The Rudolf Steiner Archive

[ 1 ] As a sort of episode inserted between the lectures now being given, I should like to-day to bring forwards a few things about our building, so that our friends may find in what will be said, a sort of foundation for their own work. We shall have, in the near future, to take strong measures in different directions for the benefit of the cause, so that the Dornach Building, the “Goetheanum”, should be made the centre of the movement for Spiritual Science from the point of view of Anthroposophy for which we intend to work. It would be of great importance if the Goetheanum could also be made known to the outer world, so that those who have not at present an opportunity of seeing it, may become acquainted with it. The very way in which this building is put before the spiritual culture of the present time may, if brought to the consciousness of our contemporaries in the right manner, work in the direction, which we consider is the needful direction for the age. So to-day, when I have said, I wish to provide a foundation for that which others will carry forth into the world, I will once more give you a little of what I have already expounded here in other connections, so that from what is contained in these episodic lectures, a complete conception of the whole may be formed.

[ 2 ] To begin with, it must be stated that the Dornach Building has grown out of the Anthroposophical conception of the world. The Building was able to grow forth from this for the very reason that when this conception is rightly understood, it will itself possess the inner force with which to create its own artistic forms and figures. Once again, I should like to repeat what I have said before in other connections, that if any of the spiritual tendencies of the present, which with their various programmes come before the world to-day, had at any time required a building of their own, some architect or other, and some artist or other would have been approached, who would have built a house in such and such a style, in which the movement it was built for could have been carried on. There would have been an external relation between what went on within it and the building itself, which might be either of the Renaissance period, or of ancient Gothic style.

[ 3 ] There must not be any such merely external relation between the conception of the world which is to be given forth at Dornach and that which encloses its activities. The relation between them is to be an inner one. Every detail connected with the housing of our activities, every detail of form and figure had to proceed from the impulses of this world-conception itself. If you bear this in mind, you will see, that this is connected with the position Spiritual Science or Anthroposophy claims in the whole development of mankind. The life of modern humanity has become simply intellectual; it has become so because for centuries modern humanity has hardly received any other education than that of thought. When forms have to be created, people turn to those already existing to some one or other of the old styles of architecture; just as when they wish to make anything artistic or such-like, they do not turn their minds to the conception of the world, but to something which has been substituted in its place. What actually brought this state of things about? [ 4 ] You see, in everything of note in human culture there have always been two streams flowing together. The presence of those two streams can be traced far back in the historical development of mankind. One of these, which has achieved its greatest intellectual development in the last few centuries, can be traced back to what we may call the Old Testament outlook on the world. We must never lose sight of the fact that one of the essential tenets connected with this was the command: “Thou shalt not make to thyself any graven image of the Lord, thy God”. The pictorial representation of that which is of a spiritual nature, was lacking in the one stream of human development. And this still holds good up to the present day in the modern development of this stream.

[ 5 ] Many schools of thought and of philosophy, many different sciences and popular conceptions of the world have been built up, but none of these have, of themselves, succeeded in creating artistic forms. All that has been achieved is the establishment relationship with the inartistic element of the present day conception of the world. Our modern age is not concerned with creating new forms, or with giving shape to what is capable of representation.

[ 6 ] But really there are two entrances into the world of the spirit; it may be entered in the intellectual way in which it is penetrated by the monotheistic religions, in which case the thought element, the intellectual, is principally developed. By this means great progress can be made along the lines followed in our most recent times. Or, on the other hand, the element which is to be found in the imaginative may be cultivated, the element of vision, of life in course of formation. modern humanity has not much living relation with this latter element. It revives bygone styles, old methods of artistic representation, but never identifies itself with them. Indeed, things have gone so far that, on the one hand those who wished to create artistically had an actual fear of every kind of philosophy, for it is quite reasonable to stand in some sort of fear of the modern world-conception, which is imaginative an intellectual. Put on the other side this has been a great disadvantage in another sense to the development of modern humanity. This disadvantage itself is the sign of decadence of recent times.

Some time ago in this very place, I drew attention to the fact that in all the present struggles of humanity there is something of the Jehovah-striving of the Old Testament, that in a sense an endeavor was being made to make each individual people what the Old Helm wanted to make of themselves and that Christianity, as such, has not fully entered the hearts of modern humanity. And so a certain intellectual thinking, an intellectual feeling concerning humanity as a whole, has in a one-sided way grown up round our social life. But man as man, 0r man as a community, can never be understood from a purely intellectual standpoint.

[ 7 ] What man is, that in him which enables him to take his place in social life, can only be understood if we rise to imaginative conception. Anyone who is acquainted with the law to which such things are subject, is aware that even the Fairy Tales, the legends and various mythologies contain more wisdom concerning the real nature of man than does modern science, which does not even possess the means of giving man an explanation as to himself. People are afraid of the inpouring of the spiritual, which can only manifest in our human civilisation in the form of pictures; they dread it. But our civilised life will never be raised until men's hearts are once again filled with a conception of the world not only capable of forming from itself thoughts, but of creating forms and permeating the whole of life. We want to make a beginning, yet in its own way it is intended to show all that can be accomplished by a really creative conception of the world at the present time and more especially what it must do in the future. In a sense you see before you, in a picture, all that is characteristic of the conception of the world which is studied here, when you are confronted with that which is meant to be representative of it, when you see the Goetheanum on its hill, at Dornach.

[ 8 ] If we wish to describe in a few words the special characteristic of this conception of the world, it is this: The realisation that in this age a new spiritual life must be revealed to man. And as we approach the building which is to stand for the spreading of this new spiritual life, we cannot but feel that a new revelation is to he made. Anyone who draws near to it cannot help feeling that something will reveal itself here, something new in the development of humanity. The very shape of the building impresses you with the sense of something new making its way into the development of man. Two cylinders of circular shape, in neither of which is the circle complete, covered with hemispheres equally incomplete, expresses the duality of that which is revealed and of that which comes to meet it. The very predominance of the two domes conveys an impression to the observer, as he draws near, that something is enclosed herein, something enclosed but which intends to make itself known.

[ 9 ] Do not take what I an now saying in a symbolical sense; take it in an artistic sense and you will then develop the right understanding for it. I shall have to speak further about these things, but this evening we will begin by making a survey of the different effects produced by the contours of the building, seen from without. Let us begin by supposing that someone approaches if from the North-East from any point around the hill on which the Goetheanum is erected. He would then see a Building (Picture 1) which could be in no other form. This is the feeling which ought to be experienced, when directly confronting that which stands as the representative of a new world-conception.

[ 10 ] It is first of all necessary to study the different forms. It was in 1908 that the thought first occurred to me to erect a building with twin domes. But much of the original plan had to be altered, for it had originally been intended to put it in a city, in Munich, where it would have been surrounded by houses, where the outer architecture would not have had to be so much considered. When the building had to be remodelled to stand upon its present hill, it became of course necessary to so plant the outer architecture that it might produce the right effect from the different points of view in the neighbourhood. Here let us begin by noticing that the building stands on a sort of platform, not absolutely on the ground.

[ 11 ] We now draw rather nearer to the Building and this is a picture of the principal entrance. Kindly observe you begin by entering the substructure and that, as we shall see, the staircase by which we ascend to the auditorium belongs to the substructure of the Building. Having ascended that, we then enter by the main door into the real Inner Hall. The Building stands rather above the level of the actual surface of the ground. It will be apparent to anyone who approaches the Building, especially when he finds himself opposite the main door, that an attempt has here been made to depart from the usual purely mathematical-geometrical-mechanical structure forms, and to discover organic ones. Of course those people who are quite accustomed to the old conception and who believe that the geometrical-dynamic can alone rightly hold a place in the art of building and in architecture will have many objections to bring against this introducing the forms of architecture into organic forms. All these objections are known. But here we have actually dared to make the attempt. [ 12 ] Then, however, we had to think the whole thought of the Building as of a living organism. No one will understand what I mean by this, unless he himself really makes the endeavour—which very few people will do as yet—to turn his feelings away from all that is symbolical and intellectual, from everything merely mechanical and mathematical, and allows himself to be carried into a really organic-artistic, a feeling way of thinking. This does not imply that the form of an organic being is symbolically expressed in the structural forms, it means that in order to understand an organic being we must realise that a quite special sort of intuitive thought-form is necessary. We shall have to become accustomed to these intuitive forms of thought. And we then ought to be able to find these architectural forms even coming of themselves quite originally and elementally, out of the intuitive thinking.

[ 13 ] I should like to draw your attention to something of which most people in the present day have no suspicion. It may be said that in nature there are organic forms. Structural forms are made, more or less modelled on some such organic forms in nature, structural forms which in a sense are a symbolical expression of the organic forms of nature. But nothing of that kind has been done. There is no direct prototype in nature of structural forms here. And if a man seeks for such in nature, it only shows that he has failed to understand the whole basic thought of what is in question here.

[ 14 ] To be capable of understanding an organism is a very different thing. For when a man really understands a natural organism, he then possesses a kind of thinking which is able to find organic structural forms quite independently of nature. But such forms as these must be discerned in complete independence, they must be created from out of their own form-essence. They will then, if they result from a real living structural thought, bear the nature of the organic. What then is the nature of the organic? Well, take as an example the most complicated organism, man, and then take merely the lobe of his ear; if you have the right intuitive thinking and feeling, you will say that the lobe of the ear, situated where it, is, could be no other than it is; in its place it must be just as it is. It is the right width, the right height, and is properly rounded off, and so on. And this must be so in every single form in this organically conceived Building. Each detail, in that it represents a part of the whole, must make evident in its own form that it is indispensable. The very smallest appendage in the different parts of the Building must be as manifestly indispensable as the lobe of the ear, or an arm or a hand is to the human organism.

[ 15 ] Nothing here has been copied from nature. And if these forms remind anyone of this, that or the other, it only shows that he is not judging of the Building from the standpoint of Art, but that his opinions are inartistic. If the forms in the Building remind one of anything—and what is there that people have not been reminded of—human eyebrows and eyes and so on—that only proves that he is judging of each thing on its own merit, especially; whereas each detail in the Building only has a significance in its connection with the whole and must be so understood.

The next picture shows the same, a little nearer.

[ 16 ] Below we see the entrance; facing us are the cloakrooms; and to the right and left, where the substructure extends in a circular direction, is the well of the staircase. We then go up the stairs and through the main door, by which we enter the inner building. The motive which we encounter in the main entrance is one if those organic motives to which we have been referring. If you take the various motives that are to be found on the different sides of the Building you will find that they are always formed in accordance with the organic principles of metamorphosis, so that the one always grows forth as a development of the other. For instance, look at the motive here, above the principal entrance. If you can feel it in its forms, you will feel the same form again in the motives of the window of the side-terrace, which you can distinctly see here to the South. (Figure 14) The motives of the windows are apparently quite different. But in studying them you will see that they develop out of that one over the principal Entrance in the same way as, according to Goethe's principle of Metamorphosis, the different organs of the blossom develop from the leaf. It is again a metamorphosis of the same motive. We can only develop a living thought of the Building, if we really inwardly and intuitively grasp the principle of metamorphosis.

[ 17 ] In what is attached right and left of the Principal Entrance you can see that the attempt has been made, just as it is in nature itself, to cause one motive to proceed out of another; although there has been no copying of what is organic. In every line and surface you can see that they all proceed from the same principle—like that same principle which causes the cheek to be carried from the temple of the forehead in a human face. The evolving of the cheek from the temple of the forehead might really be taken as a subject of inner study. Only while doing so we must be free from the purely intellectual ideas of the world. We must be able to view the world in forms, without beginning to symbolise. We then shall be able to see how one surface, one form, proceeds out of the other in such a way that they might really have grown forth; and besides that, they really belong to the place where they are. [ 18 ] Now in the whole of this building there is not a single thing that is mere symbol. At the time when our movement still had many people in it who were full of sectarianism and false mysticism—which tendencies indeed I had to fight over and over again—but when there were these tendencies in the different persons who came into our movement from co many different quarters, persons of artistic natures who happened to come among us were often horrified at this tendency to symbolise. These members valued a Rose-Cross, a cross with seven roses, far higher than a really artistic motive. Now in this building we may say that this has been definitely overcome and that what is really creative in a conception of the world has been expressed in forms without any transition though the symbolical.

[ 19 ] I want you to notice that in the forms, (though of course all this is only a beginning) an attempt has been made so to shape the surfaces that they lean towards the corresponding centres of support. (Kräfte-Lagen). For instance, if you go in at the principal entrance of the substructure, you will see the arches. If you study the forms of these arches you will find them so constructed that their lines follow the distribution of weight of the building. Towards the door, where the weight is less, the arch is wider; where the arch curves towards the building it bends inwards, the curve is arrested. Thus the forms of the arches correspond to the distribution of weight. If you can feel the forms in this way, you have grasped a structural thought.

[ 20 ] We now obtain a view of the North side. In the part between the principal entrance and the one wing, you can see the motive of the principal entrance in metamorphosis. There you can study the metamorphosis of the separate forms, which allows for the motive of the side-wall which is to follow. When you go in at the principal entrance the motive meets you, whereas here you pass it by. An organic structural thought should express whether a motive is one that is to meet the eye, or is to he passed by. It is the same motive, in different states of metamorphosis. Similarly that which finishes it above, which overhangs the motive—is only a metamorphosis of that which is the motive of the main portal. it is differently formed, but has only become different in the course of its metamorphosis; it is the motive of the principal entrance.

[ 21 ] Here you have the side-view of the side-terrace. In the motive of these windows, you can study how organic shapes are formed. The motive completing the windows above is precisely the same as that you have just seen over the windows and the motive over the principal entrance, only in an organic growth it is the case that metamorphosis comes about through that which in the one structure is wider and more forceful, becoming contracted and condensed in the other; what in its earlier state as in a more primitive form, extends to more ramifications. It is just in this that metamorphosis consists, and here you can see it carried out. [ 22 ] And I should like to draw attention here to the fact that in the whole building the endeavour has been made to develop structural truth, architectural truth. That is actually very little understood in the world to-day. You can here see the overcoming of the mere Renaissance idea. The setting of windows is not merely decorative, but as you see it arises from below. In the whole building there is not anything to be
found which does not convey its actual purpose.

Nothing in this building lies, whereas in the present-day conception of architecture there is an enormous amount of untruth and deception. In our civilisation there is so much untruth in our forms that it can hardly be wondered at that so much of what men say is untrue too. Here the endeavour has been made that everything shall absolutely and truthfully express what it actually is. This can never be the case in symbolism, which always contains something arbitrary. I want you to take note of this.

[ 23 ] Here we have the facade of the side terrace. You see in metamorphoses that which is above the principal entrance. Of course, you must bear in mind that whatever you see here is nothing but a new beginning. I always say over and over again, to all who will listen, that if I had to construct the building over again, it would be very different. This is just an attempt. But in its different parts you can see what we really intended, how the organic structural thought has been carried out, and how, for instance, the merely mathematical-geometrical-dynamic column formation has been developed into the organic, so that nowhere is the principle, merely of support or of burden in evidence, but everywhere the principle of growth can be seen, the coming forth of one from another. And as we shall see tomorrow, there is a marked effort to carry out this idea in the architecture of the interior.

This is the juncture seen from the side, seen from the corner.

[ 24 ] The model of the building. Here you have the picture of my original model. I wanted first of all to give you a conception of the idea one receives in approaching the building. I wanted to show you the effect it ought to produce when you walk round it. now show you the inner part, in my original model, carried out in wood and wax. This model was the basis of the whole building. You see it here cut in two through the centre. You can thus see under the great cupola.the seven columns which, in succession, encircle and enclose the auditorium. Here in the middle is the place of the Drop-Scene, and here beneath the smaller cupola you see 6 of the 12 columns which encircle that space. As here seen, the building is divided from West to East. In the East will stand the principal Group: the Representative of Humanity, in the midst of the Luciferic and Ahrimanic elements. Concerning the principle by which these columns with their capitals and architraves were constructed, I shall steak tomorrow.

[ 25 ] Here we have the ground-plan of the building, the principal entrance with the staircase on either side, the auditorium, and the space beneath the small cupola, the place in which the Mystery-plays and the Eurythmic-representations and so on, will be given. These two spaces will be divided by the curtain. On the line dividing the two will be the speaking-desk, on both sides of this dividing line are the two side-alleys, for the use of those engaged in the representations, and their dressing-rooms and so on.

[ 26 ] This ground-plan will show you that certain things were indispensable to the building. Whenever I refer to this ground-plan I am always anxious lest the actual structural thought should be misunderstood. I once gave a lecture in Dornach on this ground-plan and its form, drawing a comparison between it and the human form. Some of my listeners jumped to the conclusion that the building was a symbolical image of the human form. That is absolutely not the case; but if a man is able really to understand the human form and how on the one hand it is an instrument for thinking and on the other hand for willing and that both these are held together by the power of feeling; if he understands the whole human structure, the formation of the head, and limbs and the trunk, with the heart system as the centre, he then would also be able to construct other organic forms. And this is one of these other organic forms. On this account when one sees this and the organic form of man together, it is possible to find a certain relation between them. But there is absolutely no question of the one being modelled on the other, for the Building here is in its organic architectural form constructed from out of that which is organically creative in nature and from cosmic activity itself.

You will be able to see the same in the transverse section that I will now show you.

[ 27 ] The small cupola, as connected with the great cupola. This cut through the centre from East to West. The whole Building has but one axis of symmetry and everything is arranged in accordance with that. That necessitates the structural thought being a living one, for the more highly evolved organism develops along a certain axis. Certain lower organic forms alone evolve from the centre; and we may take it, that as a result of the attempt that has been made here, certain more perfect forms of building than the centrally constructed (Zentralbauten) ones, will be developed, because a first beginning has been made to follow the principle of organic growth along an axis.

