The Rudolf Steiner Archive

Questions of ethical and social education are raised when we consider the relationship between growing children and their surroundings. We will consider these two issues today—even though briefly and superficially, due to the shortness of time. Once again, the kernel of the matter is knowing how to adapt to the individuality of the growing child. At the same time, you must remember that, as a teacher and educator, you are part of the social setting, and that you personally bring the social environment and its ethical attitudes to the growing pupil. Again, pedagogical principles and methods must be formed so that they offer every opportunity of reaching the child's true nature—one must learn to know the child's true nature according to what has been shown here briefly during the last few days. As always, much depends on how one's material is brought to the students during their various ages and stages.

Here we need to consider three human virtues—concerning, on the one hand, the child's own development, and on the other hand, what is seen in relation to society in general. They are three fundamental virtues. The first concerns everything that can live in will to gratitude; the second, everything that can live in the will to love; and third, everything that can live in the will to duty. Fundamentally, these are the three principal human virtues and, to a certain extent, encompass all other virtues.

Generally speaking, people are far too unaware of what, in this context, I would like to term gratitude or thankfulness. And yet gratitude is a virtue that, in order to play a proper role in the human soul, must grow with the child. Gratitude is something that must already flow into the human being when the growth forces—working in the child in an inward direction—are liveliest, when they are at the peak of their shaping and molding activities. Gratitude is something that has to be developed out of the bodily-religious relationship I described as the dominant feature in the child from birth until the change of teeth. At the same time, however, gratitude will develop very spontaneously during this first period of life, as long as the child is treated properly. All that flows, with devotion and love, from a child's inner being toward whatever comes from the periphery through the parents or other educators—and everything expressed outwardly in the child's imitation—will be permeated with a natural mood of gratitude. We only have to act in ways that are worthy of the child's gratitude and it will flow toward us, especially during the first period of life. This gratitude then develops further by flowing into the forces of growth that make the limbs grow, and that alter even the chemical composition of the blood and other bodily fluids. This gratitude lives in the physical body and must dwell in it, since it would not otherwise be anchored deeply enough.

It would be very incorrect to remind children constantly to be thankful for whatever comes from their surroundings. On the contrary, an atmosphere of gratitude should grow naturally in children through merely witnessing the gratitude that their elders feel as they receive what is freely given by their fellow human beings, and in how they express their gratitude. In this situation, one would also cultivate the habit of feeling grateful by allowing the child to imitate what is done in the surroundings. If a child says “thank you” very naturally—not in response to the urging of others, but simply by imitation—something has been done that will greatly benefit the child's whole life. Out of this an all-embracing gratitude will develop toward the whole world.

The cultivation of this universal gratitude toward the world is of paramount importance. It does not always need to be in one's consciousness, but may simply live in the background of the feeling life, so that, at the end of a strenuous day, one can experience gratitude, for example, when entering a beautiful meadow full of flowers. Such a subconscious feeling of gratitude may arise in us whenever we look at nature. It may be felt every morning when the Sun rises, when beholding any of nature's phenomena. And if we only act properly in front of the children, a corresponding increase in gratitude will develop within them for all that comes to them from the people living around them, from the way they speak or smile, or the way such people treat them.

This universal mood of gratitude is the basis for a truly religious attitude; for it is not always recognized that this universal sense of gratitude, provided it takes hold of the whole human being during the first period of life, will engender something even further. In human life, love flows into everything if only the proper conditions present themselves for development. The possibility of a more intense experience of love, reaching the physical level, is given only during the second period of life between the change of teeth and puberty. But that first tender love, so deeply embodied in the inner being of the child, without as yet working outward—this tender blossom will become firmly rooted through the development of gratitude. Love, born out of the experience of gratitude during the first period of the child's life, is the love of God. One should realize that, just as one has to dig the roots of a plant into the soil in order to receive its blossom later on, one also has to plant gratitude into the soul of the child, because it is the root of the love of God. The love of God will develop out of universal gratitude, as the blossom develops from the root.

We should attend to these things, because in the abstract we usually know very well how they should be. In actual life situations, however, all too often these things turn out to be very different. It is easy enough, in theory, to say that people should carry the love of God within themselves—and this could not be more correct. But such demands, made abstractly, have a peculiar habit of never seeing the light of day in practice.

I would like to return to what I said during one of the last few days. It is easy enough to think of the function of a stove in the following way: You are a stove and we have to put you here because we want to heat the room. Your categorical imperative—the true categorical “stove-imperative”—tells you that you are obliged to heat the room. We know only too well that this in itself will not make the slightest difference in the temperature of the room. But we can also save our sermonizing, and, instead, simply light the stove and heat it with suitable logs. Then it will radiate its warmth without being reminded of its categorical imperative. And this is how it is when, during various stages of childhood, we bring the right thing to children at the right time. If, during the first period of life, we create an atmosphere of gratitude around children, and if we do something else, of which I shall speak later, then, out of this gratitude toward the world, toward the entire universe, and also out of an inner thankfulness for being in this world at all (which is something that should ensoul all people), the most deep-seated and warmest piety will grow. Not the kind that lives on one's lips or in thought only, but piety that will pervade the entire human being, that will be upright, honest, and true. As for gratitude, it must grow; but this can happen with the intensity necessary for such a soul and spiritual quality only when it develops from the child's tender life-stirrings during the time from birth to its change of teeth. And then this gratitude will become the root of the love of God. It is the foundation for the love of God.

Knowing all this will make us realize that, when we receive children into the first grade, we must also consider the kinds of lives they have led before reaching school age. There should really be direct contact with the parental home—that is, with what has happened before the child entered school. This contact should always be worked for, because teachers should have a fairly clear picture of how the present situation of children was influenced by their social conditions and the milieu in which they grew up. At school, teachers will then find plenty of opportunities to rectify any possible hindrances. For this to happen, however, knowledge of the child's home background, through contact with the parents, is of course absolutely essential. It is necessary that teachers can observe how certain characteristics have developed in a child by simply watching and imitating the mother at home. To be aware of this is very important when the child begins schooling. It is just as much part of teaching as what is done in the classroom. These matters must not be overlooked if one wants to build an effective and properly based education.

We have already seen that, in the years between the child's change of teeth and the coming of puberty, the development of a sense for the authority of the teacher is both natural and essential. The second fundamental virtue, which is love, then grows from that when the child is in the process of also developing the physical basis of love. But one must see love in its true light, for, because of the prevailing materialistic attitudes of our time, the concept of love has become very one-sided and narrow; and because a materialistic outlook tends to see love only in terms of sexual love, it generally traces all manifestations of love back to a hidden sexuality. In an instance of what I called “amateurism squared” the day before yesterday, we find, if not in every case, that at least many psychologists trace human traits back to sexual origins, even if they have nothing whatsoever to do with sex. To balance such an attitude, the teacher must have acquired at least some degree of appreciation for the universal nature of love; for sexual love is not the only thing that begins to develop between the child's second dentition and puberty, but also love in its fullest sense, love for everything in the world. Sexual love is only one aspect of love that develops at this time of life. At that age one can see how love of nature and love for fellow human beings awaken in the child, and the teacher needs to have a strong view of how sexual love represents only one facet, one single chapter in life's book of love. If one realizes this, one will also know how to assign sexual love to its proper place in life. Today, for many people who look at life with theoretical eyes, sexual love has become a kind of Moloch who devours his own offspring, inasmuch as, if such views were true, sexual love would devour all other forms of love.

The way love develops in the human soul is different from the way gratitude does. Gratitude has to grow with the growing human being, and this is why it has to be planted when the child's growing forces are at their strongest. Love, on the other hand, has to awaken. The development of love really does resemble the process of awakening, and, like awakening, it has to remain more in the region of the soul. The gradual emergence of love is a slow awakening, until the final stage of this process has been reached. Observe for a moment what happens when one awakes in the morning. At first there is a dim awareness of vague notions; perhaps first sensations begin to stir; slowly the eyelids struggle free of being closed; gradually the outer world aids one's awakening; and finally the moment arrives when that awakening passes into the physical body.

This is also how it is with the awakening of love—except that, in the child, this process takes about seven years. At first love begins to stir when sympathy is aroused for whatever is taught during the early days at school. If we begin to approach the child with the kind of imagery I have described, we can see how love especially comes to meet this activity. Everything has to be saturated with this love. At that stage, love has a profoundly soul-like and tender quality. If one compares it with the daily process of waking up, one would still be deeply asleep, or at least in a state of sleeping-dreaming. (Here I am referring to the child's condition, of course—the teacher must not be in a dream, although this appears to happen all too often!) This condition then yields to a stronger jolt into wakefulness. And in what I described yesterday and the day before about the ninth and tenth years—and especially in the time leading up to the twelfth year—love of nature awakens in the child. Only then do we see it truly emerging.

Before this stage, the child's relationship to nature is completely different. A child then has a great love for all that belongs to the fairyworld of nature, a love that has to be nourished by a creative and pictorial approach. Love for the realities in nature awakens only later. At this point we are faced with a particularly difficult task. Into everything connected with the curriculum at this time of life (causality, the study of lifeless matter, an understanding of historical interconnections, the beginnings of physics and chemistry) into all of this, the teacher must introduce—and here I am not joking, but speak very earnestly—the teacher must introduce an element of grace. In geometry or physics lessons, for example, there is every need for the teacher to allow real grace to enter into teaching. All lessons should be pervaded with an air of graciousness, and, above all, the subjects must never be allowed to become sour. So often, just during the ages from eleven and a half, or eleven and three-quarters, to fourteen or fifteen, work in these subjects suffers so much by becoming unpalatable and sour. What the pupils have to learn about the refraction and reflection of light or about the measurement of surface areas in a spherical calotte, is so often spoken of not with grace, but with an air of sourness.

At just this time of life the teacher must remember the need for a certain “soul-breathing” in the lessons, which communicates itself to the pupils in a very strange way—soul-breathing must be allowed for. Ordinary breathing consists of inhaling and exhaling. In most cases, or at least on many occasions, teachers, in their physics and geometry lessons, only breathe out with their souls. They do not breathe in, and the outbreath is what produces this acidity. I am referring to the outbreathing of soul expressed in dull and monotonous descriptions, which infuses all content with the added seriousness of inflated proportion. Seriousness does have its place, but not through exaggeration.

On the other hand, an in-breathing of soul brings an inherent sense of humor that is always prepared to sparkle, both within and outside the classroom, or whenever an opportunity arises for teachers and pupils to be together. The only possible hindrance to such radiating humor is the teachers themselves. The children certainly would not stand in its way, nor would the various subjects, provided they were handled with just the right touch during this particular age. If teachers could feel at home in their subjects to the degree that they were entirely free of having to chew over their content while presenting lessons, then they might find themselves in a position where even reflected light is likely to crack a joke, or where a spherical skullcap might calculate its surface area with a winning smile. Of course, jokes should not be planned ahead, nor should they be forced on the classroom situation. Everything should be tinted with spontaneous humor, which is inherent within the content, and not artificially grafted onto it. This is the core of the matter. Humor has to be found in things themselves and, above all, it should not even be necessary to search for it. At best, teachers who have prepared their lessons properly need to bring a certain order and discipline into the ideas that will come to them while teaching, for this is what happens if one is well prepared. The opposite is equally possible, however, if one has not prepared the lessons adequately; one will feel deprived of ideas because one still has to wrestle with the lesson content. This spoils a healthy out-breathing of soul and shuts out the humor-filled air it needs. These are the important points one has to remember at this particular age.

If teaching follows its proper course in this way, the awakening of love will happen so that the student's soul and spirit are properly integrated into the human organization during the final stage of this awakening—that is, when the approach of puberty, begins. This is when what first developed so tenderly in the child's soul, and then in a more robust way, can finally take hold of the bodily nature in the right and proper way.

Now you may wonder what teachers have to do to be capable of accomplishing their tasks as described. Here we have to consider something I would like to call the “social aspect” of the teaching profession, the importance of which is recognized far too little. Too often we encounter an image that a certain era (not ancient times, however) has associated with the teaching profession, whose members are not generally respected and honored as they should be. Only when society looks upon teachers with the respect their calling deserves, only when it recognizes that the teachers stand at the forefront of bringing new impulses into our civilization—not just in speeches from a political platform—only then will teachers receive the moral support they need to do their work. Such an attitude—or perhaps better still, such a sentiment—would pave the way toward acquiring a wider and more comprehensive view of life. This is what the teachers need; they also need to be fully integrated into life. They need more than just the proper qualifications in educational principles and methods, more than just special training for their various subjects; most of all teachers need something that will renew itself again and again: a view of life that pulsates in a living way through their souls. What they need is a deep understanding of life itself; they need far more than what can pass from their lips as they stand in front of their classes. All of this has to flow into the making of a teacher. Strictly speaking, the question of education should be part of the social question, and it must embrace not just the actual teaching schools, but also the inner development of the teaching faculty.

It should be understood, at the same time, that the aims and aspirations for contemporary education, as presented here, are in no way rebellious or revolutionary. To believe that would be a great misunderstanding. What is advocated here can be introduced into the present situation without any need for radical changes. And yet, one feels tempted to add that it is just this social aspect of education that points to so many topical questions in life. And so, I would like to mention something, not because I want to agitate against present conditions, but only to illustrate, to put into words, what is bound to come one day. It will not happen in our current age, so please do not view what I am going to say as something radical or revolutionary.

As you know, it is customary today to confer a doctorate on people who, fundamentally speaking, have not yet gained any practical experience in the subjects for which they are given their degree, whether chemistry, geography, or geology. And yet, the proof of their knowledge and capacity would surely have to include the ability to pass their expertise on to other candidates, of teaching them.¹ And so a doctor's degree should not really be granted until a candidate has passed the practical test of teaching and training others who wish to take up the same vocation. You can see great wisdom, based on instinctive knowledge, in the popular expression; for, in the vernacular, only a person capable of healing, capable of giving tangible proof of healing abilities, is called a “doctor.” In this instance the word doctor refers to someone engaged as a practical healer, and not just to a person who has acquired specialized medical knowledge, however comprehensive this might be.

Two concepts have arisen gradually from the original single concept—that of educating as well as that of healing. In more distant times, teaching or educating was also thought of as including healing. The process of educating was considered synonymous with that of healing. Because it was felt that the human being bore too many marks of physical heredity, education was viewed as a form of healing, as I have already mentioned during a previous meeting here. Using the terminology of past ages, one could even say teaching was considered a means of healing the effects of original sin.² Seen in this light, the processes of healing, set in motion by the doctor, are fundamentally the same as those of teaching, though in a different realm of life. From a broader perspective, the teacher is as much of a healer as a doctor. And so the weight the title “doctor” usually carries in the eyes of the public could well become dependent on a general awareness that only those who have passed the test of practical experience should receive the honor of the degree. Otherwise, this title would remain only a label.

However, as I have already said, this must not be misunderstood as the demand of an instigator for the immediate present. I would not even have mentioned it except in a pedagogical context. I am only too aware of the kind of claims that are likely to be listened to in our times, and the ones that inevitably give the impression one is trying to crash through closed doors. If one wants to accomplish something in life, one must be willing to forgo abstract aims or remote ideals, the attempted realization of which would either break one's neck or bruise one's forehead. One must always try to remain in touch with reality. Then one is also justified in using something to illustrate certain needs of our time, even if these may only be fulfilled in the future; for what I have spoken of cannot be demanded for a very long time to come. It may help us to appreciate, nevertheless, the dignity within the social sphere that should be due the teaching profession. I have mentioned all of this because it seemed important that we should see this question in the proper light. If teachers can feel moral support coming from society as a whole, then the gradual awakening of love in the young will become the close ally of their natural sense of authority, which must prevail in schools. Such things sometimes originate in very unexpected places.

Just as the love of God is rooted in gratitude, so genuine moral impulses originate in love, as was described. For nothing else can be the basis for truly ethical virtue except a kind of love for humankind that does not allow us to pass our fellow human beings without bothering to know them, because we no longer have an eye for what lives in them—as happens so easily nowadays. The general love toward all people is the love that reaches out for human understanding everywhere. It is the love that awakens in the child in the time between the change of teeth and puberty, just as gratitude has grown between the child's birth and the loss of the first teeth. At school, we must do everything we can to awaken love.

How are children affected by what happens in their immediate surroundings during the first period of life—that is, from birth to the change of teeth? They see that people engage in all kinds of activities. But what children take in are not the actual accomplishments in themselves, for they have not yet developed the faculty to perceive them consciously. What they do perceive are meaningful gestures. During this first period of life we are concerned with only a childlike understanding of the meaningful gestures they imitate. And from the perception of these meaningful gestures the feeling of gratitude develops, from which the gratitude-engendered will to act arises.

Nor do children perceive the activities happening in their environment during the subsequent years, between the change of teeth and puberty—especially not during the early stages of this period. What they do perceive—even in the kinds of movements of the people around them—no longer represents the sum total of meaningful gestures. Instead, events begin to speak to the children, become a meaningful language. Not just what is spoken in actual words, but every physical movement and every activity speaks directly to the child during this particular time. It makes all the difference, therefore, whether a teacher writes on the blackboard:

Or writes the same word thus:

Whether the teacher writes the figure seven like this:

Or like this:

Whether it is written in an artistic, in a less-refined, or even in a slovenly way, makes a great difference. The way in which these things affect the child's life is what matters. Whether the word leaf is written in the first or second way (see above), is a meaningful language for the child. Whether the teacher enters the classroom in a dignified manner, or whether the teacher tries to cut a fine figure, speaks directly to the child. Likewise, whether the teacher is always fully awake to the classroom situation—this will show itself in the child's eye by the way the teacher handles various objects during the lessons—or, during wintertime, whether it could even happen that the teacher absent-mindedly walks off with the blackboard towel around his or her neck, mistaking it for a scarf—all of this speaks volumes to the child. It is not so much the outer actions that work on the child, but what lives behind them, whether unpleasant and ugly, or charming and pleasant.

In this context, it is even possible that a certain personal habit of a teacher may generate a friendly atmosphere in the classroom, even if it might appear, in itself, very comic. For example, from my thirteenth to eighteenth year I had a teacher—and I always considered him to be my best teacher—who never began a lesson without gently blowing his nose first. Had he ever started his lesson without doing so, we would have sorely missed it. I am not saying that he was at all conscious of the effect this was having on his pupils, but one really begins to wonder whether in such a case it would even be right to expect such a person to overcome an ingrained habit. But this is an altogether different matter. I have mentioned this episode only as an illustration.

The point is, everything teachers do in front of children at this stage of life constitutes meaningful language for them. The actual words that teachers speak are merely part of this language. There are many other unconscious factors lying in the depths of the feeling life that also play a part. For example, the child has an extraordinarily fine perception (which never reaches the sphere of consciousness) of whether a teacher makes up to one or another pupil during lessons or whether she or he behaves in a natural and dignified way. All this is of immense importance to the child. In addition, it makes a tremendous difference to the pupils whether teachers have prepared themselves well enough to present their lessons without having to use printed or written notes, as already mentioned during our discussion. Without being aware of it, children ask themselves: Why should I have to know what the teachers do not know? After all, I too am only human. Teachers are supposed to be fully grown up, and I am only a child. Why should I have to work so hard to learn what even they don't know?

This is the sort of thing that deeply torments the child's unconscious, something that cannot be rectified once it has become fixed there. It confirms that the sensitive yet natural relationship between teachers and students of this age can come about only if the teachers—forgive this rather pedantic remark, but it cannot be avoided in this situation—have the subject completely at their fingertips. It must live “well-greased” in them—if I may use this expression—but not in the sense of bad and careless writing.³ I use it here in the sense of greasing wheels to make them run smoothly. Teachers will then feel in full command of the classroom situation, and they will act accordingly. This in itself will ensure an atmosphere where it would never occur to students to be impudent.

For that to happen among children of ten, eleven, or twelve would really be one of the worst possible things. We must always be aware that whatever we say to our pupils, even if we are trying to be humorous, should never induce them to give a frivolous or insolent reply. An example of this is the following situation: A teacher might say to a student who suddenly got stuck because of a lack of effort and attention, “Here the ox stands held up by the mountain.” And the pupil retorts, “Sir, I am not a mountain.”⁴ This sort of thing must not be allowed to happen. If the teachers have prepared their lessons properly, a respectful attitude will emerge toward them as a matter of course. And if such an attitude is present, such an impertinent reply would be unthinkable. It may, of course, be of a milder and less undermining kind. I have mentioned it only to illustrate my point. Such impudent remarks would destroy not only the mood for work in the class, but they could easily infect other pupils and thus spoil a whole class.

Only when the transition from the second life period to the third occurs, is the possibility given for (how shall I call them now in these modern times?) young men and young women to observe the activities occurring around them. Previously the meaningful gesture was perceived, and later the meaningful language of the events around the child. Only now does the possibility exist for the adolescent to observe the activities performed by other people in the environment. I have also said that, by perceiving meaningful gestures, and through experiencing gratitude, the love for God develops, and that, through the meaningful language that comes from the surroundings, love for everything human is developed as the foundation for an individual sense of morality. If now the adolescent is enabled to observe other people's activities properly, love of work will develop. While gratitude must be allowed to grow, and love must be awakened, what needs to evolve now must appear with the young person's full inner awareness. We must have enabled the young person to enter this new phase of development after puberty with full inner awareness, so that in a certain way the adolescent comes to find the self. Then love of work will develop. This love of work has to grow freely on the strength of what has already been attained. This is love of work in general and also love for what one does oneself. At the moment when an understanding for the activities of other people awakens as a complementary image, a conscious attitude toward love of work, a love of “doing” must arise. In this way, during the intervening stages, the child's early play has become transmuted into the proper view of work, and this is what we must aim for in our society today.

What part do teachers and educators have to play in all of this? This is something that belongs to one of the most difficult things in their vocational lives. For the best thing teachers can do for the child during the first and second life period is to help what will awaken on its own with the beginning of puberty. When, to their everlasting surprise, teachers witness time and again how the child's individuality is gradually emerging, they have to realize that they themselves have been only a tool. Without this attitude, sparked by this realization, one can hardly be a proper teacher; for in classes one is faced with the most varied types of individuals, and it would never do to stand in the classroom with the feeling that all of one's students should become copies of oneself. Such a sentiment should never arise—and why not? Because it could very well happen that, if one is fortunate enough, among the pupils there might be three or four budding geniuses, very distinct from the dull ones, about whom we will have more to say later. Surely you will acknowledge that it is not possible to select only geniuses for the teaching profession, that it is certain that teachers are not endowed with the genius that some of their students will display in later life. Yet teachers must be able to educate not only pupils of their own capacity, but also those who, with their exceptional brightness, will far outshine them.

However, teachers will be able to do this only if they get out of the habit of hoping to make their pupils into what they themselves are. If they can make a firm resolve to stand in the school as selflessly as possible, to obliterate not only their own sympathies and antipathies, but also their personal ambitions, in order to dedicate themselves to whatever comes from the students, then they will properly educate potential geniuses as well as the less-bright pupils. Only such an attitude will lead to the realization that all education is, fundamentally, a matter of self-education.

Essentially, there is no education other than self-education, whatever the level may be. This is recognized in its full depth within anthroposophy, which has conscious knowledge through spiritual investigation of repeated Earth lives. Every education is self-education, and as teachers we can only provide the environment for children's self-education. We have to provide the most favorable conditions where, through our agency, children can educate themselves according to their own destinies.

This is the attitude that teachers should have toward children, and such an attitude can be developed only through an ever-growing awareness of this fact. For people in general there may be many kinds of prayers. Over and above these there is this special prayer for the teacher:

Dear God, cause that I—inasmuch as my personal ambitions are concerned—negate myself. And Christ make true in me the Pauline words, “Not I, but the Christ in me.”

This prayer, addressed to God in general and to Christ in particular, continues: “... so that the Holy Spirit may hold sway in the teacher.” This is the true Trinity.

If one can live in these thoughts while in close proximity to the students, then the hoped-for results of this education can also become a social act at the same time. But other matters also come into play, and I can only touch on them. Just consider what, in the opinion of many people, would have to be done to improve today's social order. People expect better conditions through the implementation of external measures. You need only look at the dreadful experiments being carried out in Soviet Russia. There the happiness of the whole world is sought through the inauguration of external programs. It is believed that improvements in the social sphere depend on the creation of institutions. And yet, these are the least significant factors within social development. You can set up any institutions you like, be they monarchist or republican, democratic or socialist; the decisive factor will always be the kind of people who live and work under any of these systems. For those who spread a socializing influence, the two things that matter are a loving devotion toward what they are doing, and an understanding interest in what others are doing.

Think about what can flow from just these two attributes; at least people can work together again in the social sphere. But this will have to become a tradition over ages. As long as you merely work externally, you will produce no tangible results. You have to bring out these two qualities from the depths of human nature. If you want to introduce changes by external means, even when established with the best of intentions, you will find that people will not respond as expected. And, conversely, their actions may elude your understanding. Institutions are the outcome of individual endeavor. You can see this everywhere. They were created by the very two qualities that more or less lived in the initiators—that is, loving devotion toward what they were doing, and an understanding interest in what others were doing.

When one looks at the social ferment in our times with open eyes, one finds that the strangest ideas have arisen, especially in the social sphere, simply because the current situation was not understood properly. Let me give you an example:

Today, the message of so-called Marxism regarding human labor and its relationship to social classes is being drummed not just into thousands but into millions of heads.⁵ And if you investigate what its author alleges to have discovered—something with which millions of people are being indoctrinated so that they see it as their socialist gospel, to use as a means for political agitation—you will find it all based upon a fundamental error regarding the attitude toward social realities. Karl Marx wants to base the value of work on the human energy spent performing it.⁶ This leads to a complete absurdity, because, from the perspective of energy output, it makes no difference whether someone cuts a certain quantity of firewood within a given time, or whether—if one can afford to avoid such a menial task—one expends the same energy and time on treading the pedals of a wheel specially designed to combat incipient obesity. According to Karl Marx's reckoning, there is no difference between the human energy expended on those two physical activities. But cutting firewood has its proper place within the social order. Treading the pedals of a slimming cycle, on the other hand, is of no social use, because it only produces a hygienic effect for the person doing it. And yet, Karl Marx's yardstick for measuring the value of work consists of calculating the food consumption necessary for work to be done. This way of assessing the value of labor within the context of the national economy is simply absurd. Nevertheless, all kinds of calculations were made toward this end. The importance of one factor, however, was ignored—that is, loving devotion toward what one is doing and an understanding interest in what others are doing.

What we must achieve when we are with young people is that, through our own conduct, a full consciousness of the social implications contained in those two things will enter the minds of adolescents. To do so we must realize what it means to stand by children so that we can aid in their own self-education.

• 1. The word doctor is derived from docere, the Latin verb meaning “to teach.”—Trans.
• 2. See footnote on page 37.
• 3. In German, “very untidy writing” is often referred to as Geschmier, a “smear on the page.” The verb schmieren also means “to grease.”—Trans.
• 4. The German saying “Wie der Ochs Corm Berg stehen.” It means literally “to stand there like the ox facing the mountain.” It is a very common saying, and it can also be translated as “to be completely out of one's depth,” “to be nonplussed.”—Trans.
• 5. See Karl Marx's major work, Das Kapital (Capital), Vol. I, Hamburg, 1867.
• 6. Karl Heinrich Marx (1818–1883), German political philosopher and coauthor, with Friedrich Engels, of The Communist Manifesto in 1848.

As you can probably imagine, it is not easy for one who is free from a fanatical or sectarian attitude to accomplish the kind of education, based on knowledge of the human being that we have spoken of in the past few days. Many of you will have noticed already that what is considered here to be both right and good in education differs in many ways from what is found in conventional forms of education, with their regulations, curricula, and other fundamental policies. In this respect, one finds oneself caught in a dilemma.

On the one hand, we stand on the firm ground of a pedagogy that derives from objective knowledge, and that prescribes specific curricular and educational tasks for each year (as you will have discovered already from what you have heard so far). To ascertain what must be done in this education, we take our cue from the children themselves; and not only for each year, but also for each month, each week, and, in the end, each day. Here I feel justified in expressing appreciation for how much the teachers of the Waldorf schools have responded to the objective demands of a truly grounded pedagogy, and also for their insight into how this pedagogy is related to the needs of the growing child.¹ They have come to realize that not a single detail of this pedagogy is arbitrary, that everything in it is a direct response to what can be read in the child's own nature. This represents one side of what has led to the dilemma. The other side consists of demands made by life itself. Those who are free of any fanaticism despite their own ideals (or whatever else you choose to call these things), and who feel the need for firm roots in life's realities, experience this other aspect with particular acuity.

Sectarianism to any degree or fanatical zeal must never be allowed to creep into our educational endeavors, only to find at the end of the road that our students do not fit into life as it is; for life in the world does not notice one's educational ideals. Life is governed by what arises from the prevailing conditions themselves, which are expressed as regulations concerning education, as school curricula, and as other related matters, which correspond to current ways of thinking. And so there is always a danger that we will educate children in a way that, though correct in itself, could alienate them from life in the world—whether one considers this right or wrong. It must always be remembered that one must not steer fanatically toward one's chosen educational aims without considering whether or not one might be alienating one's students from surrounding life.

Opponents of anthroposophy have often attributed fanaticism and sectarianism to this movement, but this is not the case, as you will see. On the contrary, it is precisely these two attributes that are alien to its nature. They may appear within some individual members, but anthroposophy itself always strives to enter fully into the realities of life. And just because of this, one is only too aware of the difficulties encountered in dealing with the practical sides of life. From the very beginning of the Waldorf school something had to be done. It is difficult to give it a proper name, but something bad or negative had to be agreed upon—that is, a kind of compromise—simply because this school is not grounded in fanaticism but in objective reality. At the very beginning, a memorandum addressed to the local school authorities had to be worked out. In it I made the following points: During the first three years the students in our school are to be educated, stage by stage and wherever possible, according to what is considered relevant to their inner needs. At the same time, the standards generally achieved in other schools are to be respected to the extent that, after completion of the first three years, the students of the Waldorf school should be able to fulfill the necessary requirements for entering corresponding classes in other schools, if desired. Such an offer, for our teachers, amounted to an “ingratiating compromise”—forgive this term, I cannot express it otherwise. A realistic mind has to take such a course, for discretion is essential in everything one does. A fanatic would have responded differently. Naturally, many difficulties have to be ironed out when such a policy is chosen, and many of our teachers would find it preferable to steer a straight course toward our aims and ideals. Lengthy and minutely detailed discussions occurred before a passage was found through these two conflicting approaches.

Another point in my memorandum was that, after completion of their twelfth year—that is, when our pupils are in the sixth grade, counting upward from the first grade—they should again be able to fulfill the requirements for entry into the corresponding class in another school. My choice for this particular age is based on the fact that it marks the end of a period of development, as already described during a previous meeting. And finally, it was presented in the memorandum that, in their fourteenth year, our students should have reached again the necessary standards of learning that would enable them, if desired, to change schools.

In retrospect, one could say that during the first three grades this plan has worked fairly well. At that level it has been tolerably successful. With a great deal of effort and trouble, it is still workable until the students' twelfth year. However, the real difficulties begin during the following years, for out of a dark subconsciousness, some knowledge of what is happening in a young child lingered from the distant past into our present time, however dim this insight may have become today. And because of this it is now customary to send children to school when they are losing their first teeth. Today people hardly realize that these two things are connected. Nevertheless, entering school at about six is still the result of ancient wisdom, passed on through the ages, which today has become only vague and instinctive. Since these things are no longer recognized, however, there is a tendency toward arbitrarily establishing the age for entering school at the completion of the sixth year, which is always a little premature, and therefore not in keeping with the child's nature. There is nothing one can do about it, because if parents do not send their children to school when they have completed their sixth year, the police or bailiff, or whatever else such people are called, will come and take the children to school.

However, as previously mentioned, it is relatively easy to work with this compromise during the first three years. Admittedly, if one or another student has to leave the Waldorf school for another school during this time because of circumstance, one is usually told that such students are behind in reading and writing. They may be considered far ahead in artistic subjects, such as in drawing or eurythmy, but these, so we are told, are not generally considered to be very important.

Such official judgments, however, can even be seen as an affirmation of Waldorf methods! They prompt me to tell you something interesting about the young Goethe.² If you look at his spelling, even when he was much older than seven or eight, you will find it full of atrocious mistakes. It is easy to deduce from this that far more is expected of an eight-year-old child today (if “more” is the right word) than what Goethe managed to achieve at seventeen (only with regard to spelling, of course). This certainly demonstrates that there is also another way of judging the situation, for Goethe owed much to the fact that, even at the age of seventeen, he was still likely to make spelling errors because, not having been too fettered to rigid rules, his inner being could remain flexible with regard to the unfolding of certain soul forces. If one knows how these things interact with each other (and a more sensitive kind of psychology is needed for this than is frequently encountered today) one will be no more influenced by adverse criticism than by the superficial criteria of such a historical fact, which is interesting, at least.

Another interesting example can be found in so-called Mendelisms, which emerged around the beginning of the twentieth century (perhaps even around the end of the nineteenth century), and which was considered by natural scientists to be the best theory for explaining the phenomena of heredity. It received its name from a certain Gregor Mendel,³ a botanist who lived during the middle of the nineteenth century and was also a teacher at a Realschule in Moravia.⁴ Gregor Mendel made careful experiments with plants in order to investigate their inherited properties. His writings remained obscure for a long time, only to surface again toward the turn of the century, to be hailed as the most convincing theory regarding heredity.

Now it is interesting to consider the biography of Gregor Mendel. As our Austrian friends here know, monastic clerics had to pass an examination before they could become eligible for a teaching post at a high school. Mendel failed his exam brilliantly, which meant that he was considered incapable of becoming a high school teacher. But an Austrian regulation existed permitting failed candidates to retake their exams after a certain period of time. Gregor Mendel did so and again failed spectacularly. I believe that even today in Austria such a person could never find a high school teaching position. In those days, however, regulations were a little less stringent. Because of a shortage of teachers at the time, even failed candidates were sometimes hired as teachers, and so Gregor Mendel did finally become a high school teacher, even though he had twice failed his exam. Since this had been made possible only through the grace of the headmaster, however, he was considered to be a second-rate staff member by his colleagues and, according to the rules governing high school teachers, he was not entitled to add “Ph.D.” to his name. Successful exam candidates usually write these abbreviated degrees after their names, for example, “Joseph Miller, Ph.D.” In the case of Gregor Mendel these letters were missing, the omission of which indicated his inferior position. Well, several decades passed, but after his death this same individual was hailed as one of the greatest naturalists!

Real life presents some strange examples. And, although it is impossible to plan the education of young people to suit the practical demands of later life (since, if this were the only aim, some very strange requests would certainly be made), even though one cannot adapt the curricula to what life itself will bring to maturity later on, one must nevertheless be ready to listen with inner clarity and a sense of psychology to what the many occurrences in life are trying to tell us, with regard to both primary and secondary education. So it could certainly be said that it is not really a tragedy when a Waldorf student has to leave during the third grade, a student who has not yet reached the same level of achievement in certain elementary skills as students in another school, who were drilled using bad methods, the harmful effects of which will surface only later in life. Many life stories could be told to substantiate this claim. Strange things sometimes show up when one looks at obituaries. R¶ntgen, for example, was also excluded from teaching at a high school, and only through the special kindness of an influential person was he allowed to gain a teaching post at all. [Wilhelm Konrad von Röntgen (1845–1923) German physicist, discoverer of the “Röntgen” rays or X-rays.] As already said, one cannot base one's educational ideas on such things, but they should be noticed, and one must try to comprehend their significance through a more discriminating psychology.

Returning to our point, after the twelfth year it becomes increasingly difficult to find a workable compromise in our way of teaching. Until the twelfth year it is just possible to do so, as long as one really knows what is going on inside the students. But afterward, the situation begins to get more and more difficult, because from that time on, the curricula and the required standards for achievement no longer have any relationship to the nature of the growing human being; they are chosen entirely arbitrarily. The subject matter to be covered in any one year is chosen entirely autocratically, and one simply can no longer bridge the conflicting demands, on the one hand, from the powers that be, and, on the other hand, those that arise directly from the evolving human being. Remember what I said yesterday: by the time puberty is passed, the adolescent should have been helped toward developing sufficient maturity and inner strength to enter the realm of human freedom. I referred to the two fundamental virtues: gratitude, for which the ground has to be prepared before the change of teeth, and the ability to love, for which the ground needs to be prepared between the change of teeth and puberty; this was the theme developed yesterday.

