Dr. Peipers played Zeus, and Miss Wollisch played Dionysus. These, however, are only the leading roles; the choruses that intervened in the action were also composed of members. Special recognition must go to our esteemed member, Mr. Linde, who undertook the arduous task of creating the sets.
[ 20 ] Monday morning began with a recitation of Goethe’s poems “Song of the Spirits Above the Waters” and “Prometheus” by Richard Jürgas, whom the participants now came to know as an equally outstanding reciter, just as they had become acquainted with his dramatic talent the evening before. The participants then had the great pleasure of hearing Mrs. Besant’s second lecture, in which she spoke about the relationship of the Masters to the Theosophical Society. Drawing on her rich spiritual experience, she described the relationship of the great Individualities to spiritual progress and the way in which such Individualities participate in the advancement of the Theosophical Society. It is also impossible to convey the far-reaching content of this lecture in just a few words. Here, too, we must refer to the publication of the yearbook. Following this lecture, our member Mrs. Hempel delighted the participants with an exquisite display of her vocal artistry. - This was followed by a lecture by Dr. Carl Unger, who spoke very interestingly about working methods in the Theosophical branches and elucidated the relationship of the non-clairvoyant Theosophist to the communications of the clairvoyants, demonstrating how Dr. Rudolf Steiner’s work *Theosophy* can provide a foundation for shaping this relationship in the proper manner. Later that morning, Ms. Elise Wolfram gave her lecture on the occult foundations of the Siegfried legend. She demonstrated, with subtlety and vivid imagery, how Europe’s deeper spiritual development finds expression in the myth, and how Germanic and even older mystery wisdom took shape in the story of Siegfried. The speakers’ insightful interpretations helped the audience immerse themselves in the mysterious life of a part of the Nibelungen saga.
[ 21 ] In the afternoon, Mrs. von Gumppenberg read Mr. Arvid Knös’s essay, “Absolute and Relative Truths”; then Dr. Rudolf Steiner gave his lecture, “Planetary Evolution and Human Evolution.” He described the Earth’s development through three planetary states that preceded its present form and then pointed out the connection between the Earth’s development and that of humankind. He also showed how one could gain insight into the future of this development.
[ 22 ] The evening was once again devoted entirely to artistic performances. L. van Beethoven’s Sonata in G minor was performed by Chr. Döbereiner (cello) and Elfriede Schunk (piano). Afterward, the audience was once again treated to Gertrud Garmatter’s excellent vocal performance (two songs: “Weylas Gesang” by Hugo Wolf and “Frühlingslaube” by Franz Schubert). This was followed by solos for viola da gamba with piano: first, Handel’s “Adagio,” and second, the “Aria con variazione” composed by A. Kühnel in 1695. Both pieces were performed by Chr. Döbereiner (viola da gamba) and Miss Elfriede Schunk (piano). A brilliant performance on the piano by the Italian member, Mr. Kirby, brought the evening to a close.
[ 23 ] Tuesday morning began with the “Adagio from the Violin Concerto,” Op. 26, by Max Bruch, performed by Johanna Fritsch and Pauline Frieß. Following this, Mr. Richard Jürgas recited several poems full of intimate feeling and mystical atmosphere by our dear member Mia Holm. - The rest of the morning was devoted to an open discussion on the topic: “The Necessity of Cultivating Occultism within Society.” Participants in the discussion included Mr. Jules Ägoston from Budapest, Bernhard Hubo, Ludwig Deinhard, Dr. [Carl] Unger, Michael Bauer, D. Nagy, Mr. Wedgwood, Miss Severs, and Mrs. Elise Wolfram. The discussion was introduced by Jules Ägoston, who emphasized the necessity of fostering spiritualist experimentation; building on this, Bernhard Hubo, drawing on his many years of experience, presented a contrary viewpoint; Ludwig Deinhard discussed the need for theosophical circles to familiarize themselves with scientific experiments aimed at penetrating the deeper foundations of the life of the soul. It is impossible to report here on the rich and varied addresses given by the aforementioned speakers. Nor is it possible to do so regarding the stimulating perspectives offered by Mr. Nerei from Budapest during the afternoon discussion on “Educational Issues.” Following these remarks, Dr. Rudolf Steiner also spoke at length about education. — Mrs. Douglas-[Sheild] also spoke about the relationship between “Theosophy and Christianity.”