[ 28 ] Here you have the vestibule into which one enters through the door of the substructure; and this is the stairway by which one ascends to the terrace. You see that, forming part of and attached to the balustrade of the stairs is a remarkable structure. What this actually is can perhaps only be completely grasped by one who is able to look away from everything merely intellectual, in order to see only the artistic. When this form was about to be made, I said to myself: anyone going up these stairs must have some sort of halting-place, to bring about in him the right frame of mind. Now just look at these three directions of space. But it will not suffice to look at them, you must notice how they droop over and bulge out, how weighty they are, bending over with their own weight. If you take the whole form into your feeling, they will be to you,the expression of the mood which it would be desirable for you to have when you ascend these stairs. Anyone who goes up them will have a premonition that here, in this Goetheanum Building, he will find something which will give firmness, security and strength to his life, which will give him something to his balance. One ought to have that feeling here, for simply from that feeling did the form arise. I might say that besides this, one should feel that the form must be what it is, for although it is not slavishly copied from them, it does resemble the three semi-circular canals which form the small auditory bone of the human ear. If this organ of the human ear is injured a man falls, he loses his balance. It is an organ of balance in the human organism, a diminutive organ of balance.

[ 29 ] Now one cannot help feeling that there must be something here to help us to enter the Hall in a properly balanced frame of mind. This is no puzzled-out idea, it has been really felt. If one takes it as a thought-out thing, it will be his own fault, for it shows he has begun by reflecting and digging down and speculating. There should be no question of speculating or puzzling out, but of feeling the heavy pressure of the overhanging weight of feeling the form and in so doing, of arousing the mood that may come over one while mounting these stairs.

[ 30 ] Here is one of those vaulted arches which can only be understood by organic structural thinking. If you stand here in the Building and feel the Building, that is, feel how you come in or out there, and how you go up the stairs, meeting all the weighty pressure of the whole Building, you will then feel this curve is expressed exactly as it should be: while at the same time you will feel what the whole structure means. The attempt has here been made to give over to the organic the work that is generally done by columns or pillars. There is nothing in this but the feeling for form that comes when one intuitively feels the supporting strength, which this particular form must convey. If anyone is reminded of an elephant or a horse's hoof he may be so but, that only shows that he does not consider it from an artistic point of view, but merely an imitative one. What is important here is the being able to feel that weight has to be supported, while that which is to bear it grows into this form, develops into it, and that this arch could curve in any other direction but this. It is not a question of copying anything, but of trying to feel the weight-carrying, weight-bearing forces, and of moulding such forces as are able to bear weight.

[ 31 ] In the ordinary-structural-conception the geometrical-mechanical-dynamic weight-bearing and carrying, is the only feeling one has. But here in every surface and line should he expressed in the structures, the beginning of the feeling for life. If the things I have mentioned do away with all that is merely speculation, you will have understood the subject in the right way.

[ 32 ] To-morrow we will continue and pass from the outer to the inner architecture. I believe that when all that underlies the conception of our Building is made known to the world, and it is shown that here something really new in the way of artistic forms is growing out of the Anthroposophical conception, we shall be able to arouse a feeling for all that is being done not only in this line, but also in regard to the social question.

[ 1 ] Yesterday we considered the Building from the outside, from different aspects. To-day we will approach it from the inside and will try to bring before our mind the idea of the inside architecture. This idea of the inside architecture might be described something in this way. When one approaches the Building as it appears at present from the outside, the idea called up through the impression that one gets, is, that here is an enclosure that in a way is cut off from the rest of the world, and containing an idea in itself which has to be introduced into the present evolution of humanity; something that has a new element to be brought into the evolution of humanity. The outward forms point to this something that is new in the contemplation of the universe. They aim at a new style. If the Goetheanum had been built in the old style of architecture, it would not have been possible to receive this particular impression that I have to emphasise. This inner architecture is now to be shown in contrast to the outer.

[ 2 ] When we come from the terrace through the main entrance and step into the first Hall, turn round and then towards the West side, we see this picture. We have before our view that which shuts off the space above, the first two pillars to the left and the right. As we go a step further we see here the capital of the first column to the right and left, and above that the architrave. If you will notice that which is essential you will mark the progressive development in the configuration in the capitals of the columns as well as in the architrave over the capitals.

[ 3 ] Yesterday I told you that the chief thing about this Building is that everything is felt to be in its place by reason of an inner necessity, exactly as a limb of an organic body is felt to be in the place determined by an inner necessity of the organism. You can see that everything that is included within the Building is an attempt to express the idea which has inspired the Building, so that it does not appear as a habitation constructed with walls in which something arbitrary here and there is placed. No, everything included in the Building itself is in organic union with its spiritual idea, You can be sure when you look at the next picture (1A) that it is in vital in connection with the one that has gone before. This is the organ left (photographed as you see from the model) which will show that also here the organ is built in full harmony with the rest of the architecture, so that you have not the feeling that it has been added but that it is a part of the whole form, as if the organ had actually grown out of the architecture. That is the fundamental principle upon which the whole Building is carried out.

[ 4 ] In the next picture (31) you see the first pillar and I want to call your special attention to the way in which the motive of every pillar develops out of the one that has gone before in a living metamorphosis. In order to do this we must look at the next picture (32) where the second pillar develops out of the first and where also the architrave motive is transformed in a developing metamorphosis, every succeeding form springing after its own law from the form which precedes it. You see here how the second pillar develops itself out of the first—that is to say when you take the forms which reach up from below and those which reach down from above, and when you picture to yourself how each succeeding leaf of a plant issues through metamorphosis out of the foregoing leaf, then you will realise how the form of the second pillar develops out of the form of the first pillar. The whole of it is to be found in continuing metamorphosis.

[ 5 ] If you would really get an understanding of what is meant, then you will of course be wrong if you attach exaggerated importance to the nomenclature which as a matter of fact only—relates to exterior conditions.

The first pillar has been called Saturn, the second pillar Sun and so forth. Well, that is conceivable and that nomenclature is from a certain standpoint justifiable. But to abide by such nomenclature would of course be most inartistic. The essential thing is the relation of the second pillar to the first and the first to the second pillar. The essential thing is the change from one form into another for it is just in this change from one form into the other that the laws of world order are to be found, and ordain the change from Saturn formation into the Sun formation. I do not mean to say that these pillars are symbolic of Saturn and Sun, I simply mean that the law of change from Saturn to Sun is an inward law whose workings can be seen. This inner law whose workings can be seen has been expressed here in the sequence of the form.

We will now see the second pillar by itself.

In the next picture we show the second and third pillars together with their particular architraves.

[ 6 ] You see how in the first place the capitals are pictured in progressive metamorphosis and also how the architrave motif progresses, each form building itself up out, of the form that has gone before. Whenever you see a curve or a turn you must realise that this is not to be considered only as regards its own form but always in relation with the form that has gone before and that which is to come after. Through the entire development here neither a capital nor an architrave motif can be understood by itself. They exist as a sequence. They exist in their relationship one to the other. That is what we chew here. That is the truth which expresses the life element. Now we shall see the third pillar by itself.

[ 7 ] Now then, we will see the third and fourth pillars together with their architraves. We shall see as we continue that things become more and more complicated. That is in accordance with the nature of evolution. Evolution proceeds from the simple forms to the more complicated. You see here that the fourth motif is really very complicated in relation to the one that has gone before and especially the architrave motif is becoming more and more complicated.

We will now see the fourth pillar by itself.

[ 8 ] As I have said before this pillar and this motif must be seen in their relation to all the rest. That is the essential thing in all the ideas expressed in this Building. Whereas elsewhere one finds repetition, here one has a progressive evolution. This is really the essential new element that has been brought into the idea of this Building. Whereas elsewhere the dynamics of Geometry are put before us in repetition so that like balances like here one is concerned with the growth of the one out of the other. Look at them again - this pillar and the following one—together with their own architraves. Here we see how the moss complicated motif will be found in the capital of the 5th pillar and how the architrave motif becomes extremely complicated as it develops from the simple form which was there at the beginning to these very complicated forms.

We will now look at the 5th capital by itself.

[ 9 ] Perhaps the form of this capital suggests to you the staff of Mercury wound about with snakes but you must not regard it as though it stood by itself - you must look at it as though it were veritably a living metamorphosis from that which precedes it—as a composition that has not come into being as an isolated idea.

You will see if you once again change this form according to law and also according to the principle of progressive change the next form will develop out of this one.

We will now see this with the next once more and the contents of its capital. [ 10 ] You have only to notice how certain lines which wind themselves about this Mercury motifs branch out from one another, how the Mercury motif with its small top and its points directed downwards appears to be growing larger, and notice how that which you see there at the edge grows to meet what is underneath it and is united with the Mercury motif. Then you will understand how forms which are in living movement grow through and grow out of each other, and that the succeeding motive is developed from that which has gone before.

[ 11 ] But I must draw your attention to one thing. Just now when we have passed the middle point and we look at the next motive and compare it with the one that has gone before you might be inclined to say that this is more simple than the previous one. This is a point which must be quite clearly stated. If you follow the idea merely intellectually it may seem to you as if evolution consists in the fact that beginning from the most simple forms it proceeds to more and more complicated forms so that the last form will be a perfection of complexity. That is however not the case. A wholly false idea of evolution has come into being in modern times owing to this mistake. It is just when we follow the idea of evolution in Art asp I had to do in order to model these capitals and architraves one from another that VT identify ourselves with the real principle of evolution in nature and indeed in the world. You have then to model things after the pattern of evolution in the world and in nature, then you get an inner vision of what evolution really is. The marvellous and significant thing is that this trend at first is towards the more complicated forms but just about at the centre, just when you have what is most complicated, this trend is reversed. and turns again towards the simple.

Thus it has been shown in an artistic manner out of its own nature that when the most complicated stage has been achieved there come; a return to the simple and the complicated has to appear again in its most simple manifestations

[ 12 ] I should like very specially to explain to you this principle of evolution. Granted we had to follow the course of evolution through any form of metamorphosis we should say this here is a simple form (see drawing 1st form) Now we go a little further and see how a subsequent form can grow out of this one. Now let us understand how the following form grows out of this one. Here we have an illustration of the complicated which has grown out of the simple (the second form).

[ 13 ] The next still more complicated form could be moulded in this way (see 3rd form). Now you have the third form having grown out of the previous one. Follow the development further so that it becomes apparent to you what is organic and growing and in this way you will feel yourself forced from a certain point onward. Through this relationship (or connection) in which you come with the living principle of evolution you feel yourself forced onward to mould not something apparently more complicated but something like this (see drawing 4th form and the next you would feel obliged to mould in this way (see 3th form); that is if you are really immersed in that which in nature is the origin of the principle of evolution and the power of evolution. Then you would get a development which is really modelled from nature—that is, from the simple to the complicated, then again to the simple. [ 14 ] But this simple form which one now achieves has a certain quality It is indeed apparently simple but if you compare this simple form with the simplicity of the first form you will say to yourself “here is a simple roughly drawn line” (referring to the first one) “but here is a change” and one has the feeling that one can see in it what has gone before so that in a certain sense what has gone before is actually included in it and so you feel that out of the complicated comes the simple, in so far as this simple form builds itself up on a mysteriously complicated element (see the red line). So that the later evolution develops its simplicity out of the complicated.

[ 15 ] It is marvellous how if one traces evolution through Art we identify ourselves with what evolution really is in nature. You see how we are led in this way to something that I have often pointed out If we follow the principles of evolution merely intellectually, then it is easy to believe that humanity is the most perfect result in the development of the organic creation and that it is also the most complicated. This is not true. If we contemplate a human organ—say the eye—we find that the human eye as seen from outside is certainly not the most complicated eye. The eyes of certain lower organisms are much more complicated. They grow organs like the sword appendix; the fan of lower organic beings which if; like the continuation of the blood vessels in the eye.

In man these organs have apparently entirely disappeared and the human eye has returned to a simpler form, but simpler according to the principle of that which I have here shown in Art.

[ 16 ] Now as I have said, if one contemplates this simplicity which develops out of the complicated—one has the feeling that this. line has to be completed in thought (dotted line). Simplicity is created from concealed complexity. Simplicity is what is seen outwardly, that is actually to in nature. Man has no appendix in the eye, and apparently no fan but if one could add to the physical eye the etheric, then there should be added that which in the lower organic beings is developed physically. Just in the same way as (see drawing) I had to add, the dotted line here, just as I had to build up that which is externally visible on the foundation of this by the dotted line, so the human eye in its simplicity, in its physical; simplicity is formed out of a complicated etheric eye-formation: the apparently simple physical out of the complicated etheric.

[ 17 ] This is a proof to you that when we really grow into the inner form in the way that the metamorphosis of forms demands, we grow into the creative principle of nature herself. For then we understand for the first time how evolution progresses in nature, and here, dear friend; you can see how necessary it is in order to understand a certain inward power of development that we must learn to know nature not only in intellectual ideas but to grasp her forms with the imagination of the artist. This is the thing that you must realise as most important in every sense of the word. If one is to try in the way that science till now has done to get at nature with ideas and conceptions of an intellectual kind one will never grasp nature in her fullness of evolution. One will, only grasp nature in her fullness of evolution when one has built up in pictures and in imaginations what are otherwise intellectual ideas and so-called natural laws, for nature creates not in intellectual ideas but in pictures and in imaginations. [ 18 ] This is the main impression produced by our Building that it indicates to what kind, of representation we must progress if we would come to a satisfactory view of the world especially, in relation to the social future of mankind. The old world beliefs were developed from imaginations. You know the root of world beliefs is not to be found in intellectual ideas hut in pictures, in legends, in myths, and through pictures and images man sought to understand the forces which work in human life. And pictures and images were transformed into social impulses. All that originally came from the old pictures is to-day in a process of transformation and has to-day changed into intellectual conceptions; and intellectual conceptions cannot suffice for life. From this comes the present conception of the world with its dead element, with its destructive element containing within it the seed of death. And the conceptions of the world which appear new and young make nothing but sentimental and vogue claims.

[ 19 ] Nothing fruitful for the future can develop out of that which today appears in the form of social ideas. Anything fruitful for the future must be born out of an imaginative conception of the forces of growth. These must ever be comprehended in their actual inner reality by means of such simple forms. In this Building the principle that lives and works creatively in nature can be realised from within. It will be seen then from the moulding of isolated forms that so far as this Building is concerned you have before you that which you really need in order to build up a vies of the world and a social life for the future.

[ 20 ] It was of course a drawback that in the beginning the sectarian feelings of a great many people have given a false meaning to that which this building is meant to express, through over much symbolizing; and there have been people who consider it highly important that we should any that this is the Venus column, that the Saturn etc. These things that have a mystical flavour with which the mind can act a pretty play had to come to an end. In our time the task-of humanity is really something quite different from a mystical playing with ideas. And the main thing is that we deal with the clearest conceptions, and act with fullest consciousness—that is with that which transcends everyday consciousness—what I may call the super-consciousness, but which never descends to sub-consciousness. We must overcome all that pertains to day-dreaming, we must overcome all false and deadening mysticism. For higher than this mysticism, my dear friends, stands the everyday consciousness. For example while a raster Eckhardt or a John Tauler were in harmony with their particular time, to-day anyone who turned to this same consciousness which John Tauler or raster Eckhardt had would be entirely out of place in our world order. For the task of to-day is to get further, to awaken, not to go to sleep. There is much too pronounced an attitude among men for the pseudo-mystical, even among those who believe that they are on a better path But they only believe it. But there is still much too much of the idea that if we want to attain to spiritual truth, we can go to sleep a bit, we can dream a little, one can be a sentimental mystic. That is what is most injurious to the culture of our time. Instead of sinking from every-day consciousness into dreams we cannot sufficiently strive to climb out of the everyday consciousness to the more clear, to the super-consciousness.

[ 21 ] For this reason this Building precisely through its artistic side had to make certain claims. Men to-day when they are confronted with Art tend to become a little dreamy and where possible avoid thinking, which is so very exhausting, when we are following our everyday concerns, cooking or tending machines or planning architecture or anything of the kind, and we think we will rest a little when we are enjoying Art; we think we can sleep a little. This Building is not for that kind of sleeping consciousness. People with this kind of sleeping consciousness come into this Building and they say “we do not understand this.” We understand it in the moment we follow with the eye every turn, every curve—where we with the eye of the soul follow the physical eye—where we do not concern ourselves with all the rubbish about names, Saturn or or Sun, Mercury pillar etc.—where we follow the forms and see how one grows out of the other, how everything lives and interweaves, when we leave our false mysticism behind and really exert ourselves to follow these forms.

[ 22 ] We see that everything is not calculated to induce sleep but is for the purpose of awakening, for a shaking-up and not less for a becoming more aware than in ordinary life. This is the thing for instance, which pains me most. It is when I see again and again that people so love sleep even here in the Anthroposophical Society. They would like to pour out rest over everything and this is really the satisfaction of a selfish desire for sleep. Well, here the thing with which we are concerned is to become wider awake than we are in ordinary life. This Building can only be perceived in its Art form - in its inner artistic mobility when as we enter it we allow ourselves to be profoundly stirred and become more awake and aware than we are in everyday conditions. In ordinary life we sleep a great deal to-day, and it is from this sleep that our principle misfortunes come. [ 23 ] That is why every single form must be conceived actively. We must be able to set ourselves inside these forms and this Building is a living protest against all morbid mysticism. The worst of it is that even from well-intentioned people a certain mystical fog has spread itself around this Building through gossip and chatter, so that other people are able to repeat it: If only we could deal with the objections of our enemies with the reply that those who love this Building are concerned with supremely active life' But we must have a desire for this supremely active life. [ 24 ] We must seek here not soul-spiritual indulgence but soul-spiritual activity.