Furthermore, we have seen that, with regard to the ethical life, the soul life of the child must also experience feelings of sympathy and antipathy toward what is good and evil. If one approaches a student at this age with a “thou shalt” attitude, proper development will be hindered in the years to come. On the other hand, when one instead moves the pre-adolescent child, through natural authority, to love the good and hate the evil, then during the time of sexual maturity, from the inner being of the adolescent, the third fundamental virtue develops, which is the sense of duty. It is impossible to drill it into young people. It can only unfold as a part of natural development, based only on gratitude—in the sense described yesterday—and on the ability to love. If these two virtues have been developed properly, with sexual maturity the sense of duty will emerge, the experience of which is an essential part of life

What belongs to the human soul and spirit realm has to develop according to its own laws and conditions, just as what belongs to the physical realm must obey physical laws. Just as an arm or a hand must be allowed to grow freely, according to the inner forces of growth, just as these must not be artificially controlled by, for example, being fixed into a rigid iron frame—although in certain places on Earth there is a custom of restricting the free growth of feet similar to the way we impede the free unfolding here of the child's soul life—so must adolescents feel this new sense of duty arising freely from within. The young person will then integrate properly into society, and Goethe's dictum will find its noblest fulfillment: “Duty is a love for what one demands of oneself.” Here again you see how love plays into everything, and how the sense of duty must be developed so that one eventually comes to love it. In this way one integrates properly as a human being into society. And then, from the previous experience of right authority, the ability to support oneself by one's own strength will evolve.

What is finally revealed as genuine piety, when seen with spiritual eyes, is the transformed body-related, natural religiousness during the time before the change of teeth, which I described to you in fair detail. These are all things that must be rooted deeply in a true pedagogy, and applied practically. Soon enough, one will realize how necessary it is to allow the curriculum—from the twelfth year until puberty, and, most of all, after puberty—to be more and more inclined toward practical activities. In the Waldorf school, the ground for this task is prepared early. In our school, boys and girls sit side by side. Although interesting psychological facts have emerged from this practice alone—and each class has its own psychology, of which we will speak more tomorrow—one can definitely say: if one lets boys and girls practice their handcrafts side by side as a matter of course, it is an excellent preparation for their adult lives. Today there are only a few men who recognize how much the ability to knit can help toward healthy thinking and healthy logic. Only a few men can judge what it means for one's life to be able to knit. In our Waldorf school, boys do their knitting alongside the girls, and they also mend socks.

Through this practice, the differentiation between the types of work performed by the two sexes will find its natural course later on, should this become necessary. At the same time, a form of education is being implemented that considers fully the practical aspects of the students' future lives.

People are always extremely surprised when they hear me say (and the following assertion not only expresses my personal conviction, but is based on a psychological fact) that I cannot consider anyone to be a good professor in the full meaning of the word unless that person can also mend a shoe in an emergency; for how could it be possible for anyone to know something of real substance about being and becoming in the world, unless that person can also repair a shoe or a boot if the situation demands it? This is, of course, a rather sweeping statement, but there are men who cannot even sew on a button properly, and this is a lamentable failing. Knowledge of philosophy carries little weight, unless one can also lend a hand to whatever needs doing. This is simply part of life. In my opinion, one can only be a good philosopher if one could have just as well become a shoemaker, should this have been one's destiny. And, as the history of philosophy shows, it sometimes happens that cobblers become philosophers.⁵

Knowledge of the human being calls on us to make adequate provision in our curricula and schedules for preparing pupils for the practical side of life. Reading in the book of human nature, we are simply led to introduce the children—or rather, the young men and women, as we should call them now—to the art of setting up a loom and weaving. From there it follows quite naturally that they should also learn to spin, and that they gain a working idea of how paper is made, for example.

They should be taught not only mechanics and chemistry, but also how to understand at least simple examples of mechanical and chemical processes used in technology. They should reproduce these on a small scale with their own hands so they will know how various articles are manufactured. This change of direction toward the more practical side of life must certainly be made possible. It has to be worked toward with honest and serious intent if one wants to build the proper curriculum, especially in the upper classes.

But this can place one in terrible difficulties. It is just possible to equip children under nine with sufficient learning skills for a transfer into the fourth grade of another school, without neglecting what needs to be done with them for sound pedagogical reasons. This is also still possible in the case of twelveyear-olds who are to enter the seventh grade. It is already becoming very difficult indeed to bring pupils to the required standards of learning for their transfer to a high school. Tremendous difficulties have to be overcome if pupils from our higher grades have to change to a high school.

In such cases one would do well to recall ancient Greece, where a wise Greek had to put up with being told by an Egyptian, “You Greeks are like children—you know nothing about all the changes the Earth has gone through.” A wise Greek had to listen to the judgment of a wise Egyptian. But nevertheless, the Greeks had not become so infantile as to demand of a growing youth, who was to be educated in one or another particular subject, that knowledge of the Egyptian language should first be acquired. They were very satisfied that the young person use the native Greek language. Unfortunately, we do not act today as the Greeks did, for we make our young people learn Greek. I do not want to speak against it; to learn Greek is something beautiful. But it is inconsistent with fulfilling the needs of a particular school age. It becomes a real problem when one is told to allocate so many lessons to this subject on the schedule at a time when such a claim clashes with the need for lessons in which weaving, spinning, and a rough knowledge of how paper is made should be practiced. Such is the situation when one is called on to finalize the schedule! And since we very well know that we shall never receive permission to build our own university anywhere, it is absolutely essential for us to enable those of our pupils who wish to continue their education at a university, technical college, or other similar institution, to pass the necessary graduation exam.

All this places us in an almost impossible situation, with almost insurmountable difficulties. When one tries to cultivate the practical side in education, prompted by insight into the inner needs of adolescent pupils, one has to face the bitter complaints of a Greek teacher who declares that the exam syllabus could never be covered with the amount of time allocated to the subject, and that, consequently, the candidates are doomed to fail their exams.

Such are the problems we have to tackle. They certainly show it is impossible for us to insist on pushing our ideals with any fanatical fervor. What will eventually have to happen no longer depends solely on the consensus of a circle of teachers about the rights and wrongs of education. Today it has become necessary for much wider circles within society to recognize the ideals of a truly human education, so that external conditions will render it possible for education to function without alienating pupils from life. This is obviously the case if, after having gone through a grammar school kind of education in one's own school, pupils were to fail their graduation exams, which they have to take somewhere else.⁶

Speaking of failing an exam—and here I am speaking to specialists in education—I believe that it would be possible to make even a professor of botany, however clever, fail in botany—if that were the only intention! I really believe such a thing is possible, because anyone can fail an exam. In this chapter of life also, some very strange facts have shown up. There was, for example, Robert Hamerling, an Austrian poet, whose use of the German language was later acclaimed as the highest level any Austrian writer could possibly attain.⁷ The results of his exam certificate, which qualified him for a teaching position at an Austrian Gymnasium, make interesting reading: Greek—excellent; Latin—excellent; German language and essay writing—hardly capable of teaching this subject in the lower classes of a middle school. You actually find this written in Hamerling's teaching certificate! So you see, this matter of failing or passing an exam is a very tricky business.

The difficulties that beset us, therefore, make us realize that society at large must provide better conditions before more can be accomplished than what is possible by making the kind of compromise I have spoken of. If I were to be asked, abstractly, whether a Waldorf school could be opened anywhere in the world, I could only answer, again entirely in the abstract, “Yes, wherever one would be allowed to open.” On the other hand, even this would not be the determining factor because, as already said, in the eyes of many people these are only two aspects of one and the same thing. There are some who struggle through to become famous poets despite bad exam results in their main subject. But not everyone can do that. For many, a failed graduation exam means being cast out of the stream of life. And so it must be acknowledged that the higher the grade level in our school, the less one can work toward all of one's educational ideals. It is something not to be forgotten. It shows how one has to come to terms with actual life situations.

The following question must always be present for an education based on an understanding of the human being: Will young people, as they enter life, find the proper human connection in society, which is a fundamental human need? After all, those responsible for the demands of graduation exams are also members of society, even if the style and content of their exams are based on error. Therefore, if one wants to integrate Waldorf pedagogy into present social conditions, one has to put up with having to do certain things that, in themselves, would not be considered right or beneficial. Anyone who inspects our top classes may well be under the impression that what is found there does not fully correspond to the avowed ideals of Waldorf pedagogy. But I can guarantee you that, if we were to carry out those ideals regardless of the general situation—and especially, if we attempted to make the transition to the practical side of life—all of our candidates for the graduation exam would fail! This is how diametrically opposed matters are today. But they have to be dealt with, and this can be done in great variety of ways. At the same time, awareness has to emerge regarding the degree of change necessary, not just in the field of education, but in all of life, before a truly human form of education can be established.

Despite all obstacles, the practical activities are being accomplished in the Waldorf school, at least to a certain extent—even though it does happen, now and then, that they have to be curtailed in some cases because the Greek or Latin teacher claims some of these lessons. That is something that cannot be avoided.

From what I've said, you can see that puberty is the proper time to make the transition, leading the adolescent into the realities of ordinary life. And the elements that will have to play more and more into school life, in a higher sense, are those that will make the human individual, as a being of body, soul, and spirit, a helpful and useful member of society. In this regard, our current time lacks the necessary psychological insight; for the finer interrelationships in the human spiritual, soul, and physical spheres are, in general, not even dreamed of. These things can be felt intuitively only by people who make it their particular task to come to understand the human psyche.

From personal self-knowledge I can tell you in all modesty that I could not have accomplished in spiritual science certain things that proved possible, if I had not learned bookbinding at a particular time in my life—which may seem somewhat useless to many people. And this was not in any way connected with Waldorf pedagogy, but simply a part of my destiny. This particularly human activity has particular consequences to most intimate spiritual and soul matters, especially if it is practiced at the right time of life. The same holds true for other practical activities as well. I would consider it a sin against human nature if we did not include bookbinding and box-making in our Waldorf school craft lessons, if it were not introduced into the curriculum at a particular age determined by insight into the students' development. These things are all part of becoming a full human being. The important thing in this case is not that a pupil makes a particular cardboard box or binds a book, but that the students have gone through the necessary discipline to make such items, and that they have experienced the inherent feelings and thought processes that go with them.

The natural differentiation between the boys and girls will become self-evident. Yet here one also needs to have an eye for what is happening, an eye of the soul. For example, the following situation has come up, the psychology of which has not yet been fully investigated, because I have not been able to spend enough time at the Waldorf school. We will investigate it thoroughly another time. But what happened was that, during lessons in spinning, the girls took to the actual spinning. The boys also wanted to be involved, and somehow they found their task in fetching and carrying for the girls. The boys wanted to be chivalrous. They brought the various materials that the girls then used for spinning. The boys seemed to prefer doing the preparatory work. This is what happened and we still need to digest it from the psychological perspective.

But this possibility of “switching our craft lessons around”—if I may put it that way—allows us to change to bookbinding now, and then to box-making. All are part of the practical activities that play a dominant role in Waldorf pedagogy, and they show how an eye for the practical side of life is a natural byproduct for anyone who has made spiritual striving and spiritual research the main objective in life. There are educational methods in the world, the clever ideas of downright impractical theoreticians, who believe they have eaten practical life experience by the spoonful, methods that are nevertheless completely removed from reality. If one begins with theories of education, one will end up with the least practical results. Theories in themselves yield nothing useful, and too often breed only biases. A realistic pedagogy, on the other hand, is the offspring of true knowledge of the human being. And the part played by arts and crafts at a certain time of life is nothing but such knowledge applied to a particular situation. In itself this knowledge already presents a form of pedagogy that will turn into the right kind of practical teaching through the living way in which the actual lessons are given. It becomes transformed into the teacher's right attitude, and this is what really matters. The nature and character of the entire school has to be in tune with it.

And so, in the educational system cultivated in the Waldorf school, the center of gravity iis within the staff of teachers and their regular meetings, because the whole school is intended as one living and spirit-permeated organism. The first grade teacher is therefore expected to follow with real interest not only what the physics teacher is teaching to the seventh grade, but also the physics teacher's experiences of the various students in that class. This all flows together in the staff meetings, where practical advice and counseling, based on actual teaching experience, are freely given and received. Through the teaching staff a real attempt is made to create a kind of soul for the entire school organism. And so the first grade teacher will know that the sixth grade teacher has a child who is retarded in one way or another, or another who may be especially gifted. Such common interest and shared knowledge have a fructifying influence. The entire teaching body, being thus united, will experience the whole school as a unity. Then a common enthusiasm will pervade the school, but also a willingness to share in all its sorrows and worries. Then the entire teaching staff will carry whatever has to be carried, especially with regard to moral and religious issues, but also in matters of a more cognitive nature.

In this way, the different colleagues also learn how one particular subject, taught by one of the teachers, affects a completely different subject taught by another teacher. Just as, in the case of the human organism, it is not a matter of indifference whether the stomach is properly attuned to the head, so in a school it is not insignificant whether a lesson from nine to ten in the morning, given to the third grade, is properly related to the lesson from eleven to twelve in the eighth grade. This is in rather radical and extreme terms, of course. Things do not happen quite like that, but they are presented this way because they correspond essentially to reality. And if thinking is in touch with reality, judgments about matters pertaining to the sense-perceptible world will differ greatly from those based on abstract theories.

To illustrate this point I would like to mention certain lay healers who give medical treatment in places where this is not illegal. They are people who have acquired a certain measure of lay knowledge in medicine. Now one of these healers may find, for example, that a patient's heart is not functioning normally. This may be a correct diagnosis, but in this case it does not imply that the cure would be to bring the heart back to normality. And according to such a lay healer, the patient may have adapted the entire organism to the slightly abnormal function of the heart. This means that if now one were to get the heart to work normally again, such a “cured” heart, just because of its return to normality, might upset the entire organism, thus causing a deterioration of the patient's general condition. Consequently the therapy could actually consist of leaving the heart as it is, with the recommendation that, should the symptoms of the slight heart defect return, a different course of treatment should be given from what would normally be done through the use of medications under similar circumstances.

I said yesterday that educating and healing are related activities. And so something similar is also called for in the field of education. That is, a kind of conceptual and sensitive feeling approach, both comprehensive and in touch with reality, since it would have to apply to other realms of cognition directly related to practical life.

If we look at what contemporary anatomy and physiology tell us about the human being—not to mention psychology, which is a hodgepodge of abstractions anyway—we find a certain type of knowledge from which a picture of the human being is manufactured. If this picture is used as a means of selfknowledge, it creates the impression that we are merely a skeleton. (Within certain limits, knowledge of the human being is also self-knowledge—not the introspective kind, but rather a recognition of essentially human qualities found in each individual.) If, when looking at ourselves, we had to disregard everything within and around our skeleton, we would naturally conclude that we were only skeletons. This is how the whole human being—body, soul, and spirit—would appear to us if we used only what contemporary anatomy and physiology offers as a picture of the human being. Psychology needs to truly permeate the human psyche with spirit. If this is done, we can follow the spiritual element right into the physical realities of the body, because spirit works in every part of the human body.

I have already said that the tragedy of materialism is its inability to understand the true nature of matter. Knowledge of spirit leads to true understanding of matter. Materialism may speak of matter, but it does not penetrate to the inner structures of the forces that work through matter. Similarly, pedagogy that observes only external phenomena does not penetrate to the regions of the human being that reveal what should be done about practical life. This causes a situation that, to the spiritual investigator, is very natural, but would appear paradoxical for many people. They wonder why a pedagogy grown from anthroposophy always emphasizes the

necessity of training children at specific ages in certain practical activities—that is, the necessity of training them in the correct handling of material processes. Far from leading students into a foggy mysticism, the principles and methods of the education based on anthroposophical research will not estrange them from life. On the contrary, it will induce spirit and soul substance to penetrate their physical bodies, thus making them useful for this earthly life, and at the same time, provide them with the proper conditions to develop inner certainty. This is why we feel it necessary to expand the practical type of work, and, of course, difficulties therefore increase with the beginning of every new school year when we have to add a new class to the existing ones (we began with eight grades, adding the ninth, tenth, and eleventh, and we are about to open our first twelfth grade).

This has led to the situation where, while other problems facing the anthroposophical cause were being dealt with very recently, a memorandum was handed in by the pupils of the current highest grade level in the Waldorf school. Those among them who were expecting to have to take their graduation exam had worked out a remarkable document, the deeper aspects of which will be appreciated only when the whole matter is seen in the proper light. They had sent more or less the following memorandum to the Anthroposophical Society:

Since we are being educated and taught in the sense of the true human being⁸ and, consequently, since we cannot enter existing types of colleges, we wish to make the following proposal to the Anthroposophical Society: That a new anthroposophical college is to be founded where we can continue our education.

No negative judgment regarding colleges in general is implied in this wording, although such judgments are frequently encountered in contemporary society.

All of this presents us with the greatest difficulties. But since you have made the effort to come here to find out what Waldorf pedagogy is all about—something we very well know how to appreciate—these problems should also be aired. Any sincere interest in what is willed in this education deserves a clear indication of all the difficulties involved.

Thus far, Waldorf pedagogy is being practiced only by the teachers of the one existing Waldorf school, and there we find our difficulties increase the higher we go with the school. I can only assume that the problems would be even greater in a college operated anthroposophically. But since such a college is only a very abstract ideal, I can only speak about it hypothetically. It has always been my way to deal directly with the tasks set by life, and this is why I can talk about this education only up to the twelfth grade, which is opening soon. Things that belong to a misty future must not take up too much time for people standing amid life, since it would only detract from the actual tasks at hand.

One can say only that problems would increase substantially, and that obviously there would be two kinds of difficulties. First, if we were to open a college, our exam results would not be recognized as proper qualifications, which means that successful candidates could not take up professional positions in life. They could not become medical doctors, lawyers, and so on; professions that in their present customary forms are still essential today. This presents one side of the problem. The other side would conjure up really frightening prospects, if certain hard facts did not offer relief from such anxieties; for, on the strength of the praiseworthy efforts made by our young friends, an association has actually been founded with the express aim of working toward the creation of such a college, based on the principles of Waldorf pedagogy. The only reason there is no need to feel thoroughly alarmed about the potential consequences of such an endeavor is that the funds needed by this association will certainly not reach such giddy heights that anyone would be tempted to seriously consider going ahead with the project. The underlying striving toward this aim is thoroughly laudable, but for the time being it remains beyond the realm of practicality. The real worry would come only if, for example, an American millionaire were to suddenly offer the many millions needed to build, equip, and staff such a college. The best one could do in such a situation would be to promote, en masse, the entire teaching staff of the Waldorf school to become the teachers of the new college. But then there would no longer be a Waldorf school!

I am saying all this because I believe actual facts are far more important than any kind of abstract argument. While acknowledging that the idea of basing education, including college education, on true knowledge of the human being represents a far-reaching ideal, we must not overlook the fact that the circle of those who stand firmly behind our ideals is extremely small. This is the very reason one feels so happy about every move toward an expansion of this work, which may gain further momentum through your welcome visit to this course. At the same time, one must never lose sight of all that must happen so that the Waldorf ideal can rest upon truly firm and sound foundations. This needs to be mentioned within the context of this course, for it follows from the constitution of the Waldorf school.

Tomorrow, in the concluding lecture, I would like to tell you more about this constitution of the Waldorf school—about how it is run, about what the relationship should be between teachers and students, as well as the interrelationships of pupils among themselves, and teachers among themselves. Furthermore, I would like to speak about what, in our way of thinking, are the proper methods of dealing with exams and school reports, so that they reflect knowledge of the human being.

• 1. In August and September 1919, Rudolf Steiner gave three courses to the teachers of the first Waldorf school, which was founded by the industrialist Emil Molt for the children of the workers in his cigarette factory, and which was opened on September 7, 1919.
• 2. Johann Wolfgang von Goethe (1749–1832) German poet, scientist, and philosopher.
• 3. Gregor Johann Mendel (1822–1884) Austrian botanist. He became a monk in the order of Saint Augustine in 1843, and taught in a technical school from 1854 until 1868, when he became abbot. He is known for his experiments in breeding peas in the monastery garden, and from the statistics gathered, he established certain laws concerning heredity, which became the foundation of the science of genetics.
• 4. Realschule (or Realgymnasium) is the high school equivalent in Germany for preparation in the sciences, trades, or technical studies, whereas Gymnasium usually refers to a high school for classical preparation toward university study.
• 5. For example, Jakob Böhme (1575–1624), the shoemaker from Görlitz, whose influence has been far-reaching in Western philosophical and spiritual streams.
• 6. Waldorf school pupils had to take the required graduation exams (Abitur) at a state school.
• 7. Robert Hamerling (1830–1889) Austrian poet and philosopher.
• 8. they had somehow gleaned this

In order to round off, so to speak, what we could only superficially outline during the last few days regarding education based on anthroposophical investigations, I would like to add something today, as an example of how these ideas can be put into practice, about how the Waldorf school is run. What has to emerge clearly from the spirit of this education is that equal consideration be given to everything pertaining to the human body, soul, and spirit. If the actual teaching is carried out as characterized, therefore, it will at the same time become a kind of hygiene in the life of the child and, if necessary, even a therapy.

To see this clearly, one has to be able to look at the child's being in the right way. And here it must be understood that everything we have said about the child's development, from birth to the change of teeth, is revealed most of all in the activities of the nerve-sense system. Every organic system naturally extends over the entire human body, but each system is at the same time localized in a definite part of the physical organism. Thus the nervous system is mainly organized in the head. But when speaking about the three main organic systems of the human being—the nerve-sense system, the rhythmic system, and the metabolic-motor system—we do not imply that they are confined only to the head, the chest, and the metabolic-limb systems, because this would be completely inaccurate. It is impossible to divide the human organization into three separate spatial regions. It can only be said that these three systems interpenetrate one another, that they work and weave into each other everywhere.

The nerve-sense system is, nevertheless, localized primarily in the region of the head. The rhythmic system, which includes everything of a rhythmic nature in the human being, is mainly organized in the chest organs, in the organs of breathing and blood circulation. Here one must not ignore the fact that everything that furthers the rhythms of digestion—and ultimately those of sleeping and waking—also belongs to the rhythmic system, insofar as digesting, and sleeping and waking are based physically within the human organism. The actual chemical-physiological process of digestion is closely connected with all that forms the human motor system. As for movement itself, a reciprocal activity occurs between the nutritional and digestive system on the one hand, and the actual physical movement on the other.

All of this means that, although the three systems work naturally into each other during the child's early years until the change of teeth, the formative and malleable shaping forces involved in the child's growth and nourishing processes work mainly downward from the head, the center of the senses and the nervous system. Consequently, if a young child becomes ill, that illness is due primarily to the influences of the nerve-sense system. That is why young children before their second dentition are especially likely to suffer from illnesses that originate from within—those called childhood illnesses.

The influences that emanate from the environment, those that reach children through their urge to imitate, have a very powerful effect on this vulnerability to childhood illnesses, more than is commonly realized by the medical profession within the current materialistic climate. Thus, a sudden outburst of anger by an adult, when witnessed by a young child, can be responsible in many cases for an attack of measles. I am not referring to the psychopathic outburst of a psychopath, but to a less violent form of temper that can very often be seen among people. The shock that follows, together with its moral and spiritual implications, must certainly be seen as a contributing factor for measles. Furthermore, all these influences that work on the child will remain as after-effects until almost the ninth year. If a teacher happens to become very angry in school (for example, if a child accidentally spills some ink, and the teacher reacts by shouting, “If you do that again, I'll pour the entire inkwell over your head!” or “I'll throw it at your head!”), then we shouldn't be surprised when this has a very damaging effect on the child's physical health. Of course, I have chosen a fairly drastic example, but this kind of thing can happen too easily in a classroom.

Inner dishonesty in teachers also has a very harmful effect on children, even after their second dentition. Falsehoods can take on many different guises, such as insincerity or hypocritical piety, or establishing a moral code for the children that the adults would not dream of applying to themselves. In such cases the element of untruth weaves and lives in the words spoken, and in what unfolds in front of the child. An adult may remain totally oblivious to it, but children will take it in through the teachers' gestures. Through the nerve-sense system, dishonesty and hypocrisy have an extremely powerful effect on the organic structure of the child's digestive tract, and especially on the development of the gall bladder, which can then play a very significant role for the rest of the child's life.

All pedagogical interactions have to be permeated by this intensive awareness of how spirit, soul, and body constantly interweave and affect each other, even though it is unnecessary for teachers to speak of it all the time. And since the human organism, from the head downward, is so active during these early years—that is, from the polarity of the nerve-sense system—and because abnormal conditions can easily override socalled normal conditions in the head region, the child is particularly vulnerable to childhood diseases at just this age.

The years between the change of teeth and puberty, strangely enough (and yet, true to the nature of the human organism) are the child's healthiest years, although this is not really surprising to anyone with insight into human development. This is because the child's entire organic structure at this age radiates from the rhythmic system. This is the very system that never becomes tired or overstimulated on its own. Symptoms of illness that occur during these years are due to outer circumstances, although this statement must not be taken too strictly, of course, and only within the context of actual life situations. The child who is subject to illness at this particular age, when the rhythmic system plays such a dominant part has been treated improperly, one way or another, in outer life.

When puberty is left behind, the occurrence of illness radiates outward from within—that is, from the metabolic-motor system. That is the time of life when the causes of illness, to which young people are exposed, arise from within. Because the method of teaching the actual lessons plays a large part in the physical well-being of the students, we must always allow a certain physical and soul hygiene to be carried, as if on wings, by our educational ideas and methods. This must always be part of whatever we do with our classes, particularly during the second period of childhood.

Here certain details can be indicated. Let us take, for example, a child with a melancholic disposition. If you give that child sugar—an appropriate amount, of course—you will find that the sugar has a totally different effect than it would have on a predominantly sanguine child. In a melancholic child the sugar will have a suppressive effect on liver activity. This gradual lessening of liver activity, in radiating out into the entire being of the child, effectively curbs the melancholic tendencies from the physical side. It is a useful expedient, but one has to understand it. Using it as an aid does not mean the denial of soul and spirit, because anyone who knows that spirit is working in all physical or material processes—as anthroposophy reveals—will not view the effect of an increased sugar-intake on the activity of the liver as something merely physical, but as the working of soul and spirit brought about by physical means. (Naturally, the result always depends on the correct dosage.) In the case of a sanguine child it can be beneficial to stimulate liver activity by withholding sugar.

This is an example of how knowledge of the interaction and mutual working of body, soul, and spirit can greatly benefit the three systems of the human being. It definitely allows one to say as well that, contrary to frequently held opinions, Waldorf pedagogy (which arises from spiritual foundations) certainly does not neglect the physical aspects of education. On the other hand, you will find that other forms of pedagogy, bent on developing the physical part of the child according to fixed, abstract rules indeed serve it least, because their adherents do not realize that every soul and spiritual stirring within a child has a direct effect on his or her physical nature.

Because of all this, I felt it necessary to give a seminar course before the opening of the Waldorf school, for the benefit of those who had been chosen to become its first teachers.¹ One of the primary aims of this course was to bring the fundamental and comprehensive thought of the working together of soul, body, and spirit into the new pedagogy before its actual launching; for knowledge of this has been lost gradually during the nineteenth and twentieth centuries—more so than is generally realized.

During the years after the Waldorf school founding, shorter supplementary courses were also given.² It goes without saying that anyone who seriously considers taking an active role in Waldorf education must live in the spirit of these courses. This is what really matters. If one wants to treat a certain subject in a living way, the details are not as important, because they can always be worked out of the spiritual background. The details will then also appear in proper perspective. You may already have seen, through talks given by Waldorf teachers such as Dr. von Baravalle³ and Dr. von Heydebrand,⁴ how the attempt was made to let the spirit living in this education flow into the ways of teaching various subjects. Something like lifeblood will pulse through the lessons when the human structure is comprehended in terms of an all-comprising spiritual entity. In this respect, of course, much of what can be said today will have to remain brief and superficial.

I mentioned yesterday that a united faculty of teachers, functioning like the soul and spirit of the entire school organism, is absolutely fundamental to running a Waldorf school. According to one of its pedagogical impulses, it is not so much a statistical collection of the teachers' observations expressed during the meetings that is important, but that a living and individualizing psychology should be jointly developed from out of the actual experience of teaching lessons. I would like to give you an example.

In our school, boys and girls sit next to each other. When we started, there were just over one hundred students in the Waldorf school. But our numbers have grown so quickly that we had seven hundred pupils last year, which necessitated opening parallel classes, especially in the lower grades of the school. Now we find that there are more girls than boys in some classes, while in others there are more boys. The number of boys and girls more or less even in very few classes. To insist on equal numbers in each class would not only be pedantic, but would not work. First of all, new arrivals do not come neatly paired, and, second, such a scheme would not represent real life. The right way to proceed in such a situation is to make it possible to apply educational impulses whatever the outer circumstances may be.

All the same, we soon found that a class with a majority of girls presented a very different psychological picture than those with more boys, aside from outer circumstances—that is, aside from the most obvious. What gives such a class its psychological character is the imponderable element that easily escapes one's notice. Nevertheless, when working together in our meetings, the opportunity was presented to make fruitful investigations in this direction. And it soon became clear that sharing such questions of common interest greatly contributed to the school's becoming a living, ensouled organism.

Let's imagine someone who says, “I want to think only thoughts that will be useful to me later in life. I don't want to allow anything to enter my soul that does not have direct value for later life, because this would be uneconomical.” Such a person would become an appalling figure in life! First, because such a person would have nothing to dream about—indeed, could never dream. Of course, people who are inclined in this direction might simply reply, “Dreams are unimportant. One can very well do without them, because they really don't mean anything in life.” True, dreams have little consequence for those who accept only external reality. But what if there were more to dreams than just fantastic images? Naturally, those who believe they see something highly significant and deeply prophetic in every dream, even if it is only caused by the activities of their liver, bladder, or stomach—people who consider dreams more important than events in waking life—they will not draw any benefit from their dreaming. Yet, if one knows that in one's dream life forces are expressed—even if only indistinctly—that have either a health-giving or an illness-inducing effect on the breathing, circulatory, and nerve-sense systems, then one also knows that half of the human being is mirrored in these dreams, either in a hygienic or in a pathological sense. Further, one will recognize that not to dream at all would be similar to undermining the digestion or circulation through taking some form of poison. It is important to realize that much of what may appear unnecessary in a human being for outer life, nevertheless, plays an important part—similar to the way we see outer nature. Just compare the infinite number of herring eggs, distributed all over the seas, with the number of herrings actually born, and you could easily reproach nature for being tremendously wasteful. However, this could only be the opinion of those who do not know of the powerful spiritual effects the dead herring eggs have on the growing herrings. A certain number of eggs have to die so that a certain number of eggs may thrive. These things are all interconnected.

If we now relate this thought to the school as a living organism, we have the following situation: In the staff meetings of our teachers such matters as the proportion of boys to girls, and many other problems, are being worked through from a psychological and pneumatological aspect as part of a common study of soul and spirit. Efforts are made continually to effect a new understanding of the psychological and pathological problems facing the school. And, in order to cover every contingency, something else is essential in the life of a school, something we have in the Waldorf school, and that is a school doctor. He is a full-time staff member, who also teaches various classes in the school. This allows the teachers—insofar as they actively take part in all the meetings—to discuss and work through pathological and therapeutic questions, as well as those posed by the specially gifted child. Problems are studied not only for the benefit of individual cases—more or less statistically—but they are worked through in depth. In this way, much can be learned from each individual case, even if it does not always appear to be immediately useful.

One could compare this situation with someone who has taken in one thing or another, and declares it to be of no use in life. Nevertheless, life may prove otherwise. Similarly, whatever is worked through by the teachers in these meetings, creating a living psychology, a living physiology, and so on, continues to have an effect, often in very unexpected places. Imagine you had occupied yourself, let's say, with the spiritual functions of a child's gall—forgive this expression, but it is fully justified—and that through this study you had learned to find a way into this kind of thinking. If you were now suddenly called on to deal with a child's nose, you actually would relate very differently to the new situation. Even if you may think, “What is the good of learning all about the gall if now I have to deal with the nose?” Once you find a point of entry, you meet every problem and task differently.

In this sense, the teaching faculty must become the spirit and soul of the entire school organism. Only then will each teacher enter the classroom with the proper attitude and in the right soul condition. At the same time, we must also remember that, in just these matters, an intensely religious element can be found. It is unnecessary to have the name of the Lord constantly on one's lips or to call on the name of Christ all the time. It is better to adhere to the command: “Thou shalt not take the name of the Lord God in vain.” Nevertheless, it is possible to permeate one's entire life with a fundamental religious impulse, with an intensely Christian impulse. Certain experiences of old, no longer known to the modern mind, will then begin to stir in one's soul, experiences deeply rooted in human evolution, in the Christian development of humankind. For example, teachers who in the depths of their souls are seeking the proper stimulation for finding appropriate forms of pedagogy (especially in these pathological-physiological areas) would do well to allow themselves to be inspired, time and again, by what radiates from the Gospel of Saint Luke. (To modern ears such a statement must sound bizarre.) On the other hand, teachers who want to instill the necessary idealism for life in their students, would do well to find a source of inspiration by reading again and again the Gospel of Saint John. If teachers do not want their pupils to grow up into cowards, but into the kind of people who will tackle life's tasks with exuberant energy, they should look for inspiration in the Gospel of Saint Mark. And those who are enthusiastic to educate the young to grow into perceptive adults, rather than into people who go through life with unseeing eyes, may find the necessary stimulation in the Gospel of Saint Matthew. These are the qualities that, in ancient times, were felt to live in the different Gospels. If our contemporaries were to read that in past ages the Gospel of Saint Luke was felt to radiate a healing element in a medical sense, they could not make anything of it. On the other hand, if they entered life as real pedagogues, they would begin to understand such matters again.

This is one way one can speak about these things. It is just as possible to speak of them in an entirely different way, no less religious or Christian. For instance, the main theme during a seminar course could well be the four temperaments of the human being—that is, the psychic, physical, and spiritual natures of the choleric, melancholic, sanguine, and phlegmatic temperaments. First, one would give a description of these four temperaments and then one could discuss how they must be treated in class. For example, it has a salutary effect if one seats choleric children together in one corner of the classroom, giving a certain relief in this way to the rest of the class, because the teacher is freed from having to constantly discipline them. Choleric children can't help pushing and hitting each other. If they now find themselves suddenly at the receiving end, this in itself produces a thoroughly pedagogical effect, because the ones who do the pushing and shoving, goading others into retaliating, are being “shaped up” in a very direct way. And if, by seating the phlegmatics together, one lets them “phlegmatize” each other, this also has a wonderfully pedagogical effect. However, all this needs to be done with the appropriate tact. One really has to know how to handle the situation in each individual case. You will find a detailed treatment of the children's various temperaments in the published version of the first training course, given to the teachers of the Waldorf school.⁵

What I have said about the four Gospels, fundamentally speaking, is exactly the same when seen from a spiritual perspective, because it leads one into the same element of life. Today it is ordinarily felt that, if one wants to learn something, the relevant elements have to be put neatly side by side. But this is a procedure that will not lead to fundamental principles, as they have to be dealt with in actual life. For example, one cannot understand the human gall or liver system unless one also has an understanding of the human head, because every organ in the digestive tract has a complementary organ in the brain. One does not know anything about the liver unless one also knows its correlative function in the brain. Likewise, one does not have an inner understanding of the immense inspiration that can flow into the human soul from the Gospels, unless one can also transform these into the ways that character and temperament are imprinted into the human individuality here on Earth. To livingly comprehend the world is very different from comprehending it through dead concepts.