[ 24 ] The closing session of the convention took place on Tuesday at nine o’clock in the evening. It began with the spirited and heartfelt Adagio in D major by our dear member and leader of the Stuttgart Lodge I: Adolf Arenson, performed by Mr. Arenson himself (piano), Dr. Carl Unger (cello), and Johanna Fritsch (violin). This was followed by: “Tröstung” by Felix Mendelssohn-Bartholdy, performed by Hilde Stockmeyer, “Ave verum” by Mozart, performed by Gertrud Garmatter; a recitation of a poem by Mrs. Ripper; violin solos by J. S. Bach, performed by Johanna Fritsch and Pauline Frieß; and variations on the chorale “Sei gegrüßet, Jesu gütig,” for organ by J. S. Bach, performed by Emanuel Nowotny. The congress then drew to a close with brief closing remarks by the representatives of the individual sections: for the British section, Mr. Wallace spoke; for the French section, Mlle Aimée Blech (representing Dr. Pascal, who had to leave early due to health reasons); for the Dutch section, Mr. Fricke; and for the Italian section, Prof. Dr. Penzig. - Mrs. Besant then addressed the participants with deeply moving words, and finally, Dr. Rudolf Steiner delivered the closing remarks, in which he thanked the participants—especially those from the foreign sections—for coming, and also expressed his warmest gratitude to all those whose selfless work had made the Congress possible.
[ 25 ] And this gratitude must be extended to many, above all to Miss Sophie Stinde, who, as secretary of the congress, performed tireless and indispensable work; and to Countess Pauline Kalckreuth, who selflessly and tirelessly contributed to all the preparatory work and other tasks. It is above all to these two that we owe our thanks for the fact that we were able to pursue the goals described above in the first place, and that we were able to accomplish what has been accomplished. Adolf Arenson was responsible for organizing the musical portion. Our dear member Clara Rettich selflessly devoted herself to the task of painting the seven apocalyptic seals according to the occult instructions given to her; likewise, Karl Stahl undertook the task of painting the seven columns around the perimeter of the hall. It is impossible to name even a single one of the many workers by name. However, it should not go unmentioned that our dear members set up a buffet in an adjoining room and carried out the necessary work, which greatly fostered the convivial gathering—an occasion intended to bring the members closer together.
[ 26 ] Dr. Rudolf Steiner was granted permission, upon his request—unanimously and out of the enthusiasm of the audience—to express the Congress’s gratitude to both Monsieur Edouard Schure, the poet of the “Drama of Eleusis,” and Bernhard Stavenhagen, the composer of the musical portion.
[ 27 ] An outstanding artistic contribution to the convention was the sculptures by our highly talented member, the sculptor Dr. Ernst Wagner, who strives for the highest artistic standards. The sculptures he made available to us for the exhibition were arranged around the perimeter of the main hall and, given their introspective nature, found an atmospheric backdrop in the red wall of the hall. The works of art were as follows: portrait bust, *The Praying Figure*, portrait bust, relief for a burial chapel, bust, funerary relief, *The Royal Child*, *Dissolution*, *Sybil*, relief for a burial niche, portrait bust, *Sorrow*, *Mask of Christ*, *Mask of Death*, and a bronze statuette. — Aside from these works of art, the only other pieces that could be accommodated in the main hall were the interesting symbolic painting: “The Great Babylon” by our member Mr. Haß, which was hung above the boardroom, and a tapestry by Miss Lehmann, which demonstrated a captivating application of mystical ideas in the arts and crafts; finally, a relief depicting Colonel Olcott by M. Gailland, and a sketch titled “H. P. Blavatsky” by Julia Wesw-Hoffmann.
[ 28 ] An exhibition of a series of works of art and reproductions of such works, which have a special connection to theosophical thought, took place in the adjoining room. On display here were: etchings by Hans Volkert; reproductions of two paintings by Moreau; reproductions of two paintings by Hermann Schmiechen; a statuette titled “The Master” by [Heyman]; a painting titled “Out of Deep Distress” by Stockmeyer; reproductions of various paintings by Watts; three reproductions of works by Leonardo; paintings by Kalckreuth the Elder, by Sophie Stinde (landscapes); by Haß (“After the Storm,” “Fairy Tale,” The King’s Daughter, The Storm Cloud, Five Fir Tree Studies); a reproduction by the artist Knopf.
[ 29 ] At the kind invitation of the Hungarian members, the Federation’s next congress will take place in Budapest two years from now (1909).
[ 30 ] Following the congress, the following events took place: a public lecture by Mrs. Besant in Munich on “Exertion and Destiny” on May 27; two public lectures by Dr. Rudolf Steiner in Munich on “The Bible and Wisdom” on May 23 and 24; and a “Course on Theosophy” based on the Rosicrucian method, led by Dr. Rudolf Steiner, which began on Wednesday, May 22, and comprised 14 lectures (lasting until June 8).
[ 31 ] Photographs of the seals and columns described above were provided by our member, Mr. Kuhn, and will soon be available from Miss Marie von Sivers (Berlin W, Motzstraße 17).
[ 32 ] It should be noted in particular that the first two yearbooks of the Federation (containing the communications, lectures, and papers from the Amsterdam and London congresses) have been published. Those covering the third (Paris) Congress and the fourth (Munich) Congress are to follow shortly. The contents of these books will be discussed in detail in the next issue of this journal; however, we would like to emphasize here the importance they hold for every Theosophist, and their purchase is most strongly recommended.
[ 33 ] A group photograph of the Munich conference participants in the banquet hall was taken by our member Otto Rietmann and is available from Mr. Otto Rietmann (photographer in St. Gallen, Switzerland, Rorschacherstraße).