We must grow and not let ourselves be lulled in dreams. This is the thing which I specially wish to say with regard to this Building. If with the whole soul we actively identify ourselves with the living movement, with every single form which has been built into the whole, then we shall see that while this Building gives the impression from the outside, “here within is something which wants to reveal itself to the world,” in the moment when we enter it the forms will so work that the walls themselves in a certain sense will disappear. That is a new thing, viz, the way in which walls have been conceived in regard to this Building. Up to the present time, walls have always been built in such a way that they form an enclosure. The Art principle in these walls is that they roll themselves up so that we have the feeling the walls do not enclose us, the pillars do not stand there in order to define a limit. But the thing that is expressed in the pillars, the thing that is expressed in the walls break through the walls and leads us into living touch with the whole universe.

The Building is shaped out of the universe. Just as the world itself in its living interweaving life, in its spheric harmony, so is this building intended. That is the thing we aspire to in our eurhythmics. Not to allow that kind of sleep to enter into our eurhythmic forms but that a greater awareness shall take place in the action of eurhythmics than takes place in ordinary life, which we never could express in ordinary life. The performer of Eurhythmics should not be overcome in the struggle he has to wage continually against sleepiness in life.

[ 25 ] We will now continue further with the pictures. This is then the pillar by itself in which you can see how when man comes to this perfection he comes outwardly to the perfection of simplicity.

[ 26 ] Now here you see the last two pillars with their architraves. Everything has become simple although it has arrived at perfection. You see the marvellous thing about this is that through the harmony between nature and creative Art other harmonies now manifest themselves that have not been noticed before. If you take the capital of the first pillar you can place that which was convex into the concave form of the last pillar and vice versa. This was not intentional. This is something which has been born out of itself. The convexity of the first Pillar fit into the concavity of the seventh. The convexity of the third pillar in the concavity of the fifth, and the centre pillar with its capital stands quite independently alone. These are things which are born, just as in nature certain realities are born in progressive metamorphosis which do not need to be foreseen at all but seem like a kind of crux of the experiment which one discovers only at last when one has been creating in the same way as nature herself creates.

Here you see also the most perfect, and apparently also the most simple pillar of all.

[ 27 ] We will now let the seven pillars follow one after another so that we can see how one forms. as a metamorphosis emerges out of the other form—from the simple, the imperfect to the most complicated middle one, then back again to the most simple and the most perfect.

[ 28 ] The first pillar. You have only to imagine the principle of growth transforming this pillar and you will get the next, the second pillar, then the third, the fourth, the fifth, the sixth and then the last.

[ 29 ] Now for the next picture. Here you see the last pillar and the point where the great cupola impinges upon the small cupola. So that you have a glimpse here of the meeting point of the two cupolas, where the architrave of the big cupola impinges upon the architrave of the small cupola, only separated by the aperture in which.the curtain will drop. The little cupola is supported in the same way with pillars and architraves of which I can show you only a little. We have not been able to get good photographs of the others, but this juncture we shall see again in the next picture.

We see here another aspect of this juncture where one cupola impinges on the other.

Here we have another aspect of the pillars and architraves of the little cupola. And now you will see a bit of that part which represents an architrave space to the East in the middle of the small cupola.

[ 30 ] You see a bit of what is in the middle; beneath that will be the sculptured group of the Representative of Humanity with Ahriman and Lucifer in the vicinity. Above is the picture of the same.

[ 31 ] When you observe carefully this bit in the small cupola of which only a small portion is shown, you will see that in the forms of this architrave is included—as in a synthesis—everything that is shown in forms on the capitals and the architraves of the small cupola. This is here a comprehensive expression of all that has been expressed in the capitals and architraves of the small cupola. Here is to be found everything repeated again—of course transformed to accord with the place in which it is found. You will find when you compare that which confronts you in the form of the sculptural group showing the Representative of Humanity, Lucifer and Ahriman with all the different curves and forms and surfaces which are found on the capitals and architraves, contains in itself the whole Building in a certain sense. So that this sculptured central group might be conceived of as the synthetic epitome of the whole Building. Just as for example the human head is a repetition of all the rest of the organism, or, if you like it better, the human larynx and its neighbouring organs is an organic repetition of the whole man. Only that everything is put together in its own place out of an inner organic necessity. In the same way this Building must be grasped as a whole for the parts do not exist alone but each must be considered as a part of the whole.

[ 32 ] I want to draw your attention to the way in which this idea with regard to walls is apparent in a still more material way in the glass windows, the reproductions of which I cannot show you here. The glass windows are only works of art when the light of the sun is shining through them. At other times they are only like a musical score. Thus you will see that. these glass windows (about which I shall speak more fully later on but which I cannot show you now) are in themselves an evidence that the building does not stand as a thing by itself but that the light of the sun is imagined as unity with it. And now in the same way everything connected with the form of this Building is imagined as being in unity with the creative powers of the whole universe The Building itself may be likened to a bit of the whole universe.

[ 33 ] The next picture. This gives you the portal of our glass house underneath. You can observe once more how the effect has been made in everything which belongs to the Building to express in every form of truth that I have again and again pointed out. This glass house (and I have called it a glass house because it was originally built in order that the glass windows might be fashioned there) has also two cupolas. It is indeed a metamorphosis of the great cupola of the main Building.

You have to imagine that the two cupolas of equal size are pulled apart, for you could not unite two equally large cupolas in the same way as you can unite a large one and a small one. It would he against the laws of nature. In order to bring the cupolas together as they are brought together in the main building they must be made of different sizes, the one large and the other small. If they are the same size they must be drawn apart and everything else must be adapted in the same way.

You will see in the formation of the steps, how, in every case each individual line in its own place is the outcome of a law of necessity, and how a part is in every case an expression of the whole.

[ 34 ] Now here you,see that which is to many people a monstrosity. It is the. house which is to contain the apparatus for the lighting and heating. If you were to ask me upon what principle this building is designed, I can only say it is fashioned in accordance with the creative principle of nature. It is formed in a way which, as you will see if you look into it, may be compared, for instance, with the way in which the nut shell correspond: to the kernel of the nut. It is true, is it not, that the kernel of the nut has a certain form? The shell of the nut fits itself exactly to the kernel of the nut. The shell cannot be different so long as the kernel has a determinate form which is the effect of quite a different cause. In designing such a building as we have here we have to consider carefully every detail it contains. What purpose does everything serve that is contained herein? For this is a building whose purpose is pure utility. One has to get a conception of what is here contained and of what purpose it serves—that is the nut. Afterwards one has to consider how to build the corresponding shell of this nut. To the “nut” itself belongs the smoke which escapes, this building is only complete when the smoke is rising. It is only a work of art if this chimney really fulfils its purpose. Then only will one see the necessity of these projections. We shall not look at theM as they were leaves of a plane or anything of that sort, but we shall feel ourselves into the shape and then we experience how this shrine is bound by an inner law of necessity to the crake. As the smoke is linked in organic connection with the building and also that which is happening inside the building, so in the same way we shall realise these globes. Imagine what would be there if we had not attempted to create this form. [ 35 ]I will of course admit that we shall be able to carry out these ideas in a more complete way, but a beginning must be made and everything that follows can become more and more perfect. The beginning must be made, first, to demonstrate that a building which is designed for utility must follow some such inner creative principles. Secondly, it must be built with regard to the adaptability of the most modern material: concrete. For every material demands its definite laws of building. When we build in a certain material we have to observe certain quite definite principles, that are bound up with the very nature of the material. The conception of building must give expression to the idea of utility and also to the demands of the particular material.

[ 36 ] You see it is not to be wondered at that these things which are all more or less new are repudiated by many people. Those who are not familiar with these ideas will not easily follow what I mean. But it becomes easier and easier as time goes on. Every idea that has come into the world in this way has experienced at the outset strongest opposition. But we must always take into account that it is exactly with regard to the things that are at present working that we must not sleep. It is also necessary that we make a certain energetic stand for the essential. We shall not succeed for a long time to come with out the energetic stand even if there are only few people who can follow the things with really inner understanding, for you see how things are. We shall take the opportunity tomorrow when we are speaking of the paintings in the cupola, to speak more of many things about, around and in the Building.

I have already said that you can see from all that with which we have been dealing how far this building represents that for which our anthroposophical ideas stand, and how every detail is born out of the way in which we look at the universe. If that could be brought into the world in the same thoroughness, we should have achieved something. For you see my dear friends, it is impossible for us to succeed to-day with these conceptions with which in past years we thought we should be successful.

[ 37 ] I gave you an example a week ago of the unsavoury lying methods which are being used. Why do they use such lying methods? I assure you that this is only the beginning of opposition. There is going to be lying on a much bigger scale. But I can show you how these lies are being systematically spread and the very lies that people are spreading, themselves, they use as further evidence. This systematic campaign will continue. I know there are many people in our Society who will not believe how low is the condition of morality in the world to-day, but it is necessary that we should not blind ourselves to these things. [ 38 ] But we must realise two things. First the intensity of the campaign comes from the fact that people feel, here is reality, they will not let it evolve. If it was a matter of programmes, as has been so much the case in the past, the people would not take so much trouble to slander us. But people will take the trouble to slander what is born of real force. For because they feel that they are face to face with the future they will slander and they will lie. But it is not a matter of convincing liars of the truth; they will not be convinced; they do not want to hear the truth. The thing is to go to the people who are not yet lying and put things before them in the right way. Those who think that they can counter with arguments and proofs that which the Catholic Church is now spreading abroad against us do us very bad service. For to those who are spreading these slanders it is not a question of this or that truth—it is a question of turning minds against us. And if we were confront them with the truth it would be a matter of complete indifference to them, they would only lie the more. But we have to see through it, dear friends, and then adjust ourselves to the position. It is not a question of convincing those who lie but it is a question of showing to the world that is still uncorrupted, in what way these slanders and falsehoods are spread. [ 39 ] I am more and more astonished (and I have to repeat this very often) that:the pernicious tendency shows itself even within our own Society to occupy ourselves with those who slander and lie and to endeavour to meet them directly, while our real task is to explain to the world what kind of human beings these people are. If we are not able to see right through this thing, dear friends, we shall not get very far because it is incumbent upon us, especially those who live here in the vicinity of this building to become objective and to develop interest in the great objective universe, holding ourselves above cliques and personal feelings, and all these commonplace puerilities. If we cannot become objective in relation to this building and what it stands for, then the movement will really not be able to get very far forward. We must subdue the purely personal; we must be able to put ourselves into the big interests of the world. And in everyone of its particular forms this building is a demand upon us that we shall escape from the, narrow personal points of view and rise to the great interests of the world. [ 40 ] For every single form as a matter of fact expresses what is necessary to humanity for the future.

Look at the abuse which is all around in the world. Do you find anything really pertinent to our cause? It is because people cannot find anything against our cause that they become personal. It is for this reason that they try to bring about the destruction of the ideas of this Movement by personal slander. It would be a sad thing if we were not able to look at these things properly and become aware of the things that are going on around us.

[ 41 ] To-morrow we will consider the pictures in the Cupola.

[ 1 ] Passing on to-day to the paintings in the smaller dome, it has not been possible to make lantern slides from the photographs of the paintings of the larger dome—as we pass on to the paintings in the smaller dome, I am indeed in a peculiar position, and everyone will be in this position who wishes to present an idea from these copies of what is meant by the paintings of the dome, to the wider public who has not first seen them here. The attempt has been made in accordance with that artistic point of view referred to, in my Mystery Play The Portal of Initiation, to evolve form in the painting entirely out of colour, so that, as regards the painting of the smaller dome, as far as possible, the influence of this point of view is actually felt—even then of course everything is only at the initial stages. [ 2 ] To allow form to appear as the creation of colour is that which is aimed at here. If we follow the history of painting we see that this fundamental principle to draw forth all that is pictorial from colour, can really only be at the very beginning of its development. Men tried in the art of painting because it offers the special temptation—this was even so in the most brilliant period—to express some naturalistic theme in reproduction. Even though it must be admitted—and who would not willingly admit, in reference to the production of Raphael, Leonardo, Michael Angelo and others?—that the greatest heights of pictorial art have been reached in striving for expression in this way, and it must be admitted that the whole modern cosmic conception which is unspiritual can scarcely do otherwise than somehow strive for expression, yet the time has come when a spiritualization of our cosmic conception must be sought; another principle, another way of artistic thinking, especially in the art of painting must make itself felt. [ 3 ] This artistic feeling certainly will only be admitted by him who has a presentiment that in this world each element represents a creative whole. If we have a right sense for the world of colour we find something truly world-creative in colour. Anyone able to sink himself into the world of colour is able to soar up to the feeling, that from this mysterious world of colour a world of beings spring up, that the colour itself through its own inherent forces will develop into a world of beings. I might say: as we see the growing man in embryo in the little child, so can we see a world of beings in embryo if we have a right sense for the world of colour.

[ 4 ] Certainly it does not mean that we should have merely a feeling for the single colour; the single colour, as a rule, establishes only a relationship between man and colour as such. To see blue means to feel an intense desire, longing, to go out into the space in which the colour is manifesting, to follow the colour; to look at red calls forth a feeling of being attacked, as if one had to defend oneself against something, and so on with the other colours. Colours have also a certain relation with that which can be formed in colour, if we are able to draw the form out of the colour. Blue, for instance will always help if we wish to express movement, red will always help if we wish to express physiognomy. But what I mean has to do much less with single colours at with what the colours have to say to one another, whet red has to say to blue, green to blue, green to red, orange to lilac, etc. In this exchange, I might say, of speech, and exchange of activity between the colours, an entirely new world would come to expression. And we do not fully perceive this interchange of speech and interplay of: colours, if me are not. able to perceive colours as ocean-waves rising and falling, and at the same to perceive, playing upon the waves of colour, coming into life from the colour-waves, the elemental beings which develop their forms of themselves out from the colour-waves.

[ 5 ] Thus the attempt has been made to show in painting the secret of how to create out of the very nature of colour. For a greater part of that which is living, which we look out on, is born wholly out of the creative colour-world. As our vegetation has sprung forth from the ocean, so that which is living grows out of the colour-world.

[ 6 ] I might say, it is always pitiful to see how those who are possessed of artistic feeling truly feel that the old forms of art are bankrupt, that they can go no further, and how in spite of this the world is not willing to respond to the impulse which can only be explained through the anthroposophical interpretation of the world. Certainly this anthroposophical interpretation of the world must be something more than a mere intellectual idealistic set of ideas. It must be an intuitive perception. We must be able to think in colours, in forms, just as we think in ideas and thoughts. We must be able to live in colours, in forms. [ 7 ] If our Building is to be what it is intended to be, it must in a certain sense, bring to expression, as in one living being, the spiritual, the psychic and the physical. The spiritual is essentially brought to expression in the forms of the pillars, the architrave and the capitals, etc. In these is reflected the spirit, out of itself creating form. The psychic finds its manifestation, for example, in the glass-windows. In this interplay of the external light with the engraving on the coloured sheets of glass may be dimly apprehended by the play of the psychic, and the physical, that shows itself in its own configuration if one has the right-vision for what is painted in the domes. The paintings in the domes express to a certain extent the physical substantiality. It is, of course, the case that in the arrangement of the Building, which strives to give an understanding of the world to come extent, there is a reversed order, as compared with the ordinary comprehension of the three world principles. This follows naturally in contrast to what one generally imagines, i.e. the spiritual above, the physical below. In that which should develop in the human soul as force of inspiration through the whole artistic structure of the Building there must be a reversed relationship.

[ 8 ] But this very creation from colours is of course just what I cannot show you in lantern slides, and therefore with lantern slides we do not get what is really essentially purposed in the painting in the domes. We get as it were inartistic ideas, effects of what is intended to he artistic. But of course that cannot be helped, and it is to be hoped that those who see these lantern slides of colour-pictures will regard there pictures as it were as crying out for something else, as not really giving expression to that which is intended. If we take them in the right way we must say, as regards these lantern slides of colour-pictures somewhat as follows: “What is really in these pictures, really wishes to speak to us in a totally different language”, and then we shall be led to see the Building itself in the original conception of it. And out of the contemplation of these lantern slides, this will be a longing that will then arise in him who has artistic perception. Hence I do not think it quite superfluous to produce even these lantern slides.

[ 9 ] We start from here in the small dome, where as a beginning there is, on the surface of the walls, a kind of flying child, immediately at the junction of the large and small domes. You see this flying child, which in its composition belongs to what follows on here on your left. The composition is of course entirely derived from the colour; yet it also forms an element in the configuration of the small dome. You understand the whole figure of this child here if you keep in mind the two adjacent forms.

We will now put on the next picture.

[ 10 ] You see here as it were a figure of Faust. Here we are in the riddle Ages, just at the time when our fifth post-Atlantean age begins and here you find the only word written in letters, the Ich or I or Ego. In the whole Building you find nothing anywhere expressed in written letters. The intellectual method of representing a word, of this foundation word I or Ego, has so far its justification here, in that, with the commencement of the fifth post-Atlantean civilisation that in which ourselves stand—in the 15th century, developing further into the time of Faust, in the 16th century, that which was invisible appeared, that which expressed by mere symbols, by what had detached itself from Reality. That which lay at the bottom of the real ego-being of man was not grasped. In the universal spiritual evolution of humanity no image of the ego had been evolved. For, when man said “I” he had only an abstract idea in his mind. This is therefore the justification for introducing a wholly unreal representation of the ego through letters. And it falls into place naturally by the side of the Faust-figure. [ 11 ] Do not, I beg you, attach any special value to my expression Faust-figure. The main thing is that in the whole composition this figure expresses what the spirit of the age in that very epoch produces in the seeking man. You see it brought to expression especially in the eye, in the countenance, in the attitude of the hand, you see it expressed in the whole gesture of the figure. That we are reminded of Faust is what one might say—purely arbitrary. It is the man who in the fifth our post-Atlantean age actually seeks, which is the characteristic of our age. Of the real fundamental character of this seeking few men as yet are conscious. Since the 15th century we have evolved ever more a sort of philosophy of death, which is no longer capable of grappling with life. [ 12 ] This is the result of the whole training which humanity had to pass through at the beginning of the fifth post-Atlantean period. During this period humanity has to develop the inner force of freedom. self-consciousness. Humanity can only do this by breaking adrift from nature. But to break adrift from nature means to identify oneself with the forces which in perceiving, alone understand death, recognise what is dead. All our ideas, all concepts which are the actual concepts of civilisation lead to death, are concerned with what is dead. And he who to-day is not himself dead, as most learned men are in soul, he who to-day is not himself dead as regards his seeking, finds in the seeking of these principles an incentive to what makes man free but is at the same time, I might say, the abyss or the dead. He has constantly the feeling: Thou makest thyself indeed free, but in so doing thou comest into proximity with death. Thus Death had to be brought into proximity with the Faust-figure.