This will also help one to see that if children are raised in light of the education spoken of here, one allows something to grow in them that will outlast their childhood days, something that will continue to affect them throughout their lives; for what do you have to do when you grow old? People who do not understand human nature cannot assess how important certain impulses, which can be implanted only during childhood, are for life. At that tender age it is still possible for these impulses to be immersed into the soft and pliable organism of the child, still very open to the musical-formative forces. In later years the organism becomes harder, not necessarily physically, but in any case, tending toward psycho-bodily hardening. What one has absorbed through one's upbringing and education, however, does not grow old. No matter how old one has become, one is still inwardly endowed with the same youthful element that one had from, say, the tenth to the fifteenth year. One always carries this element of youthfulness within, but it has to remain supple and flexible to the degree that the now aged brain—perhaps already covered by a bald head—can use it in the same way that the previously soft brain did. If a person's education has not helped this process, however, the result is a generation gap, which appears so often these days, and is considered unbridgeable.

Sometimes people say something that is actually the opposite of what is really happening. For example, one often hears the comment, “The young today don't understand the elderly, because old people no longer know how to be young with the young.” But this is not the truth. Not at all. What really happens is that the young generation expects the old generation to be able to properly use the physical organization which has grown old. In this way, young people recognize something in the old that is different from their own condition, something they do not yet have. This is the quality that leads to the natural respect for old age. When young people meet an old person who can still use an already-bald head in the way children use their tousled heads, they feel that something can be received from the older generation, something that they cannot find in their contemporaries. This is how it should be.

We must educate young people so that they know how to grow old properly. It is the malaise of our time that as young people grow up, they do not recognize among the older generation those who have aged properly. They see merely childish individuals, instead, who have remained at the same level of development as the young generation. This is because of the inadequate education of old people who cannot properly use their physical organization, and they remain infantile. The expression “overgrown kids” is really chosen with great ingenuity, for it implies that such persons lost the ability to get hold of their entire organism during the course of their lives.⁶

They can work only with the head, which is precisely what children or young people are meant to do. So the young respond by saying, “Why should we learn from them? They are no further along than we are; they are just as childish as we are.” The point is not that old age lacks youthfulness, but that it has remained behind, is too infantile, and this causes difficulties today. You see how expressions, sometimes chosen with the most goodwill, mean the opposite of what they intend convey.⁷

These things must all be seen in the proper light before education can stand on its feet again. This has become more than necessary today. Forgive this somewhat drastic way of saying it, but in our intellectual age education really has been turned upside-down.

Thus, one of the characteristic features of Waldorf pedagogy is to learn that it is not the externals that are important. Whether a teacher draws substance to nourish the souls of students from the different qualities of the four Gospels, or whether this is done by using what was presented in the Stuttgart teachers' training course with regard to the four temperaments does not matter at all. What does matter is the spirit that reigns in everything developed there. Because of how superficially these things are often regarded today, it could easily happen that someone, when told that the treatment of the four temperaments could be studied in the fundamental course given in Stuttgart, could also consult a later course where one would find something about the teacher's attitude toward the four Gospels. The reaction of such a person might well be, “In this case, I should study the later course as well.” It certainly is a good thing to approach different subjects by using different sources. But there is also another way of looking at it—that is, one may find a common message running through both courses, given in two different places at different times, even though outwardly the subjects may appear very different. This inner correspondence found within different lecture courses can be uncomfortable because of the way their various points are interlinked, instead of fitting into the more conventional patterns of cause and effect.

Thus, the educational course given here at the Goetheanum just over a year ago (where some English friends were present, and which was rendered very competently and artistically by Mister Steffen)⁸ can be compared with what I presented to you again differently in this course.⁹ You will find that, basically, the substance of both courses is the same as, for example, the head and the stomach; each form a part of one organism. It may be uncomfortable that, because of how various themes mutually support each other, one cannot say: I have read and understood the first course; and because the later one is supposed to carry the same message, there is no need for me to study it as well. The fact is, however, that, if one has studied both courses, the earlier one will be understood in greater depth, because each sheds light on the other. It could even be said that, only when one has digested a later teachers' course, can one fully understand an earlier one because of these reciprocal effects. Mathematics is built on purely causal sequences, so it is possible to understand earlier stages without any knowledge of subsequent stages. But when it comes to teaching in a living way, its subject is affected by mutual interconnections, so that what was given at an earlier date may receive further elucidation by what was presented later.

I mention this because it is all part of the living spirit that has to permeate the Waldorf way of teaching. One has to have the good will that wants to know it from all sides, and one must never be satisfied with having comprehended one particular aspect of it. As a Waldorf teacher, one has to be conscious of the necessity for continually widening and deepening one's knowledge, rather than feeling satisfied with one's achievements and, indeed, considering oneself very clever. If one has lived into the Waldorf way of teaching, such delusions are soon overcome! For a real Waldorf teacher, everything that flows from this activity must be permeated with true heart and soul forces. It has to spring from the right kind of self-confidence, which rests on trust in God. When there is awareness of the divine forces working within, one will be fed by a constantly flowing fountain of life, flowing since time beyond memory, and very much apart from what one may or may not have learned externally. It is only the beginning of the way when self-confidence stems from outer achievements. One is in the proper place when self-confidence has led to confidence in the working of God, when it has led to an awareness of the power of the words: Not I, but the Christ in me. When this happens, self-confidence also becomes self-modesty, because one realizes that the divine forces of Christ are reflected in whatever is carried in one's soul. This spirit must reign throughout the school.

If it were not present, the school would be like a natural organism whose lifeblood was being drawn out, or that was slowly being asphyxiated.

This is the spirit that is most important, and if it is alive, it will engender enthusiasm, regardless of the staff or the leadership of the school. One can then be confident that a somewhat objective spirit will live throughout the school, which is not the same as the sum of the teachers' individual spirits. This, however, can be nurtured only gradually within the life of the teaching staff.

As a result of working in this way, something has emerged in the Waldorf school that we call “block periods” or “main lessons.” These main lessons—much longer than the ordinary lessons, which allow one subject to be studied in depth—do not distract children, as often happens because of too many subject changes. For example, students might typically be given a geography lesson from 8 to 8:45 A.M., followed by an entirely different subject, such as Latin, from 8:45 until 9:30 A.M. This might be followed again by math, or some other lesson. Block periods of main lessons, on the other hand, are structured so that the same subject is taught every day for about three or four weeks (depending on the type of subject) during the first half of the morning session. For example, in a main lesson period, geography would be studied for perhaps three or four weeks—not severely or in a heavy-handed way, but in a more relaxed, yet completely serious way. When the same subject is taken up again during one of the following terms, it will build on what was given during the previous block period. In this way, the subject matter covered during one year is taught in block periods instead of during regular weekly lessons. This method is, no doubt, more taxing for teachers than the conventional schedule arrangements would be, because such lengthy geography lessons could easily become boring for the children. This is solved by the teachers' much deeper immersion in the subjects, so that they are equal to their freely-chosen tasks.

After a mid-morning break, which is essential for the children, the main lesson is usually followed by language lessons, or by other subjects not taught in main lesson periods. Two foreign languages are introduced to our pupils as soon as they enter the first grade in a Waldorf school. Using our own methods, we teach them French and English—the aim not being so much a widening of their outer horizons, but an enrichment of their soul life.

You will ascertain from what was said yesterday that physical movement, practiced most of all in eurythmy and gymnastics, is by no means considered to be less important, but is dealt with so that it can play a proper role within the total curriculum. Similarly, right from the beginning in the first grade, all lessons are permeated by a musical element according to various ages and stages.

I have already indicated (with unavoidable briefness, unfortunately) how our pupils are being directed into artistic activities—into singing, music-making, modeling, and so on. It is absolutely necessary to nurture these activities. Simply through practicing them with the children, one will come to realize exactly what it means for their entire lives to be properly guided musically during these younger years, from the change of teeth through the ninth and twelfth years until puberty. Proper introduction to the musical element is fundamental for a human being to overcome any hindrance that impedes, later in life, a sound development of a will permeated with courage. Musical forces effect the human organism by allowing, as smoothly as possible, the nerve fluctuations to become active in the stream of breath. The breath-stream, in turn, works back upon the functions of the nervous system. The breathing rhythms then work over into the rhythms of the blood circulation, which in turn act on the rhythms of sleeping and waking. This insight, afforded by anthroposophical investigation, of how musical forces creatively work within the structure of the human being, is one of the most wonderful things in life.

One learns to recognize that we have an extremely sensitive and refined musical instrument in the raying out of the nerves from the spinal marrow, from the entire system of the spinal cord. One also learns to see how this delicate instrument dries up and hardens, whereby, inwardly, the human being can no longer properly develop qualities of courage, if musical instruction and the general musical education do not work harmoniously with this wonderfully fine musical instrument. What constitutes a truly delicate and unique musical instrument is coming into being through the mutual interplay between the organs of the nerves and senses with their functions on the one hand, and on the other hand, the human motor functions with their close affinities to the digestive rhythms and those of sleeping and waking.

The upper part of the human being wants to influence the lower part. By directing the child's entire organism toward the realm of music, we enhance the merging of external sounds (from a piano during music lessons, or from the children's singing voices) with the nervous and circulatory systems, in what can be recognized as a divine plan of creation. This is a sublime thing, because in every music lesson there is a meeting between the divine-spiritual and what comes from the earthly realm, rising, as it were, within the child's body. Heaven and Earth truly meet in every achievement of musical culture throughout human earthly evolution, and we should always be aware of this. This awareness, plus the teachers' knowledge that they are instrumental in bringing together the genius of Heaven with the genius of Earth, gives them the enthusiasm they need to face their classes. This same enthusiasm is also carried into the teachers' staff meetings where the music teacher may inspire the art teacher, and so on. Here you can see clearly how essential it is that spirit works through every aspect of Waldorf education.

To give another example: not long ago, during one of our teacher meetings, it truly became possible to work out to a large extent what happens to the students' spirit, soul, and body, when first given eurythmy exercises and then directed in doing gymnastics. Such insight into the relationship between gymnastics and eurythmy (which is very important to how these lessons are presented) was really accomplished in one of our teacher meetings the other day. Of course, we will continue our research. But, this is how teacher meetings become like the blood that must flow through the school as a living organism. Everything else will fall into place, as long as that is allowed to happen.

Teachers will know also when it is proper to take their classes for a walk or for an outing, and the role of gymnastics will find a natural and appropriate place within the life of the students, regardless of which school they attend. Doubts and anxieties will disappear with regard to the remark: What is done in a Waldorf school may all be very good, but they neglect sports there. Admittedly, it is not yet possible for us to do everything that may be desirable, because the Waldorf school has had to develop from small beginnings. Only by overcoming enormous obstacles and external difficulties was it possible to have gone as far as we have today. But when matters are taken care of with spiritual insight, the whole question of the relationship between physical and spiritual will be handled properly.

The following analogy could be used: Just as it is unnecessary to learn how the various larger and smaller muscles of the arm function (according to the laws of dynamics and statics, of vitalism, and so on) so that one can lift it, so it is also unnecessary to know every detail of the ins-and-outs of everything that must be done, as long as we can approach and present lessons out of the spirit that has become transformed into the proper attitude of the teacher—as long as we can penetrate properly to the very essence of all our tasks and duties.

I could only give you brief and superficial outlines of the fundamental principles and impulses, flowing from anthroposophical research, according to which the Waldorf school functions. And so we have come to the end of this course—primarily because of your other commitments.

At this point I would like to express once more what I already said during one of our discussions: If one lives with heart and soul, with the ideal of allowing education to grow into a blessing for all humankind in its evolution, one is filled with deep gratitude when meeting teachers from so many different places; for you have come to this course to obtain information about the way of teaching that arises from anthroposophical investigation, which I have attempted to place before you. Beyond whether this was received by one or another participant with more or less sympathy, I want to express my deep gratitude and inner satisfaction that it was again possible for a large group of souls to perceive what is intended to work on the most varied branches of life, and what is meant to fructify life in general through anthroposophy. Two thoughts will remain with you, especially with those who dealt with the organization and practical arrangements of this course: the happy memory of the gratitude, and the happy memory of the inner satisfaction as I expressed it just now. And the more intensely these thoughts can be inwardly formed—the thoughts of the work based on such gratitude and satisfaction—the more hope will grow that, in times to come, this way of teaching may yet succeed for the benefit of all of humanity.

Such hope will intensify the loving care for this way of teaching in those who already have the will to devote themselves to it with all their human qualities.

It should also be said that it was not only the Waldorf teachers who may have given you something of their practical experience, because those of you who have been present here as visitors have certainly given equally to them. By allowing us to witness what lives in us begin to live in other souls as well, you have fanned the glow of love that is both necessary and natural, and just that can engender genuine enthusiasm. And we may hope that out of feelings of gratitude and inner satisfaction, of hope and love that have flowed together during this course, good fruits may ripen, provided we can maintain the necessary interest in these matters, and that we are inwardly active enough to sustain them.

Ladies and gentlemen, my dear friends, this is what I want to pour into my farewell, which is not to be taken as formal or abstract, but as very concrete, in which gratitude becomes a firm foundation, and inner satisfaction a source of warmth, from which hope will radiate out, bringing both courage and strength. May the love of putting into practice what is willed to become a way of teaching for all human beings be turned into light that shines for those who feel it their duty to care for the education of all humankind!

In this sense, having to bring this course to its conclusion, I wish to give you all my warmest farewell greetings.

Question: Would it be possible to implement the Waldorf way of teaching in other countries, in Czechoslovakia, for example?

Rudolf Steiner: In principle it is possible to introduce Waldorf education anywhere, because it is based purely on pedagogy. This is the significant difference between Waldorf pedagogy and other educational movements. As you know, there are people today who maintain that if one wants to give pupils a proper education, one must send them to a country school, because they consider an urban environment unsuitable for children's education. Then there are those who hold the opinion that only a boarding school can offer the proper conditions for their children's education, while still others insist that only life at home can provide the proper background for children. All of these things cease to be of real importance in Waldorf education. I do not wish to quarrel about these different attitudes (each of which may have its justification from one or another point of view), but since Waldorf education focuses entirely on the pedagogical aspect, it can be adapted to any outer conditions, whether a city school, a country school or whatever. It is not designed to meet specific external conditions, but is based entirely on observation and insight into the growing human being. This means that Waldorf pedagogy could be implemented in every school.

Whether this would be allowed to happen, whether the authorities that oversee education, the establishing of curricula, and so on would ever agree to such a step being taken, is an entirely different question. There is nothing to stop Waldorf pedagogy from being applied anywhere in the world, even tomorrow, but the real question is whether permission for this to happen would be granted. This question can be answered only in terms of the various local government policies. That is really all one can say about it.

• 1. See Rudolf Steiner, The Foundations of Human Experience, Anthroposophic Press, Hudson, NY, 1996, and Practical Advice to Teachers, Rudolf Steiner Press, London, 1976, and Discussions with Teachers, Rudolf Steiner Press, London, 1967.
• 2. See Balance in Teaching, Mercury Press, Spring Valley, NY, 1990; Education for Adolescents, Anthroposophic Press, Hudson, NY, 1996; and Deeper Insights into Education (to be republished).
• 3. Dr. Herman von Baravalle (1898–1973) teacher of mathematics and physics at the Waldorf school in Stuttgart.
• 4. Caroline von Heydebrand (1866–1938) class teacher at the Waldorf school.
• 5. See footnote page 171. See also the 1909 lecture, “The Four Temperaments,” contained in Rudolf Steiner, Anthroposophy in Everyday Life, Anthroposophic Press, Hudson, NY, 1995.
• 6. The German expression is Kindskopf, literally “child's head.”—Trans.
• 7. See Rudolf Steiner's The Youth Section of the School of Spiritual Science, March 9, 1924 (published in The Constitution of the School of Spiritual Science, Anthroposophical Society in Great Britain, 1964), which states:
  
  But the youth today does not see in the older men and women any human quality different from its own, yet worthy of its emulation. For the older people of the present day are not really “old.” They have taken in the content of many things and can talk of these. But their knowledge has not ripened in them. They have grown older in years, but in the soul they have not kept pace with the advancing years. They speak out of an older brain in just the same way that they spoke when the brain was young. Young people feel this fact. They do not perceive maturity when they are with their elders; they see their own young condition of soul in older bodies, and they turn away, for this does not seem true to them.
• 8. Albert Steffen (1884–1963), Swiss poet, novelist, playwright, and a leading student of Rudolf Steiner beginning in 1907.
• 9. See Rudolf Steiner, Soul Economy and Waldorf Education, Anthroposophic Press, Hudson, NY, 1986.

Meister Bertram, Hieronymus Bosch, Dieric Bouts, Pieter Brueghel, Petrus Christus, Gerard David, Jan Van Eyck, Master of Flémalle, Geertgen tot Sint Jans, Hugo van der Goes, Quentin Matsys, Hans Memling, and Joachim Patinir.

The pictures we shall show today are to illustrate the development of Dutch and Flemish painting towards the end of the 15th century and on into the 16th.

From the inner historical point of view, this is one of the most important moments in the evolution of Art. It is, as you know, the period immediately after the dawn of the fifth post-Atlantean epoch—that epoch which is called upon to bring forth, out of the depths of human evolution, all that is connected with the development of the Spiritual Soul. In the Dutch and Flemish pictures we shall now consider, this comes to expression in a most characteristic way. We see in every detail how the Spiritual Soul begins to work. We can see it, my dear friends, if only we bring to these works of Art an elementary power of understanding—that is to say, if we have to some extent escaped the unhappy fate of being historians of Art after the modern fashion.

The most up-to-date of the modern critics and historians will, no doubt, consider a critic like Hermann Grimm an altogether inferior intellect. But if we have not the misfortune to be quite so up-to-date, then, even if we knew nothing beforehand of the laws and impulses of human evolution as explained by Spiritual Science, we should still find in this artistic evolution a wonderful confirmation of all the differences which Spiritual Science indicates in its descriptions of the Third, Fourth, and fifth post-Atlantean epochs. It is interesting to see how gradually there emerges—century after century during these epochs—what we may regard as the fundamental frame-work of the artistic conceptions of today. It is interesting to see the several elements of it emerging in the most manifold quarters in the evolution of mankind.

If we go back to the history of drawing and painting, we find that the laws of Space, for example, have only been evolved by gigantic efforts of the human soul. The older representations in line and color do not really constitute a pictorial Art in the modern sense. They are more like a kind of narrative or story-telling on the flat surface. This applies to a by no means very distant past. (Without entering at length into these historic aspects, I will only indicate a few general points of view.)

We can see that in those olden times, the artist had in his mind's eye some story which he wished to portray—a story such as one might even narrate in words. He did not try to represent Space as it is; he simply fixed on to the flat surface what he desired to represent. The various things that he relates stand side by side on this flat surface. From our point of view, we could, at most, regard this as a kind of primitive illustration. Today we should not even allow the art of illustration to proceed in this way, merely setting down the events of the narrative on a flat surface.

At the next stage, an attempt is made to represent the ordering of things in Space, at any rate, in a most rudimentary way, by introducing the principle of overlapping. The artist makes use of the visibility, or partial visibility of this or that figure.

A figure that stands in the way of another, is in the foreground; the other stands behind it. By this method of overlapping, the surface is really used to suggest, at any rate, the dimension of depth.

At a following stage, the several figures are already made larger or smaller in proportion, taking into account that that which appears larger is to the front, while all that which appears smaller is further back. If, however, we return to the Third Post-Atlantean period, we find that this spatial treatment to which we are now accustomed, did not exist at all. They either put things down on the flat surface, as described above, or else they used the element of Space to express their thought. This, indeed, continued into the Graeco-Latin period. Contrary to the way in which things are really seen, we often find figures which are obviously to the front (nearer to the spectator) smaller in proportion to other figures which are further away. In olden times they often made use of this kind of treatment.

We see a King, for example, enthroned in the background of the picture. His subjects, in the foreground, are represented as being smaller in proportion. In Space they are not really smaller, but according to the conception prevailing, they are smaller in idea. Hence, while they are placed in the foreground, they are made smaller. This gives you the transition to a thing you will frequently find in older times—I mean what we may call "inverse perspective" compared to the perspective we know today. In this “inverse perspective” we must imagine things envisaged as they are seen by a particular figure in the picture. Figures which are in front from our point of view can, indeed, be smaller than other figures which are farther back, if a figure in the background is conceived as the observer of the scene. But to this end the man who is actually looking at the picture must entirely obliterate himself! He must either imagine himself away, or he must think himself into the picture, as it were,—into the personality of the figure conceived as the observer of the scene.

Here, then, we have an Impersonal perspective. This “impersonal perspective” was still suited to the stage of the Fourth Post-Atlantean epoch, when the Spiritual Soul was not yet so consciously born as afterwards. The man of the fifth Post-Atlantean epoch cannot forget himself; he demands a presentation arising from his own point of view. Hence it is that the art of perspective, strictly related to the visual point of the spectator, only appears with Brunellesco—that is to say, is the main, with the beginning of the Renaissance.

We may truly say that what is now called perspective was first introduced into the technique of Art at that point of time. Moreover, the South, through the impulses I characterised in one of the earlier lectures, is the inventor of perspective. For the South is much concerned with the ordering of things in the inner relationship of Space; concerned, that is to say, with qualities in extension. Thus the South is predisposed for mastery in the whole art of composition, and at a later date we see this art of composition fertilised by the Southern Renaissance—with all that I have described already as the inherent impulses which then came to the surface, and reached so high a degree of perfection.

Thus there comes forth in Art what we may call the gathering together of things in Space, where the man who looks at the picture is included in the whole conception. Truly, this corresponds to the age when the Spiritual Soul is born—when man becomes conscious of himself.

Hence it is in the south—in all that is connected with the Southern culture, which we have described before—it is here that the modern principle of perspective first arises. We see how it evolves quite naturally out of the Southern culture.

Meanwhile, however, another principle is at work, is emerging in the North; this principle we see in its nascent state, as it were, in the very moment of its origin, when we turn our gaze to the Brothers Van Eyck.

In the two Van Eycks—Hubert van Eyck to begin with, and later in his brother Jan—we see emerging, albeit in a different form as yet, what afterwards came forth as described when dealing with Rembrandt, for example. Something which emerges out of the Mid-European, Northern element. These things always find expression in external symptoms—in outwardly real symbols, if I may so call them. Brunellesco must be conceived as the inventor of modern perspective. The ancient perspective—that which underlies the Greek pictures, for example,—does not possess what is called a “vanishing point.” It has a whole “vanishing line.” The scene we see seems to converge, not in a vanishing point, but in a vanishing line. In this is, indeed, expressed the radical difference between the ancient perspective and the modern, which is the perspective of the fifth post-Atlantean epoch.

Brunellesco, then, is the discoverer of modern perspective. It is discovered in the South. Whereas in the North—this is no mere tradition, but contains a profound truth—in the North oil-painting is discovered. Although Hubert van Eyck was not the sole inventor of oil-painting, nevertheless, it is true that oil-painting was discovered in the age and out of the whole milieu out of which he created.

Now what does this signify? What is the underlying reason? For the art of oil-painting was then carried to the South. Perspective was carried from the South to the North; oil-painting from the North to the South. What does this signify?

It is deeply rooted in their fundamental character and mood of soul. In the South men have a feeling for coming together mutually in the Group. The South has far more attachment to the Group-soul as such. Hence the people of the South are fond of describing themselves as members of such and such a Group. They have little understanding of the individual principle. Such things should be taken into account, for Nations will never understand each other if they take no pains to grasp their several characteristics.

When a man has been brought up in the more Latin spirit—who has received the inner impulse of the Southern nature—speaks of his devotion to nation or people—when he calls himself a Patriot in one sense or another, he means something very different from the Mid-European who speaks of Patriotism. Mid-Europe really has no talent for this belonging together, this gathering of men together into a Group. In Mid-Europe there is a faculty for the Individual principle. The true native character of Middle Europe is expressed in the recognition of the Individual, and in the age of the development of the Spiritual Soul this implies, to begin with, the recognition of the personality, the human individual—the person.

Now, if we feel essentially the Group-element, which is, of course, extensive (spread out in space), we shall naturally live in the element of composition. One who has this tendency will have a natural understanding for the art of composition. If, on the other hand, we have a strong feeling for the individual principle, we shall seek to mould the individual from within—outward. Instead of seeing the Spirit, as it were, put forth its feelers to embrace and hold the Group together, we see the Spirit within each single form; we place the several individual figures side by side, seeing the Spirit in each single one. We seek to bring to the surface of the body what is there in the inner being of the soul.

This is not to be achieved by perspective, but by color that is irradiated, flooded by light. Thus in the profoundly Germanic brothers, Van Eyck, we have the real starting point of the modern art of color, which seeks to hold fast in the color itself, what comes from the individual character of the soul to the outer surface of the body.

The brothers Van Eyck and their successors, derive their essential inner quality from this Northern Mid-European element, while composition, which gradually finds its way into their works, is borrowed more from France and Burgundy.

It is no mere matter of chance that this special development in the 15th century took place at a time when the districts where these artists lived did not possess a hard-and-fast political structure. Such a structure was only afterwards imposed upon them from the South—from France and especially from Spain. In that period we see spread out over the Northern and Southern Netherlands the more individual City-formations—towns and cities whose connection as compact States was at most a very loose one. The people of those regions, and of that time, had no inclination to think that men ought to be held together in groups by well-defined States, where the State itself is the important thing—where the precise extent and frontiers of a particular State are considered a matter of importance. To the people out of whom the brothers Van Eyck arose, the particular nation to which they belonged was not the point. Nor did they think of what is called the “State,” or trouble themselves about its frontiers. What mattered to them was that human beings full, thorough-going human beings—should develop, regardless of the group to which they might belong.

So we see this Art of the Southern Netherlands, the regions of Flanders. The inner being of man is conjured forth to the surface of the body in a tender and thoughtful way. By a mysterious power they flood their pictures with light, introducing just that element which color can introduce, for the individual characterisation of the soul.

Then we see the burgher, the citizen virtues of the Northern Netherlands reaching down into the Southern aristocratic element. The life of the burghers gives birth to that Art which places the individual so thoroughly into the world. It is, in reality, an overcoming of the Group-soul principles in Art.

And yet, as we shall see in the very first of our pictures today, how wonderfully the mass-effects are, nevertheless, attained. But with these mass-effects, it is not that they are conceived as a group from the outset. They arc not deliberately constructed: the figures distributed in Space so as to belong together as a Group. On the contrary, these wonderful groupings arise through the very fact that each individual being has his full importance, and takes his stand beside the others.

Such are the things that we shall recognise out of this portion of artistic evolution. In the brothers Van Eyck we still have comparatively primitive, rudimentary groupings in Space, but withal a high degree of inwardness, and a strong adaptation to what is actually seen, regardless of any hard and fast conventions.

In effect, we have here the second pole of that entry into the physical reality in the artistic life, which belongs to the fifth post-Atlantean period. This pole is in the North, while the other takes its start from the Italian art of the Renaissance. There we have the element of composition, and all else is to some extent subservient to this. In the North we have a creating from within, outwards. Only gradually and by dint of constant striving do they arrive at a certain power of composition by the placing together of individuals portrayed with inwardness of soul. Thus the one aspect of the naturalistic principle in Art, which belongs to the fifth post-Atlantean epoch, found its essential fountain-head in these regions. These painters place their subject in the immediate reality which surrounds them. The Biblical story, for example, when reproduced in Art by men of earlier times, was taken right away from their immediate surroundings. But this period in Art places the Biblical narratives into the midst of the immediate naturalistic reality. Men of the Netherlands stand before us as the characters of Biblical history.

What formerly shut one off, as it were, from the outer naturalistic world—the golden background and all that was expressed in it—ceases to exist. On the very soil where we ourselves are standing, the Biblical scenes move before us.

It goes with this, quite naturally and inevitably, that they everywhere surround their human figures with that peculiar treatment of space which we find in their interiors, not in their outer landscapes. I would express it thus. Having ceased to be living in the composition, the space itself must be transposed, transplanted into the picture. Space, as such, must now appear in the picture. How, then, can this be done? By shaping a portion of the picture itself as a “space,” that is to say, by placing the figures in an “interior”—in a room, or the like. Or, again, by painting a naturalistic space such as forms itself around the human being in the landscape. Thus with all the impulses of the new age which, as above described, permeate especially this Dutch and Flemish Art, we see arising quite naturally, the art of landscape painting. The landscape appears, often with a mighty and overpowering grandeur, in the background of the figures, or in some other way.

This Art evolves and flourishes most beautifully in the age of the free cities, when every town or city in these regions has a pride in its independence, and feels no inner need for territorial union with other cities. A certain international consciousness arises. This freedom from separations, this freedom from the Group-spirit, is a product of the sound and strong Germanic burgher-spirit of those times and places.

All this grows out of the life of the Northern and Southern Netherlands. Influenced very slightly by the South—influenced only by the Southern art of composition through the adjoining southern countries—their artistic creation springs from this democratic strength and soundness of the burghers, and blossoms forth until the time when the whole thing is eclipsed, if I may put it so, by the Group-mind once more.

Thus the period in artistic evolution which we shall illustrate today is at the same time a period of free development of human beings. I might continue to say many other things; but I wanted, above all, to fix your minds on the world-historic moment when this development in Art took place.

We will now proceed at once to show a number of pictures on the screen.

We begin with the famous Altar-piece of Ghent, by the Brothers Van Eyck.

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1. The Brothers Van Eyck. Altar-piece. (St. Bavo. Ghent.)

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2. God, the Father

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3. Mary

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4. John

This Altar-piece consists of many parts. This is the portion seen when the front is opened—the middle portion above the Altar. The figure in the center, in Papal costume, is representing God the Father. Conceived in the spirit of the Church, God the Father is actually represented as a Pope. Nevertheless, the features I have indicated are recognisable in the whole artistic composition. If we went back still further, we should find the preceding evolution altogether steeped in Christian ideas—the Christian traditions—that is to say, which the ecclesiastics forcibly impressed upon the people. These traditions most certainly corresponded to a manner of thought inspired by the Group-consciousness. But out of the midst of this very element we now witness the individual spirit making itself felt.

The figure to your left is Mary; that on the right is St. John. Here, then, we find ourselves in the first third of the 15th century. Hubert Van Eyck died in 1426; the Altar-piece was finished by his brother Jan. It is the first third of the 15th century.

From the same Altar-piece we will show the angel-pictures, to the right and left of these central figures.

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5. Angels making Music

Here you see a group of angels playing on instruments of music. Compare them with the angels by the German Christian Masters of the period immediately preceding this. Lochner, for instance, or the Master of Cologne—the pictures we saw in a former lecture. You will see how great a difference there is. The angels here are full-grown human beings, in spite of their clerical and ceremonial garments—fully developed human beings—no longer as before, half child-like forms. In such a group as this, you will see that the artist has not yet reached a thorough-going perspective. The perspective is only carried through to a slight extent. You see the whole picture on the surface—spread out like a tapestry. We will now show the angel-picture from the other side of the altar-piece.

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6. Angels singing

This whole Altar-piece was done by order of a wealthy Burgher for the Church of St. Bavo. The several parts are now scattered abroad—at Ghent, in Brussels, in Berlin ...

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7. The Brothers van Eyck. Adoration of the Lamb.

Here we come to the main portion of the picture, beneath the other three. The “Adoration of the Lamb” is one of the fundamental motifs of this and the preceding period. Here we see it beautifully presented as the fundamental religious conception which had evolved during the course of many centuries. It could not have been embodied in this beautiful artistic form till they had so grown together with this conception as to represent it thus. Throughout the centuries of Christianity this idea had gradually taken shape—this idea of the Salvation, the Redemption of mankind through a great Sacrifice.

We must go far, far back in time to realise its full significance. Compare the subject—the story which this picture tells—with a picture, for example, of the Mithras Offering. There you have Mithras seated on the Bull; the Bull is wounded, the blood is flowing. It is the uplifting of Mithras, His salvation by the overcoming of the Beast. You are familiar with the deeper spiritual meaning of this picture; it is, if I may so describe it, the very antithesis of the one we now see before us. The rearing and rebellious Bull has to be fought down—gives up his blood by force; the Lamb gives His Blood of His own free will.

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8. Adoration of the Lamb as compared to a Mithras-Relief

What does this signify? Salvation is lifted out of the element in which it was previously conceived—the element of violence, and strife and conflict. It comes into the element of free devotion and out-pouring Grace. Such is the idea which is here expressed. Not by man seeking in pride to rise beyond himself, seeking to kill his lower nature, but by experiencing in his soul that which streams through the world and patiently suffers with the world, will he attain his liberation at every point of this world's existence, his redemption.

Such is the Universal—and therefore, the individually universal—principle of redemption which we here find expressed. The Lamb is One, yet no one being is striking it. Therefore we see it offered up for every one of those who worship it, who draw near to it from all their different spheres of life—near to the Lamb of Salvation, near to the Fountain of Life.

The greatest conception of the Middle Ages, grown and matured in the course of the centuries, is thus recorded at the end of the Mediaeval Ages by the brothers Van Eyck, and there arises in this period one of the greatest of all works of Art.

Of course, we must bear in mind the points of view I emphasised just now. The individual principle, creating from out of the inner life, wrestles still with an inadequate mastery of the treatment of space. You will, for instance, scarcely be able to imagine a spectator situated with his eye in such a place as to perceive the spatial distribution of this figure here (at the bottom of the picture).

Very beautifully Van Eyck portrayed how the Impulse of the Lamb works in the various callings, in the several branches of human life. Here are some examples.

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9. Brothers van Eyck. The Knights and Judges. (From the Altar-piece at Ghent. Berlin Museum.)

These are the Judges and the Knights as they draw near to the Lamb. All these are portions of the same great Altar-piece. The next is a very tender picture:

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10. Brothers van Eyck. The Pilgrims and Hermits. (From the Altar-piece at Ghent.)

Here we can already admire the treatment of landscape in relation to the human beings to whom it belongs.

Hubert van Eyck died in 1426, when the Altar-piece was not nearly finished. His brother Jan continued working at it for many years, and scholars have long been engaged in the dispute, which they seem to regard as so important, as to which portions are due to Hubert and which to Jan. This dispute is, after all, more or less superfluous, if we are interested in the artistic aspect. We now come to another picture by Van Eyck.

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11. Jan van Eyck. Madonna. (At Bruges.)

This picture was painted in 1436. You will admire the tenderness of expression in the Madonna, no less than the characterisation of this figure (the Canon, Georg van der Pole). It reveals a wonderful observation of Nature and a strong sense of character, with all the primitiveness of the period—needless to say. The next picture was painted by Jan van Eyck in Spain, whither he had been summoned.

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12. Jan van Eyck. The Waters of Life. (Prado. Madrid.)

Observe the Gothic architecture in the background. To represent the Waters of Life, the Well of Life, in connection with the Sacrifice of the Lamb, was natural to the ideas of that time. Once more, as in the former picture, you have the motif of God the Father with Mary and St. John.

Here, however, it is transferred more into the spirit of the Southern Art—not unnaturally, as the picture was painted in Spain.

In the former picture we had the same theme treated with more of the Northern character.

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13. Jan van Eyck. The Crucifixion. (Berlin.)

Notice how the characteristic qualities come to expression in this picture. The human element far outweighs the Biblical tradition. Only the subject, the occasion, we might say, is taken from that quarter. See with what deep human sympathy the Biblical story is re-awakened, as it were. Here it is not merely the prevalent idea that it is meet to represent in pictures what the Bible tells. The whole event is felt again and re-experienced in the highest degree. It is scarcely conceivable—(pointing to the figures of Mary and St. John)—that a Southern artist would have placed this line, and this, side by side. Here, however, the painter's chief concern is not with the composition, but to give an impression of real inwardness—to realise the inner experience. And then we must say that the effect of this line, and this line, together, is most wonderful, characterising as it does the different moods of the soul.

We now give two examples of secular subjects by the same artist.

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14. Jan van Eyck. The Betrothal. (National Gallery. London.)

This picture shows very clearly how great was the artist's power of characterisation and expression. Our last picture by Van Eyck shows the attempt to get still further in the way of portraiture;

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15. Jan van Eyck. The Man with the Carnation. (Berlin.)

Here you will see with great distinctness, the artist does not care at all to conceive what a man should be like; he does not work out of any such impulse, but as he sees the human being—whatever presents itself to his vision—this he reproduces.

We now come to a contemporary artist who outlived Van Eyck by a few years—the Master of Flémalle, as he is called.

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16. Master of Flémalle. St. Veronica. (Frankfort.)