[ 13 ] This is below. Hero you see the seeking man, who to-day is under the impress, under the feeling of death, death which always accompanies the most important ideals in the search for knowledge. It would be unbearable to a feeling soul to have a sort of Faust-figure above and below to have death, and no counterpart in the composition. Therefore, before we come to this composition of Faust and Death, we have this flying child, which to some extent represents the contrast to the feeling of Death. Thus a Trinity is to be understood: Death, the Seeking Man and the young Child full of life. With this is painted in the small dome what may be presented as the Initiation of the fifth post-Atlantean time. The Initiation-wisdom of the fifth-post Atlantean time is not to be won without one's having as it were full consciousness of the significance of Death, not only in human life, but in the life of the whole world as well. We possess indeed our powers of thinking because we continually bear the forces of death in our head. Were these forces which are active in our head for the purpose of thinking to penetrate our whole organism we should not be able to live, we should continually die. We only live because the tendency in our head to death is continually balanced by the tendency to life in the rest of our organism. That is, I may say briefly and lightly expressed in the abstract, the law of our time. [ 14 ] When I tell you this, I can understand that it does not penetrate specially deeply into your hearts, into your souls. To have experienced, signifies something fearful; to have experienced that impulse which in every effort for knowledge says: What thou canst acquire as knowledge at the present time, thou owest to Death which penetrates more and more into the earth-life. What really must enter into the earth-life of humanity will only enter when this initiation-principle, now at the very beginning of its growth—the power of Death!—extends further and further and engenders the vital longing of the newer future humanity for the compensating spirit, for a youth who is already Jupiter, which is no longer earth-youth, which is already the youth of the next planetary embodiment of the earth.

[ 15 ] We now go back to what can-be pictorially represented of the fourth post-Atlantean (the Graeco-Latin) period of civilisation. A sort of form is given here in the paintings of the small dome, which in its whole configuration - you will particularly feel this when you look at the colouring of this figure in the small dome—which, in its whole configuration, in its whole nature, portrays the shining-in of the spiritual world into humanity during the fourth post-Atlantean period, as it was to be at that time. Above this figure you find those who gave the inspiration, of which I have not been able to obtain lantern slides from the photographs. You always find those who inspire, over the corresponding figures, only in the case of the fifth post-Atlantean period of civilisation, Death itself, appears from below and approaching man above is the real Being which inspires.

[ 16 ] Here you see above a kind of God, an Apollo-like form, as the inspirer. That which, through inspiration, is able to enter a human form of the fourth post-Atlantean period of civilisation comes into this figure. Thus you see the actual human history of the inner soul-development is painted in the small dome. Of course you must give up asking inartistic questions. When an artist paints a form on the wall, there is nothing in his soul that,can meet such a question as: What does this or that mean? The inartistic man will stand before this figure and say: What do there two or three heads mean on the left of the principal figure? That it not the question of an artist; it is the question which he who paints it will least of all be willing to answer, because for him visions have to form pictorially, they simply appear in space as forms in a vision. He perceives nothing whatever with which to meet the question: What does that mean?—but he feels a necessity from the creative cosmic forces to place a form, which is inspired just like this one, in the neighbourhood of that which has already been-represented in human form.

[ 17 ] I spoke of the creative forces themselves inherent in the colour-world. At the present time, if one sees any painting, one always has the image in one's mind. This is just what must be overcome. There are many more elementary impressions which must possess the artistic soul. (I will explain more clearly in detail what I have to say). Suppose I simply make a smudge of colour, a yellow smudge, and add to it a blue smudge (see illustration). He who perceives colour as something actually living cannot experience other than, when he so perceives a colour in this way, a yellow smudge with a blue border, to see a head in profile.

[ 18 ] This follows of itself for him who carries the life of colour within him. Just two smudges of colour are, to him who possesses the creative idea of colour, that which at the came time leads to the experience of its essence. But anyone cannot, let us say, paint a face according to colour in such a way that he can say: I have seen a face, or indeed, have a model, and after this model I have formed a face, and it resembles it. Not in this way will painting be done in the future, but colour will be experienced, and the artist will turn away from everything naturalistic, from all copying, and from the colour itself that will be drawn out which already lies in it and which must necessarily be drawn out, if one has a living feeling with the life of colour itself.

[ 19 ] Here you find a combination of what you have seen singly before: here above, the Flying Child, this Figure of the 16th century, below Death, the remainder less distinct. You see here above, the one inspiring, you can recognise him the higher inspirer of the figure you have just seen on this sheet but which is here very indistinct. It is, of course, difficult to reproduce in this rough way of colourless pictures things which have really only been lightly breathed into the colours on the walls. Such can only be understood, I might say, as a description of what is actually intended.

[ 20 ] Here you see the inspiring figures of the third post-Atlantean (the Egyptians) period of civilisation, those which inspire from the spiritual world that figure which will now appear in the next picture.

We have here, inspired by the previous figures, the Initiates of the third post-Atlantean period of civilisation.

[ 21 ] Thus in the small dome the actual psychic evolution of humanity is painted, certainly not according to historical time, that you will see at once, but in an inner way. For now we are not going back simply to the earlier second post-Atlantean period of civilisation, but we are going back indeed to the Persian principle of Initiation, which also had developed out of the primeval Persian principle of Initiation, and is the Germanic principle of Initiation.

So when we pass on to the next picture we have the Germanic principle of Initiation. This Germanic-Persian principle of Initiation is founded on a dualism, and everything depends on the understanding of the fact that the initiation of of the period of civilisation which took its rise in the primeval Persian period, continued its development in the Goethean period of civilisation. It spread geographically from Asia Minor, across the Black Sea northwards into Europe, and this Initiation-stream reaches its fulfilment in recognising the principle of man's effort to seek the balance between Lucifer, whom you see on the right, and Ahriman on the left. The essential point is that we understand that this current of civilisation crust derive all force in the finding of the condition of equilibrium between the Luciferic and the Ahrimanic. And an attempt has been made, in this very figure, which is inspired by the Ahrimanic-Luciferic principle itself, by that which you see here on the right as Luciferic, and here on the left as Ahrimanic, to show in the attitude, in the whole physiognomy, that spirituality that must result from the realisation of this dualism, the Luciferic and the Ahrimanic, between which man has to find the balance.

[ 22 ] The fact that you see here the child as it were held up by the Initiate, for this there is no good foundation. For what flows into man through the inspiration of the dual principle, could not be endured, it would kill him inwardly, if he had not always the vision of youth, of the child. When you see this in the dome, you will observe that an earnest attempt has been made to draw out of the colours just what is meant here. An attempt has been made to draw out of the colours even the contrast between what is Luciferic and what is Ahrimanic. Only you must not analyse minutely, but seek what is essential in the artistic perception.

[ 23 ] Picture 8: Here you see Ahriman presented. There are not two Ahrimans, but Ahriman and his shadow. That is to say, Ahriman does not go about without his constant shadow accompanying him. Ahriman himself would be a much too freezing, too drying-up a principle of he appeared for instance in his full nature. It is most necessary to have near him his shadow which qualifies his freezing influence. If you study the colours in the small dome, you will see that in this particular shade of colour, the brownish-green, an attempt has been made to expr ess the freezing effect of Ahriman; an attempt has been made to bring everything out of the colour.

[ 24 ] Here you see the Lucifer-theme. You will only understand the Luciferic and Ahrimanic principles fully if you see them in connection. If you simply look at Ahriman alone and Lucifer alone you will really understand neither; only when you have them side by side, because really Ahriman and Lucifer create and work in such a way in the universe that always whatever the one accomplishes is taken and made use of by the other, and vice versa. Thus their figures can only be rightly understood if one sees them in their living relationship to each other.

The inspiration that come from these will be shown in the next picture.

[ 25 ] I had hoped to express in this countenance with its adequate colour what is possible to express in a figure standing under the influence of this dual principle. It is the need,of inner stability, and at the same time self-possession in temperament, in character and the joyous inclination towards that which is young and childlike, in order to bear all that which one experiences under the actual inspiring influence of the dual principle.

Here we have the same again in another aspect.

[ 26 ] Here you see that into which our Period of civilisation will resolve itself. This picture is to be found nearer to the central Group, that of the representative of Humanity with Ahriman and Lucifer We have attempted to represent what had to be shown here as an Initiate, i.e. such a man who could embody the spiritual revelation of the coming 6th post-Atlantean period of civilisation, even now in advance, and we have attempted to represent such an Initiate through the medium of form and colour. For this reason we had to picture not a Russian of to-day: but that which is to be seen to a certain extent in every Russian to-day. every such Russian has his own shadow continually as his companion. He has always his second self who accompanies him, and that is what is here expressed.

[ 27 ] But you must realise that that which is here inspiring him is more spiritual compared with the earlier source of inspiration. Hence this angel-like form which here appears in its whole outline growing out of the blue. You will see more clearly in the next picture the kind of centaur-figure which is essentially necessary to the inspiring Being. You see, this inspiration leads at the same time out into the starry world. We recognise again man in his connection with that in the Cosmos which is external to the earth. But the Being which inspires is no longer to be conceived of in human likeness. In our attempt to show form we come to figures which are no longer human-like which have certain qualities of form which recall the qualities and temperament of man but are no longer human as such.

[ 28 ] Here is this inspiring figure which is a figure of the Cosmos and at the same time in connection with that which still tends towards the human, but is an angel-like Being born wholly out of the colour of the clouds. This is what we see as the colour Inspirer.

The same Being; only there is more to see; the Initiates are here to be seen. Of course the whole effect lies in the colour composition, which, naturally, is here wholly lacking.

[ 29 ] Here we see the upper portion of the Central Group. The middle figure shows the Representative of Humanity, above it, Lucifer.

The middle figure is represented in the painting—under it the Group which is the Chief Group stands—is here represented in painting where the space is small, so as to represent the Luciferic and Ahrimanic principles in one figure only; while, in the plastic Group, on account of the weight, on account of the proportions of the space they are given in double form.

This figure is only to be understood through the colours, through the Red colour out of which it is chiefly composed together with some other shades of colour. And here we are shown how man is seeking the state of equilibrium between that which is Luciferic and that which is Ahrimanic. This search for the state of balance is to certain extent to be found in man as much physically and physiologically as also in his soul and spirit.

[ 30 ] From a physiological, from a physical point of view, man is not that simple growing being that he is often represented to be in superficial science. an inclines continually on the one hand towards ossification, and on the other hand towards .a softening gelatinous condition.

The tendency in a man towards softening, which arises when the blood gains the upper hand, comes from Luciferic influences. Where the Luciferic influence tends to gain the upper hand physiologically in the human being, where feverish phenomena appears physiologically in man as actual formative principles, the Luciferic influence is predominant. As a result, the human form approximates more and more to this form. Man had this form during the ancient-moon period. In other words: if that principle which is specially the principle of growth in heart and lungs were alone to rule the human being, man would preserve such a form. Only through the fact that the Ahrimanic principle is found at the opposite pole to the Luciferic, the physiological state of equilibrium is maintained between that which the blood brings about and that which is produced by the ossifying tendency. This is the case viewed physiologically, from the point of view of the physical body.

[ 31 ] From the point of view of the soul one may say: man is continually on the search for the state of balance between excessive enthusiasm, which is Luciferic, and that which is prosaic, materialistic, abstract, which is Ahrimanic. From the point of view of the spirit: man is continually seeking the balance between theca conditions of consciousness which are specially permeated with Light where the consciousness is awakened through the irradiation, through the illumination of the soul; through the Luciferic. And the opposite pole is that through which weight, gravity, electricity, magnetism, in short, all that which holds one down, bring about the consciousness of self, the attainment of consciousness: all this is Ahrimanic. Man is always seeking the balance between these two conditions, and we may observe how that all that man can make man more conscious, that can bring him away, from the middle.path always inclines either to the one side or the other, the Luciferic or Ahrimanic. It would be of immense importance even for the study of human physical organism, if we discarded the merely theoretical principle of growth, that of the One principle, and took into consideration that polarically-opposed impulses of growth are present in man as if interwoven, intermingled with each other. The other impulse of growth is Ahrimanic.

[ 32 ] Picture 17: Here is the exact opposite. In every shape, in every line you will see the exact opposite of Lucifer, in this Ahriman, who as it were grows out of the masses of rock, i.e. out of the solid conditions of the earth. His aim is to approach man and so lay hold of him with his force of gravity, (his solidity) that at the same time he slays him with ossification or presses him to death in barren materialism. This is what is expressed in this figure of Ahriman. He appears as if slain by light, hence the rays of which bind him wit) cords so that he is fettered by them. In between we have man - man himself.

[ 33 ] The real man, who represents the condition of equilibrium, under him Ahriman, above him Lucifer.

I expressly draw your attention to this, that here again it is not essential to aim at the visionary conception of the Christ. The essential is that we feel what is here presented in this figure. Then we shall arrive ourselves, through the art representation, to the Christ. That is, we shall discover the central being of all earth's existence, the Christ, when we experience that which is to be felt in this form. The Christ may to-day discovered purely spiritually. But we must rightly understand man and rightly perceive him.

[ 34 ] On the other hand it may be said: he who to-day understands and smypathises with that which man can suffer, with that which he can enjoy, he who fully realises how man can go astray or raise himself towards one side or the other, he who is striving after a real self-knowledge, if he only goes far enough along the road of feeling, perception and will, he will discover the Christ. And he will then be able to find again in the Gospels, in all historical documents, the Christ he has discovered. We cannot to-day really attain to true knowledge of man without attaining to the knowledge of the Christ.

[ 35 ] Even along physiological, biological lines if we rightly conceive of man in his physical form we shall come to the understanding of the Christ. It is just the task of the fifth post-Atlantean time to attain more and more to this understanding of the Christ. Hence there could not be a visionary Christ-figure, concerning which one merely enquired its significance, in the central point of our Building, but the Representative of Humanity, in which the Christ to a certain extent appears in his essence. This is what I would beg you always to consider concerning these things; not to start out from the prosaic intellectual, but from the symbolic, not from the visionary to set out from that which is really there on the wall, not from that which may be imagined about it. That which should fill our thought should come forth from that which is on the wall itself.

[ 36 ] Of course that which is on the wall is only imperfectly executed, but every beginning must be imperfect; even the gothic architecture, when it first appeared was imperfect. The perfect will undoubtedly follow out of that which has here been attempted. This is not to say that earnest effort has not been made to find the true Representative of, Humanity by every means of the art of occult investigation. You see, that figure of Christ which is the traditional one arose only in the 6th century after Christ. For myself, I only give this out as a fact, but do not require from anyone that he accept it as a dogma of belief, for myself I am quite clear on the point, it is for me a fact, that the Christ Jesus who walked in Palestine had this countenance, which you may see on the carved figure. And the attempt has only been made to represent in the expressive gesture that which one sees more when the etheric body is observed than when one observes the physical body. Hence also, the strongly-marked asymmetry which we have dared to portray. This asymmetry is present in every human countenance, naturally not in this strength, but the human countenance is thus indeed, especially as at present man wears in many respects an untrue mask. When humanity will have reached a certain spiritualisation in the 6th and specially the 7th post-Atlantean period where physical man will no longer live on the earth, then man will wear his true countenance, i.e. will express in his countenance what he is really worth within.

[ 37 ] But all this—I should like to point out—is very difficult for the paint-brush or chisel to represent in the painting and sculpture and that which we have attempted to express as the Representative of Humanity. As imperfect as these things may be, he who studies them will find that the secrets, the mysteries of human evolution are actually sainted in this little cupola. He will certainly find that which is meant to be expressed., may be experienced from out of the colour, and that these pictures can only indicate to you what you are capable of feeling, when, on receiving the information which I have given you to-day, you expect nothing symbolic, nothing about which man can enquire the meaning, but when you—rather, with the information I have given you to-day, seek to feel that which is painted into this little cupola.

[ 38 ] Picture 19: Now I want to show the other view of the heating-house. Yesterday I showed the front view, and you see that this heating-house is thought out as a whole, so that its side-view to a certain extent stands full in harmony with the whole, as I yesterday, through the comparison with the nutshell, explained to you.

[ 39 ] I have tried to give you to-day what we have up to the present in pictures. I should like to say that the actual attempt has been made with this Building to make the conception of the Building as far as possible a unity. For example, you see the Building covered over with Norwegian slate. Once when I was travelling on a lecture tour from Christiania to Bergen, I saw on the mountain slopes the wonderful slate-quarries of the neighbourhood of Voss, and the thought came to me that our Building must be covered with this slate. You will find, if you strike a favourable day, and desire to see the thing, that the particular blue-grey glistening of the dome—the covering of this slate—in the sun, makes an impression which is suited to the Building in its dignity.

[ 40 ] This is what I am able to say concerning the Building, in reference to these pictures. I wanted.to make this Building comprehensible to our friends who are willing to undertake the,risk of making it known to and understood by those to whom the Goetheanum in Dornach is perhaps nothing but a name they have heard, and to whom the place is only a geographical idea. I wanted to give this exhibition for those friends who are willing to bring before the understanding of those who are thus placed what will proceed from the Goetheanum for , the future of the evolution of humanity. It is of great importance that this visible token of Spiritual Science from the point of view of Anthroposophy should be accurately brought to the knowledge of the world, and that it is made to a certain extent the centre-point of our considerations and of our feeling within our anthroposophical world-conception.

[ 41 ] He who truly feels at what a turning-point the evolution of humanity has arrived in the present day, he will really indeed find within himself the necessary stimulus to make known what is here being carried out in Dornach. There are not many to-day who see how strongly the forces of human historical forms, coming from the past, act as destructive forces. We have indeed submitted to the destructive forces in Europe during the last 4 or 5 years; only the very few have wished actually to think over and appreciate what really happened. Those who do appreciate it will surely feel that nothing is to be gained for the further development of humanity from that which has been brought over from old times, that literally the new revelation which presses in upon us since the last third of the 19th century must be received by this world of ours.

[ 42 ] No one can think socially to-day without taking up the impulses which come to us from this knowledge which has been described. We must painfully, really painfully, realise, when we hear that there are to-day men who say: Oh Spiritual Science according to Anthroposophy was very pleasant, as long as it was Spiritual Science ,as long as it did not bother itself with outride things, as for example, “The Threefold State” does. There have arisen individual men among the earlier followers of Anthroposophical Spiritual Science who say: Spiritual Science was very acceptable to us by itself; with the social aspect we cannot and will not identify ourselves. Such an attitude of mind is sectarian, and that is what our movement truly never wished to be; this sectarianism only strives after a certain spiritual voluptuousness. I should like to know how anyone can be so without heart, so terribly heartless in the presence of such impulses as are appearing in the evolution of humanity as to say: I want something that comforts my soul, that assures me of immortality, but I won't touch it if this spiritual striving is to have a practical social result. Is it not heartless in such a time as this, not to wish for a practical result from that for which we are striving spiritually?

[ 43 ] Is it not the most confused mysticism to as it were fold the hands and say to oneself: For my soul I will have Spiritual Science but this Spiritual Science must have no social result. It is heartlessness. For how terrible it is to think that to anyone this Spiritual Science should be the most important thing in life, and that it should have no counsel to give in the present-day burdened social condition of humanity. That is the good of this Spiritual Science if it contains no help towards which humanity to-day may turn! Shall it be quite unfruitful, this Spiritual Science, for life? Does it only exist to pour into men a spiritual bliss? No, only thus can it preserve itself, by creating out of itself actual practical results. And it means that true Spiritual Science is not understood if men will not advance to practical results. And Spiritual Science must not be mere visionary knowledge, Spiritual Science must be actual life. Therefore it is always such a great pain that not very many more human souls are able to rouse themselves out of the impulses of Spiritual Science to the great interests of humanity to-day. To-day that which affects the individual is of such infinitesimal importance as compared with that which is fermenting and working in humanity, and the moment one occupies oneself with anything personal, the thought is immediately directed the great interests of humanity. But how many people think like this? For I must remember, how necessary it really is to communicate certain esoteric truths to humanity, and yet how impossible this is because there is really no set of people in whom really the impersonal objective principles have the value that they should have. It is a pressing necessity to communicate certain truths of Initiation to humanity. Only it cannot be done, when one has to do with men who the whole day long are only occupied with their own personal interests, as if they were of the highest importance. To turn our eyes to the human interests, that is what is of such immense importance. He who does this will see very very much to-day.

[ 44 ] I have to draw your attention again and again to the beginning of this battle-storm which will arise with all sorts of slander and lies against Anthroposophical Spiritual Science. Men do not want to believe this, but it is true; Spiritual Science will not be fought primarily on account of its faults; these would be forgiven it; Spiritual Science will be attacked just when it succeeds in accomplishing something good. And the hottest and most infamous attack will be directed against that which Spiritual Science can do of good.

[ 45 ] Each one must examine himself, whilst continually observing with true inner force that which can only be criticised as relentless opposition to Spiritual Science, whether he does not perhaps carry in himself too much of that attitude which does not attack the failings but rather the good sides of Spiritual Science. Much of this sort might be pondered over to-day: And this sort of thing must continually be pointed out. And the time must certainly come firstly, in which it will be possible not to have to approach closed doors with the communication of certain esoteric truths, because men are only occupied with their own personal interests, and secondly in which it will also be possible to bring the most important things when they are spoken, actually home to the hearts of men. As a rule one may proclaim things of the greatest significance—men take them only as a kind of theoretical knowledge, and hence they do not penetrate into, their hearts and affect them deeply; whilst everyday things, humdrum things even perhaps relatively big things, penetrate easily into the hearts of men.

[ 46 ] This is what we must before all else strive for; that that which is drawn from the Spirit shall truly penetrate right into the heart, into the soul, that it does not remain merely in our understanding. Much of the most important of that which has been spoken to-day, which may already be found in the teachings of Spiritual Science or Anthroposophy, bears no fruit on this account, that men let it get no further than their understanding, and then they say perhaps: This is something which should only be grasped by the understanding: But that is their own desire—to leave it only to the understanding, because they only take it as a wisdom for the head, and do not let it reach their hearts. This observation I wish to link on to the Introduction I have given you of the Building.

Over a period of three hours I shall have the opportunity of speaking to you about the building idea of Dornach. In this first lecture, it is my task to characterize how this building idea emerged from the anthroposophically oriented spiritual movement, and then, over eight days and in a fortnight, to go into more detail about the style and the whole formal language of this our building, the framework and the external representative of our spiritual scientific movement. By speaking about the genesis of the Dornach building, I would like to perhaps touch on something personal by way of introduction.

I spent the 1880s in Vienna. It was the Vienna in which the ideas were developed that could then be seen in the Votivkirche, in the Vienna City Hall, in the Hansen Building of the Austrian Parliament, in the museums, in the Burgtheater building, that is to say in those monumental buildings that were created in Vienna in the second half of the last century and which, to a certain extent, represent the most mature products of the architecture of the past era of human development. I would like to say that I heard the words of one of the architects involved in these buildings resound from the views from which these monumental buildings were created. When I was studying at the Vienna Technical University, Heinrich Ferstel, the architect of the Votivkirche, had just taken up his post as rector. In his inaugural address, he said something that I would like to say still echoes in my mind today, and it has echoed throughout my subsequent life. Ferstel said something at the time that summarized the most diverse views that had emerged in art at the time, especially in the art of architecture. He said: architectural styles are not invented, architectural styles are born out of the overall views, out of the overall development of the time and the emotional soulfulness of entire peoples and eras.

On the one hand, such a sentence is extremely correct, and on the other hand, it is extremely inflammatory for the human mind. And anyone who has ever immersed themselves with artistic sensibility in the whole world of vision from which this remarkable Gothic structure of the Votive Church in Vienna, translated into miniature, was created by Ferstel himself, anyone who has felt the Vienna City Hall by Schmidt, anyone who has felt the Austrian Parliament in particular, which, through Hansen's genius, has achieved a certain freedom of style, at the time when this same view had not yet been spoiled by the hideous female figure that was later placed on the ramp. Those who had experienced the artistic heyday of Gottfried Semper's mature architecture at the Vienna Burgtheater could truly feel the background from which such an artistic view emerged as that of Heinrich Ferstel, which has just been characterized. In all that was built, one sees ripe fruits, but basically one sees only the renewal of the styles of past epochs of humanity.

And I was able to feel this, I would like to say, inwardly inciting fact, for example, when I heard the lectures of the excellent esthete Joseph Bayer, who, out of the same spirit that Ferstel, Hansen, cathedral architect Schmidt, but especially Gottfried Semper, created with, tried to illustrate the forms of architectural art, the forms of ceramics, and so on.

Such a fact, such a world of ideas, is inspiring for the human mind, I say this because perhaps, when faced with such an idea, “architectural styles are not invented, but born out of an overall spiritual life” in the human mind - when one sees: this view has achieved something magnificent and powerful, but from a mere renewal, from a renaissance of old architectural styles, old artistic perceptions, so to speak - because then the question arises before the soul: Are we perhaps such a barren time after all that we cannot give birth to something new in this sense from our overall view, from the scope of our world view?

At the same time as all that could so richly fill the souls from these buildings when they immersed themselves in these views, from which the buildings arose, something else, though characteristic of the time, was concentrated in Vienna. In its soul body, Vienna had at that time also absorbed a certain height of precisely the newer medical progress. Skoda, Oppolzer and others represented a flowering of the development of medical science in the second half of the 19th century. At that time, especially if you lived among those who had to deal with such things, you could often hear a saying – and this saying also stayed with me: We live in a time in which medical nihilism has developed.

This medical nihilism, which had emerged precisely in the heyday of pathology, actually culminated in the fact that the great physicians mainly studied those forms of disease that could be observed in their course merely through pathology, in which nature's healing process only needed to be helped along by all sorts of measures, but in which little could be done for the patient by taking remedies. Thus, precisely out of this medical school arose a disbelief in therapy, a skepticism about therapy. And when pathology had developed to its highest peak that it could reach at that time, people actually despaired of the possibility of real healing and, especially in initiated circles, spoke of medical nihilism. That is what one could feel. Our world view, where it was to prove fruitful in a certain area of practical life, led to nihilism and a certain powerlessness in the face of that practical life.

Anyone with the ability to feel and perceive these things will, in the subsequent period of European civilization, be able to fully sense how, basically, those impulses, which on the one hand found expression in the fact that an architect as important as Heinrich Ferstel had to say, “Architectural styles are not invented, but are born out of the overall development of the time,” and yet still built in the sense of an old architectural style, on the other hand, expressed itself in the fact that in a practical area of life, people's views have led to nihilism.

What developed from this in the period that followed was basically a continuation of what had been expressed in this way. Through the most diverse circumstances, seemingly, but probably through a necessary connection, I was confronted with the necessity of setting up impulses of a new spiritual life everywhere in the face of the appearance of what lay in the lines of development I have indicated. This new spiritual life would in turn draw from such original sources of human thought , human feeling and human will, as they repeatedly existed in the epochs of human development and as they proved fruitful in order to give rise to the artistic, the religious and the cognitive.

If we want to feel in an even deeper way what the human mind was actually like at a time when, in art, only a kind of renaissance was living in the highest expressions of the artistic, and when, even in practical areas, views have led to a kind of nihilism When we delve into what was actually taking place in the soul and spirit during this time, we have to say that the spiritual matters that directly concern the human being, the scientific, and even to a high degree the religious life, had taken on an abstract, intellectual character. Man had come to cultivate less that which can arise from his entire human essence, his powers and impulses. In this most recent period, he had come to establish a mere head culture, a mere intellectualistic culture, to live in abstractions.

This is something that occurs as a parallel phenomenon in the materialistic age: on the one hand, people believe that they can completely immerse themselves in the workings of material processes; but on the other hand, precisely because of this striving for immersion in a tendency towards abstraction, a tendency towards mere intellectualism, a tendency through which the urge to shape something that can directly reach into the full reality of existence fades from the most intimate affairs of the human soul. One withdraws into an abstract corner of one's soul life, leaving one's religious feelings to take place there. They withdraw into the closed rooms of the laboratory and the observatory, and devote themselves to specialized investigations in these fields, but in so doing they distance themselves from a truly living understanding of the totality of the world. One withdraws as a human being from real cooperation with practical life, and as a result one arrives at a closed intellectuality. And finally, everything that we see emerging in the fields of philosophy or world view in this period bears a distinctly abstract, a distinctly intellectual character.

I believed that anthroposophically oriented spiritual science had to be placed in this current. It was not surprising that this spiritual science, when it was first placed in an intellectualist age, when it had to speak to people who, in the broadest sense, were fundamentally oriented towards intellectualist abstraction, initially had to appear as a worldview as if it itself had arisen only from abstraction, from mere thinking. And so it was that in our work for our anthroposophically oriented spiritual science, that phase arose which filled the first decade of the twentieth century and of which I would like to say: it was inevitable that our anthroposophically oriented world view should take on a certain intellectual character through the very nature of the people who were inclined towards it. It had to speak to people who, above all, believed that if you wanted to ascend to the spiritual and divine, you had to do so completely detached from the lower reality, you even had to arm yourself with a certain world-contempt, with a certain unreality of life. This was already an attitude that was alive in those who, out of their inclinations, had found their way into the current of anthroposophically oriented spiritual science.

And on the other hand, the world's judgment of this anthroposophically oriented spiritual science arose: Oh, they are dreamers, they are visionaries, they are people who are not relevant to practical life. This judgment arose - such things are very difficult to destroy - and still lives on today in most people who want to judge anthroposophically oriented spiritual science. Of course, people saw that something different was alive in what appeared at that time as this anthroposophically oriented spiritual science than in their theories, in their world-view ideas. And since they regarded what they had sucked out of their bloodless abstractions from their materialistic orientation as the only spiritual reality to be attained by man himself, what the anthroposophically oriented spiritual science spoke to the world from completely different foundations seemed to them to be something fanciful, something fantastic.

But a quite different phenomenon was involved. What was spoken at that time out of truly shaped spiritual science oriented to anthroposophy is not the speech of fantasy or enthusiasm. It is the speech of spiritual research that can give an account of the nature of its research to the most exacting mathematician, as I said at another time. But it is true: what has been spoken here out of spiritual realities sounded different from the bloodless world views of modern times. It sounded different, not because it was more abstract, or because it ascended to regions of the spirit more bloodless and frozen than those which have given rise to the theories developed out of the modern way of thinking, but it sounded different because it proceeded from spiritual realities, because it proceeded from those regions of man where one not only thinks, where one feels and wills, but does not feel and will in a dark way, not in the way that modern psychology considers to be the only one because it only knows this; not out of dark feeling, but out of feeling that is just as bright, as bright as the purest thinking itself. And the words were spoken out of a will that is suffused with a light that is striven for as the bright clarity of pure thoughts is striven for, and these thoughts are grasped when we seek to comprehend reality. Thus, in this anthroposophically oriented spiritual science, there lived that which wanted to come from the whole person, which therefore also wanted to take hold of the whole person, to take hold of the thinking, feeling and willing human being.

When one was able to speak in this way from the innermost being of the whole person, one often felt the inadequacy of even modern modes of expression. Anyone who has felt this way knows how to speak about it. One felt that modern times had also brought something into external language that leads words into abstract regions, and that speaking in the way language has now become itself invites abstraction. And one experiences, I would say, the inwardly tragic phenomenon of carrying within oneself something that one would like to express in broad content and sharp contours and developed with inner life, but that one is then rejected back to what modern language, which is coming out of an age of abstraction and is theoretical, alone knows how to say. And then one feels the urge for other means of expression. One feels the urge to express oneself more fully about what one actually carries within oneself than can be done through the theoretical debates in which modern humanity has been trained for three to four centuries, the theoretical debates that have shaped our concepts, our words, in which even our lyricists, our playwrights, our epic poets live more than they realize. One feels the necessity for a fuller, more vivid presentation.

Out of such feelings, the need arose for me to say what was said in the first phase of our anthroposophical movement, which was clothed in more intellectual forms, through my mystery festival plays. I tried to present, in a theatrical way, in scenes and images that were to embrace the whole of human life, the physical, soul and spiritual life, what can be seen in the course of the world, what is contained in the course of the world as a partial solution to our great world riddles, but which can never be expressed in the abstract formulas into which the laws of nature can be expressed. This is how that which I then tried to depict in my mystery dramas came about. I had to resort to images to depict what comes from the whole human being. For only from the human being in his head comes what modern language has created for our science and our popular literature, and what today's people, if you listen to them, are able to understand. You have to touch the deeper sides of their minds if you want to speak to them what anthroposophical spiritual science actually has to say.

This is how the need for these mystery dramas arose. These mystery dramas were first performed in Munich, in the surroundings, in the setting of ordinary theaters. Just as it literally blew apart the inside of the soul when one had to express the anthroposophically oriented spiritual science in the formulas of modern philosophy or world view, so it blew apart one's aesthetic sensation when one had to present in an ordinary theater, in an ordinary stage space, what was now to be depicted in a pictorial way: the spiritual content of the anthroposophical worldview and world feeling, of the anthroposophical world will. And when we worked in Munich on the theatrical presentation of these mystery plays in ordinary theaters, the idea arose to create a space of our own, to perform a building of our own, in which there would no longer be the sense of confinement that one in the manner just described for anthroposophically oriented spiritual science, but in which there is a framework that is itself the expression of what lives in anthroposophically oriented spiritual science.

Therefore, this building was not created in the sense of an old architectural style, where one would have gone to any architect and had a house created for what anthroposophically oriented spiritual science is to work out, but rather it had to arise from the innermost being of anthroposophically oriented spiritual science, because it did not merely work out of thinking and feeling, but out of the will itself, a structure had to arise out of this living existence of anthroposophically oriented spiritual science as a framework, which, as a style, as a formal language, gives the same as the spiritual-soul gives the spoken word of anthroposophically oriented spiritual science. A unity had to be created between the building as an art form and the living element present in this spiritual science.

But if there is such a living element, if there is a living element that is not merely theoretical and abstract, if there is a truly living spiritual element, then it creates its own framework, because with such a spiritual element one lives within the creative forces of nature, within the creative forces of the soul, within the creative forces of the spiritual. And just as the shell of the nut is formed out of the same creative forces as the inside, which we then consume as a nut, just as the nutshell cannot be other than it is because it follows the laws the nut kernel comes into being, so this structure here in all its individual forms is such that it cannot be otherwise, because it is nothing other than a shell that has come into being, been formed, created according to the same laws as spiritual science itself.