In him we recognise a seeker inspired by somewhat the same impulse as the Van Eycks, yet influenced far more from France. He recognise these influences in the “line.” There is a kind of echo of artistic tradition. In Van Eyck's work we feel that everything is born out of an elemental inner need. Here, on the other hand, there is already an underlying opinion—this thing or that ought to be represented in such or such a way. Though they are not by any means predominant in his work, still we can see the Master of Flémalle accepts the principles of certain aesthetic traditions. In the former artist you will not easily find, for example, this peculiar position of the hand, nor this peculiar treatment of facial expression. These elements in the picture are undoubtedly to some extent determined by certain influences from France. An atmosphere of elegant grace is poured out over these figures, which you will not find to this extent in the figures of Van Eyck.

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17. Master of Flémalle. Death of the Virgin. (London.)

Characteristically—this picture shows the Christian legend transplanted into the artist's present time. These pictures were painted about the thirties of the 15th century.

We now come to Van der Weyden, who—like the former artist, received certain influences from France. Still, he contains all those elements which mark him out clearly as a follower of the Van Eycks.

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18. Rogier van der Weyden. Descent from the Cross. (Berlin.)

Already in this picture you will see a characteristic difference. There is an essentially dramatic life in this, whereas we might say Van Eyck is purely ethical. Van Eyck places his figures quietly side by side; they influence one another, but there is no one all-pervading movement. Here, however, in Van der Hayden's work, there is a certain drama in the working together of the figures. It is not merely ethical.

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19. Rogier van der Weyden. Descent from the Cross. (Prado. Madrid.)

The same subject, treated once more by the same artist. And now a picture taken from the Christian legends.

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20. Rogier van der Weyden. St. Luke painting the Madonna. (Munich.)

Here you see the Evangelist St. Luke, who, as the legend has it, was a painter, painting Mary and the Child.

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21. Rogier van der Weyden. Adoration by the Three Wise Men. (Alte Pinakothek. Munich.)

One of these is King Philip of Burgundy; this one, who is just taking off his hat, is Charles the Bold. If only by this external feature, the whole scene is very much transferred into the artist's immediate present. For the Kings who come to worship the Child, he takes the figures of princes more or less of his own time.

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22. Rogier van der Weyden. Charles the Bold. (Berlin.)

Here, then, we have a portrait by Van der Weyden. All these artists attained—a certain perfection in the art of portraiture.

We now come to Petrus Christus:

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23. Petrus Christus. The Annunciation (wings of an Altar-piece) (Berlin.)

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24. Petrus Christi. The Birth of Christ

The Angel and Mary (The Annunciation) and the presentation of the Christ Child. Petrus Christus works more or less equally along the lines of Van der Weyden on the one hand, and the Van Eycks on the other. These pictures were painted about 1452—the middle of the 15th century.

In the following pictures we come increasingly to the more Northerly Dutch element, where the landscape is developed to greater and greater perfection. The next picture is by Dieric Bouts the Younger. And now, a picture extraordinarily characteristic of this stream in Art:

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25. Dieric Bouts. Adoration by the Three Wise Men. (Alte Pinakothek. Munich.)

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26. John the Baptist and Christopher

On one side is the Baptist; on the other side the Christophorus—the Christ-Bearer. Truly, there comes to expression here the full and immediate human inwardness, and with it the landscape that belongs to it. In Dieric Bouts you will especially notice this art—to place the human being fittingly within the landscape of open Nature.

The realistic representation of things is working its way through more and more. Man as an artist becomes more and more able to find, in the direct reproduction of Nature, what he has been striving for along this path.

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27. Hugo van der Goes. Portinari Altarpiece, c. 1475. (Uffizi. Florence.)

Truly, Realism has here reached a high degree of perfection. The same subject again:

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28. Hugo van der Goes. Adoration by the Shepards, 1480 (Berlin.)

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29. Hugo van der Goes. St. Anthony and St. Matthew.

Below are the Donors of the picture. By the same artist:

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30. St. Margaret and St. Mary Magdalene. (Ste. Maria Novalis. Florence.)

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31. Hugo van der Goes. The Death of Mary. (Academy. Bruges.)

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32. Hugo van der Goes. Adam and Eve. The Fall. (Vienna.)

The Art of that time—as I have said on previous occasions relating to Meister Bertram—did not picture a mere snake, but tried to portray the Luciferic element.

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33. Meister Bertram. The Fall (Hamburg.)

That the snake itself—the existing physical snake—should have been the Tempter, is an invention of the most modern naturalistic materialism.

We now come to the artist who, educated in the School of Van der Weyden, represents, in a certain sense, its continuation. He was known in the School as Der deutsche Hans. I refer to Hans Memling.

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34. Hans Memling, Madonna Enthroned. (Uffizi. Florence.)

This artist was born at Mainz. We shall, if possible, in the near future, show some examples of Upper German paintings, which have their own characteristic peculiarities. Its tendencies are quite evidently present in this picture; but for the rest, Memling had absorbed all that was then living in the Art of the Netherlands, including the influence that came over from France. The next picture is also by Hans Memling.

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35. Hans Memling. The Seven Joys of Mary. (Munich.)

—a motif which was also familiar to those times. The various events connected with the life of Mary are here portrayed. Unfortunately it is too small in this reproduction to recognise the details very clearly.

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36. Memling. The Last Judgment. (Marienkirche. Danzig.)

A characteristic picture by Memling. With real genius, in his own way, he brings to expression his conception of the Last Judgment. There is a certain angular quality about it, and yet the whole event is permeated with humanity, with inward feeling. The picture is note at Danzig. A powerful trader stole the picture—but, being a pious man also, he afterwards bequeathed it to a church in Danzig.

He will also acquaint ourselves with Memling's portraits. You will see that all this School achieves a greatness of its own in representing the human individuality.

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37. Memling. Portrait of a Man. (Berlin.)

The expression of the qualities of the soul in this face is, indeed, remarkable. This is a well-known picture at the Hague.

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38. Memling. Portrait. (The Hague.)

We come now to the later artists who no longer show quite the same freedom and simplicity, but a certain contortion and inner complexity. David, for instance, was born in 1400; he came from Holland. Hitherto, we may say, we have had before us the pre-Reformation period in Art; the artist we shall now show brings us already very near the Reformation.

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39. Gerard David. Adoration of the Magi. (Munich.)

Here you will recognise how strongly the Southern influence is already working in the element of composition.

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40. Gerard David. Baptism of Christ. (Bruges.)

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41. Gerard David. Madonna and Christ, with Angels. (Rouen.)

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42. Gerard David. Mary and Child

The next is by an artist who was in a sense only a kind of imitation of David. We now come to Geertgen, who, though he dies at the early age of twenty-eight, does, indeed, bear within him all the peculiar characteristics of this epoch.

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43. Geertgen. Holy Family. (Amsterdam.)

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44. Geertgen. The Holy Night. (Berlin.)

As we go forward into the 16th century, other elements mingle more and more with what was characteristic of the Van Eyck period. We come now to Hieronymus Bosch.

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45. Hieronymus Bosch. Descent from the Cross.

In his work we find a strong element of composition. Also we have no longer the mere naturalistic observation. His work is permeated with a fanciful, fantastic feeling—so much so, that he becomes the painter of all manner of grotesque and “spooky” subjects.

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46. Hieronymus Bosch. Christ carrying the Cross.

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47. Hieronymus Bosch. Hell. (Prado. Madrid.)

The fantastic element is mingled with all that he had learned in this direction.

Now we come to Quentin Matsys, in whom the element of composition is already strongly paramount. Indeed, this is already in the 16th century.

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48. Quentin Matsys. Holy Family, 1509. (Brussels.)

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49. Quentin Matsys. Mourning for Christ. (Antwerp.)

Here you see quite deliberate composition. In the next picture we shall see how this feeling for composition combines with that for individual characterisation even where there is less intensity of form, or movement, in the group.

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50. Quentin Matsys. The Money-Changer and His Wife. (Louvre. Paris.)

We now come to an artist who reveals the characteristics of the period especially in his landscape-painting—Joachim Patinir. It was at this time and from these regions that landscape-painting first developed and found its way into the full artistic life. Only from this time onward was it really discovered for the life of Art.

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51. Patinir. The Flight into Egypt. (Madrid.)

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52. Patinir. The Flight into Egypt. (Berlin.)

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53. Patinir. The Baptism of Christ. (Vienna.)

I beg you to look at this especially, from the point of view of landscape-painting. Such landscape treatment could naturally only originate in the age of attempted naturalism; only then does landscape begin to have a real meaning for Art.

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54. Patinir. Temptation of St. Anthony. (Prado. Madrid.)

The next is a painter quite definitely of the 16th century. I spoke just now of the “Burgher” element. He carries it still further, even into the sphere of the peasantry. His works are born of the elemental simplicity of the people. Nevertheless, all manner of other influences enter into them—Italian influences, for example. Thus he strangely unites his elemental Dutch simplicity with a very marked Renaissance feeling. I refer to Pieter Brueghel—born in 1525.

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55. Brueghel. The Pious Man and the Devil. (Naples.)

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56. Brueghel. The Blind Leading the Blind. (Paris. Louvre.)

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57. Brueghel. The Fall of the Angels. (Brussels.)

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58. Brueghel. The Way to Calvary. (Vienna.)

And another Biblical subject by the same painter.

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59. Pieter Brueghel. The Adoration of the Magi. (London.)

With that, we will finish for today.

Today—since Dr. Trapesnikoff has ordered them—we will show you some pictures arranged from a different point of view than in our former lectures; more from the point of view of subject-matter. The pictures today will relate especially to the birth of Christ Jesus, the Adoration by the Shepherds and by the Three Wise Men, and finally the Flight into Egypt. Comprising an evolution through several centuries, they will bring before our souls, from another aspect, that which is living in the Old Christmas Plays of which we have been speaking in the last lectures. We shall thus be concerned today, not in the first place with the artistic elements, as such, but with the treatment of a certain theme in the history of Art, and I will therefore speak not so much of the evolution of artistic principles, but draw your attention to some other points of view which may be of interest in relation to these pictures. You will, however, bear in mind the general lines of development of Christian Art, which we have described in the past lectures of this series. You will observe the same great trend of evolution, as we pass from the artistic representations of the early Christian centuries into the times of the Renaissance. First you will see the more typical representations of an early time. These, as we have seen, were still under the influence of Revelations from the Spiritual World. Less concerned with naturalistic expressions of form and color, they try to reproduce the spiritual Imaginations, revealed out of the Spiritual World. Thenceforward you will see this Christian Art evolve towards Naturalism, that is, towards a certain reproduction of that which may be called reality from the point of view of the physical plane. As we follow the evolution of this Art, the sacred personalities stand before us in a more and more human form.

We shall first show some pictures relating more especially to the Birth of Christ. Then we shall show the Adoration of the Child by the Shepherds; indeed, these two, to some extent, will go together. The next series of pictures will deal mainly with the story of the Three Wise Men of the East—the Magi. Here I beg you to observe how the two streams evolve: the stream of St. Luke's Gospel, as we may call it, and that of the Gospel of St. Matthew. They are the streams which take their start from the two Jesus Children. Artistically, too, we can recognise the difference. The Adoration by the Shepherds—all that is more or less related to this theme—could best be understood (understood, that is to say, by the inner feelings) under the influence of what remained from those Northern Mysteries whose center, as I told you, was in Denmark. This stream is connected with all that related to the Birth of Jesus—springing forth, as it were, with Jesus, out of the earthly evolution, out of the spiritual beings that are bound up with the life of Nature.

In the Adoration by the Magi, on the other hand—the mission of the Three Wise Men from the East—we always find a direct expression of the “Gnostic” stream. Under the influence of the “Star”—which means, something that is made known out of the Cosmos—the Wise Men draw near to the Christ Who heralds His approach and develops in the Zarathustra Jesus. In all that is connected with the Adoration by the Three Wise Men, we have, therefore the Gnostic stream: the consciousness that the Christ-Event was a cosmic one; that a fertilisation of the Earth had taken place out of the Cosmos.

Our friends have been kind enough to put up here a drawing of the Three Wise Men. The picture is taken from an old Gospel Book. We see them looking up in adoration, that is, in quest of spiritual knowledge, by striving upward with all their inner being, and looking up to the Star wherein the Spirit Who shall liberate the Earth draws near.

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1. Three Wise Men.

It may truly be said that this stream, which finds expression in St. Matthew's Gospel, was less and less understood in the further course of centuries. True, it also came to life, as you know, in the Old Christmas Plays. But the appearance of the Three Wise Men of the East cannot really be understood with the same understanding, as the appearance of Jesus to the Shepherds according to St. Luke's Gospel. For the latter is a simple understanding of the heart, of inner feeling; while the understanding which we must bring to bear on all that is connected with the Wise Men from the East must needs be of a “Gnostic” character. All that is signified by the Wise Men “following the Star” will only come into the consciousness of humanity again when—not the Gnosis this time, it is true—but anthroposophical Spiritual Science gains acceptance.

Finally, we shall show some pictures of the Flight into Egypt. This, too, is connected with the “Gnostic” Revelation concerning Jesus Christ. We cannot speak of it at great length today; we may return to it another time.

To begin with, it is important here, again, to realise that there is a certain underlying composition in all that the Gospels contain. The composition is always important. We need only faithfully follow the Gospel narrative. The Flight into Egypt appears in direct connection with the Mission of the Three Wise Men. It happens, as it were, on the basis of what was first undertaken by the Three Wise Men. This bears witness to the fact that the Gospel is taking into account the connection with all that was related about Egypt in the Old Testament. Moses was learned in the Wisdom of the Egyptians. Now we are told in the Gospel that the Three Wise Men of the East came to the birthplace of Christ Jesus, led by the Star which is really the Star of Christ. But it goes on to relate that something now had to take place which did not entirely accord, as it were, with the course of the Star; something which was not in the consciousness of the Wise Men themselves—for so the Gospel explicitly tells us. Here we are shown one of those cases where the astrological determination, as it were, of certain great events has to be broken through. How precisely the astrological determination corresponds to what is known of the historic facts—you could see this from the instance which we spoke of recently. Our friends drew up the Horoscope for that point in the course of Time which was indicated as the day of Christ Jesus's Death.

But we see that the Jesus Child, in whom the Zarathustra Soul was living, had to be taken out of the domain of this Star. He was taken into Egypt, and from Egypt He was then led back again into the realm of the Star. In this is contained the whole Mystery of the ebbing away of that ancient stream of evolution which had grown atavistic in the Egyptian Gnosis. The new Revelation had to enter once more into a certain union with the Old in order that it might free itself consciously.

These are the underlying Mysteries, and though they are little recognised, none the less they lie inherent in the composition. I may take this opportunity to point out once more, how important it is to pay attention to the composition when we read the Gospels. For the text is frequently corrupt and can only be read in its true form by those who are able to read with the help, if I may say so, of the Occult Text. Notably in the translations, naturally enough, the text is often quite unintelligible. But in the composition (compare my Lecture Cycle held in Cassel on the Gospel of St. John)—in the composition there is something which will strike any reader immediately, if he reads the Gospel carefully.

One more remark I would like to make, before we go on to show the pictures. The materialistic consciousness of our age has altogether lost the point of view which would indicate such inner connections as underlie the revelation to the Three Wise Men. Whatever goes by the name of Astrology today has fallen into the hands of utter dilettanti, who carry on all kinds of nonsense and abuses with it. Few people nowadays are in true earnest when they speak of that relation of the Earth to the Cosmos which finds expression in actual physical relationships—in the constellations of the Stars. On the other hand, for the official Science of today Astrology of whatever kind is a mere antiquated superstition.

Nevertheless, the knowledge of these things did not decay or die out absolutely until the 18th century. Even as late as the 18th century people still spoke of something which is of extreme importance if we wish to understand the deep, deep truths that underlie the appearance of the Three Wise Men. In the 18th century, those who had still preserved some knowledge of the old Initiations spoke of the significance of the physical constellations. But not only so: they also spoke of the significance of invisible constellations. Even in the 18th century it was expressly stated in certain circles who possessed Initiation Knowledge. “There are also Stars which only the Initiate can see.” This is a true statement, and this, above all, must be taken into account if we wish to understand why it was that “Imaginations” appeared to the Shepherds, while “Stars” appeared to the Three Wise Men. Such is the indication: The Revelation came to the Shepherds inasmuch as they still had dreamlike clairvoyance in the old atavistic sense. But the Wise Men of the East had their knowledge through the ancient Science that had been handed down. Through this they knew of the relation between the Cosmos, the Heavens and the Earth. Through this they knew—could calculate, as it were—what was drawing near.

Hence we can see in the evolution of these pictures—and you will now have opportunity to observe it for yourselves—we see, with all the transition to Naturalism, the pictorial representations growing less and less adequate to the theme of the Wise Men. For the Wise Men or Magi, the most ancient and typical representations are the most fitting. For the real truth that is intended in this story is lifted right out of the earthly domain. On the other hand, the representations of Jesus grow the more intimate and tender, the more naturalistic they become. For in this case the naturalistic quality is fitting. All that goes out to meet the approaching Christ from the physical plane—all that is connected, therefore, with the life of Nature—is naturally best portrayed by such means.

We will now go on to the pictures, first of the Nativity itself and of the Adoration by the Shepherds, and then of the Three Wise Men or Kings.

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2. The Nativity. (mosaic) (Palermo, Chiesa della Martorana.)

In these old compositions, as you see, everything is conceived in typical form—based on the typical representations of the ancient Myths which came over largely from the East. In a most natural way the typical representations of the Myth grew into the representations of the Christian theme. The Orpheus type, for instance, the type of the Good Shepherd, was handed down from earlier representations of Myth or Cult or Ritual, and taken to represent the new impulse, the Christ event; and so it was with many another theme and composition.

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3. A Page of the Biblia Pauperum. 1st Edition. (15th century) The Nativity, etc. (German Woodcuts.)

These early Bibles generally showed parallel representations from the Old and New Testaments. They bore in mind that the New Testament is the fulfilment of the Old; this idea is brought out again and again in these “Bibles of the Poor.” The Nativity, which interests us mainly now, is shown in the middle of the page.

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4. The Nativity, 11th Century. (Limburg Monestary.)

This is at Cologne. Beneath is the Flight into Egypt; the two are together in this slide. Apart from this one, we shall show the Flight into Egypt at the end of the lecture. Here you have a beautifully naive conception of the Nativity. You will feel the connection of it with what is given in the old Christmas Plays with which we are familiar. Though the latter belong, of course, to a later time, nevertheless they are from earlier Christmas Plays which are no longer extant.

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5. The Flight into Egypt. (Evangeliar of the 12th century. Cathedral of Cologne.)

It is interesting to see, all around the picture, representations of what was cosmically connected with the Event, showing how they were still aware of the spiritual relationships. And now we will take the same motif as it appears in the work of Niccola Pisano.

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6. Niccola Pisano. The Nativity. (Baptistery at Pisa.)

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7. Giotto. The Nativity. (San Francesco. Assisi.)

You see how the representations of the theme are gradually passing into Naturalism.

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8. della Robbia. The Nativity. (Hamburg. Altarpiece.) (National Museum. Florence.)

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9. Meister Francke. The Nativity. (Hamburg.)

This picture is at Hamburg; I remember having seen it there myself not long ago.

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10. Philippo Lippi. The Nativity. (Cathedral at Spoleto.)

You really see how in the course of time Naturalism takes hold of it more and more.

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11. Piero della Francesca. The Nativity. (National Gallery. London.)

Here we are in the fifteenth century once more; and we now go on to Correggio.

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12. Correggio. Holy Night. (Dresden.)

We pass again to the more Northern Masters, whose names you know. First we have a work of Schongauer' s.

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13. Martin Schongauer. The Nativity. (Alto Pinakothek. Munich.)

Most interesting to see the Italian and the Northern Masters one after the other. In the former you still find a stronger adherence to ideal types, while here there is more individualisation—creation out of inwardness of soul, as we have seen before. Down to the tiny feet, all is pervaded with feeling, albeit the artistic perfection is not so great as in the Southern Masters.

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14. Herlin. Nativity from the Altar of St. George. (Museum at Nordlingen.)

We come now to the turn of the 15th and 16th centuries, to Albrecht Dürer.

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15. Dürer. The Nativity. (Alto Pinakothek. Munich.)

See how the Art is taken hold of here by all that I described to you—the working out of the element of light. It is most interesting to study this in Dürer.

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16. Altdorfer. The Holy Night. (Berlin.)

Altdorfer was Dürer's successor in Nuremberg.

We shall now give a series of pictures relating mainly to the Adoration by the Shepherds. First, some older Miniatures from Bible and Gospel Manuscripts.

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17. Nativity and Annunciation to the Shepherds. (Codex Egberti. Trier. 10th century.)

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18. Nativity and Annunciation to the Shepherds, from Menologion of Basil II (Vatican. Rome. 11th Century.)

We go on to the Italian representations of the Adoration of the Child by the Shepherds.

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19. Cimabue. Adoration by the Shepherds. (Assisi.)

With Cimabue, as you know, we find ourselves in the 13th century. We go on into the 15th and come to Ghirlandajo, the Master of whom we lately spoke.

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20. Ghirlandajo. Adoration by the Shepherds. (Akademia. Florence.)

Another Master of the 15th century is Piero di Cosimo.

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21. Piero di Cosimo. Adoration by the Shepherds. (Berlin.)

And now we come to the Art of the Netherlands, with which we are familiar.

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22. Hugo van der Goes. Adoration of the Child. (Uffizi. Florence.)

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23. Hugo van der Goes. Adoration of the Child. (detail.)

Finally we give two works by Rembrandt.

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24. Rembrandt. Adoration by the Shepherds. (In the Lantern Light. Etching, about 1652.)

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25. Rembrandt. Adoration by the Shepherds. (Alte Pinakothek. Munich.)

We now go on to the pictures representing the Adoration by the Three Wise Men. To begin with, an old Mosaic, of the 6th century.

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26. Mosaic. Chiesa della Martotana. Palermo. Three Wise Men.

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27. Mosaic. Sant Apollinare Nuovo. Ravenna.

In these older pictures the events are shown thoroughly in connection with the Spiritual World—remote from all Naturalism, lifted into a higher sphere.

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28. Nativity and Adoration by the Wise Men. (Menologium Basilius. Vatican. 11th century)

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29. Niccola Pisano. Adoration by the Wise Men. (Baptistery at Pisa.)

This is the famous Golden Gate at Freiberg, second half of the 12th century:

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30. Adoration by the Three Wise Men. (Cathedral of Freiberg. The Golden Gate.)

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31. Domenico Veneziano. Adoration by the Wise Men. (Berlin.) Formerly attributed to Pisanello (Vittore Pisano).

We go on to the 15th, to Stephen Lochner:

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32. Stephen Lochner. Adoration by the Three Wise Men. (Cathedral of Cologne.)

The next is by Gentile da Fabriano, also of the 15th century.

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33. Gentile da Fabriano. Adoration of the Child. (Florence.)

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34. Fra Angelico. Adoration of the Kings. (St. Marco. Florence.)

Fra Angelico is as tender and lovely in this as in all other subjects.

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35. Filippo Lippi. Adoration by the Wise Men.

Whichever subject it is, you see how Naturalism progresses. This is especially interesting when one follows the treatment of one and the same subject through the centuries.

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36. Sandro Botticelli. Adoration by the Wise Men. (Uffizi. Florence.)

Now we come to the second half of the 15th century.

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37. Ghirlandajo. Adoration by the Wise Men. (Spedale degli Innodenti. Florence.)

End of the 15th century:

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38. Mantegna. Adoration by the Wise Men. (Uffizi. Florence.)

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39. Giorgione. The Wise Men of the East. (Vienna.)

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40. Giorgione. Adoration by the Wise Men. (National Gallery. London.)

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41. Giovanni Bellini. Adoration by the Kings. (Layard Gallery. London.)

And now I ask you to call to mind once more the various Dutch and Flemish Masters of whom we have spoken in a former lecture. For we now have the same subject by

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42. Rogier van der Weyden. Adoration by the Kings. (Alte Pinakothek.Munich)

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43. Dieric Bouts. Adoration by the Wise Men. (Alte Piankothek. Munich.)

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44. Adoration by the Wise Men, 15th centry, from the Brevarium Grimani.

We have spoken of the characte of these painters. The next is by the artist who worked in Bruges and died about 1523.

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45. Gerard David. Adoration by the Wise Men. (Alte Pinakothek. Munich.)

And now the same theme treated by Leonardo.

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46. Leonardo da Vinci. Adoration by the Three Wise Men. (Uffizi.Florence) And by his pupil,

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47. Luini Bernadino. Adoration by the Wise Men. (Saronno.)

Going North again:

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48. Dürer. Adoration by the Wise Men. (Uffizi. Florence.)

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49. Brueghel. Adoration by the Wise Men. (Vienna.)

And finally, Rembrandt.

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50. Rembrandt. Adoration by the Three Wise Men. (Buckingham Palace.)

And now we come to our last theme: the Flight into Egypt. First we have a painter of the late 15th and early 16th century.

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51. Herrad von Lanndsberg. The Flight into Egypt.

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52. Joachim de Patinir. Rest in the Flight. (Prado. Madrid.)

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53. Correggio. Madonna della Scodella. (Parma)

The next, a little later.

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54. Bernhard Strigel. The Flight into Egypt. (Stuttgart.)

Strigel painted also in Vienna, and died in 1528.

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55. Albrecht Dürer. Resting on the Flight into Egypt.

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56. Workshop of Albrecht Dürer. Resting on the Flight into Egypt.

Next is Hans Baldung or Hans Grun, going on into the 16th century.

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57. Hans Balding (Baldung). Rest in the Flight. (Germanisches Museum. Nuremberg.)

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58. Lucas Cranach. Rest in the Flight. (Berlin.)

Finally, Rembrandt:

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59. Rembrandt. Rest in the Flight. (Etching.)

So much for today. Perhaps you will now take the opportunity to see at close quarters this impressive picture of the Wise Men which indicates so clearly the worship of the Star with the incoming of the Christ Jesus Soul.

The pictures we shall show today will enable us to give a kind of recapitulation of various things that came before our souls in former lectures. I shall draw attention today to further aspects, arising out of what we have said before. In the course of these studies, we have distinguished between the more Southern European and the Northern or Mid-European artistic streams and we have indicated characteristic aspects of these two. I do not wish to repeat what has already been set forth. Today we are able to show some further reproductions of pictures by Raphael, and I wish to say a few words about him, unfolding—if I may so describe it—a more special outcome of our ideas concerning the artistic genius of the South.

Anyone who lets Raphael's creations work upon his soul, will admit that in Raphael—with respect to certain artistic intentions—the highest ideal has been attained. When we let them work upon us and try to understand them, we ask ourselves again and again: What is it that comes to expression in his works, and how does it stand in relation to the World? Think for a moment from this aspect of the Madonna della Sedia,—how this picture is placed in a great world-perspective: It is so, indeed, in all directions. To begin with, you may consider the picture as an outcome of the Christian world-conception. So perfectly does it express this theme: The Birth of Christ Jesus in connection with the Madonna, that we must say, 'The ides, the meaning, the impulse, the world-historic significance which it is desired to express, has here been expressed by means that cannot ever be transcended.

From a certain point of view you cannot imagine a further enhancement of this theme—the Madonna with the Jesus Child—in its impression on the human soul. One of the ideas of the Christian conception of the world has come to expression here in the highest imaginable way, seen from a certain aspect.

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1. Raphael. Madonna With Child.

And now let us look at the picture for a moment as though we knew nothing of the Christian world-conception. Let us consider it in the way Herman Grimm once spoke of it, simply as an expression of the deep mystery of the relation of the mother to the child. A mother with her child: Once more, the highest means of expression have been found by Raphael for one of the most mysterious themes in the whole Cosmos, as it lies before us human beings living in the Physical. Thus even if we take the pure picture of Nature—the mother and child—apart from the world-historic happenings, once more the thing is perfect in itself, the highest of its kind.

It is always so with Raphael. His themes are of universal significance, and perfectly expressed,—the means of expression proceeding from those streams and influences which we recognise as characteristic of the South. Always, however, his themes must be seen in the context of great universal meanings. We can regard them from a Christian aspect (and the above two points of view are by no means the only ones),—looking at it in a Christian way, the theme places itself at once in a great context of Nature. Again it rises free from the individually human; we seem to forget the human being that worked to create it—the human being, Raphael himself. Behind the artist stand great cosmic perspectives—world-conceptions coming to expression in him. This, indeed, is to characterise such an artist as Raphael, as the artist of an epoch that was drawing to it close: the Fourth Post Atlantean epoch. Such epochs, when they draw near their end—or when their inner essence reaches beyond the boundary of times, often bring forth their very highest.

We shall presently see how very different it is when we consider in this light, say, the personality of Albrecht Dürer. There it is altogether different. But you might also think of the Sistine Madonna, even as we have now spoken of the Madonna della Sedia. Again we should have to say: What is here placed before us interests us, above all, inasmuch as it stands out against the background of a great world-conception. Without this background of a great world-conception, the Sistine Madonna is, indeed, unthinkable.

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2. Raphael. Sistine Madonna With Child

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3. Raphael. Sistine Madonna With Child (detail)

Looking at some of Raphael's pictures today, let us bear in mind the aspect which has thus been characterised. For Raphael to create in this way—for his pictures to arise out of a mighty world-perspective—something of cosmic law and principle had to be working in his very soul. This is, indeed, the case. It comes to expression in the remarkable course of his life, which was already emphasized by Hermann Grimm. Raphael's work takes its course in regular cyclic periods. At the age of twenty-one he creates the Sposalize; four years later the Entombment; four years after this he completes the Frescoes of the Camera della Segnatura; four years later, once again, the Cartoons for the tapestries in the Vatican and the two Madonnas. And finally, four years after this, at the age of thirty-seven, he is working at the Transfiguration, which stands unfinished when he leaves this physical plane. In cyclic periods of four years, something of the nature of a cosmic principle works in Raphael. Truly, we here have something that proceeds from a great cosmic background. Hence Raphael's work is so strongly separated from his personality. Again and again the question comes to us: How is it that the themes—and they are world-historic themes—come to expression in his work so perfectly; so self-contained, so inwardly complete?

Down to this day, the study of Art derives—more than from any other source—from that great Art in the center of which is Raphael.

The study of Art in the exoteric life today is more or less of this kind. All its available ideas have been learned from the Art which finds its highest expression in Raphael—the Art of the Italian Renaissance. Thus in the outer life the concepts to express this Art are the most perfect, and all other Art is measured by this standard. The works of this Art are the ideal, and we have few words at our disposal, few concepts and ideas, even to speak of any other streams in Art, specifically different from this one. That is the unique thing.

And now we will let pass before our souls a number of pictures by Raphael, most of which we have not yet seen in these lectures.

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4. Raphael. The Vision of Ezekiel. (Florence, Palazzo Pitti.)

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4. Raphael. The Vision of Ezekiel. (detail) (Pitti. Florence.)

The ideas, the living conceptions, out of which such a picture proceeded even in Raphael's time, are naturally no longer near us today. To represent so truly this wandering of the soul in human form through the spiritual world, would no longer be attainable today for those who have not Spiritual Science. The animal nature below expressed what man has cast aside from himself, but it is still there, needless to say, even in his etheric body, and we find it there when the etheric is freed from the physical. The union of the soul with something childlike, as it is is represented by the angel figures here, is an absolutely true conception. The conception corresponds to a reality. We must consider man in his full being, such as he really is. In recent communications on the Guardian of the Threshold we had to speak of the Threefold being of Man. This threefold nature of man emerges everywhere, where reference is made to the Spiritual part of man emancipated from the Physical. We find this threefoldness in manifold forms—not symbolic, but corresponding to spiritual Realities. And so we find it here, in the full-grown Man related to the Child and the Beast.

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5. Perugino. The Marriage of Maria. (Vienna, Albertina.)

Today we are able to show a study from the Sposalizo, the picture with which Raphael's great career as an artist properly begins. He did this at the age of twenty-one—at the beginning of the four-year period which dominated all his work.

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6. Perugino. “Sposalizo”. (Caen.)

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7. Raphael. “Sposalizo”. (Milan, Brera.)

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8. Raphael. The Call of St. Peter. (London, Kensington Museum.)

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9. Raphael. The Road to Calvary. (Madrid, Prado.)

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10. Raphael. Sketch of the Mourning for Christ. (Louvre. Paris.)

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11. Raphael. Sermon of St. Paul at Athens. (London, Kensington Museum.)

We will now show once more a reproduction of the so-called “Disputa,” with certain details.

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12. Raphael. Disputa. (Vatican. Rome.)

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13. Raphael. The Holy Trinity. (Perugia, San Severo.)

The Holy Trinity, as it is called.

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14. Raphael. Sketch for the Disputa. (Windsor.)

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15. Raphael. St. Cecilia. (Bologna.)

And now, as an example of Raphael's portraiture:—

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16. Raphael. Cardinal Bihbiens. (Pitti. Florence.)

The next two are examples of his tapestries in the Vatican.

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17. Raphael. The Miraculous Draught of Fishes. (Tapestry in the Vatican.)

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18. Raphael. The Healing of the Lame. (Tapestry in the Vatican.)

These are the things of which Goethe said that nothing he had known till then could compare with them in greatness.

Looking back once more over the pictures by Raphael which we have seen today, I beg you observe how we may recognise in them the echoing of a mighty tradition of great Art. Even the sketches which we have shown today reveal this most especially. Raphael's work is the last, the highest, the closing act in a great tradition. There is also another point I would ask you to consider. Think of the picture of the Sermon of St. Paul and others—the “Disputa,” for example. You may take any one of those that we have seen today. In every case, having distinguished the subject of the picture, you may naturally ask yourself about the event or personality represented. But it will never be sufficient to answer: The subject is such and such; it represents this or that. In Raphael's case you will have to ask: How is the artist contriving to express—whatever the subject is—in accordance with the ideas and canons of great Art? We cannot merely ask: How would St. Paul actually have lifted up his hand to speak? With Raphael we must ask: What angle will the arm have to make with the body according to aesthetic laws of balance and proportion? And so forth ... A magic breath is poured out over it all,—a magic breath of aesthetic traditions, of harmony and balance. Look at the boy who stands here, in this picture. It is not enough to ask: What is going on in the soul of the boy? Your question must, rather, be directed to these laws of artistic harmony. See how the line of the arm, reaching out on either side, is placed into the composition. In short, you can distinguish what is purely artistic from the underlying subject-matter. Here, however, the artist's power is so magnificent that it draws the subject-matter into its own sphere. With such an artist as Raphael, we may, indeed, pronounce the word, for it is literally true:—“Artistic truth makes all the rest true,—compels all the rest into its circle.”

You cannot apply this saying, in its present meaning, to the works we shall now let pass before our souls. We will begin with one by Martin Schongauer, who died in 1488.

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19. Martin Schongauer. The Road to Calvary.

Here you see the very opposite. To begin with, the artist is simply concerned to express his subject. No longer is there poured out over it the magic breath of a peculiarly aesthetic truth, the climax of a great tradition. Here the effort is, to the best of the artist's technique and ability, with the artistic means at his disposal, to bring to expression what is there in the souls of men. Here the world speaks to us directly—not through the medium of a tradition of great Art.

We will now let work upon our souls the personality of Albrecht Dürer; showing a number of pictures which we did not see in the former lectures. In Albrecht Dürer, whom we may speak of as a contemporary of Raphael, we have before us an altogether different personality. It is impossible to think of Dürer's works in the same way as of Raphael's. In Dürer's case we shall not easily forget the personality, the human being. Not that we must always necessarily imagine him; but the pictures themselves are eloquent of all that is direct and intimate and near to the human soul, springing from the soul with elemental force. Raphael paints with the ever-present background of great world-perspectives. He is only conceivable if we imagine, as it were, the Genius of Christianity itself painting in the soul of Raphael. And, again, he is only conceivable as one who stands at the close of a great epoch, during which pupils were learning from their Masters many a tradition of aesthetic law, artistic harmony,—learning that certain things should be done in certain ways, to correspond with the canons of great Art.