If I may express myself hyperbolically, it seems to me that at the end of my life I would not have been haunted by Heinrich Ferstel's thought that “architectural styles cannot be invented” if the truth contained in it had not been clearly reckoned with. Yes, architectural styles cannot be invented, they must arise out of an overall spiritual life. But if such a spiritual life as a whole exists, then it may dare, even if in a modest way, even with weak forces, to also gain an art style from the same spirituality from which this spirituality itself is created.

I believe that I know better than anyone else what the faults of this building are, and I can assure you that I do not think immodestly about what has been created. I know everything I would do differently if I were to build such a structure again. I know how much this building is a beginning, how much of what is intended by it in the sense of its style may have to be realized quite differently. In any case, I do not want to think immodestly about this building. But with regard to what is intended by it, it may be pointed out how it wants to prove that architectural styles cannot be invented, but that they can be born if, instead of the nihilism of world view, a spiritual positivism is set, if, instead of the decadent decline of old world views, new sources of world view are sought. This building has therefore been created with a certain inner necessity. Just as feeling led us to present our world view in the mystery plays, as if feeling were to be taken into account in addition to thinking, so should the will, which is inherent in anthroposophically oriented spiritual science, first express itself artistically in this building.

The fact that there is life in this spiritual science should, however, be shown in an equally modest way, just as a beginning – I always have to emphasize this – by the fact that we do not want to use this building to shut ourselves away and, as it were, strive for a higher world view as if it were a satisfaction of our inner soulful desires. No, in the next lectures on this building I will show you how all the building forms here live in such a way that they basically do not represent walls, but something artistically transparent. This is how the wall, which is designed here, differs from the walls that one is accustomed to in other architectural walls. The latter are final; one knows oneself inside a space that is limited in a certain way. Here, however, everything is shaped in such a way that, by looking at the frame, one can get the feeling, if one feels the thing in the right way, of how everything cancels itself out. Just as glass physically negates itself and becomes transparent, so the artistic forms of the walls are meant to negate themselves in order to become transparent; so painting and sculpture are meant to negate themselves in order to become transparent, so as not to lock up the soul in a room, but to lead the soul out into the world. And out of this tendency there also arose the impulse, still modest, which I call the social impulse and which in my book The Core of the Social Question should be presented to the world, not as a theory but as a call to action.

Spiritual science could not remain with intellectuality. In its first phase it had to take human habits into account, had to speak to those people who were still educated entirely in abstract intellectualism. But it had to progress from thinking to feeling in order to present to the world what was to be expressed not only through the abstract word, but also through the dramatic play, the dramatic action, the dramatic image. But this spiritual science could not stop at mere feeling. It had to progress to the realm of will. It had to overcome and shape matter, it had to give form and life to matter. Therefore, a new framework, a new formal language, indeed a new architectural style, had to be sought for the mystery plays and for everything that wants to express itself through them, including the living anthroposophically oriented spiritual science itself. In order to affirm what lives as the deepest impulse in this anthroposophically oriented spiritual science, the social impulse also arose quite naturally in the time when adversity taught people to replace the tendency of decline with the tendency of ascent. We wanted to gain through this building, even through its style, that state of mind through which the human being goes out to experience all of social existence, goes out to be able to participate in the necessary social reconstruction of our time with living soul content.

Thus, I believe, this structure can be seen as standing within what reveals itself as the deepest needs of our time, which in turn want to lead people out of mere abstractness and the materialism associated with it, out of mere thinking and into living feeling, and into active will. And we believe that in this way we also have what must be the substance, as it were, for what is so urgently demanded of us today, for what we know: If we humans are unable to accomplish it, the slide into barbarism will continue. A worldview that encompasses the whole person, the thinking, feeling and willing human being, must also be able to provide the state of mind that enables people to work together on what is a vital necessity of the present and the near future: social action.

It may be clear from the two observations already made here about the building idea of Dornach how this building idea has arisen out of the same life from which that is to arise which is meant here as spiritual science. But this building idea did not arise in such a way that, in the building, what lives in thought form, in idea form, in spiritual science, is to be found again, only in outwardly symbolic pictorial form. Rather, the building was to arise out of the feelings and perceptions that can be harbored by someone who feels inspired by this spiritual science. To some extent the intention was there: on the one hand, the spiritual-scientific impulse wants to express itself in the form of ideas. But that is not enough, that does not reveal its life in a complete way, and another branch must sprout from the common root. That is precisely the artistic branch, that is what manifests itself out of feeling and perception in the building idea of Dornach.

Those approaching this building from the outside will at first perceive a kind of duality: a larger dome structure as an auditorium; a smaller dome structure, which to a certain extent cuts through the larger one , as a space for performances, also conceived as the space towards which everything in the auditorium tends, and from which, in turn, everything that the auditorium is inclined to absorb should radiate. Our future development will depend on whether humanity is able to commit itself to a truly essential development in all its soul-forming aspects, to commit itself to development in such a way that one says to oneself: What one has inherited or acquired through ordinary life does not yet lead to what gives the human being a truly dignified existence. From a certain point onwards, the development of the inner life must be taken up in order to lead beyond what the outer consciousness alone can bring. But there must be something to meet what one is approaching and which one expects, as it were, from unknown depths of the spirit. And it is the feeling of this interaction between the receiving human being and the creating human being within himself that was then able to be lived out in the building idea of Dornach.

From the outset, wherever domed rooms of different sizes adjoin or even intersect, one cannot help but feel that a close interaction is taking place between the person to whom the one part is dedicated and the person to whom the other part is dedicated. To a certain extent, the aim was to evoke the sensation of a rhythm that exists between the larger and the smaller component. This lively sensation, or perhaps it would be better to say this invigoration of sensation through the forms of the building, could hardly be evoked by two rooms adjacent to one another in a different way. But now that is adapted to what interior design is and from which I would like to start initially.

You know that in the case of all the buildings that are actually designed to enclose something, we are dealing with a completely different architecture. Perhaps we can reach an understanding if we point to older building forms that draw their style, their architectural concept, from completely different premises. The Greek “temple is conceived as the dwelling of the god, and a Greek temple in which there is no statue of the god, of Zeus, Apollo or Athena, would not be a complete work of art. But how did this style actually come about? It arose, so to speak, from the idea of God acting from a specific point in the universe. It is intended to envelop the activity of this god; it is therefore conceived in its entirety as a covering, as an enclosure.

If we go a little further, skipping other architectural styles, to the architecture of the later Middle Ages, to the Gothic cathedral, we have to say that anyone entering a Gothic cathedral cannot feel that this building is complete if it is empty. A Gothic building that is not conceived as a temple but as a cathedral, that is, as a gathering and confluence of the faithful, is only complete when the faithful are assembled in it, when they are inside, just as a Greek temple is only complete when the statue of the god is inside. Accordingly, the entire Gothic architectural style is conceived in this way.

And now, penetrating into our times, one is led to say: the internalization of the human being is what must be the essential impulse of the present and the near future. Man himself, with his inwardly divine-spiritual essence, is at the center of all striving, but he kills this inner impulse of his modern striving if he does not find his way into the development in a living way. And it is from this feeling of the modern human being that the building idea here has arisen. The mere all-round principle of symmetry of Greek architecture, the enclosure, had to be dissolved, and the abstract idea of the upward striving of the crowd gathering in the cathedral also had to be dissolved. Closure had to be found, so to speak, in the upward infinity of the spherical form, development in the complete feeling for that which animates the individual form.

It is perhaps partly due to external motives that part of this building is a wooden structure; it could just as easily be a concrete structure, but not, for example, a marble building. Now that it is a wooden building, I only need to speak about the peculiarity as a wooden building, which essentially presents the interior design. When working with wood as a material for architecture, for sculpture, one notices that this work in wood is something quite different from working in marble, for example, or in any material that reveals itself on the surface like marble or stone. This will be particularly apparent when the central group in the right light is seen standing in this small domed room on the east side (Fig. 92). It has become a sculptural wooden group in keeping with the overall interior design. So it was worked in wood. Of course, it was he who made a model first, since no single person can work on a nine-and-a-half-meter-high wooden group. I would not have been surprised if the people who saw this model, which was made in plasticine, had actually found it hideous, especially the central figure, the representative of humanity himself. For it goes without saying that the final design in wood must already have been present in the plasticine version.

But now, when working on stone – or on a surface that can resemble stone – one is obliged to carve out the form from the raised parts, from what bulges out of the plane, what confronts one from the plane; one is therefore obliged, so to speak, to place it on the plane, on the surface. When working with wood, you have to avoid working on the wood itself and instead work out of the wood. One must work not towards the convex but towards the concave. With stone and everything that resembles stone, it is that which emerges from the surface, the convex, that is effective. With everything that is made of wood, it is that which withdraws from the surface, that which is thus, as it were, cut out, hollowed out of the wood.

Therefore, it is necessary – and I ask you to visualize the whole type, let us say, of the Roman Caesar heads, which can be seen everywhere in casts in museums, in relation to what I am about to say – therefore, when you sculpt the human form out of a stone-like material, you have to work the whole thing out from the face, from the head, and the rest of the human form that is not the head is actually, artistically speaking, just an appendix to the head. One must not, so to speak, sin against the natural forms of the human head, and one must shape the entire organism of the limbs and trunk out of what is laid down in the head. All this is required, for example, of marble, all this is required of stone.

If one works in wood, then one has the necessity to work in the opposite sense. You have to work from the whole human figure, from the movement of the limbs, from the feeling of the torso. You can dare to shape an upward arm movement, a downward arm movement in such a way that it continues in an asymmetrical forehead, as was attempted with this group. This was only possible because it is a wood group, because when you work in wood, you bring out the hollows in the material and do not place what is raised on the surface. Only by being completely immersed in the material, with all one's feelings, especially in the human form, can such a treatment of the material emerge.

And what is most vividly apparent when the human form is sculpted is apparent in the overall treatment of the wood here in this interior design. In stone, the progression of the columns from the simplest capital and pedestal forms to the more complicated middle forms, and then back to the simple forms again, would represent the dissolution of the symmetry on all sides into a developmental metamorphic progression. In stone, all of this would be nonsense; because stone demands to be more comprehensive, stone demands symmetry on all sides. Only wood allows for the development that was attempted here. As I said, it could also have been done in concrete, which, due to its nature, overcomes stone; only the form would look somewhat different. But wood allows for the introduction of development into the shape of the capital.

And here I would like to say that the underlying idea was to implement Goethe's concept of metamorphosis in the purely artistic. One must, however, completely immerse oneself in the creative powers of nature and create forms out of the creative powers of nature if one dares to attempt to progress from the simplest capital forms, which you can find here at the two columns at the entrance, to ever more complicated forms. But that came about all by itself, that came about for the senses, that was not contrived. Those personalities who in earlier times were often led here in this building were told: this column means this, that column means that; they were spoken of Mercury, Mars columns and the like, and in these things, which actually only serve an abstract understanding, one has seen the main thing. The main thing is not in that. The main thing is how the second capital motif - but now for artistic perception - emerges from the first with the same necessity as the higher-lying leaf or blossom emerges from the lower-lying leaf according to the principle of natural growth, or the petal from the leaf. When forming such a concept, one looks at nature theoretically. Here it is a matter of having nothing to do with theory, but of experiencing the development as one form arises from the other. I may say: everything that you see here in the way of capitals and architraves is felt to be absolutely pure, and anyone who speculates about it, who makes symbolic interpretations about it, misunderstands the whole thing.

But it is strange how, when you are working, this interweaving with the creative powers of nature brings surprises. When I was working on the model for this building (Fig. 22), I merely had the feeling that one capital would emerge from the other, that the next architrave motif would always emerge from the previous metamorphosis, and so on with the base motifs and so on. It soon became clear to me that this developmental impulse does not lead to a progression from the simpler to the more complicated, but that the most complicated is achieved right in the middle, as you can see here on the central columns, and that, in turn, when you have taken complexity to its ultimate height, to its culmination, you are compelled to move on to something simpler. Therefore, you do not see here, for example, an abstract development that starts with the simplest and progresses to the most complicated, so that the last would be the most complicated, but you see the greatest complication of the motifs in the middle.

And then I may also reveal to you here that it was certainly not intended from the outset to be a staff of Mercury entwined by snakes (Figs. 41, 42). No, that arose out of the artistic experience as something that cannot be otherwise if one ascends to the complicated in development and then has to turn around in order to descend again into the simpler. Likewise, I was surprised, for example, when – having arrived at the seventh column – I found that the sublimities of the first column, if you think of it as being turned inside out like a glove – not geometrically, but artistically turned inside out — fit exactly into the cavities of the last column; how, in turn, the same is the case with the second and sixth columns, as it is with the third and fifth columns, and the fourth column is in the middle.

It was not a case of pursuing some abstract, mystical principle of seven from the outset; rather, just as the tone scale is a seven-part entity, here the columns had to be formed in such a way that, so to speak, an octave of feeling in the form is fulfilled in a seven-part structure. For the eighth would be the octave; there it has to merge into the other kind of feeling, which one then finds in the small domed room, which contains something that accommodates development as an absorption. Therefore, the capital motifs of the small dome (Figs. 58-63) are not presented in their developed form as they are here, but are rather presented as a single entity, so to speak, opening its arms to what hastens towards it as a development.

But all this is not said beforehand, because beforehand one is dealing with something else, with life in form, with life in the plane itself. This is said afterwards, to give some indication of what has been created. Nothing here has grown out of any newer theoretical world view, not even out of the world of ideas of spiritual science itself. And I believe that it can be achieved, at least to a certain extent, that those who enter this building have the feeling: here, for the time being, one can forget everything one has absorbed in one's head in the way of spiritual-scientific ideas and thoughts. There is no need to talk about it, but one can feel it, feel it from the forms and from the treatment of the forms.

So that one can feel something like this: When you enter a Greek temple, you feel the encompassing nature of this Greek temple. The stone form reigns in wisdom. From the macrocosm comes the wisdom that builds this macrocosm, pushes through the wall, as it were, and works in the stone's sublimity, in the convexities, and there encompasses the externally resting God, who is only active in the spirit for the world. One could feel in a similar way that which is striven for in a Gothic building. It is the community with its group soul, which, by being gathered in the cathedral, actually has around it that which it itself has built, bricked, chiseled, carpentered, and so on. When one enters a Gothic cathedral, one always has the feeling that, in contrast to the Greek temple, which arose from a purely aristocratic way of thinking, the Gothic cathedral is the product of a class-conscious thinking, of the structure of medieval life, which expresses itself through the search for humanity, which also expresses itself in its forms in this search for humanity.

Those people who cannot bring themselves to look at it impartially speak of the Temple of Dornach. What has been built here is the opposite of any temple. There is nothing temple-like here, nothing that can be related to a church or a cathedral. And anyone who speaks of the temple of Dornach is only expressing how they have remained with Greek architecture in their whole feeling, not even having progressed to the Gothic. Here, however, what had to be tackled was that which creates forms that are basically only the continuation of what is spoken here, what is played here, what is declaimed here, what is artistically presented here. And just as the speaker stands here at the lectern, just as the organ sounds from above, just as the recitative tones vibrate through the room, so that which originates from the word, from the sound, from the thought must continue to speak through the framing, through the enclosure, which is not an enclosure but only continues the spoken, the sounded word. In the Greek temple we are dealing with an enclosure; here we are dealing with a self-expression. Therefore, above all, the whole form must be such that it lovingly embraces what is happening here, but that it does not close it off, but that this building stands as a symbol that what is being worked on here in Dornach should reach out to all of humanity.

If you study the columns here, together with the back wall, which signifies enclosure, you will see that The whole can now be felt in such a way that nowhere does one have the feeling of being enclosed and speaking only to the wall; rather, one has the feeling that one is speaking and the forms of the wall, these capitals, these architraves, these column forms absorb the vibrations of the word and actually want to carry them out into the world. They do not want to close off, but want to be artistically transparent. And just as the wood here is cut in such forms that make the wood artistically permeable, so it is suggested in these windows, I would say in a more natural material way, how what is here inside should be connected with the outside. These windows are not works of art in themselves; these windows, whose technique is essentially a glass etching technique, are only works of art when sunlight shines through them, when a connection is created between what has been scratched out of the glass and the sunlight shining through. That doesn't close, that lets the sun in, that is the living mediator with the whole, with the light that floods the cosmos, and is only something if you look at it in connection with this light.

If you approach it in such an artistic way, then you can also dare to develop the motifs that are in these windows.

I cannot go into details, of course, but I would refer you to that blue window there (Fig. 111), where you can see the human form in both casement windows, the human form in two situations. In one case, all the qualities that live in the hunter when he aims at the animal he wants to shoot live in the person. In what has been scratched out of the glass, you will find the entire inner life of the person depicted, you will find everything that lives in him poured into the figurative. When you come to a certain stage of inner experience, you cannot help but give shape to what lives inside as passion. And if you then think of the metamorphosis as having progressed, the whole picture shows the following in the right-hand window: the person has progressed from intending to shoot the bird down to actually doing it: he has taken aim and is shooting. What happened earlier is transformed into the other part, which is then scraped out of the glass and together with the sunlight gives the work of art. In this way, each individual window could be treated. But the point here is not to come up with more interpretations, but to surrender to what is on the glass, to feel it. Precisely when one strives for the art of interpretation, one overlooks the actual artistic intention therein.

And when you look at this dome painting (Fig. 57) and see how everything that is painted in the small dome is brought out of the color, then you will also have the aspiration there to feel your way out of the closed space into the cosmos. It is painted in such a way that the painting on the surface is suspended, as if you are entering through a portal into a living thing. If you have a vivid sense of color, you can draw that out of the color. Of course, there are people who would prefer to see naturalistic figures up there; that would spare them the discomfort of first having to feel things. Because what you can feel in a beautifully—what we call “beautifully”—painted naturalistic human figure is something you have felt since childhood, and it is comfortable to see it again. But when you come here, you don't have the opportunity to rediscover what you have felt since childhood and say that it resembles this or that, but rather, here you have to, so to speak, go through all the that you have gone through in your entire life, in order to grasp in a lively way what emerges from the colors and the forms – which are, after all, the work of the color; they want to be nothing else – and to have the feeling: it does not shut you out, it carries what you feel here out into the whole world, it connects you with the world. Nothing about this building is conceived as anything other than an organic formation.

It was certainly a daring move to transfer mechanical forms of construction into the organic. If you want to develop something organic, everything has to be so that it could not be any different at the place where it occurs. Take something as insignificant as a human earlobe, which is certainly something very insignificant in the human organism. But according to the nature of the human organism, this earlobe, with its very specific shape, must form at this location here, and of course a similar organ could not develop, say, at the tip of the little finger or elsewhere. Each has its shape in its own place.

This has been developed here as a building idea. Everything you see formed here (Fig. 27) has been thought out from the whole, has been thought and felt into the place where it stands. The column is dissolved in such a way that one can see the supporting function of the dissolved column in its form. If you see any motif outside at the entrance, you will see from its forms: This is towards the entrance. If you step a few steps further inside, what the column has to bear is no longer there in the same way. But if you go from the outside world into what such a column structure has to bear, the load-bearing and pushing of the whole structure against each column structure should be felt and, in turn, the relief against the outside world. What we are seeking here is an inner dynamism that strives towards life. And we live in a time when such a metamorphosis must be striven for in all fields of human endeavor, as was rightly felt in the past.

I am reminded of Schlegel, who, looking at the past forms that the “Renaissance men” repeatedly wanted to bring back, coined the beautiful phrase: “Architecture is frozen music.” It is a beautiful phrase for everything that has gone before in architecture, and an extraordinarily apt one. One has the feeling that music lives in these building thoughts. How could one see more beautifully than in the building forms of the Greek temple! How could one feel Bach, prophetically foresaw, differently than in the forms of the Gothic cathedral! The fugue already lives in the pointed arch. There it was frozen, and Friedrich Schlegel was right to call architecture, which he knew, frozen music.

But today we live in a momentous moment of human development. We live in the moment when all creativity must take on a different form. And so we must also thaw and melt the frozen form of architecture. But it would dissolve into the indefinite if it were not imbued with soul in the melting process. And so we must have, alongside the frozen music, a thawing music that looks at us and demands: Give me soul! That, you see, is something of the building idea at Dornach, which spoke out of the development of humanity: thaw me, I am the frozen music! But I would melt into nothingness if, in thawing, the soul, the soul that is intensely moved within, did not lead into all forms. Not mere symmetry-proportionality should live in the forms, not merely that which one capital places in symmetry and proportionality next to the other, but living, intense movement, which allows one capital to grow out of the other like one petal of a flower out of another, metamorphosically transforming the form.

I know all the arguments that can be used against this transfer of the idea of construction from the dynamic-mathematical to the organic-living, and I understand every one of the artists who cling to the old in this direction; I feel for them. But a start had to be made sometime with what time, from its depths, demands of us humans in the present and for the near future. And so only those who experience it as a need of their own soul, which has struggled to meet the demands of the present and the near future, will feel this structure. Of course, there is still a lot that is imperfect, and if it were to be performed a second time, this building would look quite different. But nevertheless, you can see from the attempt, at least, how the attempt has been made down to the smallest detail to transfer the dynamical-mathematical into the organic.

Take a look at the radiators (Fig. 26). See how they are created from an organic, living elementary form, as if certain forces, which mysteriously work in the earth's interior, wanted to continue to work over the earth's surface. A few days ago, you were given a hint here as to how electricity continues to work in a mysterious way in the earth, when what is only transmitted through a wire is closed to the power circuit through the earth line, as it were, the whole earth replaces in its powers what would have to be there in a second wire line. Oh, there is much that is mysterious in the earth. But what is mysterious in the earth can be unraveled, not intellectually but intuitively. When it is shaped into forms, which should not be slavish imitations of animal or plant forms, but which are quite independent forms, then one perceives them as being alive. You can then form a wide, low stove screen and make the shape differently than if you were making a narrow, tall stove screen. You have the metamorphosing principle within you; it passes into the creative hand.

Of course, these are all things that people of the present day may still find repulsive. Let them do it. Those who cling to the old have always found what has emerged as something new repulsive. But such an experiment must be ventured some time. Here it was not even ventured out of the abstract, but it was undertaken because a second, an artistic branch wanted to emerge from the same roots from which spiritual science itself emerged. And I would like to emphasize once again: you will not find a single symbol in this room. If anything here appears to you as a symbol, it could at most be the five-petalled flower leaf at the back in the small domed room (Figs. 55 above, 57), which could appear to you as something that is meant to be symbolic when the curtain is raised later. Just as the five petals do not symbolize a pentagram, nothing here is meant to be symbolic. But everything has been so carefully thought out that every detail, every artistic line, is derived from the form of the whole.

If I have been permitted to characterize the building idea of Dornach in this way, it must be understood that I must at the same time add that what I have said is only the beginning of an attempt. And you can be sure of this: those who are working on this building, those from whom this building idea has arisen, do not think of it in an immodest way. They think about it in such a way that they would certainly retain the impulse, principle and style, the essentials, but create something completely different after they have learned what can be learned in the process of creating this building. A lot could be learned here. Because you truly do not learn more thoroughly than when you are forced to let what lives in your soul flow into concrete action. It is relatively easy to contrive abstract ideals with great perfection. But if one is compelled, already at the very first steps that an idea, an impulse inwardly takes in the soul, to shape this idea, this impulse in such a way that it can weave in the outer material, so that the work in which it embodies itself, does not become allegorical, then it requires something quite different in inner experience, then it requires a growing together with the world thought, with the world impulses, with that which lives in the world.

Therefore, the Greeks, who were able not only to think about the world but also to feel it, took the word “cosmos”, with which they designated the universe, not from theory but from feeling. In the word “cosmos” lies the sense of beauty that is aroused in us when we look at the outer universe. But today, anyone who carries the thought of building in reality in their soul must be able to experience and grasp human development itself in a cosmic artistic way. We place ourselves in the sight of the portal of a Greek temple. We enter the temple. We experience the forms that surround us as a fence around the image of the god. We feel something like wisdom cast in form, that wisdom that flows through the whole world and that once had to emerge artistically in external forms, that had to be felt and that was felt in the highest way when the temple was created as the dwelling place of the Greek god.

We must have a different material from the stone that allows us to shape world wisdom in its sublimity; we must have a different material when we work from the innermost being of the modern human being; for a different force must radiate out into the universe than wisdom is. We receive wisdom; it radiates towards us from what we place on the surface in terms of sublimity, of convexities. When we stand before the soft wood, we hollow into it that which lives in us, and we give something of ourselves to the cosmos. But as human beings, if we do not want to sin against the whole spirit of the world, we must carry nothing into it but what is carried into the universe on the stream of love.

And anyone who can feel artistically, feels when he shapes the marble out of the flat surface, how wisdom comes over him in his consciousness when he carries out the building idea of the marble. The person who executes such a building idea as the one here feels that he must create what can be created by carving into the soft wood, what can live in the concavity, in true devotion to the greatness of the universe. One may only carve into it if one carves into it with love for the universe. No one should actually be able to form a surface with a relief without being overwhelmed by the wisdom of the universe. No one should dare to commit the sin of imprinting their own human essence on the material, of hollowing out the material, who does not do it with love for the universe. These, however, are the two poles of all human development: idea or wisdom and love. When we read Goethe's sayings in prose, it sounds to us like a fundamental solution to the riddle of the world when Goethe says: The highest that man can feel is the harmony of idea and love.

We are aware that this harmony has been achieved here, for the time being only, I would almost say haltingly, in what we have now been able to do. But according to the intentions from which its idea has flowed, this structure does not want to be anything other than a germ. But a germ must not be judged only by what it initially presents itself as; a germ must be judged by what can grow out of it. These courses have been organized to help get this germ growing. And we have called you here because you are part of this building idea from Dornach. For whatever I might relate to you about the building idea of Dornach, it would all have to be unfinished, because this building idea can only be completed by those who have felt it going out into the world and - each in his own place - accomplishing that to which this building idea, with all that can be cultivated in the building, is to be the germ. I can only speak to you of something unfinished.

To complete what is intended here, that cannot be done in Dornach, not by those who would work here, however fully; that can only be done effectively by you, by going out into the world and completing what can be hinted at here but must remain unfinished. You are not called upon to admire or evaluate the building, but to complete it, to be the further material in which the world spirit itself works, in which it is freely grasped by you so that in today's social distress, in today's decisive moment in world history, something may be done for the further development of humanity that leads not to barbarism but to a new, luminous ascent of human development. We would like the walls, columns, windows and domed spaces to speak to you: become the fulfillers of the architectural vision of Dornach! For it is in this sense that we have truly counted on you.

My dear guests!

I must ask you to excuse me for speaking in German and not in Dutch; however, I will have to show you a number of photographs to illustrate today's lecture, and they will not be in German, but international.

The anthroposophically oriented spiritual movement from Dornach has been working on this for the last twenty years or so. In the early years, however, the Anthroposophical Society was a member of the general Theosophical Society, but I never put forward anything other than what I currently represent. And when, after this anthroposophy had been tolerated for a while within the Theosophical Society, it was then found to be too heretical and was to a certain extent expelled, the Anthroposophical Society was founded as an independent society.

The anthroposophical movement definitely wants to reckon with the scientific attitude of the contemporary civilized world, it does not want to be anything sectarian or the like, but it wants to have a serious stimulating effect on the various sciences of our time, on the religious consciousness and also on the artistic and social life of the present.

By around 1909, the anthroposophical movement had grown to such an extent within Central Europe that it was impossible for it to work without its own building, and so a number of long-standing members came up with the idea of erecting their own building for anthroposophy. And when I was approached with the intention of erecting such a building, a very specific impulse immediately arose from the nature of anthroposophical work. Otherwise, if one had been forced by some spiritual movement to construct a building of one's own, one would have gone to some master builder and had him construct a Renaissance building or a Gothic building or a Greek building or something similar.

It would have been impossible for anthroposophically oriented spiritual science to proceed in such an outward manner. For this is not something that merely seeks to spread a theoretical culture, but anthroposophically oriented spiritual science emerges from the source of the full human being. I have taken the liberty of explaining how it emerges from this source of full humanity in the two previous lectures here in this hall. But because this is so, because anthroposophy is not merely a one-sided theoretical science, but because it is something for the whole of human life in all its forms of activity, this anthroposophical movement also had to create its own architectural style out of its sources at the moment when it was faced with the necessity of erecting its own building. And we have succeeded in creating such a building. It is not yet finished, but it is already finished to such an extent that courses were held in it last fall and will be held again at Easter. We have succeeded in erecting such a building on the Dornach Hill near Basel in Switzerland.

I said that the style of this Goetheanum, the attempt at a new style of building, was also formed from the same sources from which spiritual science was born, naturally with all the dangers, with all the shortcomings with which such a first attempt at a new style must be associated. Anthroposophy really emerges from the sources of being, not from thoughts or mere experimental and intellectually extended investigations, from the sources of existence itself. Therefore, in all its work, it must connect itself with the creative forces that are active in nature itself, for example, because the ultimate creative forces in nature are, as I have explained in the previous lectures, themselves of a spiritual nature.

I may perhaps use a comparison. Take a nut. It has a nut kernel; this nut kernel is formed in a lawful way. But there is also the nutshell; it could not be otherwise as it is, since the nut is as it is. The same force that shapes the nut kernel also shapes the nutshell in a unique way. Just as the nut kernel is shaped by natural law, so is the nutshell.

In Dornach, anthroposophical spiritual science is taught from the podium. The results of anthroposophical spiritual science are explored. Artistic representations are offered which are an outward expression - artistic, not symbolic or straw allegorical, but artistic - of that of which spiritual science itself is the expression. Therefore, around all this, around the kernel, so to speak, the shell must also be formed, which is [formed] precisely out of the same laws.

Therefore, an architecture has been cultivated in Dornach that is [designed] from the same sense, from the same spirit as anthroposophical spiritual science itself. Sculpture is done there out of exactly the same spirit, painting out of the same spirit. When someone stands on the podium and speaks in ideas, it is just another form of expression of what the pillars speak, what the paintings on the walls speak, what the sculptures speak. Everything is, if I may put it this way, cast from a single mold.

People are so afraid that nothing artistic would be created in this way, but only something symbolic or allegorical. Well, ladies and gentlemen, in Dornach there is not a single symbol, not a single allegory, but everything is attempted to be given in artistic form. The aim is not to somehow embody the ideas that are presented through images, that would be inartistic. Rather, the one spiritual life that underlies it can be shaped artistically at one time, and at another time it can be shaped ideally, in thought, scientifically. Art in Dornach is not a didactic expression of a science, for example, but it is one representation, and science is the other representation of the same great spiritual unknown from which anthroposophical spiritual science draws everything it wants to give humanity.

The entire external design of the Dornach building had to be accordingly. Anyone who looks at this Dornach building will see a double-domed structure, with two circular cylinders standing side by side, but interlocking, and two hemispherical domes above them, which are joined together in the circular segment by a somewhat difficult mechanical construction. Since in Dornach what can be researched through spiritual science is to be brought to the world, this must be reflected in the building itself. The small domed building is a kind of stage in which mystery plays and the like are performed. Eurythmy is also performed, but many other things are planned. The podium for the speaker is located between the small and large domed rooms. The large dome room is the auditorium or audience room for almost a thousand people. This double-domed building expresses the fact that anthroposophical spiritual science has something to say to the world of the present and the future in spiritual, general human and social terms, which I took the liberty of discussing in the two previous lectures.

If you approach the building from the west [and] come towards the main portal, which is oriented to the west, you will first see the following view (Fig. 5). The bottom of the building is made of concrete; at the top is a terrace that leads around the building in a stylized curve. This wooden structure stands on this concrete foundation. The domes are covered with that wonderful Nordic slate that is found in the slate quarries that can be seen on the journey from Kristiania to Bergen, from the Vossian slate quarries. This slate fits in wonderfully with the main idea of Dornach. Concrete and wood are both processed in such a way that an architectural style emerges which can be characterized as the transformation of the existing geometric, symmetrical, mechanical, static, dynamic architectural styles into an organic architectural style. Not as if any organic form had been imitated in the architectural forms of Dornach, that is not the case, but rather I tried, in the sense of Goethe's theory of metamorphosis, to become completely integrated into the natural creation of organic forms and to obtain organic forms which, by metamorphosing them, could then form a whole in the Dornach building; organic forms which are such that each individual form must be in the place where it is.

Imagine the nature of organic forms. Think of something seemingly quite insignificant in the organic form of the human organism: an earlobe. You will have to say to yourself: This earlobe, in the place where it is, could not be otherwise, as it is, if the whole organism is as it has just revealed itself. The smallest and the largest thing in an organic context has its very specific form at its place in the organism. This has been carried over into the building concept of Dornach.

I know very well how much can be objected to this organic principle of building from the point of view of the old architectural styles. But this organic building style was once coined in the Dornach building concept. It may be rejected from the old point of view, but after all, everything new was rejected from the old point of view. In any case, however, if one can make friends with the transformation of static-dynamic, geometric building forms into organic ones, then one will find that all transitions from one organic form to another - not organic [natural] forms, for nothing is naturalistically imitated - [can be experienced] with the same inner regularity as, say, the plant leaf that is at the bottom of the stem, metamorphoses when it appears further up the stem, always [is] the same form, but alternating with the greatest variety.

So in Dornach you will find certain organic forms carried into the building concept everywhere, as they are carved out of the wood here, as they appear here on the entrance pillars as capitals. Here on the side windows (Fig. 4, 12) you can see the same motif, on the windows of the side wing (Fig. 13) too, apparently no longer similar, but nevertheless the same metamorphosed, just as the motif of the green leaf reappears in the flower petal.

If you look at the building from the inside and the outside, you can get the impression: If any motif is near the gate, it is worked differently, so that you can see that the motif has less to bear against the gate, while it has to brace itself against the whole weight of the building. All of this, as it is taken into account in nature in the formation of the bones and muscle shapes, is definitely carried out in Dornach's building concept. Take a look at the bone form within the formation of the knee, it is designed in a wonderfully natural and ingenious way so that certain bones, which form the foundation bones, carry what lies on them. They are expanded and retracted in the right place. Feeling one's way into the forms of organic formation, of carrying, of weight, that was necessary in order to build Dornach.

Here (Fig. 5) you enter. Here is a room to put down your clothes, here is a staircase inside, through which you walk up. You can walk around this terrace and at the same time have a distant view over the countryside, the Swiss Jura.

The same picture, slightly shifted and closer (Fig. 6).

Here (Fig. 7) you can see the building as it presents itself to you from the southwest. Here the gallery, below the concrete building.

The building as you see it when you approach it from the north (Fig. 1), so that you have the large dome in front of you, [here] the small dome. Here the two domes are joined together.

From a point in the north, the building (Fig. 2). Here you can see a strange structure. This is the one that is most criticized. It is the building that stands near the building. I started by looking at the lighting and heating machines as if they were the kernel of a nut, and constructing a shell over it out of concrete, which is extremely difficult to work with artistically. Those who still criticize this building today don't consider what would be standing there if no effort had been made to create something artistic out of the artistically brittle concrete material: there would be a red chimney. I would like to ask people whether that would be more beautiful than what is certainly a first attempt to stylize something out of concrete, which has some shortcomings, but is nevertheless a first attempt to create something artistic in these things.