In Raphael's works these things are always there before us. In Dürer's work, on the other hand, we feel in the background, as it were, the aura of the life of the time in Middle Europe,—the German towns and cities. Invisibly his pictures are pervaded by all that blossomed forth in the free life of the cities, working its way towards the Reformation. Nor does he stand before us with any cosmic perspectives in the background. It is, rather, the ordinary individual man's approach to the Bible and to his fellow-men, bringing his own soul to expression. The Human element can never be separated from his works. We cannot seek in Dürer for a cosmic principle working through his soul, as we can in Raphael. But we may look for something intimate and deep; deeply connected—we cannot say so too often—with the human soul, its feelings and its seeking, its longing and striving.

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20. Dürer. The Four Witches. (Etching)

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21. Dürer. Hercules.

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22. Dürer. Melanchthon Etching.

Here we have a portrait of Melanchthon, the theological bearer of the Reformation, as against Luther, who was the “priestly” bearer.

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23. Dürer. “Rosenkranzfest.” (Prague.)

This picture is now in the “Rudolfinum” at Prague. The Pope, the Emperor and representatives of Christianity are being crowned with roses by Mary, the Jesus Child and St. Dominic. The two figures against the tree trunk will be shown in detail in the next slide.

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24. Dürer. Portrait of Himself and Pirkheimer. (Detail of the above.)

Further examples of Dürer's portraiture:—

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25. Dürer. Portrait of his Father. (Uffizi. Florence.)

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26. Dürer. Portrait. (Prado. Madrid.)

Looking at such a portrait, the whole life of the time comes vividly before you. Truly, in this sense Dürer is an historic figure of the very first rank. No historic document tells us so well, what the people of that time were like.

We shall now show some characteristic examples of Dürer's drawings—etchings and woodcuts. To begin with, from his cycle on the Apocalypse—fifteen leaves, done in 1498.

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27. Dürer. The Four Horsemen of the Apocalypse. (1498.)

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28. Dürer. The Woman Clothed with the Sun and the Seven-headed Dragon (1498.)

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29. Dürer. The Adoration of the Lamb and The Hymn of the Chosen. (1497).

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30. Dürer. The Battle of the Angels. (1498.)

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31. Dürer. Michael and the Dragon. (1493.)

And now we will show a number of pictures from the series of etchings of the Passion—known as the “Kupferstich-Passion.”

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32. Dürer. The Kerchief of St. Veronica. (Etching)

Then the motif that occurs again and again in that time:—

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33. Dürer. The Man of Sorrows. (Etching)

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34. Dürer. The Scourging. (Etching)

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35. Dürer. The Crowning with Thorns. (Etching)

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36. Dürer. Ecce Homo. (Etching)

We will next show a number of pictures from the Holzschnitt-Passion—of thirty-six small woodcuts. They are extraordinarily tender and intimate. The first is the title-page:—

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37. Dürer. Christ with the Crown of Thorns. (Woodcut)

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38. Dürer. Saint Veronica. (Woodcut)

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39. Dürer. The Last Supper. (Woodcut)

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40. Dürer. The Scourging. (Woodcut)

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41. Dürer. Ecce Homo. (Woodcut)

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42. Dürer. The Way to Calvary. (Woodcut)

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43. Dürer. Christ on the Cross. (Woodcut)

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44. Dürer. Mourning for Christ. (Woodcut)

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45. Dürer. The Resurrection. (Woodcut)

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46. Dürer. The Ascension. (Woodcut)

We can also show two pictures by Hans Baldung, who worked for a certain time, at any rate—in Dürer's workshop. These pictures date from the end of the 15th or beginning of the 16th century.

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47. Hans Baldung. The Three Fates.

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48. Hans Baldung. Ecce Homo.

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49. Hans Sebald Beham. The Man of Sorrows.

I would like to make the following remarks:—The transition from the Fourth to the fifth post-Atlantean epoch and all that is connected with it, finds expression—far more than we can realise from the ordinary textbooks of History—in the whole life of the 12th, 13th, 14th, 15th, and 16th centuries. We must remember that at such times, at the turning-point of one epoch and another, many things are perceptible in the life of the time, expressing the mighty transformation that is taking place. History, truly, does not take its course—though the text-books might lead one to suppose so—like a perpetual succession of causes and effects. At characteristic moments, at the turning-points of epochs, characteristic phenomena emerge, in the most varied spheres of life. Thus, at the transition from the age of the Intellectual Soul or Soul of the Higher Feelings to that of the Spiritual Soul, phenomena appear in all domains of life, revealing how men felt when the impulses of the Spiritual Soul were drawing near. The evolution of the Spiritual Soul involved the development of those relationships with the purely physical plane into which men had to enter during the fifth post-Atlantean age. To a high degree, man was about to be fettered to that physical plane. Naturally, this brought in its train all the phenomena of reaction—of opposition and revulsion at this process. Moreover, at the same time many things emerged out of the former epoch, reaching over with multitudinous ramifications into the new.

Among the many symptoms of that time we see, for instance, the intense preoccupation of man with the phenomenon of Death. In many different spheres—as we can easily convince ourselves—the thought of Death came very near to men. Death as a great mystery—the Mystery of Death—drew near to men at the very time when their Souls had to prepare to come out most of all on to the physical plane of existence.

Moreover. the things of the fourth epoch were reaching over into the Fifth. There were the excesses of the Papacy which had degenerated more and more into a pure impulse of might. There were the excesses connected with the old divisions—the riches of the higher orders, their overweening arrogance, their growing superficiality of life,—while the religious themes themselves were being made external, flat and superficial. Those human beings, on the other hand, who attained some inwardness of soul were pondering deeply on the penetration of the Spiritual world into the physical. Added to this, there was the absolute need to turn one's attention to the spiritual world; inasmuch as the seeds of decay and destruction were entering most terribly into the physical world just at that time. For in those centuries the plague was raging far and wide in Europe—truly, an awful death, Death, in the Plague, came face to face with men as a visible phenomenon in its most awful form.

In Art, too, we see this intensive study of the significance of Death. It comes before us especially in the famous Procession of Death on the cemetery wall at Pisa—one of the earliest appearances of this kind. Then we find many pictures of Death as it draws near to men under the inexorable laws of Fate—draws near to man of whatsoever rank or class. The “Dance of Death,” the “Wandering of Death through the World,” Death's entry into all human relationships—this becomes a very favorite theme. It was out of this mood and feeling that Holbein himself created his cycle on the Dance of Death, three examples of which we shall now show. In Holbein's Dance of Death the object was especially to show how Death approaches the rich man, for instance; approaches man of every social rank—from the highest in the land to the lowest. Moreover, the object was to show Death as a righteous judge. Holbein in his Dance of Death desired to show every conceivable circumstance under which Death draws near to human life.

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44a. Holbein. Death and the King.

Here we see Death coming to the King, to tear him away from his royal life.

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44b. Holbein. Death and the Monk.

The people of that time had great delight in pictures such as these. This was the time when the Reformation strove to put an end to all the growing worldliness and emptiness of the religious life—to the corruption of the Church and the religious orders.

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45. Holbein. Death and the Rich Man.

Death draws near to the rich man, and finds him with his pile of money.

My dear friends, we have seen how the German Art came to expression in these great examples—and especially in the greatest, in Dürer,—at the end of the 15th and beginning of the 16th century. One question cannot but interest us again and again: How is it with the origin and evolution of this special stream of Art? In order to say a little more upon this subject, we shall presently show a few pictures revealing how the several factors stood at a characteristic moment. We can make very interesting studies on the evolution of the Mid-European or German Art—and notably the Southern German Art—at the beginning of the 15th century. True, the pictures of the period, which we shall show, give only the outcome of a long line of evolution. But this outcome appears in them strongly and characteristically. When we wish to characterise a great range of phenomena, we have to sum up many things in a few words; and if we desire to be true, it is by no means easy ... It may be that the characteristic pictures we choose does not fully represent all that is here intended. But if we take things on the whole, we shall find it is confirmed, undoubtedly.

The origin of the Mediaeval Art of the German people shows itself most characteristically on the slopes of the Alps reaching out into Southern Germany, into the regions of Southern Bavaria and Swabia. And we must realise that here was a flowing together of two factors. The one represented by all that was imported from the South along the paths of evolution of the Church—and notably the Roman Church system. We must decidedly imagine (though the historic documents contain little about it) that in artistic matters, too, many an impulse came through the Church and the clerical orders. This applies especially to the districts to which I have just referred. Undoubtedly, many priests and clerics also became painters—good and bad—and they, of course, were always in close connection with the whole system of the Church, working its way upwards with its Roman, Latin impulses from the South. They carried with them all that was living there as artistic tradition. Needless to say, this great tradition reached its eminence only in men of genius, but it existed and was taught as a tradition even among lesser men. Tradition was especially at home in Italy, and thence the priests and monks absorbed and carried it with them to the North.

With all the other things which they derived from the Roman Church, they also took with them these conceptions of how the artist should work, ideas of artistic harmony and balance: Of how one ought to group the persons in a picture, and how the lines should go, and so forth. All this that we see at its loftiest eminence, say in the works of Michelangelo and, above all, Raphael, too, did not create naively, but, as I said before, out of a far-reaching artistic tradition. These artists knew how the figures should be grouped, in the composition, how the single figures should be placed, and so forth. And as I mentioned recently, they had brought the laws of perspective to a high degree of perfection.

All this was taken Northward. Monks and Priests who had enjoyed artistic training would frequently discuss such things with those who showed signs of artistic talent. But it must be said that the people whose home was in the German-speaking districts of what is now called Austria or Southern Bavaria or Swabia absorbed these rules of Art only with great reluctance. There can be no doubt about it; they confronted many of these things without real understanding. They heard that a thing must be done so, and so; but it did not truly appeal to them, it did not strike home. They had not yet developed in themselves a vision for these things. For a period, from which little has been preserved, we must assume, proceeding from these districts, works of Art carrying forward in a very clumsy fashion whatever had to do with the great artistic tradition of the Latin, Roman South. They could not enter into it; they had very little talent for it. The talents of the people of these districts lay in another direction.

I have spoken of all that was carried Northward by the Roman priesthood. This, as I said, was the one factor. The other was what I would call the elemental originality of heart and mind of the human beings themselves who in these regions showed any kind of talent for the Art of painting. They had no talent to follow the rules which were considered the highest requirements of Art in the South. To begin with, they had no eye for perspective. That a picture must somewhat express the fact that one figure is standing more in the foreground and another towards the back,—this they could only understand with great difficulty. To the people of these districts in the first half of the 15th century the spatial conception was still well nigh a closed book. Yet these very districts are in many respects the source and fountainhead of German Art. They could not work their way through to feel the laws of perspective independently and of their own accord. At most, they felt that the things must somehow be expressed by overlapping. The figure that overlaps the other is in front, the other is behind. In this way they tried to bring some measure of spatial order into their pictures, and so they began to find their way into the laws of space.

Primitive as they still are, we see in these pictures—appearing so characteristically in the first half of the 15th century—how hard it is for that stream of evolution which tries to take shape out of the elemental forces of the human heart, to discover for itself the laws of artistic creation. We will now show some examples from the above-mentioned districts. We shall see that they had no real inner relation to the tradition that has been brought to them. They absorbed it, as it were, unwillingly, with reluctance. Nor had they yet the power to obey the laws of space out of their own understanding. To begin with, I will show you an artist of the first half of the 15th century: Lucas Moser.

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46. Lucas Moser. The Voyage of Mary and Lazarus. (Altar-piece at Tiefenbronn.)

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46. Lucas Moser. The Voyage of Mary and Lazarus. (detail)

Here you see how difficult, how well-nigh impossible the artist finds it to escape from the flat surface. He seems quite unable to obey any kind of perspective law. He creates out of the elemental forces of heart and mind, but his figures are in the flat—he can scarcely get out of the plane. It is, however, interesting for once to see something so primitive.

Lucas Moser was one of those artists, creating within a social order wherein undoubtedly some of the laws and canons of Art, that had been introduced from the South, were living. Some element of the Southern style undoubtedly plays into his works. At the same time he tries to contribute something of what he sees for himself. And the one thing does not quite agree with the other. For one does not actually see things in accordance with the laws of Art.

Look at this Voyage of the Saints across the Sea, as it is called. Look in the foreground (although one can scarcely speak of a “foreground” here),—see the water in which the ship is floating. The waves are merely indicated by the crests, painted in lighter color. If you try to imagine a visual point from which the whole picture might be seen, you will get into difficulties at once. We must imagine it high up so as to look down on the water. But that, again, will not agree with the aspect of the figures of the saints, below.

On the other hand, you see this artist is already striving towards what afterwards emerged—as their essential greatness—in the German artists of a later time, whom we have now considered. Look at the element of naturalism—the faithful portrayal of expression in the faces of these saints. And yet they are sitting on the very edge of the boat, so that they would certainly fall overboard at the least breath of wind. In spite of this, how intimate is the artist's observation; how delicately the souls are expressed. He makes an unskillful attempt to observe the laws of Art, and tries to be realistic at the same time, and the two things do not agree ... Needless to say, the face could not be in this position, in relation to the body (see the figure of the saint, with the mitre). There are countless faults of the same kind. It is all clue to the fact that the artist is striving on the one hand towards what afterwards became the real greatness of the German Art, while on the other hand he is impressed with certain rules. For instance: That there should be a full-face figure in the middle of the picture, and others in profile to contrast with it. He has been taught certain rules in arrangements of composition. All this he tries his best to observe. But he can only do so according to the measure of his own elementary conceptions. He has not yet worked his way through to any kind of perspective or observation of the laws of space.

Observe these little hills,—and yet the picture does not really recede towards the background. You will realise the immense progress that has been made by the time of Dürer and Holbein. And yet how short was the intervening time! This alter-piece was done in the first half of the 15th century. How strongly the forces must have worked, overcoming the artistic traditions imported from the South (for these they did not want) and bringing forth a new stream out of an independent elemental impulse. They rebelled against the Southern tradition and tended to overcome it, and to find for themselves what they required. And you have seen how far they got in a comparatively short time.

We will now show another picture by the same artist.

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47. Lucas Moser. Saints Asleep. (Marseilles. From the Altar of Tiefenbronn.)

Look at this creation! It shows how the artist combines a clear vision of Nature with an absolute disregard of some of the simplest natural facts. The tiled roof and the church tower—the whole ensemble is such that the artist cannot possibly have seen it anywhere. He just puts it together, having learned certain rules about the distribution of figures in space. Yet look how he brings out the single items according to his own vision. There is a decided beginning of Naturalism. He tries to be naturalistic and yet to express what he feels should be. His subject is "Sleeping Saints," but he conceives that they must appear worthy and dignified. Look at the figure of St. Cedonius (?) here, with his mitre.

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48. Lucas Moser. Saints Asleep. (Detail)

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49. Lucas Moser. Self Portrait. (Detail)

Once more the whole thing seems on the flat. But you will already observe the first attempt to bring out of the spatial effects by the strong shadows thrown. His relations to the laws of perspective are very strained, to say the least. But he contrives to get the effect of space by the strong shadows, and altogether by the distribution of light and dark.

This, as we saw in former lectures, is a peculiar characteristic of the German stream,—to feel the quality of space by catching the light, using the spatial virtue of the light itself. Here we do not take our start from the laws of lineal perspective—laws of perspective drawing. We extend the surface forward and backward by discovering the hidden effects of light itself.

We can see this most significantly in another artist, who already seeks for truth of Nature, but can still be characterised fundamentally in the same way as the former one. I refer to Multscher.

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50. Multscher. The Nativity. (Berlin.)

Here is a representation of the Birth of Christ. Once again there is really nothing of those Laws of Space that came from the South. But you see the beginnings of the spatial working of the light itself. Space is born, as it were, out of the activity of light, and in this element the artist works with keen attention. This picture dates from 1437.

In Moser's and Multscher's works we have a true artistic impulse, born out of the very nature of the German South. Here is the element that afterwards rose to its height in Dürer, Holbein and the rest, though the latter were also influenced from Flanders and the Netherlands. The Cologne Masters, too, are rooted in these same impulses. Again and again we see how wonderfully the characteristics emerge even at the very beginning of the evolution of such an impulse. Observe in this picture the striving to express the inner quality of soul of every single person. And yet the artist's relation to certain other truths of Nature is very strained; Imagine you were in this crowd of people standing in the background. Look at the faces. Considering how near some of them are, they could not be standing side by side in that way unless their arms were chopped off, right and left; the artist pays no heed to these elementary matters of spatial distribution. One person is dovetailed into the other. The next is another picture by Multscher.

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51. Multscher. Christ in Gethsemane. (Town Hall. Sterzing.)

The artist tries to find his way into the representation of landscape. Note how deeply he has felt the three figures of the apostles, left behind. Yet how little he succeeds in making any real distinction between foreground and background. He seems almost unable to follow any of the laws of space. But he tries once more to express the spatial by the effects of light. Here once again we see the element which afterwards became so great in German Art.

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52. Multscher. The Entombment. (Stuttgart. Museum.)

In Lucas Moser and in Multscher we see the actual beginnings of German Art. There are others, too, but very little has been preserved; most of it is to be found in the churches. With all their primitive unskilfulness, we have here the beginning of what emerged with real greatness in the pictures of a later date, that we have seen. They paint out of a primitive feeling, while they simply cannot find their way into the traditions that come to them from the South. Their inwardness is in opposition to these laws in which they are instructed. One more picture by Multscher.

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53. Multscher. The Resurrection. (Berlin.)

All that we have said of the two artists comes out very prominently in this picture. If you look for a point from which these figures with the sarcophagus (for so we might call it) are seen, you have to look high up above. We are looking down on the whole scene. And yet if you look at the trees you will see, they are seen from a frontal aspect. There is no single visual point for the picture as a whole. The trees are seen from in front; the picture as a whole, from above. There is no single point of vision according to the laws of space. Indeed, whatever of perspective you do see in the pictures would largely be eliminated were it not for the strong differentiation of the space through the effects of the light itself. In this respect, our eyes will easily deceive us. You would look in vain for line perspective in this picture. You would find mistakes everywhere. I do not mean naturally admissible mistakes, but errors which by themselves would make the picture quite impossible. We see once more the striving to get beyond the mere linear perspective by means of a spatial depth and quality which the light itself begets.

We see how these artists of Middle Europe have to feel their own way towards a totality of composition. There is another interesting point,—less evident in these pictures, but you will find it in other works by Multscher belonging to the same altar-piece. His fine feeling for light enables him to bring out the facial expression beautifully. But he is scarcely able to do the eyes with artistic truth. You can see it here to some extent, though it is less evident than on other pictures. And as for the ears—he does them just as he has been taught. Here he does not yet possess a free and independent feeling. Thus on the one hand he observes what he has been told, but without much artistic understanding. The things he does according to tradition he does badly. On the other hand, we see in him, in a primitive form, what was only afterwards able to appear more perfectly in German Art.

It is, indeed, remarkable how all these things, which we find in the German Art, emerge already in a highly perfect form in the Hamburg Master, Meister Francke, who was practically a contemporary of Moser and Multscher.

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54. Meister Francke. The Man of Sorrow. (Hamburg.)

In this Ecce Homo, this Man of Sorrows, you see how high a degree of perfection the expression of the Head of Christ, which was elaborated by and by in the course of time, had already reached. Compare this Head of Christ with the one by Multscher which we saw just now. You will recognise a great advance. Likewise, in the whole forming of the figures. Of course, the peculiar quality which afterwards came out through greater skill and variety of technique in Dürer's work,—in his paintings, etchings and woodcuts,—is lacking still.

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55. Meister Francke. The Resurrection. (Schwerin.)

All in all, considering the artistic developments that are potentially there in these first beginnings, and that produced Dürer and Holbein and the others, we must admit that the thread is broken. For afterwards there came a break; they turned back again to the Roman, Latin principle. And in the 19th century, artistic evolution was decidedly on a retrogressive path. There can, however, be no doubt that this fact is connected with deep and significant laws of human evolution. This stream of evolution in Art works out of the element of light and dark, and discovers—as I tried to explain in the lecture on Rembrandt—the inner connection of the world of color with the light and dark. Through the historic necessity of the time, it could not but tend towards a certain Naturalism; but it can never find its culmination in Naturalism. For in this peculiar talent to perceive the inwardness of things, the possibility to paint, to represent the spiritual Mysteries, still lies inherent. When I say “inwardness of things,” I mean not merely inwardness of soul, but the inwardness of things themselves, expressed in the spatial laws of light and darkness which also contain the mysteries of color. Goethe, as you know, tried to express this systematically in his Theory of Color. This possibility, therefore, still lies open and unrealised in evolution. The possibility to paint the spiritual Mysteries out of the inner virtues of the world of color, out of the inner essence of the light and dark. And the possibilities in this direction can be extended also to the other Arts.

But such a thing can only be brought about through the inspiration of Spiritual Science, of the anthroposophical conception of the world. In the none too distant future, the possibilities that lie inherent in the beginnings of this stream of Art must all be brought together. To create out of the inner light—out of the forming and shaping power of the light—will at the same time be to create out of the inner source of being, and that, I need not say, can only be the Spiritual. In the portrayal of the sacred History, this stream in Art could not, in the nature of the case, attain the high perfection which Raphael attained, for instance. (Nevertheless, in some respects it attained a perfection of its own—notably in the great artists whose works we have seen again today.) But the Spiritual that pervades the works of this Art is still alive. We must only find the connection of what surges through these works of Art, with the underlying laws of the spiritual life. Then will spiritual Imagination and artistic fancy join together and create a true Imaginative Art.

To some extent, as a first beginning, this has been attempted in our (Goetheanum) Building. For this is, after all, a beginning of new artistic impulses. Naturally, there is something primitive about every new beginning; but we have ventured, none the less, to strive for something new and in a grander style. The time may come when people will understand what we have been striving for in this Building. Then it will be realised why certain occult impulses that came already to expression in this art which we have seen today and in the preceding and contemporary sculpture (examples of which we have also seen) remained to this day unrealised. It will be understood why a certain break was inevitable in the evolution of this art. How remote, after all, is that which emerges in the 19th century in the art of a Kaulbach or a Cornelius from what is living in this art which we have seen today! In Kaulbach, Cornelius, Overbeck and the rest, we see a mere repeat of the Southern element. In this art, on the other hand, we see on all hands a radical rebellion and revolution against the Latin and Roman.

He who is prepared to look more closely, will find still deeper connections. Think of the four pictures by Multscher which we have shown today. They represent, if I may say so, the native Swabian tendencies in the realm of Art. Here we find a certain native talent for a flat surface with the help of light. Anyone who has a feeling for finer, more intimate relationships will perceive a similar quality in the Philosophy of Hegel—likewise a product of the Swabian talent, and in that of Schelling, of whom the same thing may be said, and in the poetry of Holderlin.

This grasp of the flat surface, but working forth from the flat surface with the help of light,—we find it not only in the primitive beginnings of this art; we find it again even in Hegel's Philosophy. Hence Hegel's Philosophy, if I may say so, makes such a ‘flat’ impression on us. It is like a great canvas, like an ideal painting of the world. It works from the surface; and in its turn, after all, it can but be the philosophic beginnings of what will now work its way—not merely into this projection of Reality on the flat—but into the full Reality itself. And this “Reality,” I need not say, can be none other than the Spiritual.

These things are interrelated in all truth. What I have lately been trying to describe to you for other realms of life, with regard to the history and civilisation of Europe, is wonderfully confirmed, in all detail, in the sphere of Art. All that we recognised in the lecture the day before yesterday—the impulses working in the different regions of Europe—you can trace it again in the life of Art. Bring before your minds again the art of the Netherlands which we have seen,—coming from thence into Western Germany. Then consider what we have studied today—as something growing absolutely and originally out of the German spirit itself. For the country of which we have spoken today, the soil on which Lucas Moser and Multscher worked, is, after all, the central region of the German Spirit. It is here that the German Spirit has evolved most originally and most truly. Here, too, Christianity was inwardly absorbed, as though by an inner kinship with the spiritual nature of the German heart and mind. The absorption of Christianity was a far more inward process in these districts; and here the original and elemental gifts of the German nature came forth in the realms of Art. They did not accept what brought Christianity to them from the South in a form already marred by Rome; they tried to recreate Christianity themselves artistically out of their inner heart and feeling.

Such a thing could not emerge in the same measure in the more Northern regions of Germany without the coming of an impulse from the South. We see the same thing once more in the fact that Hegel's philosophy received its quickening from the Southern region, and Schelling's too; while, on the other hand, the philosophy of Kant reveals itself quite evidently as a North German product. The peculiar quality of the Kantian philosophy is not unconnected with the fact that the originally Prussian districts remained Heathen for comparatively long. They were brought over to Christianity at a later period and by a rather external process—a conversion far more external than in the Southern German districts. Prussia, properly speaking, remained Heathen till a very late period.

The things we otherwise recognise in historic evolution—we can find them confirmed in the evolution of Art and in the evolution of the life of Thought. For this very reason I wanted to place Moser and Multscher before you at the close of our considerations for today.

I have often quoted Goethe's saying, when he felt in Italy the echo of the nature of Greek Art. I may remind you of it once again today, now that we shall show a few representations of Greek sculputre. Goethe was writing from Italy to his friends in Weimer. He had seen something in Italy of the Grecian Art, and he had divined still more. He had made acquaintance with it. And he wrote: After this experience he had become convinced that in the creation of their works of art the Greeks proceeded according to the same laws by which Nature herself proceeds—and he himself was on the track of their discovery.

This saying of Goethe's always seemed to me of deep and lasting significance. Goethe at that moment divined that something was living in the Greeks, in intimate unison with the laws of the great Universe. Alread before his journey to Italy, he had been trying to discover the principle of universal evolution and becoming. He had done so, above all, in his Theory of Metamorphosis. He found that the manifold forms of Nature can be referred to certain typical or fundamental forms, in which is expressed the spiritual Law and Essence that underlies the outer things. He started, as you know, from Botany—the study of the Plant world. He tried to perceive the growth of the plant in this way: A single fundamental organ, whose basic form he recognised in the leaf, undergoes constant metamorphoses. All organs are transformations of this one. Not only so, but having thus begun, he sought to understand the several plant species as diverse manifestations of one archetypal form, the primary plant.

Likewise he looked for a connecting thread throughout the world of animals. We have often spoken of this work of Goethe's. But, as a rule, we have not a ufficiently vivid conception of what he intended. We are wont to conceive things too abytractly, and we do so in this case. Goethe, if I may put it thus, wanted to take hold in a really living way of the life of living things, in their organic metamorphosis. He wanted to discover the principle on which Nature works. In so doing, he was, indeed, steering straight towards what must be the characteristic of the Science of the fifth post-Atlantean age, even as that which the Greeks conceived and expressed in their works of art was characteristic of the fourth.

In this connection I have often called upon you to observe what is recognisable in the Golden Age of Greek Art, and notably of Grecian sculpture, in so far as it been preserved for us. The Greek artist created from an altogether different starting point. He had a certain feeling. To exprec it in our fully concrete way, we must describe it thus: He felt how the Etheric Body in its living forces and mobility underlies the forms and movements of the Physical. He felt how the Etheric is manifested or portrayed in the forms of the Physical Body, while in the movements of the latter the living forces that abound in the Etheric Body come to expression.

The Greek art of Gymnastics, the Greek Athletics, were built on this foundation. Those who partook in them were to gain thereby a real feeling of what lives invisibly within the visible being of man. And in his plastic art the Greek wanted to portray what he himself experienced in his own nature. All this, as I have often said, grew different in later times, for afterwards men copied what they saw before them with their eyes, what they had outwardly before them. The Greek copies what he felt within himself. He did not work after the model as was done in later times—(whether they do so more or less obviously or indistinctly is not the point). To work from the model is only a peculiarity of the Fifth post-Atlantean age. Nevertheless, in this very age there murst arise a new view of Nature, for which the living starting-point is given in Goethe's “Metamorphosis.” True, there are weighty obstacles, as yet, to such a view of Nature. In this sphere, as in all others, materialistic prejudices stand in the way of a healthy conception of existence. The latter will have to work its way forth in the overcoming of these hindrances. We have to witness in our time things that are little noticed yet—movements that tend in the long run to brutalise even the artistic life. Goethe recognised in a beautiful way the connection between Truth in knowledge or science and Truth in Art, in practice. Science to him was still a living life within the Spirit.

Among the hindrances in this regard is one thing to which—if able to look more deeply into all the impulses of hindrance and of progress in our timei—we cannot give a pleasant name. I refer to what are now called sports and games, athletics and the like, which—if we look more deeply—are also largely among the forces of hindrance in modern civilisation. I can describe them in no other way, than as a tendency to degrade civilisation to the level of the ape. Modern sports and athletics—themselves an outcome of the materialistic conception of life—represent, as it were, the other pole. At the one pole, materialism tends to conceive man as a merely more perfect ape, while at the other pole—through many of the activities that fall under the heading of sport—they are working hard to turn him into a kind of carnivorous monkey. The two things run parallel with one another. Needless to say, modern sports and games and athletics are regarded as a great sign of progress. Indeed, they are often thought of as a kind of resurrection of the spirit of ancient Greece. But in their real essence they can only be described as working towards the ideal, to “monkeyfy” the human race. What can become of man if he proceeds along this path of modern sports, etc? Precisely a “monkeyfied” man, whose chief distinction from the real monkey will lie in the fact that the latter is a vegetarian, while monkeyfied man—presumably—will be a carnivorous species of monkey. The hindrances that face us in the civilisation of today must sometimes be described grotesquely; otherwise we do not describe them strongly enough to bring them home—however little—to the people of today. It is quite in keeping with the propensities of our time: On the one hand theoretically, they are at pains to understand Man as a more perfect ape, while on the other hand in practice they work to bring out the apishness of Man. For if that human being were developed, who is the underlying ideal of the extremer movements in sports and games today, a scientist could truly describe him in no other way, than in all essentials as an offshoot of the ape-nature.

We must think truly on these matters, to gain some understanding of those noble forms of Humanity which underlay the Golden Age of Grecian Art. It was inevitable in the Fifth Post-Atlantean age, for man to leave behind him his life within the spiritual ... The ancient Greek was living in it still. When he moved his hand, he knew that the Spiritual—the etheric body—was in movement. Hence, too, as a creative artist, in all that he imparted to the physical material, he strove to create, as it were, the expression of what he felt within him—the movement of the etheric body. The man of today must go a different path. By way of outward vision, contemplation,—combined with the living Imagination of the weaving of the Ethereal in the organic reelm,—he must bring ancient Greece to life again on a higher level, permeated this time by conscious knowledge, according to the true impulses of the fifth post-Atlantean age. In an elementary way, Goethe was striving towards this end in his Theory of Metamorphosis.

Goethe lived with his whole being in this striving towards a living conception of the Spiritual in the world. For this reason he was glad to refresh and strengthen himself by all that came to him from the study of Greek Art.

To understand the art of ancient Greece in its proper nature—its characteristics entirely a product of the mood of soul of the fourth post Atlantean age—we must start from such ideas as we have just set forth. In this respect it is interesting to see how the Greek Art found its way. Few of the original works have been preserved. Most of them are only handed down to us through later copies. It was with the help of later copies that a man like Winckelmann, in the 18th century, strove so wonderfully to recognise the essence of the art of ancient Greece. Winckelmann, Lessing and Goethe, in the latter half of the 18th century, tried to express in words the essence of Greek Art—tried to find their way back, to re-discover it. And we may truly say: Greek Art in its essence, once it is really grasped, can bring salvation from the perils of materialism.

It would take us too far afield if I were to give you even an outline sketch of the real history, the occult history of Greek Art. Only this much may be said, in connection with the illustrations we shall see today. Even in the early works of the Fifth or of the end of the Sixth century B.C., the relics of which have come down to us; the underlying foundation which I described just now is clearly recognisable. Albeit, in that early period the Greeks had not yet the ability to express through the material what they experienced within, nevertheless even in the archaic forms, imperfect as they are, we can see that the artist's creation is based on a feeling of the inner life and movement of the etheric body. By this means the Greek could find the way to raise the human form so marvellously to the Divine. The Greek was well aware that the figures of his Gods were based on real Being in the ethereal universe. Out of this there arose quite instinctively (for everything in that time was more or less instinctive) the need to represent the world of the Gods and all that was connected with them, in such a way that the outer form was the human form idealised. The point was by no means merely to idealise the Human—that is only the idea of an age that fails to understand the real depths. Through the idealised human form they were able to express what lives and weaves in the ethereal life.

In the earliest figures we still see a certain stiffness. But out of this, in their Golden Age, the Greeks evolved the power to express in the outer physical form the etheric human being. In the earliest pictures we shall still see a certain stiffness; but even here it can be seen that the shaping of the limbs proceeds from a true feeling for the ethereal in movement.

Then as we go on to Myron and bring some of his works before our souls, we shall see how what first came to expression only in the forming of the limbs, begins to take hold of the whole body. In Myron we already see how when an arm is moved—or represented in movement—it means something for the whole breathing organism, the forming of the chest. The human being as a whole is felt through and through. And this must have been the case to the highest degree in Phidias and his School and in Polycletus—in the Golden Age of ancient Greece.

Thereafter we find a gradual descent of Art from this sublime feeling of the ethereal. Not that the ethereal is left out; but they now try to master the actual forms of Nature, they follow the forms of Nature more faithfully, more humanly and less divinely. Nevertheless, the forms are still an expression of the living etheric movement within.

In looking at the several pictures, we shall be less concerned to discuss the individual artists; we chiefly want to see the gradual evolution of the Grecian Art as a whole. Nor does it matter so much, whether we speak—as the historians of Art are wont to do—of a decline in the latest works. In the earlier period the body was conceived, as it were, more in position, thus a certain restfulness or repose pervades the older works. Movement itself is conceived as though it had come to rest. We have the feeling that the artist endeavors to represent the body in such a way that the position in which the figure is might be a lasting one. The later artists strive for a more dramatic quality, holding fast the moment of time in the progressive movement. Thus there is more of movement in the later works. It is, after all, a mere matter of choice—arbitrary human choice—whether we call this a decline or not.

After these few remarks we will see some illustrations, and whatever more there is to say can be said in connection with the single works that will be shown.

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1. Apollo of Tenea. (Glyptothek. Munich.)

This is of an early period—about 600 B.C. Observe how the limbs, especially, are permeated with the ethereal ... One feature of the earliest Greek sculpture is often emphasized: the smile, as it is called, about the lips. In time to come this will be recognized as arising from the effort to represent not the dead human being—the mere physical body—but really to seize the inner life. In the earliest period they could do this in no other way than by this feature.

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2. Dying Warrior. Eastern Pediment. Temple of Aegina. (Glyptothek. Munich.)

These works of art in the Doric Temple at Aegina were done as a thank-offering for the Battle of Salamis. They chiefly represent battle-scenes. Dominating the whole is the figure of Pallas Athene, which we shall see presently. This dying recumbent figure is a beautiful example of the figures that are found in this temple. The figures are grouped in the pediment. It is most interesting to see the composition, the perfect symmetry. The figures are distributed to the left and right with the most beautiful symmetrical effect.

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3. Pallas Athene from the Pediment of the Temple at Aegina. (Glyptothek. Munich.)

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4. Reconstruction of the Western Piedemont of the Aphaia Temple.

These works take us to the beginning of the 5th century B.C.

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5. Head of a youth.

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6. Charioteer from Delphi

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7. Runner (middle of the 5th century B.C.)

And then I ask you to note, as with Myron—as we come in to that age that one can denote as the pinnacle—as with Myron, that a very different treatment of the body arises, in that he no longer separates, what even here is still the case, but he knows how to treat the whole body in connection with the limbs.

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8. Discus Thrower

Thus we stand in the middle of the 5th century and find in such a shapes a tryly high degree of perfection in the direction, we have tried to characterize.

And now we come, or are already in, to the Age of Periclean. From the time of Phidias, of whomwe unfortunately know very little, you have the so-called Athena Lemnia:

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9. Athena Lemnia

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10. Head of Athena

We will now give a few examples of the famous Parthenon. You may read the interesting story of these figures in any History of Art. The greatest of them have in all probability been lost. We can only gain some idea of them from the drawings made by the Frenchman, Carrey, in the 17th century. Subsequently they were largely destroyed by the Venetians, and only the relics were discovered by Lord Elgin in the 19th century.

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11a. Drawings of the eastern pediment.

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11b. Remains of the left side of the eastern pediment. (Bristish Museum. London.)

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11c. Reconstruction of the figures in the last photo.

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11d. Hestia, Dione, and Aphrodite from the right side of the eastern pediment. (British Museum, London.)

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11e. Far right of the eastern pediment.

Now for the Parthenon western pediment:

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11f. Drawings of the western pediment.

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11g. Reconstruction of the western pediment.

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The Parthnon Friezes:

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12a. Drawings of the Friezes.

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12b. Calvary. (Western Frieze.)

We may assume that these works were mostly executed in the presence of Phidias himself by his pupils. The next group is from the Eastern Frieze:

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12. Poseidon Group. (Eastern Frieze.)

With Phidias, indeed, all that was typical of Greek Art was already given. The stamp, the signature, as it were, was now given to the bodily figure, as it should be represented in Art. The way in which Phidias and his pupils saw it lived on for a long time. It was felt that the line of the face, the features, the movement of the limbs, the flow of the drapery and so forth, should accord with what was evolved in this ideal age.

Through all the traditions this was handed down, even into the times when they were able to imitate quite superficially what had lived so strongly in this Golden Age of the Art of ancient Greece. Unhappily, the greatest works have been destroyed. It is no longer possible to gain by outer vision a conception of Phidias' greatest masterpieces, which were transcendent and sublime. We must realise that in the 18th century, when Goethe and others, stimulated by Winckelmann, entered so deeply into the essence of Greek Art, they could only do so with the help of poor, late imitations. Truly, great intuition was necessary to penetrate into the nature of Greek Art through the poor imitations that were then available. And if we really try to feel the truth about these things we cannot but admit: In the time when Goethe was a young man, or when he travelled in Italy, there was still quite a different instinctive feeling for Art than later in the 19th century,—let alone the 20th. For otherwise it would have been impossible for these late imitations to inspire the lofty conceptions of Greek Art which lighted forth in Winckelmann or in Goethe.

Look, for instance, at the next, the head of Zeus, which is to be seen in Rome:

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13. Zeus of Otricoli. (Vatican. Rome.)

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14. Athena

Here you can see something like a later continuation of the type that was evolved in the time of Phidias. This is, of course, a later imitation, though undoubtedly it still appears with a certain grandeur,—With a far less grandeur they imitated the Hera type which had been evolved by Polycleitus. And as to the famous Pallas Athene, which is also to be seen among these statues in Rome, here I must say the imitation has become insipid, fatuous. Indeed, this figure shows already the type of the later imitations of Pallas Athene. These things even become a little reminiscent of fashion-plates! We can but divine how magnificent were the works from which these later imitations were derived.

In this head of Zeus you see the tradition that was handed down from Phidias.

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14a. Zeus

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14b. Profile of Zeus.

And now we will go back to the figures from the temple of Zeus at Olympia. Here, too, the composition is magnificent:

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15. Western Pediment. Temple of Zeus at Olympia.

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16. Figure of Apollo.

The next, too, is from the School of Phidias:—

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17. Orpheus Relief. (Museum. Naples.)

We remember how Phidias was accused by his fellow-citizens of stealing gold for his gold-and-ivory statue of Athene. His “grateful” fellow-citizens threw him into prison.

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18. Bust of Pericles. (Berlin.)

Truly an ideal conception—lifted far beyond the sphere of portraiture.

The next is perhaps a work of Phidias' youth.—

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19. Amazon.

Here we will insert a work of Polycleitus:—

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20. Amazon.

Myron and Phidias are the artists of the Golden Age of Grecian Art; they, indeed, created the traditions.

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21. Amazon.

Another Amazon. The next is more difficult to date; it represents about the turn of the 4th and 5th centuries B.C. We insert it here to show that ancient Greece was quite capable of producing something of the character of Genre:—

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22. Boy, extracting the Thorn from his Foot. (Rome.)

And now we gradually come into the age of which I tried to indicate just now that the whole conception is lifted down into a more human realm, even though the figures be still the figures of the Gods. Take the following, for instance:—

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23. Aphrodite of Cnidos. (Vatican, Rome.)

Although it is the figure of a Goddess, it is brought down into a more human sphere. The sublimity of the earlier artists is made more human. We see this already in Praxiteles. This picture represents the so-called Aphrodite of Cnidos. Praxiteles brings us to the 4th century B.C. In connection with this we will also show the

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24. Demeter of Cnidos. (British Museum.)

It breathes the same spirit. The next is the Hermes of Olympia:

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25. Hermes of Olympia, (By Praxiteles.)—holding the Dionysos child in his left hand.

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26. Satyr, by Praxiteles. (Capitol. Rome.)

To the same epoch belongs the famous Niobe Group,—Niobe losing all her children through the wrath of Apollo.

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27. Figure in Flight, from the Niobe Group. (Vatican. Rome.)

Going on into the 4th century, we come into the Alexandrian age. Lysippus actually worked in the service of Alexander the Great.

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28. Bust of Alexander. (Louvre. Paris.)

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29. Hermes. (Museum. Naples.)

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30. Youth, in Adoration. (By Lysippus.) (Berlin.) His arms are lifted up to Heaven in reverence, in prayer.

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31. Alexander the Great. (Munich.)

Here we already see the descent of Art from the Typical to the Individual—though in the Grecian Art the process nowhere went as far as in the later epochs.

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32. Medusa Head. (Glyptothek. Munich.)

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33. Sophocles. (Vatican. Rome.)

This status reaches back again to the best, ideal tradition of the older times; it reminds us of the Golden Age. We might equally well entitle it: The Poet, as such. This is symbolised by the rolls of script which are put there of set purpose. Compare this with the figures that now follow, tending more or less towards a portrait likeness in each case. You will see how they strive away from the ideal type, towards the quality of portraiture.

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34. Socrates.

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35. Plato. (Vatican. Rome.)

Of course, these portraits are not done from the model, but still there is an attempt at a human likeness—by which I do not mean to say that they are really like the original.

These remarks will refer especially to the Homer which will now follow:—

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36. Homer. (Museum. Naples.)

Now we gradually approach the 2nd century.

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37. The Victory of Samothrace. (Louvre. Paris.)

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38. The Venus of Milo. (Louvre. Paris.)

This famous work does, indeed, preserve the tradition of the Golden Age, although it belongs to a later period.

In the next picture, on the other hand, we see a fresh attempt to bring in movement:—

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39. Sleeping Ariadne.

This is probably a work of the same period, but you will see a distinct contrast between the two.

And now we come towards the last century before the birth of Christ. We come to the School of Rhodes.

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40. Laocoön. (Vatican. Rome.)

This is the famous Laocoön group—the starting-point, as you know, of many an artistic discussion, ever since Lessing's Laocoön of the 18th century. It is the work of three sculptors of the School of Rhodes. Lessing's writings on this subject are, indeed, most interesting. He tried to show, you will remember, how the poet describes is not placed before the eyes. We must call it to life in our imaginations. Whereas what the plastic artist has created is there before our eyes. Therefore, says Lessing, what the plastic artist portrays must contain far more repose; it must represent moments which can at least be imagined—for a single moment—in repose.

Much has been said and written about this Laocoon group, especially in relation to Lessing's explanations. It is interesting how the aestheticist, Robert Zimmermann,—without, of course, having any knowledge of Spiritual Science—arrived at an explanation which needs, no doubt, to be supplemented, but which was none the less correct for an age that had not Spiritual Science. His explanation contains—albeit only as an instinctive suggestion—some element of what I have been setting forth today. We see the priest, Laocoon, with his two sons, wound around by the serpents and going towards their death. Now we cannot but be struck by the peculiar way in which the body has been moulded. Much has been written on this subject. Robert Zimmermann rightly pointed out: The whole representation is such that we have before us the very moment where the life (or, as we should say, the etheric body) is already fleeing away. It is already a moment of unconsciousness. Hence the artist represents it as though the body of Laocoon were already falling asunder. That is the marvellous quality about this figure. The body is already being differentiated into its parts. Thus even in this late product we see how the Greek was aware of the etheric body. He brings to expression the actual moment where life is passing into death. It is the quick withdrawal of the etheric body through the shock—the shock that is expressed by the awful snakes coiling around. This effect of the etheric body withdrawing from the physical, and the physical falling asunder, is the characteristic thing in the Laocoon; not the other things that are so often said, but the peculiar way the body becomes differentiated. We could not imagine the body thus, unless we conceived it as the moment when the etheric body is drawing away.

And now two more examples—imitations of earlier works, perhaps, which have, none the less, made a great impression on later students of Art.

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41. Apollo Belvedere. (Vatican. Rome.)

This is the famous Apollo Belvedere—Apollo represented as a kind of battle-hero.

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42. Artemis. (Louvre. Paris.)

This, too, will be a later imitation of an earlier work.

Now, as we know, the Art of the ancient Greece gradually drew near its decline, when Greece was subjugated by Rome. In Rome, to begin with, there was a kind of imitation of the Greek Art. It was carried across to Rome, but it was soon submerged in the widespread unimaginativeness of the Roman people, to which we have frequently referred.

The next centuries, as you know ... were to a large extent a dark and troubled age for our evolution. Then a new age began. I will only repeat quite briefly:—In the 12th and 13th centuries in Italy, when through manifold circumstances they rediscovered some of the ancient works of Art that had been buried in the early Middle Ages, the contemplation of the ancient works kindled the rise of a new Art, which grew in time into the Art of the Renaissance. From the 13th century onwards, artists would educate themselves by means of the Antique—the works of Art that had been found or excavated, though the number at that time was relatively small.

We will now consider this re-discovery of the ancient Art in the period immediately preceding the Renaissance. In Niccola Pisano in the 13th century we find a wonderfully refined spirit who waxed enthusiastic over the relics of Greek Art, and tried to create once more in the spirit of the Greeks—out of his own imagination fructified, as it were, by the Greek Art itself.

Our first picture is the famous pulpit in the Baptistery at Pisa; note the reliefs in the upper portion:—

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43. Niccola Pisano. Pulpit in the Baptistery at Pisa.

The pulpit is supported by antique columns between which are Gothic arches. Underneath are also lion figures; above are the relief in which he expressed so wonderfully what he owed to the inspiration of the antique. Niccola Pisano worked until the end of the 13th century.

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44. Niccola Pisano. Adoration by the Three Wise Men. (Relief. Details of the above.)

Another representation of the same subject:—

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45. Niccola Pisano: The Crucifixtion. (Relief. Pulpit in the Cathedral at Siena.)

We now go on to Giovanni Pisano. In his works you will observe already a far greater element of movement. A certain quietude pervades all the figures of Niccola Pisano.

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46. Giovanni Pisano. Pulpit. (San Andrea. Pistoja.)

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47. Giovanni Pisano. Capital from the above Pulpit.

Truly, it was due to the stimulus and inspiration of the Antique, arising, to begin with, in the Pisanos, that the Christian Art afterwards became able to express its motifs so perfectly as it did in
the Renaiscance.

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48. Giovanni Pisano. Bas-Relief from the same Pulpit.

The next two are by Giovanni Pisano:—

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49. Giovanni Pisano. Pulpit in the Cathedral at Pisa.

We see at the same time how naturally the Antique grew together with the Gothic.

And two Madonnas from him:

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51. Giovanni Pisano. Madonnas. (Berlin and Padua.)

And now we have a sample of the work of Andrea Pisano, who was summoned to do one of the Bronze gates of the Baptistery at Florence.

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52. Andrea Pisano. Tubal Cain. (Campanile. Florence.)

A Bas-Relief representing Tubal Cain, inventor of the craft of metallurgy according to the Bible, the Old Testament.

We have thus approached the 15th century, and we come to Ghiberti, the great artist who at the age of twenty years was already able to compete with the others in designing the doors of the Baptistery in Florence.

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53a. Ghiberti. The Offering of Isaac. (Baptistry. Florence.)

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53b. Ghiberti. Northern Door of the Baptistery in Florence.

At the early age of twenty he was already allowed to do the Northern Portals. From a simple goldsmith's apprentice he grew to be one of the very greatest artists. These bas-reliefs of the doors of the Baptistery in Florence are, of their kind, among the greatest things in the whole evolution of Art. Afterwards the Eastern door was also given to him to do. It represents scenes from the Old Testament. Michelangelo said that these were worthy to be the gates of Paradise. [Note:the doors at the Florence Baptistery were moved causing some confusion as to where the works of Ghiberti and Andrea Pisano are located. – e.Ed.]

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54. Ghiberti. The Gates of Paradise. (Baptistery. Florence.)

This work had, indeed, a great influence on the whole Art of Michelangelo himself. Even in the details we can recognise certain motifs in Michelangelo's paintings, which he took from these bronze reliefs.

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55a. Ghiberti. Sacrifice of Isaac. (Detail from the 'Gates of Paradise.')

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55b. Ghiberti. Creation of Man. (Detail from the 'Gates of Paradise.')

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56. Ghiberti. St. Stephen

These works of Ghiberti's were undoubtedly due to a faithful contemplation of the Antique.

We will now insert the Art of the della Robbias. To begin with:—

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57. Luca della Robbia. Dancing Boys. (Cathedral. Florence.)

The della Robbias are famous as the inventors of a special art—the use of burnt clay as a material. To a large extent their works were done in this material.

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58. Luca della Robbia. Singing Boys. (Cathedral. Florence.)

Luca della Robbia covers practically the whole period of the 15th century.

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59. Luca della Robbia. Madonna in the Bower of Roses. (Museo Nazionale. Florence. )

Observe once more the age that we have now come into. The Art of antiquity that had been derived from immediate inner experience—experience of the Etheric—works as a great stimulus and inspiration. Yet at the same time the Art of this age is founded on what is seen—the faithful representation of what is actually seen. It is no longer based on something felt and sensed inwardly. It is very interesting to receive the impression of the two epochs, one after the other, in this way.

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60. Andrea della Robbia. Bambino. (Spedale degli Innocenti. Florence.)

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61. Madonna (della Cintola Fojano). Andrea della Robbia.

The Madonna is shown in the spiritual world.

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62. Giovanni della Robbia. Reception of the Pilgrims and Washing of the Feet. (Hospital. Pistoja.)

We now go on to Donatello, who was born in 1386. In him we observe the influence of the Antique combined already with a decided tendency to Naturalism. His vision has a naturalistic stamp. Donatello enters lovingly and sympathetically into Nature. But while he becomes a real naturalist, he derived his technique from what his predecessors had evolved out of the old tradition.

His naturalism went so far that his friend and companion in his strivings, Brunelleschi, seeing a Christ that Donatello attempted, exclaimed; “That is not a Christ that you are doing, that is a peasant:” Donatello at first did not understand what he meant. The anecdote is interesting, if not historically true; it gives us a right impression of the relation between the two artists—the contrast between the two artists—the contrast between Donatello and Brunelleschi with his high idealism—immersed as he was in the contemplation of the Antique, in its rebirth. Brunelleschi thereupon himself undertook to model the Christ. Donatello—for they lived together—had gone out to buy things for their breakfast. He returned with all the dainties for their common meal wrapped up in a kind of pinafore. Just as he entered, Brunelleschi unveiled his Christ. Donatello gaped with wide open mouth, and his astonishment was such that he dropped all the breakfast on the ground. What Brunelleschi had achieved was a revelation to him. We cannot say that the impression he experienced went very deep. None the less, Brunelleschi undoubtedly had an ennobling influence on him. The above story goes on to relate, Donatello was so overwhelmed that he even imagined the breakfast had disappeared. “What have we now to eat?” he said. “We'll just pick the things up again,” said Brunelleschi. “I see I shall never be able to do any more than peasants,” said Donatello.

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Donatello. Crucifix. (Florence.)

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Filippo Brunellesco. Crucifix. (Florence.)

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63. Donatello. David. (Museo Nazionale, Florence.)

And now we come to the beautifully self-contained marble statues by Donatello in Florence, showing his ability—out of his naturalistic vision—to create human figures strong and firm, even as he wanted them, their feet firmly planted on the ground.

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64. Donatello. David. (Florence.)

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65. Donatello. St. Peter. (Or San Michele. Florence.)

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66. Donatello. Jeremiah. (Campanile. Florence.)

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Habbakuk

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67. Donatello. St. John Baptist. (Campanile. Florence.)

In Donatello Naturalism certainly finds its way in. It is not the inner soul that we found in the Northern sculpture, but a decidedly naturalistic vision of what the outer senses see.

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69. Donatello. Habakkuk. (Campanile. Florence.)

Niccola Pisano and Donatello were two artists who powerfully influenced Michelangelo. Those who afterwards saw what Michelangelo created—especially in his early period—remembered Donatello and coined the phrase which then became current: Donatello Michelangelosed or Michelangelo Donatelloised.

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70. Donatello. Lodovico III Gonzaga

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71. Donatello. St. George. (Florence.)

Most characteristic is this St. George by Donatello. All the power of his naturalism is in it. Such works of Art arose out of the freedom of the free city of Florence, which also gave birth to Michelangelo.

By a wider historic necessity—a cosmopolitan historic necessity, we might say,—it was in Italy that the Antique came to life again. On the other hand, the naturalistic tendency everywhere was bound up with the mood and feeling that arose in the culture of the Free Towns or Cities. Here, as in the North—though in different ways, of course, according to the different characters of the people,—we find this element arising out of the life of the free cities, where man became conscious of his dignity, his freedom, his individual being. In the characteristic works of Art which we found in the Netherlands and other Northern parts, we were reminded again and again of the life of the free cities and the feeling that pervaded them. And so it is here, when we look at this figure of a man, so firmly established in the world of space, this Florentine St. George. We cannot but think of the civilisation of the Free Cities, whose atmosphere made such a thing possible.

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72. Donatello. Bas-Relief. St. George and the Dragon. (From the Base of the St. George Statue.)

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73. Donatello. Madonna Pazzi. (Berlin.)

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74. Donatello. Bas-Relief. Angels Singing. (Uffizi. Florence.)

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75. Donatello. Annunciation. (Santa Croce. Florence.)

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76. Donatello, Portrait of Niccolo da Uzzano.

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Donatello. Gattamelata.

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Donatello. Gattamelata.

Finally, we will show some examples of Verrocchio—teacher of Leonardo and Perugino—in his capacity as a sculptor. First the famous equestrian statue:—

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77. Verrocchio. Bertolomeo Colleoni. (Venice.)

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79. Verrocchio. Head and Shoulders. (Detail of the above.)

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80. Verrocchio. Guiliano de Medici. (Paris.)

And in conclusion:—

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81. Verrocchio. David. (Museo Nazionale. Florence.)

And so, my dear friends, we have had before us the artists of the pre-Renaissance. They entered deeply into the Antique and brought it forth again, in a time when men no longer lived within the soul in the same inward way as did the ancients. They brought to life again in outer vision, contemplation, what the ancients had felt and known inwardly—what they had feelingly known, knowingly felt, I should say. Moreover, they united this with the element which had to come in the 5th Post-Atlantean epoch—the element of naturalism, with clear outward vision. They thus became the fore-runners of the great artists of the Renaissance—of Leonardo, of Michelangelo, and, through Perugino, of Raphael himself. For all these were influenced directly by the Art of the precursors, whose works we have seen today. They stood, undoubtedly, on the shoulders of these artists of the pre- Renaissance period, the early Renaissance.

It is interesting to see, in relation to this figure, for example, how quickly they progressed in that time. Compare this David with the David by Michelangelo. Here you still see a comparative inability to dramatise the theme—to take hold of it in movement. Michelangelo, on the other hand, in his David, has seized the very essence of dramatic movement; he has caught the actual moment of resolve to go out against Goliath.

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82. Michelangelo. David, Marble Statue (Florence, Academy)

Thus we have tried to bring these things to some extent before our souls:—On the one hand what radiates from the Greek Art itself, and on the other, its lighting-up-again in the age when Humanity was trying to find the life of Art once more with the help of the Greek Art which came to life again.

I didn't want to use several images as an introduction to my art history lecture today, but limit our observational introduction to only two images, both which will be placed into the newer historical development of mankind. We will then link these to the introduction of cultural epochs as we have done in earlier years.

Look at this first painting to which our primary observation will refer; a painting you know well, the so-called “Disputa” of Raphael.

Let us visualize the painting's content briefly: below, in the centre, we see a kind of altar with a chalice on it and the host, a sacramental symbol. To the left and right are religious individuals and we recognise them as teachers, popes and bishops according to their drapery. Opposite the middle, the group is seen as moving from left and right according to the hand gesture of a person directly right of the altar. According to this we observe that these individuals are taking part in something descending from above. As a result we see, by looking at the space close behind the altar where the group is positioned, into the landscape and directly above it—in the upper half of the picture—cloud masses accumulating. To some extent we see the infinite horizon within this space. From out of the middle of these cloud masses we see angelic genii rise, floating on both sides of the dove, bringing the Gospels, transported out of the undeterminable spiritual world. In the centre we can see the Holy Ghost depicted in the symbol of a dove. Above the somewhat receding Holy Ghost we have—clearly, the angelic figures carrying the Gospels are actually coming forward in perspective—the figure of Christ Jesus and above Him the figure of the Father God. Thus we have the Trinity above the chalice where the sanctuary is found. On both sides of the Christ figure we have corresponding groups; a heavenly group above, reflected below by the worldly group. On both sides of the central Christ figure appear Saints, the Madonna on his right and John the Baptist, followed by others: David, Abraham, Adam, Paul, Peter and so on. Still further up rising into the clouds are actual genii figures, spiritual individualities.

This image we have in front of us now—of course there are much better copies available—I would like to link this to the evolution of mankind.

Primarily we need to clearly distinguish between what is given here and what we can experience when we transport ourselves into the feelings of the time when this image was actually being painted. If we shift ourselves into the 16th Century and compare it with the complexity of sensations a painter would paint in, today, we need to say: at that time, in Rome, when Pope Julius II reigned and what worked in him as Julius II in the middle of his twentieth year to call Raphael to Rome, was at that time, and in every town, the human experience of something which lived as a deep truth depicted in this painting. Today of course something similar could be painted; but if it was to be similar to this painting in the scene design, it would not depict any true reality.

Such things need to be made completely clear otherwise one will never arrive at a concrete observation of human history but forever remain in abstract observations of a legend—a bad saga—which is called the history today in schools and universities. Every detail which we can lay our eyes on in order to understand this painting, to really understand it artistically, means every small detail has a certain meaning. Just think how Raphael, this extraordinary individuality Raphael, about whom we have often spoken, how he arrived in Rome. He too was in a body of a twenty year old and one can easily conclude that while he was mainly painting this picture, he was approaching the end of his twenties. At the time he was completely under the influence of two old people who had already experienced two great battles in life and who had plans and ideas, ideas who everyone, one could say, considered as most far-reaching.

Let us be completely clear: under the papal predecessors before Julius II, Rome was at the time basically completely different than during Julius II's reign. The most remarkable here, as predecessors, were the Borgias. One could say that during the time of Alexander VI Rome was gradually being developed as overlapping the old ruins and rubble work of the ancient world where the Church of St Peter almost expired and became impractical. Admittedly these people were filled with a certain nostalgia for the artistic immensity of antiquity and wanting to enliven it again. However, a strange incident happened between the Borgias and Julius II, just at the turn of the 15th into the 16th century. Beneath the room and hall which belonged to the Camera della Segnatura, Alexander VI had two frescoes painted which we want to talk about today. It is surely extraordinary that Julius II, the patron of Raphael, had shunned this lower room which had been the ordinary residence of his predecessor, as if ghosts of cholera and the plague circulated there. He shunned this completely, could not be bothered with artistic or any other events which had taken place there before. On the contrary he decided, according to his ideas for the rooms and halls in the upper storeys, to spruce them up as we can still see them today. We must just think of the mind-set of Pope Julius II in connection with the beginning of the 16th Century and how his mind worked quite differently to those of his predecessors.

The other patron of Raphael was Bramante. He had a plan in his head for the new St Peter's Church. Both Julius II and Bramante were already old people, as I said, who had the storms of life behind them. They called youthful individuals like Raphael to Rome to serve them, bring to expression picturesquely the new ideas powerfully rumbling in their heads, new impulses which they thought should penetrate humanity. One should look more closely at these impulses that originated in Rome and were to penetrate humanity from the beginning of the 16th Century onwards. These impulses depended from the one side on the close connection of the development of the outer Christian ecclesiastical world and then again, what the establishment of the Christian ecclesiastical world would relate to. On the other side it relates to the entire historic development of the western world. Just think for once, that today's human being has great difficulty in transporting his feelings and thoughts into a time, as it were, that have developed out of this image, so often named the “Disputa”. Even more difficult it is for contemporary mankind to transport themselves into centuries further back when Christianity already had power. I have often mentioned that people today have the impression that mankind were always as they are today. That is not quite the case, particularly in relation to their soul life, they were not like now. Just as with almost two thousand years before the Mystery of Golgotha something had been inserted into human evolution beside this Mystery which has spread into the breadth of social evolution, so something quite different to the Mystery of Golgotha came forth which we understand in a different way today. People imagine far too vaguely that at the time when this image was created, mankind was subjected to the discovery of America towards the end of the 15th century; secondly the entirely different social understanding came about through the invention of printing which finally, through Copernican and Kepler viewpoints established a new science.

Just look at this painting. I want to say: if a painter would paint it today it would not in the same sense of truth be what it was then, it can't be; because today one couldn't find the soul who would paint this image in the same sense as at that time when it was actually painted, who would objectively with such an imagination for the earth have been thus, as if America hadn't yet been discovered. These would be souls who look at up at the clouds with true faith, who imagine the spiritual world in the clouds as we imagine it today, who to a certain extent imagine the clouds as real spatial bodies. Such souls are no longer to be found today, not even amongst the most naive. However, we imagine the souls of those times incorrectly if we don't believe that the content of this painting was something directly reflected by them. Let us consider—what exactly is the content of this painting? Out of today's scientific viewpoint we could identify the content of this image: we are accustomed to say that Imagination is the first step to looking into the higher worlds. If we say: up to the 16th century mankind had a view regarding the world and cosmic space in relation to the earthly world, which depended on imagination, then this is the actual truth. Imaginations were at that time something lively; and Raphael painted lively representations of soul experiences. The view of the world, the world image, was still at that time something imaginative.

These imaginations were dispelled by the caustic power of Copernicanism, the discovery of America and the art of printing. From this time mankind took the place of imagination, what we call imaginative knowledge and imaginative perception, and replaced it with outer representational images of the world's construction in totality. Thus, while presently we imagine the sun, the circling planets around it and so on, the people then couldn't do so at all; when they wanted to speak about something similar, they spoke about imaginative images. A representation of such an imagination is this painting. In the centuries in which imaginative cognition developed gradually to allow such paintings like those Raphael made, came to a certain cessation in the 16th Century, these centuries are thus the 16th, 15th, 14th, 13th, 12th, 11th, 10th right back to the 9th Century, but no further back. If we want to go yet further back we won't find any real imaginative representations any longer if we ourselves want to experience imaginative art, as people did in these mentioned centuries, which we find difficult enough to raise in the soul today, imaginatively.

If we wish to experience what Christianity was before the 6th Century we need to imagine the Christian experience as far more spiritual than we tend to do usually. Augustine extracted only what he could use from the Christian imaginations. Yet by reading Augustine today one gets quite a different feeling for what else lived as a world view and as an image of the interconnections of the world with humanity at that time, so different from now. Of particular importance are the ideas which you find on reading Scotus Erigena, who taught at the time of Charles the Bald. One might say that these ancient centuries before the 9th were permeated with Christian thoughts experienced by those who at least elevated their thoughts to permeate their Christian thinking with highly spiritual imagination. One might say when humanity created a world view during these ancient times they included really very little of their direct sense experiences. From their world view they included much more of that which did not result from sense experiences but had been brought about by old clairvoyant sight of the world. When we go back to the first centuries after the Mystery of Golgotha and follow the Christian ideas then we find that these ideas are such than one would rather say—these people were interested in the heavenly Christ, the Christ as He was in the spiritual worlds, while what He became on the earth below they considered more as supplementary. To search for The Christ amidst spiritual beings, to think of Him in relation to super-sensory spirituality was their essential striving, and that came out of the old spiritual—then the atavistic—world view. This world view filled the ancient culture right down to the third post-Atlantean age. At that time it was thought that the earth really was some kind of supplement to the spiritual.

One should familiarise oneself with an imagination which is entirely essential if one would understand, would want to comprehend, how humanity actually developed from that time to now. With this imagination we must acquaint ourselves with the idea that the Europeans had by necessity to drive back spiritual imagination for the unfolding of their culture. This should be dealt with in sympathy and not antipathy—this should in no way be judged with a critical mind but the facts should simply be taken as they are presented: it was simply the fate, Europe's karma to acquire their culture in a way they had to. It was Europe's fate: pushing back spiritual ideas, curbing it so to speak.

Thus it became ever clearer and more meaningful that from the 9th Century Europe needed Christianity while spiritual ideas were being suppressed. A result of this necessity was the splitting of the Greek- oriental and the Roman Catholic Church. At that time it split the East from the West. This is very important. The West had the destiny to push spiritual impulses into the East. There they remained. One can really not understand what happens in the becoming of being human beings when one doesn't have a clear understanding of the need to repel spiritual impulses towards the East—to what is connected to Asia and to Russia as a European peninsula—from the 8th and 9th Centuries. These impulses were pushed together and developed independently from western European and central European life, and propagated into the present Russia.

This is very important. Only once this was properly established. Today there is a tendency not to consider things through relationships. As a result an event such as the Russian revolution apparently developed in a few months—someone or other came to this idea—while the truth pre-empting it lay in the background as a result of the specific course of events through the centuries, while spiritual life became invisible, impractical and pushed back towards the East and being stuck, yet still working in a chaotic, indefinable way made people stand right within events in the East. Yet this standing within it was really hardly living within it just like people who swim in a lake—if they have not exactly drowned—have seawater surrounding them. Likewise, what worked as spiritual impulses superficially in the East, still existed spiritually. People swam inside it and had no clue what pressed in on the surface from the 9th Century and which was then pushed back to the East, so that it could be safe guarded to survive and enter evolution later. People who originated in the East and who gradually developed from migration and similar relationships, into their souls the spiritual impulses were introduced which couldn't be used in the West, South and Central Europe.

The West retained something extraordinary. The East, without knowing—most important things run their course in the subconscious—the East, without knowing, remained steady on the basic saying of the Gospels: “My Kingdom is not of this world”. Hence in the East the leaning within the physical plane is always upwards, towards the spiritual world. The West depended on reversing the sentence: “My Kingdom is not of this World” by correcting it to make the Kingdom of Christ in this world. As a result we see Europe had the fate of constituting the realm of Christ outwardly as an empire on the physical plane. One could say from Rome the law was proclaimed since the 9th Century: break away from the sentence “My Kingdom is not of this World” by actually constituting a worldly kingdom, a kingdom for Christ Jesus on earth, which would be on the physical plane.

The Roman pope gradually became the one to say: My Kingdom is the Kingdom of Christ; but this Kingdom of Christ is from this world; we have constituted it in such a way that this Kingdom of Christ is of this world. However a consciousness prevailed that Christ's kingdom was not one which could be based on the 13 ground rules of external natural existence. People were aware that when they looked out into nature, lit by the sun's morning redness and the sunset's glow, by the stars, then it is not only a matter of what the eyes saw, what the ears heard or the hands could grip, but in the widths of infinite space at the same time existed something of the spiritual kingdom. Everything visible in the world is to some extent the last outflow, the last wave of the spiritual world. This visible world is only complete when one is totally aware that it is the outflow of a spiritual world. The spiritual world is real; humanity has but lost their sight of this spiritual world. It is hidden yet it is a reality, an actuality. When a person enters the gate of death and is particularly blessed, he or she steps into the spiritual world. In times past people were far more lively in their thoughts than we can imagine. When the blessed ones who had died went through the gate of death, they entered a world which we can imagine in the very present time—permeated with clouds, permeated with stars, piercing the orbit of the planets. It was something so concrete that the souls of the dead could create the upper group depicted in the painting. The souls of the dead combined what existed for them out of the past to depict this concrete mystery, this concrete secret of the nature of the Trinity in their midst: as the Father God—out of the character of the present: the Christ Jesus—and out of the reality of the future: the Holy Ghost.

In the reality of that present day world, if the physically sensed world did not appear as a mere illusion to people and let them live like animals, what differentiated itself in the reality of time had to appear on the physical plane in sighs, as a reference to the invisible spiritual world weaving and living above the clouds. Future generations have to have living signs for those not yet born and for those who are now passed over souls and are in possession of direct sight.

On the altar stands the Chalice with the Sanktissimum, the host. This host or wafer is no mere bit of external matter for people who stand on the right, left and around it, but this host is surrounded by its aura. Within this aura of the host forces work which pour down from the Trinity. Such imaginations experienced by the heads of church fathers, bishops and popes regarding the sanctity of an altar are incomprehensible by present day humanity. This imagination has elapsed in the course of time. A moment is eternalized in this painting by the people below the altar rising: here is the mystery which is positioned on the altar: something surrounds the host. This something can be seen by those who have died, namely the blessed ones: David, Abraham, Adam, Moses, Peter and Paul—these departed ones look upon this in the same way we on the physical plane would observe things in the sense world.

When we look at what is below, under the central sacred sacrament, we have to some measure an image in the lower layers of the painting of which a person like Pope Julius II said: This, in its great glory, I want to establish on earth in Rome if at all possible; such a kingdom, such an empire—not a state but an empire—in order for things to take place in this empire and be so enveloped by these auras that the past and its impulses live on in these auras. An empire that exists in this world but which, because it is of this world, contains signs and symbols for what lives in the spiritual world.

Ideas of this kind Julius II incited first in Bramante and then in youthful Raphael. Thus it came about that the young Raphael could compose this painting. In a way Julius II wanted this painting in his study, have it constantly before him like a holy saying on which Rome had to be based because it contained the most important things in the mysteries. However this empire had to be on this earth, of this earth with a spiritual inclusion.

If one allows all these experiences we have spoken about to work on one's soul, from its impression one might say: the spiritual world has been pushed back into the East since the 9th Century as is shown by the clouds driven backward and up, waiting for their time to come.

In contrast there were preparations being made in the West for the 5th post-Atlantean epoch in which we are all still living and in which we will live for a long time, which exists under the signature: My kingdom is of this world and this kingdom will increasingly become more of this world. However this kingdom which is of this world was founded nearly from the beginning of the 5th post-Atlantean epoch under the influence of old people like Bramante and Julius II, but also the youth Raphael. The most important historical things happen subconsciously and from this subconscious yet wise basis Julius II called Raphael. We know that humanity was becoming ever younger through the centuries; we know that since the beginning of the 5th post-Atlantean epoch the age of the twenty eight had been reached and it was now “27 years old”. Certainly Bramante and Julius II were old people but they were not as directly placed in the world as could the youthful Raphael in his young body with youthful forces of twenty-eight when he painted this way. This is an important spiritual background in the development of humanity.

We can recall how Raphael painted in the characterized thought (explained above) of Rome at the time; he painted to a certain extent in protest against the 5th post-Atlantean epoch for the fourth post-Atlantean epoch. This was not the case but let us hypothetically argue that it was thus in Raphael's soul: we can imagine that in his soul, in his subconscious soul lived knowledge which would be coming out of the 5th post Atlantean time. Out of this godless, spirit-robbed world of the 5th post-Atlantean time humanity's thoughts would be permeated with bare, barren and icy space where sun and spiritless planets depict the dreary space, spiritlessly imagining the world and try, according to spiritless laws of nature, construct the unfolding of the world. Let us imagine what had been presented to Raphael's soul: the reality of the spiritual emptiness of the 5th post-Atlantean epoch. Raphael's soul had counter acted: It should not be like this, I will throw myself against this mindless epoch with its imposed notions in frozen space with mindless mist in the form of the Kant-Laplace theories, with my lively spiritual existence. I want to permeate the imagination as much as possible in this dreary existence with true imagination which offers itself to clairvoyant understanding of the world.—Suppose this is what Raphael's soul depicted. Thus it appeared in his subconscious soul; it had even appeared in the same way in the soul of Julius II.

Our age really doesn't need to despise great minds like Julius II or even the Borgias as is done with historical winners, because history still has to reduce some judgements regarding our contemporaries—the greatest ones of our times—just as it did with the Borgias or Julius II and will be the case of individuals in the future. People present at that time just did not have a distance to it.

Raphael was born at the start of the 5th post-Atlantic epoch, one could say, as a child of the 5th post-Atlantic epoch. He was really born out of this 5th post-Atlantic epoch but as a lively protest against his age—he wanted to stand within its beauty which this epoch no longer experienced as real; this epoch strived to insert sensible spirituality into de-spiritualized certainty and impose that on the 5th post-Atlantean epoch, as has been discovered from spiritual research. Raphael's aim was more or less to depict clear images visible in the spiritual realm, imported from that realm into this world, in a painting filled with signs of the supersensible, thereby creating another world. As a result this image is through and through a true picture because it has originated in a lively experience arising from that time.

Just consider this particular time when the child of the 5th post-Atlantic epoch drew the entire imaginative, spiritual imagery of the 4th post-Atlantean time into the 5th. Roughly at this time, during nearly the same year, a Nordic personality slipped up the penitent's stair in Rome, the stairs acclaimed for their ability to be equated to godly work according to the number of stairs climbed, because the number of steps taken on the stairs meant the same number of days relieved of hell fire. While Raphael was painting in the Vatican the Camera della Segnatura and similar images, this Nordic person, so devoted, in full of belief, so concerned for his soul's salvation, ascended the stair—so many stairs for so many days free from purgatory, doing work to please God. While he was thus climbing the stair, he had a vision—the vision showed him the futility of such holy work rushing up the stairs—a vision which ripped open the veil between him and that world which Raphael as a child of the 5th post-Atlantean time was painting as a testament of the 4th post-Atlantean time.

You can recognise this person as Luther, the antitheses of Raphael. Raphael, even when he was looking around in the outer world, would see colour and form, all kinds of spiritual images, everything as expressions of the supersensible world yet reflected, expressed as sensual colour, forms and gestures. Luther was at the same time in Rome, filled with song and poetry, yet amorphous, formless in his soul, rejecting everything in this world which surrounded him in Rome. Like the spiritual world was pushed back in the 9th century into the East, it was now a testament of the 4th post-Atlantean epoch in Europe. Luther pushed it all back. Thus in the future the threefold world presented itself: in the East spirituality was pushed back, in the South it was somewhat divided as the testament of the 4th post-Atlantean epoch and again became pushed back and rejected. The musical element of the North took the place of the colour and form-rich testament of the South. Luther is really the antithesis of Raphael. Raphael is a child of the 5th post-Atlantean epoch, his soul however contained everything which lived in the 4th post-Atlantean time. Luther is a late-comer of the 4th post-Atlantean time, he doesn't belong in the 5th post-Atlantean epoch; one might say he was transferred from the 4th into the 5th. In his frame of mind Luther was completely within the 4th post-Atlantean time. His thoughts and feelings were like a person living in the 4th epoch but he was transferred into the 5th and lived now out of an echo sounding into the 5th epoch with its blatancy, its obvious natural history and ice fields of barren spirituality. Raphael had the soul content of the 4th post-Atlantean time; Luther, even though he was transferred out of the 4th into the 5th, had a soul standing right in the 4th post-Atlantean time but rejected everything external, he wanted by contrast to create everything which had nothing to do with external work and external human activities—a soul based solely between the formless inner connection of the human soul and the spiritual world, dependant on faith only.

Just think for a moment how a painter like Raphael would have painted out of southern Catholicism, and compare how it could be painted from a Lutheran standpoint. What would he paint? He would paint a Christ figure somewhat like Albrecht Dürer's; or he would paint a religious person in whose physiognomic expression one would recognise a soul with nothing in common regarding the material surroundings and the objects within this environment into which it has been imposed.

Thus one age connects to another. In the present time mankind has quite different ideas. This you see in paintings where Christ is depicted as a person amongst the people: “Come, Master Jesus, be our guest”—as human and equal as possible:

In our painting we have a group of Bishops, learned church fathers, and in the middle the obvious sign, the symbol. This points to the supersensible world; the Trinity is concretely included.

Let us lift out this “Trinity” in particular. We have another painting which represents this Trinity on its own.

At the top we see the Father God, below that, Holy Ghost and the Son. You behold these members as concrete content of the future, the present, taken out of the past. It would not have been appropriate in the world view of that present time to mix the blessed souls of the dead directly with the observation of the outer visible world. However Raphael used, in the sense of the imagination of that time, what he observed as the truth, the free view in the widths of natural realms. To a certain extend he had to express the blatant obviousness that filled the space was not the truth; but the truth places them within the space. Thus we have at the bottom—you still notice the line of the horizon—the width, infinity within the expanding perspective. To a certain extent protest is expressed against representing nature at present as a purely sense perceptible image.

Raphael didn't simply arrive at this image and hit upon the composition. In order for it to become clear, let us consider two of Raphael's preliminary sketches towards the painting's gradual development:

Imagine the entire story, from the time Raphael came to Rome roundabout the time Julius II called him to execute the commission in 1507, 1508, and try include this into the painting which he had in his imagination. Gradually he was first instructed by Julius II; gradually a relationship developed in him between space, nature and the supersensible and sensible aspects in the human group, how it had to be.

Also the other sketch refers more to the lower part than the first sketch, with still incomplete indications. You see it hasn't come into its own. What Raphael came to was this: he had to really imagine himself into that time and the relationship between the spiritual world and nature. In olden times, still up to the 9th Century, there was still a clear imagination of the relationship between the human past and the natural present. The people before the 9th Century—as grotesque as it may sound to mankind today—didn't think that when something was happening to them, it was by chance; no, they knew that when something happened to them it was because of the events into which they were being spun was where the dead were living, connected to them through karma. Before the 9th century the events which surrounded us place the dead before us. Such images diminished gradually and remained in the past as I have characterised for you in the 16th Century.

Returning once more to the 9th Century we arrive at an imagination which needs consideration: a timely separation between the natural- and the spiritual world was not apparent for these ancient folk. Nature was at the same time a continuation—before the 9th Century, mind you—a continuation of the spiritual world. Already during the Greek times the human being had introduced their own I into their world view, by using thinking. Raphael was painting—he expressed this in the upper part of the canvas in the image later called “Disputa” even though certainly nothing was being disputed—and introduced a female figure out of the symbolism of that time with the motto: DIVINARUM RERUM NOTITIA = divinely written comment. Basically before the 9th Century the world view included the “divinely written comment” and nature was like a wave of the godlike world extending below to where mankind found itself.

This entire notion, as I've mentioned, was pushed back to the East and the echo remained within the imagination, like a testament painted by Raphael from the 4th post-Atlantic epoch. In those days it was deliberated from the south to establish the kingdom of Christ on the physical plane itself as a real empire of power. Pope Julius II had even, like other similar personalities, written on his flag what he really wanted. He wanted to really establish this which could not happen because Luther came along, as did Calvin and Zwingli. He wanted to create the foundation for Christ's Empire in this world. He dared not say so. One can usually see this in such personalities as something esoteric. Julius II did not dare go through Italy as a commander in order to harness the Italians to his empire. He said it differently. He said he was going through Italy as a commander in order to free the Italian folk. This is what was said. In later times it was said something or other should be done to free the folk while this only hid the real goal. At the time however, many believed Julius II went through Italy to free the separate Italian nations. It didn't occur to him, just as little as it occurred or could in anyway occur to Woodrow Wilson, to set some or other folk free.

Now, you see, here we have this immense border, one might say, between the two time periods: the backward push to everything southerly. Retained from this is the division in the world view in the Greek time. It was clearly as follows: What had streamed through nature as deeds of the dead was no longer present when people developed spiritual powers in themselves, unfolding it in their souls; it then doesn't become DIVINARUM RERUM NOTITIA, not something “written up as godly things” but becomes CAUSARUM COGNITIO—and attains “direct knowledge of causes in the world”. Here care should be taken not to want an interpretation of nature in its totality as an outcome. To come to an idea of nature—this Julius II felt compelled to shout in thunderous words—an imagination was to be made to show that the sun rises, the morning- and evening glow exists as do the stars, and just as people did in the 5th post-Atlantean epoch, it meant lying. In fact one denied that the souls of the dead were within the Trinity which was really something capable of imaginative expression by looking back to the dead souls, David, Abraham, Paul, Peter and express the Holy Trinity. Julius said: Leave away nature and the old Eons, only depict the youngest Eons! Do you want to rely on yourselves? If you want to develop through only human forces, depend only on what is inherent in the physical body, then you arrive at an external science regarding the outer nature of people, a science only in so far as the human being has no connection with the endless expanse of the world, but is hemmed in, interwoven within the boundaries it sets itself.

This is roughly what Julius II told Raphael: If you want to paint what the human being through his own soul faculties know about humanity then you must not paint the people out of an endless perspective in nature, but include the people, whether genial or wise, in their self-made borders. You must include them in halls to show: from these rooms where the world is governed—because Julius wanted to have the world depicted as it would have become had no Luther arrived, nor a Zwingli, or any Calvinist.—If you want to paint the world as it is governed from these rooms, then paint on the one side the reality existing in the breadth of nature and on the other side, what people can find if they only sought forces from within their own souls. Then you may not paint nature but paint the people in their self-imposed borders.

This is what we have when we allow the contrasting aspects in the image to work on us ... the so-called “School of Athens”.

This painting, later becoming known as the “School of Athens”, was often painted over in the course of time and so the man standing in the middle had his book painted over with “Ethics” then later with “Time”—that was painted even later. The painting is in many ways ruined and one can't find the true image of the original painting today in Rome. In Raphael's time it was never called “The School of Athens”, this only happened later and then theories developed about it. We can imagine it essentially thus: truly the world is measured through the changed painting (197) when we peer into the endless realms of space and imagine nature not with obvious senses but permeated with everything existing in eternity and temporality, permeated with that which has gone through the gate of death. Taking knowledge from within one's own soul and representing it in everything coming together, like these wise men, here (202); the heavenly knowledge which can only be found built up within oneself, is represented in a personality which points upwards (203). No inartistic stupidity is needed to see Plato in this figure. (See below)

You can imagine the following: the gesture of the rising hand represents the word being spoken by the figure on the right. The personality on the right begins to speak as if his expression is translated into words. Everything originating by itself in the human soul can only be truly imagined if it is contained within an enclosed space, where one remains within oneself. If one searches within for an image of nature then nothing other than an abstract image of nature will be found, much like the Copernican world view represents which is not a picture of concrete nature.

Thus Raphael took the task from Julius II and placed it before the godly experience which could live by itself in the human soul in the beginning of the 5th post-Atlantic epoch. Here everything of worldly science is grouped, but worldly science raised up to divine concepts, to intellectual understanding of the godly. On analysis the seven free arts appear: grammar, rhetoric, dialectic, geometry, arithmetic, astronomy and music.

Up to the culminating expression you can find the whole of worldly science applied to the divine and how this is expressed by the human word—here the opposites of looking and speaking are alive—expressed in the image itself. Un-artistic, amateurishly learned chitchat saw the entire Greek philosophy in the same image. That is unnecessary and has no relevance to the artwork we have been speaking about and of which we finally want to point out: it shows us how this painting, in the sense of that time, represents a true human experience—an experience which the soul discovers when it is allowed to find wisdom within itself regarding mankind.

We have more details of this painting which I want to show you:

If you allow yourself to be drawn in more you will recognise the right sided figures are linked to the central main figure who is entering into speech; here on the right (205) we have everything which depends more on Inspiration, and to the left, (204) it touches more on Imagination and its equivalent.

We have one more image of the central figures:

The opposite of looking and speaking is presented. Let us be clear about it—the present time can only be understood if we try to throw more and more of such glances into the past which we can do by experiencing such paintings in an artistic sense. Our time is the time in which something returns to itself. In our time there is a return in Europe—Central Europe, Northern Europe and in certain moods in Western Europe—of karmic connections with the European development of the 9th Century. This hasn't become particularly observable to most people, actually in fact, not at all. What happens today takes place out of necessity, the opposite manner used to spiritually grasp what Europe's destiny had to be in the 9th century. What had been pushed back to the East at that time was the spiritual world, so now it has once again to be manifested on the physical plane. The moods of the 9th Century after Christ are now reappearing in western European, in Central and Northern Europe. Out of Europe's east will develop something like moods out of the terrible chaos, spreading out in something like moods which will mysteriously remind us of the 16th Century. Only out of the combined harmonising of the 9th and 16th Centuries will mysteries originate which to some extent can give a degree of clarity for present day humanity who wants to rise to its own understanding of evolution.

It is remarkable to see how in the 16th Century everything most secret and mysterious in nature, man and God, was visibly represented outwardly in art. The holy secret of the Trinity we have found in the most meaningful images of the world set before our souls. The opposite appears at the same time—the Protestant-Evangelistic mood which totally denies these holy secrets being able to share this historic period. At intervals Herman Grimm, a truly northern Lutheran spirit, speaks about the thoughts his contemporaries have regarding Christ, thoughts they treasure as wholly good within their souls—the exact opposite in Raphael's mood when he painted the world.

You see, at the beginning of the 16th Century the Reformation brought evolution further which became the world's lot, even in Rome, in the sphere of Julius II, of the popes. But how? It became the lot of the world that people wanted to reflect about the supersensible worlds as if they were visible but visible through human development. As a result—this Herman Grimm discovered rightly—the Pauline Christianity became a particular problem for Raphael and his contemporaries—yes, even the figure of Paul himself. It can be said that up to the 16th Century Christianity was far more permeated by what one could call the Peter Christianity—Peter who saw the supersensible and sensible worlds as undivided, experiencing in the sensible world the supersensible within it, finding the supersensible in the sense perceptions. The extrasensory world disappeared from it. People were aware of this right up to the 16th Century. The experience of the Damascus secret living in Paul as a seer, and the figure of Paul himself, became a problem. As a result Raphael tried in his later development to depict, and include, Paul's figure in various paintings. It can be said: from the south a Reformation wanted to be established with the aim to depict the Pauline vision in the world in such a way as I set before you now, as it lived in Raphael's paintings which originated through the inspiration of Julius II.

Paul was a problem for him. You appreciate this when you research Paul's form in Raphael's other paintings. You see a visual expression of the music of the spheres in the “Saint Cecile”.

Naturally it is inaccurately expressed. Left, in the corner, is the practical shape of Paul. Raphael made a study of Paul in a painterly way. Repeatedly Paul posed a problem. Why?—Because Paul's quest originates from within him as a human individuality through which he strives to have sight, penetrate into the sight. Here we see it in his whole attitude, in his gesture: Paul as he participates in something self-evident to others as a seeker. He develops both sides, therefore if it comes down to him, he shows Christian revelation differently. As Paul understands—you see it here, how Paul teaches—it became a problem for Raphael.

Now we have another painting: Paul speaking in Athens.

You can see Raphael studied Paul. What did Paul become for him?—The hero, the spiritual hero of the Reformation who should have succeeded from the south, but did not succeed. This impulse was pushed back and later Jesuitism from the South was put in the place of the Reformation—more about that at another time. Paul should have established the Kingdom of Christ on earth as foreseen by Julius II.

Now characterise for yourself the two Paul heads, which we have before us now and allow it to really work on us.

These are heads studied by Raphael in which he wanted to depict through the physiognomy a gaze penetrating the secrets of the spiritual Christian world, into the spiritual secrets enabling words to outwardly pronounce these secrets; we have in Paul the binding link between the world of causes and the world into which only those with blessed vision have access, the supersensible world. Paul is looking and teaching, the connecting link between the world of the 5th post-Atlantean epoch and the ancient spiritual time. Remind yourselves of your consideration of the Paul physiognomy, the Pauline gestures right up to the movement of the fingers—here only the arm is lifted—and be reminded of that ...

... consider these and then look once more at the figure in the so-called “School of Athens”:

... and compare that to the two heads of Paul which we have looked at (235, 236) with the heads here (203) on your right and you have such a personality in whom seeing has become words, one might say: because Paul, who grew out of seeing the results of the Mystery of Damascus and became the orator of Christianity, made his pact of compromise with what can be found in the Causarum Cognitio when the experience of the physical causal world is elevated into a relation of possible experiences of divine things. As a result you will experience something like the constant “Signatur” which wafts through the “Camera della Segnatura” when you look over the image which later was called the “Disputa”, to what is called the “School of Athens”. In the “Disputa” is the truth, the spiritual truth in a nature filled space; glancing over to the other, opposite wall, so companions and visionaries encounter Paul the teacher who points to the worldly learning from which everything can arise which the human soul can find within itself. Looking at the fresco, which is the so-called “School of Athens”:

...so one finds a soul living in the central figure with a content which is painted in the opposite fresco:

... then one roughly has the connection. Take the one wall—everything that is within the soul, all one does not see except as the outer bodily aspect, that very aspect is revealed on the opposite wall, on the fresco of the so-called “Disputa”.

I would like to say: if you could see into the souls of these two people painted on the one wall, then you will see what lives in the souls of these two people on the opposite wall, on the fresco. More about this later.

I think that it is good right now to become familiar with the most varied areas of life and the laws of existence which I have been referring to during these lectures. I want to say these laws of existence take on an importance in their realm of the spiritual life, an importance of being, which up to now has frequently not been taken into account in world opinion. Particularly in our present time it is imperative to totally understand the current 5th post-Atlantean epoch in which we stand, with all its peculiarities, in order for us to become ever more and more conscious of how affective we are within it. You know of course that we consider the beginning of the 5th post-Atlantean epoch beginning at the start of the 15th Century, from about 1413 onward. The beginning of the 15th Century was a significant, profound, incisive point for western humanity. The creation of such an about-turn which came about didn't happen all at once, it was preparatory. In the first moments of this epoch one only sees a gradual expansion. Old patterns from the earlier epochs transform into the new one and so on. Preparations were being made for a long time which were only really being experienced as a mighty reversal at the start of the 15th Century.

If we want to consider another strong western historical impact in the centre of the Middle Ages, we may look at the rule of Charlemagne from 768 to 814. If you wish to visualize everything which happened in the West to the furthest boundaries up to the time of Charlemagne, you will have difficulties with this self-visualization. For many observers of history today such difficulties do not exist because they all shear it under the same comb. Only for those who want to look at reality, will such deep differences exist. It becomes quite difficult for people in today's world of experiences and impressions to reach a concept about the completely different condition of life in Europe up to the time of Charlemagne and beyond. We may however say that after Charlemagne, in the 10th, 11th and 12th Centuries a time began in preparation of our own epoch, the 5th post-Atlantean epoch. Up to the time of Charlemagne old relationships actually flowed which in our present day, as we have already said, we can't have a true imagination. Then again preparations were beginning for a new epoch, and in these three centuries, the 10th, 11th and 12th—it started in the 9th already—events took place in Europe in all areas of life producing forces which were expressed later, particularly in the 15th century.

One can say these centuries just mentioned was a time for preparation but people today are hardly inclined to refer to this just as little as they will say Rome is in control of European affairs. The papacy in the time from the 9th century, before the middle of the 9th century where the ruling of Europe was so vigorously taken under control, where all relationships effectively extended, must not be imagined as the same effective papacy in a later century or even today. It can rather be said that in those times the papacy knew instinctively what the most important areas of life needed, in west, central or southern Europe. I already pointed out last time that the oriental culture was gradually pushed back; it had to wait in eastern Europe, in Byzantianism, in Russianness. There it waited indeed, waited right up to our present time.

General observations can develop particular clarity in those areas which, in the broadest sense, one can refer to as artistic. If you want an idea about what had been pushed back at the time to the East, what the west, central and southern Europe should not acquire, if you want to reach an understanding about it, then compare it with a Russian icon:

In the picture of the Virgin Mary of the East is an echo of what had been pushed back into the East at the time. In such a picture quite another spirit holds sway than can ever be found reigning in western, southern and central art; it is something quite different. Such an icon picture still today presents an image which has been born directly out of the spiritual world. If you imagine it in a lively manner you can't imagine a physical space behind the Russian Madonna image. You can imagine that behind the picture is the spiritual world and out of the spiritual world this image has appeared: just so are the lines, so is everything in it. When you take the basic character of this image as it is born out of the spiritual world then you have exactly that which had been held at a distance in the 9th Century from western, southern and central Europe:

Why? Such things should be thoroughly and objectively considered historically. Why did this have to be held back? Simply on the grounds that the nations of Europe—central, western and southern Europe—had completely different soul impulses which were not in the position to understand humanity out of original elementary nature, this was being pushed back, stopped in the East. The nature of the western European soul was quite differently focussed.

When this which was being pushed back to the East was transplanted into central, western and southern Europe, it could only remain external, outside the east of Europe; it could never grow together with the central, western or southern European soul distinctions. An area had to be created in western, southern and central Europe, an area for what gradually wanted to come out of the depths of the very folk soul itself.

I would like to say Rome, in actual fact, understood this with genial instinct. With disputes regarding dogmatism showing quite a different character, the content of dogma disputes is not the real story; the content of these disputes is merely the final spiritual expression. It goes much further. Among other things it was about what I have just been characterising for you. So we see that from the 9th Century and into the next centuries Rome worked ever more strongly for a space in Europe where the real striving of the folk souls could unfold. The striving of the folk souls also appeared in greater clarity.

You see, when you focus on what could have been brought to the fore if the eastern influence had not been pushed back but could stretch over Europe—Charlemagne made a large contribution - if it had stretched over Europe then Europe, as I've already mentioned, would have made available certain observations of representations which speak directly out of the spiritual world. This did not happen, firstly because Europe had to prepare itself for the materialistic 5th post-Atlantean period which was prepared most intensely in central Europe. Interest centred mainly on everything other than what came directly out of the spiritual world like line, form and colouring. Humanity was interested in something different. Above all there was an interest in Europe for contemporary events, for reporting and for results. By studying individuals, singled out in humanity, you realize they have positioned themselves in the course of historic, relatable events. The 10th, 11th, 12th Centuries can also be called the Germanic Roman Empire because from Rome the capacity was created, a capacity which spread for an interest in relating stories, an interest in the working of time and for conceptualising a particular form set in time.

You see, this is again a different viewpoint from the viewpoint I indicated in similar lectures in previous years. This cooperation of the central European empire with the Roman church and its spread is an inner image of the way the 5th post-Atlantic epoch prepared central Europe at the time. From this it is clear that central Europe prepared itself in this period with very little interest for spatial educational art. Constituted informative art became borrowed - just remember the presentation which I gave you in previous years—borrowed from what came over from the East, spread, one might say, through to the very joints of principal interest. What shot up out of the folklore itself was being told. The content which was to be told had to be taken out of national character, intimately connected with nationality.

You can encounter amazing images of central European life, life in the areas of the Rhine, the Donau and the northern coastline in the depiction of the songs of the Nibelungen, the Walthari and `Gudrun'. The manner and way in which these writings are presented indicate their obvious interest in events of the time. Look how in the time of Charles the Great when the poem `Heiland' originated, the stories of the Gospels are woven into the poem with central European characters, characters extracted from biblical events and placed directly into the central European interests of the `Heiland'. It had to be born out of the life of the European folk soul. Through this the eastern tradition, which cares little for the temporal and historical, was pushed back. For this reason, it was pushed back. If we observe how these concerns of the European nations rise from deep underground and reach the surface, then it is often only possible, and with difficulty, to really penetrate into the depth of feeling, into the deep soul experience which the European human spirit connected to in its own deepening encounter with the essential spiritual events. One might say, that which was pushed back to the East from spatial infinity and its manifestation out of space, which had to appear superficially in central Europe should reappear directly out of the human souls themselves, out of the depths of the soul, not out of the widths of space—but out of the depth of souls.

The mysterious prevailing of soul depths under the surface of direct observation was already something living at that time in human souls. During the centuries we've been talking about, people were instinctively permeated with the knowledge that their souls had in the depths of their being secret impulses, appearing only sometimes at celebratory moments in their soul experiences. Life seemed deeper than what the eyes could see, the ears could hear and so on; something unfathomable rose from soul depths as a profound experience. I could say we experience an echo of this kind of thing when we hear something as beautiful as the poetry of Walthers von der Vogelweide, who to some extend created an ending to a purely linguistic age, an age when the ability to depict formless manifestations in soul depths in a pictorial manner had not yet developed. In these soul depths we are stirred when we allow Walthers von der Vogelweide's small poem to work on us, where he speaks about his own life in retrospect. Maturing as a man when knowledge grew in his soul and light fell on his soul depths from which knowledge had previously appeared as mysterious waves in a dream, now appeared in a mood, he expressed as follows:

“Oh, whereto did all my years disappear!
I dreaming my life or is it real?
What appears for real, was it illusion's face?
I've slept so long and didn't even know it.
I've been woken and all is as unfamiliar
once was familiar, like my own hand.”

Thus speaks Walther von der Vogelweide at the end of the three long centuries, the 10, 11, 12th centuries, the epoch in which the Holy Roman Empire blossomed at the close of this time period. It was the period of time in which the interest for current events developed. Art demanded expression, images were to express events happening and going to happen in central, western and southern Europe. A glance to the East gives the impression of existence and peace, of a quiet contemplation out of the spiritual world. Events directly taking place here, born in the human soul, binding the soul with the greatest of all, the most mysterious, all this was eager to be represented in a pictorial manner. Fertilization from the South was needed anyway, where echoes of all the traditions having come from the East were still maintained. Bringing events to expression was the primary goal.

In this way striving in art was contained in the West, one might say, in two opposing streams, for certainly the representation of existence was pushed back East, but only pushed back—many things remained. Above all, something remained which can be observed in the East where strict rules determined the depiction of the icons, and old rules were being adhered to, where no violation was allowed through lines, expression, and so on. All this was transplanted into the West and alongside this was the requirement for everything experienced in the surroundings, united with traditions coming into central Europe from the South. Naturally depictions with this requirement firstly appeared in primitive, simplistic images according to biblical narratives, Bible stories. Only at the beginning of the next three centuries, the 13th, 14th and 15th did a power, one could call it, rise up out of Central Europe which could depict image-rich pictures. This power is thanks to specific facts; facts which during these centuries, the 13th, 14th and 15th, expanded and matured over the whole Central and Southern Europe as something one could call city domination, the blossoming of rural development. The cities, so proud at the time of their powerful autonomy, developed the particular powers of their folk in their midst. Such cities were not uniform, either as the old Germanic Roman Empire which was in decline, nor uniform as in the later state communities, because these cities were autonomous and could develop their individual strength according to the needs of the specific land, lifestyle and place. One doesn't understand the times of the 13th, 14th and 15th Centuries if one does not again and again glance at the blossoming of city freedom at the time.

Let us visualize this flowering of city freedom—by roughly taking the 11th to 15th centuries—and consider what this freedom in the cities discovered in relation to art impulses. Some traditions originating from Rome remained. The main issue had been pushed to the East; yet some traditions remained behind, traditions of alignment, colour application and, in relation to facial expression, the eyes and nose had to be done in a certain way. Yet all of that counteracted with the aim to represent facts. These battles had two sides, we can see it here where the artistic element first only dares to appear, turns from within itself outward, where, I might say, the trained monk from Rome allows himself to be inundated with the influence from central Europe, the impulse to not merely depict biblical events but that the imagery appearing in the Bible, which are glimpses from the spiritual worlds, are depicted in such a manner that the Bible itself becomes the very expression of how people live in daily life. This was now imposed on the monk in his solitary work. When he paints his miniatures and represents biblical scenes in a small manner, he must be accountable on the one side for the remains of tradition and on the other side, what wants to manifest as life under the surface.

Today I have two such miniatures to show you from which you will see, how during the 11th, 12th and also in the 13th Centuries the battle between traditional painting and history was still visible in small paintings.

Look at such a painting from an evangelist representing the “Birth of Christ”—we considered this image in previous years.

See how much you are reminded of the tradition of mere existence. Consider how still here, I might say, these figures are shown in such a way which does not reflect how people in an outer naturalistic reality live but observe how the figures are born out of the imagination people made up of what the spiritual worlds were for them. From there the saints, the Christ figure himself appears; all this came out of another world. Behind the surface of the painting we can only imagine the spiritual world—of course pictorially and radically spoken.

Above all there is no trace of naturalism. Observe how there is no trace of perspective, no trace or an attempt in this painting to somehow represent space—everything is on the surface, all but intellectual representation. Despite all this, when you look at the single figures, you experience the urge of something wanting to be expressed. You will notice there are two things fighting with one another. Look at the face on the right and the one on the left and you will see how the eyes, maintaining something from tradition by the person in his monk cell had a thought from his teaching that somehow or other eyes had to be done, this and that way the expression had to be done—but he battled with it, he adjusted to a certain extent the view of the situation to the events.

Even in these tiny paintings made in the gospels, in books of the bible, this battle of the two elements can be seen in a struggle. Besides this you see again, for example in Cimabue even more, how existence was expressed in the oriental form. How we are absolutely reminded of the angel figures above - which already appear when it comes to Cimabue as an oriental echo of the conception of the pictorial—as a proclamation out of the spiritual world itself, as an experience of being, not of historical events!

Another test is the second picture, which I have prepared, which comes from the Trier Gospels:

Here we see the proclamation to the shepherds, above is Christ's birth. When you take this shepherds' proclamation of the angel announcing “Glory in the Heights and peace on earth to men of goodwill”, when you take this you discover a mixing of these two impulses.

In all three of the men's faces we find the endeavour: represent the facts! On the other side however everything at a distance is about natural observation; how traditions play into this! I would like to say, feel how the wings of the angels are in the book: wings should be depicted in such a manner that they are at an angle to the main scene, pointing to both sides, and so on. You sense the requirement and at the same time sense such a depiction impinges on the endeavour which can't be achieved according to the observation of historical events. Sense this and observe in all of them how little nature observation is apparent, how there is no trace of spatial application, no trace of perspective in this image, that everything is, I want to say, or implied in the place where they are depicted due to requirements of how something like this was to be done, teach, while still substantially in control.

Now we see how at the end of the three centuries of the Germanic Roman Empire the impulse from the establishment of cities to depict history and unite it with the requirements of experiential representation, how this urge in Central Europe came to a sudden and most beautiful flowering. Cologne is one of those cities where the city's freedom flowered the most intensively and at the same time had the possibility, through intensive expansion of the Roman Catholic dominance, to take up traditional design art coming over from the East. No wonder as a result that just in Cologne the possibility encounters us in how, in the most wonderful way this comes together, weaving the two impulses into one another: the one most ancient and revered tradition depicted—what a Madonna looks like—and the urge to represent history. How a Madonna had to look like—in the East was petrified spiritually, majestic, serene, but still, solidified. It had to wait. Movement was brought in from the West. The revelation brought in from above, from heaven, revealed in the Madonna figure, is to be experienced in the Russian Madonna as magnificently elevated and permeated with something one can see directly: the greatest beauty possibly revealed in a human face, the loveliest direct expression of the ability to love, human friendliness, human goodwill, everything living in the surroundings lived in an inner relationship with the revealed figure of the Madonna.

Consider this and then look at the painting done by Master Wilhelm:

Here you can see what I actually want to point out: you can see how an attempt is made to bring life, that means events, into being in the Virgin Mary depiction. Here individual observation merges with tradition right into the details, one might say: old prescriptions were only applicable to attitude, nobility of form, serenity but not much further than in the expression of line, thus tradition was already being experienced from individual observation. This is what we can admire so much in these masters.

Another painting by the same master:

Another painting by the same master ... to indicate what I have just mentioned, shown in another representation. Consider just how much has come through the traditional heavenly figure, the revealed form of the Redeemer's face, of Veronica's face, in which we can see something revealed directly out of soul depths. See for yourself how those angel faces looking up are already individualized! Consider how with this image, as a result of the individualizing of figures it is no longer possible to actually imagine heaven behind it. However, something else is possible. At the back of the image, which came out of the Eastern inclination (245) we can actually imagine the spiritual world, something in addition to what the image presents. Here (237) we can also imagine something else; we must feel something different from what the image depicts. We feel much of what has gone before due to knowledge from the Bible; we feel much of what has resulted, events have been experienced and what is depicted are scenes from before and after. Thus there is not something like a spiritual realm behind it; the experience is of something before and something afterwards. When the singular is represented—visual art does this after all—then a single element is lifted out of the events. This is what we find towards the conclusion of every time period, towards which Rome out of such a deep understanding through the three to four centuries created in the European realm, which wanted to rise out of folklore. The conclusion appears to us and how this works in Cologne, by such genial Masters being capable of creating something like this.

These two intertwining impulses which I have characterised flow together most remarkably here. Now I would like to indicate their power which had worked everywhere by showing you a couple of paintings, starting with Constance who probably learnt from this and many countries through which he travelled, to arrive in Cologne and gradually became the follower of so-called Master Wilhelm, Stephan Lochner. The first is the image of the Virgin Mary—we know it already:

In this image—you need only compare the single heads—you already notice the individualizing impulse which is fully expressed by the figures. This aspiration you can observe. You hardly see a tendency to use space; everything is on one plane, you see no possibility of somehow applying perspective, but you see the yearning, the desire and instinct which can be declared as events, fixed in the imagery, you see the desire characterized; you see the past and what will follow established in the imagery as a scene.

Now I ask you to look at the two preceding demonstrated paintings (237,238) by the Cologne masters which appeared when these masters were blossoming, somewhat around the years 1370 to 1410, therefore directly during the time the fourth post-Atlantean epoch was coming to a close. This painting by Stephan Lochner (239) already falls into the fifth post-Atlantean time. I have shown you images in consecutive order between the boundaries of the fourth and fifth post-Atlantean time.

What are the particular characteristics? Don't we see particular characteristics playing into representations in the 5th post-Atlantean time? Don't we see in the lowering gaze of Mary, the blessing little hand of the child, the differences in the right and left figures' expression, in the individual depiction of the additional figures—do we not see the characteristics of the 5th post-Atlantean time—how the character's act in the pictorial representation? Do we not see how the impact of personality arrives? Above all, don't we already here see the desire to express the element of the 5th post-Atlantean time within the imagery, the most important element for Central Europe: light-and-dark or chiaroscuro?—How little meaning the distribution of light and dark had in the old tradition! People lived in light and shadows but were not observing it, yet were feeling it - because they experienced light bringing joy, sensing life in light while darkness sank into rest, in darkness they withdrew into mysterious soul depths. This inner living in the world in the souls of single individuals which particularly comes to the fore in the 5th post-Atlantean time, as well as the application of chiaroscuro, indicate a distribution of light masses: in the middle the light is above the Child, we see this light dividing itself right and left in single masses, becoming lighter upwards, no longer completed as in earlier version only in a golden ground, but in a brightness. Thus the encroachment of individual characters is what we see here; nobody can actually look at these consecutive elements which I have demonstrated to you, without becoming aware that something, albeit quietly, but something new was coming into the 5th post-Atlantean time while the 4th post-Atlantean epoch faded.

Let us look once more at the previous Madonnas:

Memorise this child's face well and try to feel how much tradition still lives in it. Now consider once again another one:

Look at the Madonna and the Child and note how a really new impulse has entered just like a new impulse does enter with each individual. Considering the following paintings of Stephan Lochner. I want to stress that Stephan Lochner originated from a region where most people were incapable of absorbing tradition because most of them had the impulse to develop individualism. It is the region around the Bodensee in the region of Bavaria, the area of western Austria. Here the tribes strived out of their folk nature towards individualism, mostly rejecting tradition. Stephan Lochner was lucky, one might say, to aim for the Bavarian anticipation of individual expression, where, despite the striving for the individual, there still lived the great sublime sacred tradition of olden times. As a result, his individual impulse, much more pronounced than Master Wilhelm with his radical individual urge, he connected to his revolutionary individuation impulse with the smooth, typically Cologne imaging tradition to produce this image.

For an artist like Stephan Lochner depicting space within art had not yet been invented; to depict space could simply not be done at that time in Cologne, but his soul tried to introduce this into the images.

Fully within the historical events, completely within development this can be ascertained by a comparison between the Virgin Mary image of the West compared to that of the East:

Look at the next image:

... which you also know already; look at it particularly in the way the specific fits into the general, so typical in Stephan Lochner's work, how the dark and light come to the fore even if there is no continual intention of capturing space, to indicate perspective, but in the chiaroscuro we see another kind of spatial capture than that of perspective. The perspective is more to the South, one could say: invented by Brunellesco—I have explained this to you in previous years.

And now …

... in which you see there is no trace yet of composition and how here also, where the depiction would have insisted on a study of space, there is nothing about space, and how on the other side an attempt is made to depict each of the six accompanying figures as individuals, with an attempt to individualise the Redeemer Himself. Please recall the paintings of the Cologne Masters (237, 238) and compare these with the paintings of Stephan Lochner (239-242) which we have seen. It can't be overlooked how deeply this incision imprints on us what lies between the two: because this incision lies between the 4th and 5th post-Atlantean epochs. Stephan Lochner attempted to depict soul qualities, but he looked for representation in nature to find forms which express the soul. Master Wilhelm still hovered in a supersensible experience of the soul and his impressions came out of his inner feelings. He didn't depict them by looking at a model. Here (237) we still see a reference to the model in order for the soul itself to identify with it. Master Wilhelm still expresses his own feelings. Stephan Lochner is already a copier of nature. This is in fact realism: realism rising. We can clearly draw the boundaries between these two so divergent painters, during hardly decades.

So you see how the laws which we search for in spiritual science really come to expression in single spheres of life when these spheres are not taken as unimportant, but with their importance are led before the soul.

Now I would like to place this fact once again before your souls, by introducing two painters who worked more in the South. This took place in Cologne. Let us look more towards the South, to Bavaria, Ulm or the Rhine area and we will see the how conditions appear before and after the incision of the 5th into the 4th post-Atlantean epoch. I want to present two paintings to you by Lukas Moser, who lived in the beginning of the 15th Century, who can certainly be counted as being from the 4th post-Atlantean time.

Look at these paintings:

Try to sense how everything painted in it is done in such a way that one notices how the painter went through schooling which insisted: when you place figures beside one another you must place the one facing you, the other in profile; when you paint waves, you must paint them like this.

Thus you see the entire play of the sea's waves, not as they are observed, but “according to the rules”; you see the figures as prescribed “according to the rules”; nothing observed, everything composed. This image from the Tiefenbronn altar thus depicts the ocean voyage of the saints.

The following image shows the time of repose, the night time rest of the same saints:

... A medieval house built on to a church, strongly suggestive that nothing was observed but everything was painted out of the head. Look at the sleeping Saint Zedonius: he still wears the mitre as well as his gloves. It had to be painted according to the rules where the main interest is located. Consider this as an ongoing journey, because the saints are taking a trip, they sail on the sea, they rest at night, it tells a story. Yet it is presented as set out in an existed image remaining within tradition. Lazarus resting in the bosom of this mother!

We can look back to representations of earlier times when we have such an image in front of us. This is at the point where the 4th post-Atlantean time came to a close. In the West there were still prescriptions regarding how church imagery should be painted. Painting was done according to particular traditional rules. The painters obtained their method out of tradition: this is what the Saint Zedonius looked like, what Saint Lazarus looked like, Saint Magdalene and so on; they had to be painted according to prescriptions, not quite as strictly as in the East, but still according to the laws. However, he still had to depict desires, instincts and reveal a story! In this way the elements swim in and around and battle with the end of the epoch.

Let us also look back to the 13th, 12th and 11th centuries. In all the churches strict rules were set. Each picture had to look the same as another right through the whole of Christendom, only with a slight variation in the way the things were ordered. If Saint Zedonius was ordered, then he was to be painted according to prescription - that was the tradition.

Let us now think of the incision of the beginning of the 15th Century and go from Lukas Moser, the last latecomer of the 4th post-Atlantean epoch, over to Hans Multscher and see how these painters really already stood in the beginning of the initial blossoming of the 5th post-Atlantean epoch. Look at these paintings:

... and you observe how in these paintings the individual-personal appear, characterising the personality. Moser does not have any desire to look at nature. Here, (399) you find an artist who strives to work out of the soul—yet who does not have the slightest inkling of spatial treatment and above all mixes up multi-coloured things in relation to space and perspective - yet who strives to characterise it out of the soul, in such a manner as if nature itself is characterised in the soul. He already tries to depict individual figures.

It will become even clearer for you, what I've just been speaking about, particularly when you look at the three sleeping figures below. There is already an attempt, first of all, to express the soul element, but there is also an attempt to depict the nature of those sleeping. Compare this with what you can remember about the sleeping saints on their sea voyage (335) the resting time (336) and then you will realise what a mighty incision lies between these developments. See how the light-dark depiction is consciously brought in. Solely characterized this way and not by working with perspective does the painter reveal spatial relationships. Perspective is in fact incorrect because an actual cohesive vanishing point can't be found in any area of the painting; nowhere can a central point be found from where the layout is arranged; yet still a spatial relationship of a certain beauty exists through the chiaroscuro.

Look at this “burial” scene. You find everything, even in the depiction of the landscape itself, as characterised by the individual's penetration of tradition: interest in events without any indication coming out of the spiritual world.

You see here how particular individualizing elements enter the entire painting, an attempt is made in a corresponding manner to represent the guardians, the twist of their bodies enhancing the individualisation. I ask you to look up, to the left, how an attempt was made to represent the figure's particular situation, his unique experience, portraying his peculiar individual inattentiveness. Try and imagine how the painter tried to show the front view of the head, how on the right he characterises the skull of the other guardian, from behind. One can see how the attempt is made to show individual forms and also how the chiaroscuro comes in. One can see how through individualising, depiction of spatial element enters while perspective is not at all yet clear. You can imagine the point from which the individual lines go from the characters, but now you need to think apparently quite far towards the front, where the coffin is placed and you have to think again about another reference point—regarding the trees! These are painted in full frontal positions.

I wanted to show you how the legitimate developmental impulses I spoke about already last time in the Italian paintings have a profound effect and what rises as characteristic in our time, originating from the 15th Century, can only now be understood if you clearly take the entire, deep meaning of every time period, from the beginning of the 15th Century, which built the boundary between the 4th and the 5th post-Atlantean epochs.

What transformed itself here had already been living in all the events and becoming of Europe, but it was pushed back from the 9th Century because Europe was made incapable at that time; Europe first had to allow something else to take form out of the depths of its being. Those in the East waited in the meantime. We should promote an awareness today for what waited there and what wanted to rise to the surface in the East because these forces are available, these forces weave into present day events, still wanting to be active. A clear understanding of what pulsates through the world, what works in the world, we need to take possession of, this which is an urgent requirement for the present time epoch. This I am now and have repeatedly stressed in the past. Through the development of the middle age art in its characteristic time period I wanted to make this clear for you. You see, here we approach two incisive waves in history: one swell is everything which came easterly from the south, the other is, I would like to call it, coming from the depths itself. In these centuries - 13th, 14th and 15th, in the centuries of freedom in cities, what wanted to rise from soul depths to the surface was most strongly applicable. Then again from the 16th Century another setback came - development rose and fell, oscillated—and then, obviously not simultaneously, the continuation of what had been started in of the 15th Century became outwardly visible as I've indicated to you, on the one side living in van Eyck, on the other side Dürer, Holbein and so on.

We see in the lower lands, towards Burgundy on the one side and Nürnberg on the other, Augsburg, Basel, the results of what wanted to come as a wave rising from soul depths to introduce the 5th post-Atlantean period.

I wanted to introduce only one of the impulses of this 5th post-Atlantean epoch to you. About other impulses I have various opportunities to speak at the moment.

Today I will introduce some observations and the way in which these will be presented will appear to be more loosely connected than those of the previous discussions which I have been giving you during these past weeks. Despite the aphoristic form in which I will speak today there is still a part for future considerations; I'm thinking of the next time when it will be possible to come back to some items which were attached to these contemplations in order to arrive at a culmination, a world view tableau, which I believe is necessary now, into which the human being may be placed.

Today I would first like to show through some observations which can't be supported by images—because I don't have images to illustrate this—how within history, within Europe's unfolding evolution during the last two to three centuries the most varied impulses worked together, impulses of a threefold nature. There were of course actually an infinite number of impulses but it is actually sufficient to look at particular elements which are the closest to reality in these impulses.

We live in the 5th post-Atlantean epoch. We stand in this epoch which expresses itself outwardly in many antagonistic and battling impulses these days. We live right inside many things which admonish mankind to be ever more and more awake for what is happening around us. One can say that never in the unfolding of history, as far as it can be researched, is mankind so called upon to wake up. In no other time had mankind shown such sleepiness as in ours. In this 5th post-Atlantean time with its particular impulses which we have come to know through our anthroposophical considerations, there play echoes of the 4th post-Atlantean time into it, but also echoes of the 3rd post-Atlantean epoch. Inside all that is bristling and playing in our present events we can distinguish between various things but today we will focus from a particular viewpoint on three principal impulses, echoes of the 3rd and 4th post-Atlantean epochs and how these work on our present 5th post-Atlantean epoch.

In the 4th post-Atlantic epoch one element asserted itself in particular—here we approach the development in art for our observation—in particular, and most valid, in artistic development's depiction was what there was to be discovered within the human being him- or herself. The Greeks and after them the Romans strived to present time and space as experienced within themselves as part of being human. We know why this is so; we have often considered this. In other cultural forms of the 4th post-Atlantean epoch, the Greek-Latin time, this also revealed itself and we find it expressed particularly in art. As a result, in the Greek time period typical individuals were idealized and particularly elevated in art. One could say the highest, most elevated form which could be found in the sense world were the beautiful people who took on such attractive forms and wandered around at that time, in the most beautiful movements in the widest sense of the word—Hellenism strived to depict them this way. During no other time of earth's development can such a similar striving be found; because each epoch of the earth's evolution has its particular impulse.

Within this representation of the beautiful humanity of the 4th post-Atlantean time was a resonance from the 3rd post-Atlantean time. This echo was not limited to a particular territory but rayed out over the cultural world of the 4th post-Atlantic epoch. Thus one can say: the 3rd post-Atlantean epoch became particularly active by influencing the 4th post-Atlantic epoch and continued to be active, even though it was now a weak echo, in the 5th post-Atlantean epoch.

As Christianity and the Christ impulse spread, it had to deal with these interweaving impulses. Art impulses simply could not unfold in the 3rd post-Atlantean time on the physical plane as was the case in the 4th post-Atlantean time, because even in the 4th the depiction of the physical world was granted through beautiful people, in beauty humanity was created. The 3rd post-Atlantic epoch had to express many more, even if they were atavistic, internalized impulses. In order to bring this about, it had been necessary to reach back to grasp this kind of impulse from the 3rd post-Atlantean epoch, in a certain sense. Thus we see, while the Christ impulse spread through the world, the artistic depiction of beauty within humanity reaches back, and sometimes has an impact which is like a kind of renewal of an impulse from the 3rd post-Atlantean epoch.

The Greek impulse which brought art to such a blossoming, quite within the style and sense of the 4th post-Atlantean epoch, had to preferably be limited to express growing, flowering and thriving. Beauty for the Greeks was never adornment. The idea of embellishment was unknown to the Greeks. The Greek had the idea of everything alive, growing and flourishing. The idea that embellishment could be added was something which came much later into the world again, namely in the continuing cultural development. The idea to which the Greek world was the furthest removed can perhaps be found in the word “elegant”. Elegance was unknown to the Greeks—elegance which the living used to bedeck themselves with adornments so that they would “shine” on the outside—this was unknown to the Greeks. The Greek only knew form and expression as originating from what was alive itself.

The impulses of Christianity also represented death; the Greek epoch mainly represented all that sprouted, grew, and was life-giving. The Cross of Golgotha had to stand opposite Apollo. Yes, this was the great task of humanity, the great artistic work of humanity, to work against death, in other words all that could come from the world beyond because Hellenism regarded ideals sensually represented as its highest accomplishment.

This becomes obvious in all that is juxtaposed in an artistic expression. This is evident when one sees how artistic skill strived to express the beautiful, growing and blossoming, youthful and prosperous people. This artistic skill brought the Greek-Latin time particularly far. One can also see how Hellenism was already growing in the first artistic Christian creations, but how simultaneously these artistic creations struggled with what couldn't be captured in the physical world or dealt with artistically. As a result, we see how the perfection of the representation of youth, vitality and prosperity is placed beside the still clumsy representation of death, eternity, including infinity which is the door to it all.

I have put together two motifs from the ancient Christian art of the first centuries, to illustrate what I'm trying to present. Firstly, the “Good Shepherd”:

... a statue to be found in Lateran, in which you can see how the artistic skill is presented in the growing, blossoming and prospering element, the vitality as it grows within the Christian art; if one believes that the Jesus figure is linked to the “Good Shepherd”. Greek art was dedicated to life, dedicated to depicting the world of the senses with the human being as the highest accomplishment of life, who in death will grasp the consciousness which alone will give access to infinity, eternity, and the supernatural. One can see how they tried to adapt this to Apollo, Pallas Athene and Aphrodite who really represented youthful blossoming, growing and thriving, how this development wants to merge with the other form, yet still holding on to the striving in the artistic sense, with death, the infinite, towards the supernatural. This is the echo in art which came out of the sense world and became the magnificent flowering in the 4th post-Atlantic epoch.

Now we take another artwork carved out of wood—coming from about the same time period—the representation of the crosses on Golgotha:

Christ on the cross, between the two thieves.

If you look at it you realize how unskilful it looks in comparison with the previous image. The mystery of Christianity could not be mastered artistically, it still had the work of an entire century ahead. During the very first centuries of Christianity one finds such inadequate representations of the central mystery of Christianity.

One can already say that these things should not be taken up in the sense of false aesthetics or in hostility towards sensory impressions, because the gaze, the soul gaze during the first Christian times was focussed on the mystery of death, which had to be validated in a super-sensory way through knowledge of the Mystery of Golgotha. By believing one is connected to the mystery of Golgotha, it was believed that one could grow into feelings and experiences and see the infinite validity of the human soul which lay behind the door of death. No wonder that as a result, in the field of the most varied cultural forms of worship of the dead during the first centuries this was particularly noticeable in sensitive Christians. So you see why this characteristic style which I want bring into expression is directly linked for you in the Good Shepherd (661) to this “Representation of the Mystery of Golgotha” (662). Thus we see the characteristic style in the artistic creations of the first Christian centuries depicted in reliefs and most of all in the carved reliefs found in sarcophagi. The dead, the remains of the dead, memories of the dead combined in the sarcophagus, are linked to the Mystery of the Dead, this was a profound need of the first sensitive Christians. The secrets of the Old and New Testament were the favoured elements to be depicted on the walls of the sarcophagus. To study the sarcophagus art of the first Christian centuries in particular, means to delve into what was being done in Christianity, to a certain extent the Mystery of Death is also there, where it shows itself in reality: with the sarcophagus, expressed artistically with the mystery of death, it is brought together with the knowledge of the revelation of everlasting life, with biblical mysteries.

So we see for example the sarcophagus of the early Christian art:

In the centre is the married couple to which the sarcophagus is dedicated, presented in portraits, then the two rows above and below of biblical scenes from the Old and New Testaments. It starts, as you can see, at the left top with the resurrection of Lazarus. You then see the continuation, to the right of the rounding shell, the sacrifice of Isaac, continuing further one recognises the betrayal by Peter. Below, right, you see for example—they are all biblical figures—here it is unfortunately too small—above and below are Bible scenes. We see what Greek art created up to its culmination, the free standing human figure, which here has to be squashed into reality, but reality connecting this world to the world of the afterlife. So we see the figures lined up. Here we see the free depiction obviously impaired, this impaired composition is exactly what we want to look at in particular. In this example we have for example a sarcophagus configuration, an extraction of the materials in form, as an example of an entire composition pressed into it. Please look carefully, the entire composition is compressed and composed of human forms. Overall we have physical forms: Moses, Peter, the Lord Himself, Lazarus being awakened, Jonah there in the centre; thus we have the composition, possibly reducing spatial depiction, the geometric figural moving back to allow the refinement of human form. I ask you please to particularly consider this because we shall see quite different things in the following sarcophagus. Already here you see that not everything is pressed into the human depiction, these are only one behind another, but look at the centre, below, how in the Jonah scene composition comes very obviously to the fore.

The central figure: the Christ. Notice how the two other figures are produced, and behind them the plant motifs on both sides.

Do you remember the very first lecture which I held here in Dornach, in which I tried to show the motifs of the acanthus leaf, how it didn't grow as a copy of nature but came out of geometric form, out of an understanding of guidelines and only later, as I showed, did it adapt itself to the naturalistic acanthus leaf? So we see, like here (667) lines and line ratios build a kind of central theme ... and how to some extent the pictorial, which Hellenism brought to its highest expression, now recedes and becomes threaded into the compositional. We can say we have vertical lines, then two opposing angular lines and a centre. When we draw these lines we start to consider spatial relationships:

Let us then add two plant motifs and two figures—ostensibly filled with reverence—rushing towards the centre

We see that it is possible to say that the symbolic image becomes connected with something which can only be suggested as naturalistic because naturalism itself is idealistic: the human figure or even the organic being and the symbol are interwoven and become hardly distinguishable from one another.

We shall see that quite other, quite different motifs will come to meet us in other sarcophagi as for example with the following one.

Here we have something quite different. Here we have admittedly also plant motifs; you have the same lines—now not with human beings—but filled in with animals. You have the central motif but this motif itself is symbolic; this motif is a sign, a monogram of Christ, Chi (X) and Rho (P); therefore, Christ construed as the Wheel of Life in the centre. Considered spatially this composition is the same as the one before. Instead of the central Christ figure we have the Christ monogram in the centre; instead of the two figures approaching in reverence, we have animals; and on the sides, plant motifs. Yet, in a remarkable way, we see the image formed here as more complete.

The basis of such a monogram representation is always linked to an ancient view but in today's opinion may appear somewhat bizarre, yet that is the basis of it. You must clearly understand that people had some knowledge, even before atavistic Gnostic wisdom—which only really withered in the 18th Century, some even as late as the 19th century. When you take this presentation (666) then you will easily find yourself entering into the artwork despite the naturalistic drawing: the stone as such—physical; the plant motifs left and right—etheric; the animal motif - astral; and the monogram of Christ in the centre—the indwelling of Christ in the “I”.

When we gaze as such signs, at the imagery, the naturalistic images shown in such signs, we see an interplay coming out of the 3rd into the 4th post-Atlantean epochs. What were the most profound characteristics of the 3rd post-Atlantean epoch? There where it really acted out of its own impulses, this 3rd post-Atlantean epoch mainly strived to find the sign, the actual symbol which works magic. Understand this well: the sign which works magic. The symbolism was there and gave birth to script. Remember how within the Egyptian culture the priest was handed the letters through the god Hermes himself, the revealed words were received from above. These sign were revealed from the supersensible by the sensible. The signs were to reappear as something in the sense world which had come out of the super-sensible as a Christ impulse because the Christ impulse had to speak not merely of outer manifestations but the Christ figure had to represent the embodied Apollo. The Christ impulse had to present the Christ in such a way that it could be said: “In the beginning was the Word” which means that the sign originated in the heights of heaven, and has come down, “and the Word became flesh”.

Thus we need to bring together what lived in the signs as impulses in the 3rd post-Atlantic times with the Christ impulse living in the 4th post-Atlantic time. In Egypt during a relatively earlier time signs could be transformed into script; we see also in northern countries signs in the runes are charged with their own magic, and the rune priests who threw the runes tried to read them, tried to recognise what revelations the runes revealed from spiritual heights. Thus we see the influence of the runes in the 3rd post-Atlantean time, runes which can be found way back in all the centuries before Christendom. This propagated and streamed together with the naturalistic, Hellenic presentation, then already presented out of nature by spiritually beautiful people. Both streams merge. This we can see in the motif (666) as coming together. This is most important here: the grasping of one over the other, the flowing together of the 3rd and 4th post-Atlantean epochs.

Look at the next motif, the “Presentation of the Offerings of the Kings”:

... we see how the expression of the linear lives beside the naturalistic reality.

Let us look at the next sarcophagus motif:

Once again we have something else, despite the succession of the figures which mainly present a biblical scene, although we have the figures simply in a row we see how an attempt was made in the movement of the linear quality of the figures, how the spatial aspect is expressed. So this again is done in the other way (like 664).

The following motif is from the sarcophagus of the grave of Galla Placidia:

Here the spatial aspect is expressed to a strong degree yet we only see the same thing we've often encountered before (664, 666), the secret of multiples of five you see expressed here, in the centre is the Lamb this time—one could say the Lamb is supported by others—and once again the plants close off the periphery. In the most diverse ways the spatial artistic element of the 3rd Post-Atlantean time will support Christianity, and again penetrate it, as a support for Christianity. All that comes as sarcophagus art.

I ask you to really hold on to the idea that the basis of these signs was allowed to flow into Christianity, secretively: you have the pentagonal, you have the triangle in the centre, again a sign; besides this you have the line as I explored earlier. Why did Christianity allow these signs to flow into it? Because they saw magic within the signs, magical effects which did not only happen in the naturalistic area where it became blurred, but worked through the supersensible; within the signs a supersensible expression came about.

The next motif:

Here we see the signs again mixed in a particular way with the naturalistic elements: the monogram of Christ in the centre and the two animal figures which you have seen already, on both sides. However, the plant motifs are designed in multiples. Above you can see the sign applied. Here you have signs and naturalistic depictions intermingled, the signs as magic, the signs which originate from the same world if they are depicted meaningfully, which the dead enter at the portal of death. One felt something like this: out of the world into which the dead enter at the portal of death these signs come, they are transformed into script. The naturalistic element however exists there where humanity lives between birth and death.

The next motif is the Miracle of the multiplication of Bread:

Here in contrast is another way (663, 338) where the mere architectural has inserted the signs.

The following is not a sarcophagus motif but is an ivory carving.

With this I want to make a definite point regarding the way the material was worked in the same way it had remained in the art of the 4th post-Atlantean epoch. The manner in which it was created out of the ivory as relief art during the first Christian centuries was a capability of the 4th post-Atlantean time when naturalism was expressed artistically.

The following motif is likewise an ivory carving:

Here you already see likewise more signs complimenting the lines as well as the figures and images being applied to the imagery, you can clearly see how it is possible to fill to a certain extent the area into which the figures are threaded, pulled in, how they can be expanded as geometrical figures.

These are, one could say, the backbones which Christianity has brought in the form of the symbolic art of the 3rd post-Atlantean epoch and which we see appearing everywhere.

I have another example out of the Dome in Ravenna:

... in which I can show how completely the motifs are converted by the application of the signs. On the left at the top we have the Christ monogram, below left and right we again have geometrical and figurative motifs, above in a similar fashion the Christ monogram, a simple motif, symmetrical left and right. We can, if we get a bit of help from our imagination, see how a real evolution has taken place from the first to the second motif. Just imagine in the top left under the curvature, the Chi (X) and the Rho (P), the Christ monogram simplified, think of the Chi crossbars simplified and then you arrive at the central motif, top right, as the monogram forming the cross. Imagine the growing together of the monogram at the top left, with the wreath, a mere plant motive of creeper with leaves, and you will come to the animal motif on the left and right. Simultaneously you could imagine the top right motif in a simplified and more elevated configuration as the evolution of the left motif. In the same way the right sided monogram can be a forerunner of the left. Just imagine for a moment the left palm of the monogram configured in these entanglements around the monogram, consider how the left motif is similarly growing here as is apparent in our (Goetheanum) Building, where column motifs develop out of one another; consider the simplified geometric forms more organically depicted, then you have the right side motif as it develops from the left one.

When one goes back into the mysteries of the 3rd post-Atlantean epoch, you find spread all over Europe, from the north and even into America—because there has always been a connection between Scandinavia and America which was only lost for a short while, a few centuries before America was discovered by Spain, much earlier one always sailed from Scandinavia to America; they lost their connection for a short while and it was only re-established after Columbus rediscovered it—one finds, spread out over southern Europe, over North Africa, over familiar regions of Asia, the front area of Asia in particular in the 3rd post-Atlantean epoch of the Mysteries, afterwards some latecomers—one finds the real mystery centres of earlier, of the third post-Atlantean epoch. Here magic and signs were spoken about in particular. What Egyptian mythology related in regard to the priesthood of Hermes are the outer exoteric echoes of the esoteric elements in the Mysteries regarding the magic of signs, which was learnt in northern lands as the magic of the runes. This was the magic which came, on the one side, from a spiritual side, from magic which was used to try and form signs which came forth purely out of the spiritual realm and to some extent permeate this realm of signs by human will in order to create particular signs into which the forces of the supernatural would be poured.

This was not the only place where magic was searched for. It is very significant that magic was looked for on the other side, one could say, in the supernatural. Isn't it true that the naturalistic as well as art was simultaneously spiritual for the Greeks? In supernatural signs magic was searched for which merely lay within the signs themselves. However, magic was also sought in sub-nature. Besides the mysteries which speaks about the runes and signs in olden times, there were other mysteries which spoke about other riddles regarding sub-nature. This sub-nature one discovers in quite particular products when one looks for them mainly under the surface of the earth. If one goes above then one meets the gods in the heights who give sense to the signs, where the supersensible works as magic, then it is possible to grasp it in the sensual sense and unite it artistically. If one goes however into sub-nature, into the inner earth, one finds a kind of magic held there.

Among the manifold magical things, one sought in particular for the identification of two riddles. If we today express the knowledge of these two riddles, we could say that in the secret mysteries the riddle of gold was well kept, as it is sought in the veins of the earth, and also the riddle of gemstones. This sounds extraordinary but it really correlates historic fact. The magic of the signs was particularly connected to the church. In the 3rd post-Atlantean time they sought to incorporate magic into the signs. The magic of gold—where in particular it is formed as it appears in nature—and then the magic of gemstones which bring light into what had been dark, where light is held in something material, material which was held in darkness—this didn't enter into the priesthood but gave itself into the profaneness of humankind who stood outside the church.

So it happened that out of certain impulses which were very, very old—when liberated town culture established itself in art which I have just recently explained, as everywhere the liberated town teachings developed, that these liberated town developments came to the surface -the joy of gemstones, the joy of gold, the delight in gold processing and the delight in precious stone application came through as waves in the spiritual life. Just as the church wanted to bring signs out of the heights of heaven so from the depths of the earth came the secret of gold and the secret of the gemstones as part of the liberated town culture. Not just by coincidence, but through deep historic necessity the art of the goldsmith developed and I would like to say, only as an annexure to the goldsmith art, other metal art grew out of the desires of town culture, by applying gemstones, because gold and gemstones contained magic, a magic from below in nature that should be loosened and spread before the senses.

Still today an echo of this urban working with gold and gemstones can be seen in art, as founded by the Bishop Bernward of Hildesheim. In Hildesheim, situated in the midst of northern Europe's centre one sees many such works of art—otherwise also available but particularly concentrated there—where gemstones are incorporated into the most delicate artistic metallic works of art.

Bernward of Hildesheim

In Hildesheim it comes across to one as phenomenally important in its ancient form. It spread out, and actually this which I have pointed out as appearing and blossoming particularly because Central European impulses are also found in Italian cities. Basically the art of the goldsmith in Florence and what was designed by later goldsmiths to become the great art in the arena of sculptural relief and sculpture as such, dates back to this same origin. These things are interlinked in the most manifold ways.

Now consider the following. I had said that in the 9th Century when the church of Rome and the papacy had a different understanding than later, of what actually had to happen in the western world, from a certain viewpoint I represented this, how from the 9th Century onward forces in Rome, which one could say rose from below and became valid, how these laws from Rome became systemized just like laws originating from the spiritual world should have been included. On the one side Rome can seem thus: from the South rose the magic and sign world which came from above but with a focus towards the North where liberated town culture was being developed, focussing towards the North where joy grew in the secret of gold, in the secret of gemstones. However, this northern influence had already produced something out of its old mysteries, which necessarily had connections through the mysteries to, on the one side, the mystery of gemstones—this we can leave out of the game today—and on the other side, connections to the mystery of gold. Christianity didn't simply develop out of a single impulse and impulses also worked against Christianity. Just as it was opposed in the South by the magic of signs, so in the North it was opposed by the world of Central European legends and out of the North incorporated by the great gold mystery, as illustrated.

With the gold mystery the figure of Siegfried is connected, who looted gold and perished through the tragedy of gold. Everything which is connected to the Siegfried figure is related to the mystery of gold. The theme that gold and its magic only belong to the supersensible world is like a red thread throughout the Nibelungenlied, gold is not to be dedicated to the sense world.

If one considers it in this way, then your mind understands the deepest mystery of gold. What did Siegfried's friend tell him? What does the Nibelungenlied say? What is its great teaching? Offer the gold to the dead! Leave it to the supersensible realm; in the sensible world it makes mischief.

That was the teaching which propagated through Christianity in the northern countries. This is what was understood in Rome during the great synthesis taking place between Roman elements of the 9th Century in the northern European areas when within art it united with what rose from the one side out of signs and on the other side from symbols added into the gold and gemstone work. How beautiful this confluence of symbol-rich art and gold-gemstone art is during the 8, 9, 10, 11, 12th centuries. Everywhere we see this ancient Christian art of symbols. By connecting other impulses, we see the incorporation of the symbols into the working of the gold and gems.

This was now systematically sought in Rome, but was also prepared for in Europe. As a result in the early days we see, rising from the south, the Christian traditions in a form that even in a non-pictorial, purely by word-of-mouth form, the symbols moved and worked. The heathens coming from the North were heralds of everything worldly, embellished, and ornamental, linking the magic of the symbols to the sub-nature. By associating the cross of the South with the gold and gems of the North which originated in the heathen mysteries, just like the symbol of the cross itself out of the mysteries is applied to the Mystery of Golgotha, so we see three impulses combining: the naturalistic depiction of spiritualised nature taking the Greek power of form from the 4th post-Atlantean epoch, and the other two impulses: the symbol of the magic in signs, and the magic of sub-nature, of gold and gems.

Yes, to find the preparation of ancient times in the historic development of becoming, the further back we need to go. Our time is already in the epoch in which, I might say, everything battles with the human being, in order for him to learn and not remain sleepy by gazing into the present, but that lively impulses of evolution are really grasped, otherwise he might nevermore be forced to see how chaotic the present has become.

Today I have the opportunity, but in the near future this opportunity might not be so, to show you how, by the art influenced by the South being brought towards the North, that a particularly strong motif is expressed by the merging of the animalistic and human. In earlier time this started to appear and later became seen as the interworking of darkness and light. Out of the figurative dark animalistic realm the bright human form rises in the relationship of the dragon with Michael, and so on, also seen in other compilations of the animal and human. This becomes the light-dark artistic expression later. All these things are interconnected. Much, very much has to be spoken about if one wants to show the artistic expression of this interworking between the olden and newer times, this penetration of the naturalistic heathen impulses with the Christian impulses, which however, to be valid, has to renew the old magical motifs, now to have this magic in the old heathen sense undressed and lifted up into the real spiritual world.

This was known particularly in the 9, 10, 11, 12, 13th centuries. It was then known that the ancient heathen elements had become obsolete, but lots remained behind—yet these elements had become old—and that the young Christianity of that time had to work into this, was known. This we meet in literature, in art, in the creation of legends, everywhere. I have already often pointed this out, how present time humanity has become completely lost to the idea of spirituality working in outer reality. In the 5th post-Atlantean time when materialism is written on people's banners, this idea has nearly become lost completely. People are unable to imagine the streaming in of the spiritual, of the meaningful elements in pure naturalism, in pure matter. As a result, the gradual dying of the heathen and the gradual becoming of the Christ impulse in European culture is considered, at best, in abstract terms. In the 9, 10, 11, 12, and 13th centuries this was not the case. Then one presented it, if a representation was wanted at all, in such a way that the soul and outer corporeality were considered simultaneously as outside of the human being in history and in natural events. Everywhere one looks at the physical geographical surroundings something spiritual is simultaneously expressed. Hence much in the prophetic line came to be seen in these ideas.

People at present, if they do not only want to have superficial feelings but have a heart for the monstrous events taking place in our time, cannot today think of the Nibelungen legend without seeing prophetic depths within it. Whoever understands the Nibelungen legend in its depths, feel prepared for all the terrible events which flash through the present. By thinking in the same way in which thoughts are shaped in the Nibelungenlied, one thinks in a prophetic manner because then thoughts are formed through the mystery of gold. Hagan allowing the Nibelungen treasure, the gold treasure, to sink into the Rhine, was a prophetic idea at the time the Nibelungen saga was created and is experienced as deeply tragic in view of the future, on all that the Rhine will become as a cause for antagonistic impulses against the future. At that time the outer geographic natural world was not regarded as soulless, but was seen in connection with the soul, in every breath of wind was a soul quality, in every flowing stream something of a soul. At that time, it was also really known in what sense the purely materialistic reference meant regarding “the old Rhine River”. What is the Rhine actually in a materialistic sense? It is the water of the Rhine. What flows in it these days will in future be somewhere else. The water of the Rhine is actually not really something one can call the old Rhine, and one does not usually think of the mere coincidence of the earth. All that is matter flows on, it doesn't remain. In olden times external matter was given no thought, other than everything being an illusion; it was not believed that external events were merely embedded in the flow of what was described as naturalistic. Whatever was external was simultaneously a soul expression permeating physical existence. For this reason and particularly during this time it was a necessity to allow the old heathendom to dissolve and allow the new introduction of the Christian impulse—that was necessary in Europe in the later centuries—there people tried to think soulfully about geography, making geography plausible to the soul, the heart, to the mind.

Let us look at the example of the Odilienberg there in the Vosges and see the Christian monastery of Odile, to whose father, the pagan Duke, she was born blind; we see on this site the pagan walls of the Christian monastery. These pagan walls are nothing other than the remainders of old pagan mysteries. We see a merging of dying paganism and the rise of the Christ impulse at this geographic location. We see this expressed in the myth with remnants of the own pagan ancestry imposed by Odile being blind but who becomes inwardly, spiritually seeing through the Priest of Regensburg, through a Christ impulse. We see a working together in Regensburg a blossoming later as in the great fruitfulness of Albertus Magnus, we see it blooming, we see it instilling the Christ impulse in the eyes of Odile whose pagan ancestors had blinded her. We see geographically at this place the telescoping of the Christian light into the old pagan darkness. We see this as the basis imposed by Rome: take up the gold, but bring the gold as offering from the realms of the supersensible. Let the gold enter into that, of which the Cross is a sign! In our time we see by contrast, the flood of gold taken up by the senses as it was brought into expression in the old heathen legends.

We see how time takes a stand of opposition to the supersensible light contrasted by the gold. Siegfried was drawn to Isenland to fetch the Nibelungen gold. The Nibelungen gold he brought was offered to the Christ impulse. This Christ impulse dared not turn pagan again!

Oh, one could use many, many fiery words, as human words are, to really depict the terrible sense of this time. This time is filled with signs. During this time human ears unfortunately wanted to hear very little. The first year of chaos arrived - and it was believed that it would soon be the past. They didn't want to listen to the deep powers moving within this chaos - also into the second, the third year—and also now. Firstly, when this adored gold can be eroded, will people have ears to hear that no ordinary tools can be found which are so needed during this time, tools brought over from the past, but that it is only possible with the forces of renewal brought about from within the flowing Christ impulse, which in many cases had already been forgotten as Christ impulses. In no other way could these things improve than if as many people as possible decided to learn from the spirit.

Let us look for once at the manner in which earlier humanity comprehended things, even thinking of the direction of the wind not in a materialistic sense but that the windsock was inspired, ensouled by the region with, on the one side, the Odilienberg and on the other side, Regensburg. It was the same with other places.

Learn once again how humanity experienced not mere air moving over the earth but that there is spirit above the earth, spirit which must be searched for; that beneath the earth there is not only stuff which they could take out with the aid of material tools, but that which was to be unearthed from the sub nature had to be offered up to the super-sensory. To understand mankind again, that is the mystery of gold! Not only spiritual science teaches this but this can also be learnt through the real understanding of the history of art in a spiritual sense. Oh, how terrible it is to see how the present day humanity wait day after day and do not want to understand the necessity to grasp the new; that they make no progress through old, worn-out imaginations. More about this again at another time.