Here (Fig. 3) the building seen from the northeast. Here is a house that was already standing when we were given the building plot. A house that we very much hope we will be able to buy one day. You can imagine for what purpose we would like to acquire it; of course it disturbs the whole aspect of the building.

Here is the interlocking of the domes (Fig. 17). Here the main wing, here the main entrance (Fig. 10).

Here is the studio where the stained glass windows were made (Fig. 103). It was listed as a studio for grinding the stained glass windows.

Behind it is the boiler house again (Figs. 106, 107). In a neighboring village, Arlesheim, there is a particularly tastelessly built church. I have nothing to say against it, but it is honestly tasteless. Nevertheless, the Swiss Association for the Beautification of Swiss Buildings has managed to say that this [our] building disfigures this part of Switzerland: just take a look at the beautiful church in Arlesheim.

The ground plan (Fig. 20). Main entrance, organ room, auditorium. Here is the lectern. The stage area. Here are the two side wings with the individual rooms for the performing actors and other artists. Here you can see seven columns on both sides. Here in the curve six columns. These seven pillars are not formed out of some mystical urge in the number seven, but purely out of artistic feeling. Just as the violin has four strings, so the artistic feeling here has resulted from inner reasons that a certain artistic development and in turn an artistic conclusion can be achieved by developing just seven motifs. With these pillars, the risk was taken not to design the capital and architrave motifs as repetitions, but in a lively development. When you enter from the west portal, you come across the first two columns. However, they are symmetrical. But if you move on from the first to the second column, the capital of the second column, the base, the architrave above the second column is designed in a way that must be organic. It is designed in such a way that one had to live into the creation and creation of the forces of nature if one wanted to artistically shape the second pillar motif out of the first, the third again out of the second and so on, until a certain conclusion was reached in the seventh pillar motif.

Many visitors come to Dornach and ask: What does the individual chapter mean? You can't ask that at all about art. The essential thing is that one pillar emerges artistically and formally from the other pillar. Whereas in the static architectural style we are actually only dealing with symmetry, with repetitions of the same motif, here we are dealing with a living evolution from the first to the seventh column. I will show the columns later, then you can see this.

Section through the building (Fig. 21).

Original model, cut vertically in the middle (Fig. 22). I originally had to work out the whole building as a model, so that even the building plan, ground plan and elevation, as they were based on, were formed according to this model. This whole model is precisely the embodiment of the Dornach building concept, is conceived in the same way as spiritual science itself is conceived, is to a certain extent another expression for that for which the one expression is spiritual science itself.

Right next to the main entrance, the main portal in the west (Fig. 15). The pictures were taken at a time when construction was still in full swing.

A little further on from the main entrance (Fig. 12). Here the part containing the stairs to go up. Here is a house nearby. This house was built in a very special way. After all, we built the entire structure through the understanding of our anthroposophical friends. The fact that the Dornach hill was used to build this house is explained by the fact that a friend in Basel, near Basel, bought this building plot a long time ago to build a summer house for himself; he then gave us this plot as a gift. We were then able to build there. The friend also wanted to have his house here. And that's when I was given the task - various conditions made it necessary - to stylize a house, a family home with fifteen rooms, out of concrete material. It was a bit of a gamble. There are certainly still flaws in this house, which is formed out of the artistic nature of the brittle concrete material. But such things have to be done for the first time.

A side wing (Fig. 17). These two side wings are inserted like a crossbeam. Here the main motif is again metamorphosed. Everywhere the same and yet again something different, one could say, is contained in the building forms.

Front façade of a side wing (Fig. 14). Here again the motif that is at the main entrance, very widened, designed with rich material, here once more sparingly designed in the same metamorphosis. A certain law of symmetry is observed everywhere, but this is combined with asymmetry. This asymmetry gives the building an artistically pleasing effect and great variety.

Taken somewhat larger, the motif of the façade of one such side wing (Fig. 11).

We enter through the concrete entrance in the west, imagine (Fig. 23). Then we first come to the stairs leading up here. This would be the room where you put your clothes. Then you go to the front, here you enter the auditorium. Here I have dared to make the column shape organic.

[Then] for example this shape here (Fig. 24): There are three motifs standing perpendicular to each other. How did this form come about? Not through any kind of philosophizing, but purely out of feeling. You can say to yourself: anyone who has first entered through the main portal and then wants to come into the auditorium must be able to move in a certain way towards the thought and feeling of what he wants to hear in Dornach from an anthroposophically oriented spiritual view: Here you may enter for the security of your soul, to gain a firm foothold within yourself. Here you may enter in such a way that no illusions of life shall beguile you; that no kind of wavering shall come over you. This has been sensitively expressed here in this motif.

Then you see here a pillar supporting the staircase (Fig. 25). The staircase motif itself is designed in such a way that it is organically braced against the building, in this case against the exit. Here it is carried by a column that does not imitate organic motifs in a naturalistic way, but is just as organically shaped as the forms of living creatures in nature are shaped by the creative forces of nature. How this pillar stands up, how it supports something on one side, where the load to be carried is lighter, how it braces itself against this side, where the main load of the building lies, is expressed in the smallest things in the same way as the earlobe shape expresses the affiliation to the whole human organism. Every form in Dornach must be perceived as a necessity in its place.

Here (Fig. 26) is a motif that I have executed in the various metamorphoses. Here it is made of concrete, in the upper section of wood. It's a front piece for a radiator. As I said, in Dornach the individual forms emerge from each other in a metamorphic way, and there are no abstract forms that are merely appropriate to the underground art, but everything is realized in a strictly organic artistic way.

Here (Fig. 27) you can see the room that you enter when you climb the staircase that has just been built. This is a wooden building. Here is a pillar supporting the ceiling. Everything that immediately follows in the interior is handcrafted by a large number of our friends. It must be emphasized again and again that a large number of friends have gathered in Dornach over many years, all of whom have worked out these individual sculptural forms, which were given to them in the model, by hand. In a sense, the entire wooden structure is the handiwork of the anthroposophical friends. And that is something that could have been exemplary at the same time for the loving cooperation of a group of people.

If you now enter and look backwards in the auditorium, you can see the organ loft here. This is the model (Fig. 30). The idea is not to place the organ in a cavity, but to take the organ and shape the architecture accordingly. Additional motifs were then added during the elaboration.

Here is the interior (Fig. 29). When you enter the interior, you can see the organ porch where the singers stand. Here are the first three columns. I will explain the picture of the column formation in a moment. Above the columns are the architraves, which also show progressive motifs.

Here is the organ loft (Fig. 28).

Here is the space above the organ, sculpted out of wood (Fig. 33). Please take a look at the chapter. It is composed of simple forms. We will make the transition to the next and next capital and architrave forms. You don't have to think about how one capital emerges from another, but it is simply perceived like a leaf on the stem of a plant from which others now emerge metamorphically. Thus the next motifs here are always formed quite sensitively from the previous ones.

Here you have the simple capital motif of the first column (fig. 34).

The first column and the second column (Fig. 35). If you think of the simple motif from top to bottom, from bottom to top, you can imagine how it grows. The drops from above grow into this form, and from below the forms grow to meet them in more complicated shapes. It is the same with the architrave motifs.

Second column motif (fig. 36): already more complicated.

Second and third columns together (fig. 37): Again organically metamorphosed, the third column is obtained from the second column.

The third column on its own (Fig. 38).

Third and fourth pillars together (Fig. 39). What is still simple here has become more complicated. You make very special discoveries in the process. I simply let one motif emerge from the other according to artistic feeling. In doing so, I realized that it is only through this artistic approach that one can really understand the essence of evolution in nature. One usually imagines that the first forms in a developmental process are the simpler ones, which then become more and more complicated. This is not the case. If you work artistically, allowing one to emerge from the other, then you end up shaping the simpler into the more complicated, but when the complication has reached a certain level, things become more harmonious, but simpler again. This is how evolution works: from the simple to the complicated and then back to simplification. This discovery is surprising at first. You create something like this from the purely artistic and then find that it actually corresponds fully to the artistic creation of nature.

Consider the human eye: it is the most perfect, but not the most complicated. Certain organs of lower beings, the fan in the eye, the xiphoid process, are absorbed by the human eye. You come to that by yourself if you shape purely artistically.

Something very strange also happened to me. I said I had to form seven pillars, really not out of any mystical inclination. The seventh pillar turned out to be the end; you couldn't go any further, the motifs had been fulfilled. But later I discovered that if I took the convex shape of the seventh pillar and reshaped it a little artistically, it went straight into the concave, hollowed-out shape of the first pillar. I wasn't looking for that. It was the same with the sixth and second pillars, and also with the third and fifth pillars. I discovered that the capitals and the pedestal figures were something that emerged naturally from the work in the sense of an evolution. This is not something I was looking for. Even in nature itself, such surprising formal relationships arise. When you create artistically, you get these things that confront you from the individual forms, and you come to a deep respect for the mysterious working and weaving firstly in nature, but secondly in the world of forms itself, which you can penetrate imaginatively and artistically and by looking at it.

A column on its own has become relatively complicated (fig. 42). But you will see that by thinking of this motif in such a way that it grows from top to bottom, from bottom to top, something emerges that I did not aim for; but when people look at it, they will say: He has formed the staff of Mercury. I didn't want to form that, but it came out like that.

It spreads out, grows, thus creating this complicated motif (fig. 41), then the motifs become simpler.

Here you can see this motif (Fig. 43). Now I couldn't go any further in the complication. By thinking of it as growing and perceiving it as growing, I created this simpler motif.

The last two columns with their architraves above them (fig. 45). The column directly in front of the stage entrance (fig. 46).

In this way, you can see how the individual capitals came about, how the entire column motifs developed artistically in their evolution.

Here we are in front of a plinth (Fig. 48). I wanted to show these pedestals in turn, one after the other, how they develop apart in the same way as the capitals.

All pedestals (figs. 48-54). First becoming more complicated, then simpler again.

Here you can see from the auditorium into the stage area (Fig. 57). Here you can see the painted interior of the stage dome. Here the architrave above the columns of the auditorium. Here the auditorium closes off the stage area. Still in progress is the gap that connects the auditorium with the stage area (Fig. 56).

Another view from the auditorium, whose last columns you can see, into the stage area (Fig. 55). Here the painted stage dome. With regard to the painting of the two domes, however, I cannot give you such pictures, or rather I cannot give you pictures that speak as clearly as I can about the other. For with regard to the painting of the Dornach building, what I once described as the essence of modern painting has been very seriously striven for and followed, at least in the small dome room. Everything that is created in painting must be extracted from color.

The world of color is a world unto itself. The person who immerses himself in the world of color learns to recognize the creativity of each individual color; he learns to recognize the creativity that lies in the harmony of colors. Those who know how red affects human perception, how red speaks from within, those who know that blue has a formative, creative effect, come to shape the painterly world out of the colors

This is roughly what they tried to create when painting the small domed room in Dornach. The essential thing is always, if I may put it this way, the spot of color in a certain place. Although the figurative is born out of color, everything is originally conceived out of color. Light, dark and colors are actually the only things that are justified when you depict something painterly with the help of the surface; drawing is actually a mendacity. Take the horizon line: the blue sky above, the greenish sea below. If you paint it like this, then the horizon emerges by itself as the creature of the color encounter. And so it is with all lines in real painting. In painting, form is the work of color. This is what was attempted in Dornach.

There (Fig. 64) you first see what is under the dome, the architrave motif, directly above the group that is to be placed in the east of the building as the sculptural center of this building, so to speak. A motif from the small domed room (Fig. 66). I ask that these motifs be judged in the same way as those of the large domed room, except that six columns are intended on both sides; thus the whole shapes and designs are “ben other.

A capital motif of the small domed room (fig. 58-63).

The first thing in the painting of the small domed room when you enter it (Fig. 73). Of course, you will only get a real sense of what I can show you now when you feel this [photographic] reproduction in its defects, when you say to yourself: What is this actually? There should be color! Of course it is also color, everything is taken out of the color.

Here is a child flying towards a kind of fist figure (fig. 69). The child is red-yellow, the fist figure in blue.

Here fist (fig. 70), [here] the child (fig. 69). This fist figure roughly represents the civilization of the fifteenth, sixteenth century, in which we are actually all still immersed. However, that which takes shape from that civilization in external theoretical science is basically only a surface. The person who lives into the world view that has emerged through the newer natural sciences with his whole human being feels death strongly on the one side and budding, germinating life on the other. These two polar opposites confront us precisely from the present-day view of nature. Just take the following: The way we describe nature, we use terms that are basically taken from the dead, the mineral. Our natural scientists see an ideal in thinking of plant and animal life along the lines of the mineral, perhaps even being able to work experimentally in this direction. The idea of death is very strong (Fig. 71). On the other hand, if we delve into our self-consciousness, there is that life which is polar opposite to death, which we feel in particular when we allow the life of a child to affect us uninfluenced by knowledge. It is entirely in keeping with the feeling that a fist figure appears here, painted out of the blue.

[Here] the only word you will find in the entire structure: ICH (Fig. 72).

It is at this time, when this fist figure enters modern civilization, that we first really get to know the ego as the abstract content of self-consciousness. As you know, older languages still have the I in the verb. In this age, the ego is peeled out, set apart, when at the same time this culture appears, the political contrasts of which I have just described. This is the first motif that confronts us in the painting of the small dome.

Here Faust (fig. 70), here Death (fig. 71) as the contrast to the child. It is precisely the most modern cognitive and spiritual life that is to emerge in this motif, but out of the color, out of the yellow-reddish tone of the child, the blue tone of Faust, the brownish-blackish tone of this skeleton.

An angel-like figure above Faust (fig. 74). In a sense, everywhere below is a figure representing the more human, above it a spirit figure, the inspirer, the inspiring figure.

Here (fig. 75) is an image born out of the sensibility of Greek culture, i.e. more in the past. The fist figure was conceived out of modern culture, which we are still part of. Here is a kind of Pallas Athena figure, perceived from Greek culture, with the inspiring figure above it (Fig. 76).

Also such an inspiring, spirit-like figure (fig. 77).

Here (fig. 78) going further back an initiate of the Egyptian culture, above him the inspiring figure, so that everything worked out of the color is really intended here as figurative, which even represents the successive cultures and their evolution.

Here again two figures (fig. 79), and below them the figure that I will show you in larger size later. This is a kind of man of more recent times, a man of the present Central European culture. That which is ambivalent in this man of the present is expressed in his inspiration, which is above him. Here is a Luciferian figure. In this Luciferic figure there is to live all that which lives in that human nature, that through which man wants to go beyond himself, through which he falls into the rapturous, mystical, theosophical. The other, the Ahrimanic, through which he falls into the philistine, the intellectual-materialistic. These two opposites are in every human being today. Man seeks a balance between this duality. Everything in him that leads pathologically to fever, to pleurisy, is in this Luciferic form; everything that leads to sclerosis, to calcification, is in this Ahrimanic form.

Here (Fig. 81) you see one thing, in a sense the human being with those forces that age him, drive him towards sclerosis, drive him mentally towards intellectuality, towards materialism. Man would be like this, despite the fact that no one desires it so much, so Mephistopheleanahrimanic, if he had no heart, if he were merely a man of intellect. He is in all of us, but we also have a heart.

This (Fig. 80) is the one who represents us if we only had a heart and no mind. The Luciferic figure: rapturous, mystical, theosophical, everything that wants to go beyond the human being. Here is the human being who, with the help of these two again polar, contour-like opposing effects, really feels duality and can only bear it if the child is placed by his side. The man of the present in his ambivalent nature. Here (fig. 82) still somewhat larger, the same man who feels conflict within himself.

Here (figs. 83, 84) we come somewhat closer to the center. Here two figures, one painted more light, the other more dark. I have always taken the view that the Russian people's soul contains the man of the future. Today, only in the East is everything distorted. Today, through Lenin and Trotsky, the East is working towards the death of culture, towards the most terrible destruction. For all that which is at work in the East as forces of decline in the most terrible way can only lead to the destruction of all culture. But that is not what corresponds to the Russian national soul. And if nothing else would bring down Lenin and Trotsky, the Russian people's soul would one day bring them down. But the Russian people's soul is such that every Russian has his own shadow next to him. There is not only the ambivalent man as in Central Europe, who carries Lucifer and Ahriman within him, the enthusiastic and the materialistic, there is a man who has a second man beside him. This shadow must first be absorbed by the man of the future, but then he will also become the man of the future.

Here (Fig. 83) the inspiring angel, above it a centaur figure. When the man of the future will have attained his maturity, this figure will be that which may be put forward as the actual inspirer next to the angelic figure; today he is still centaur-like.

Here (Fig. 84) this centaur figure, the starry sky in between, so rightly sensing that evolution in the spirit which hovers between the angelic and the animal. Man stands, as it were, between the animal, which has assumed a human form in its passions and instincts, and the angelic, in which the ahrimanic is transformed into the spiritual and thereby receives its cosmic justification.

Here (fig. 85) from the other side, symmetrically situated, the angel, the centaur figure, carved out of the yellow.

Here you can see what is painted in the middle: a kind of representative of humanity (fig. 86). Anyone who sees this representative of humanity may feel as if it were an embodiment of the figure of Christ. This Christ figure in the middle is shaped as I had to place it according to my supersensible view of the Christ figure, which I believed, as this being really lived in Palestine at the beginning of our era. The traditional figure of Christ with the beard was only invented in the fifth or sixth century. Today we have to go back through spiritual scientific research to the time when Christ lived in Palestine in order to be able to discover his form through extrasensory vision. I make no claim to be believed authoritatively that this is the true figure of Christ, but I see it this way and I hold from the depths of my being that this is the figure of Christ. Below it, carved into a rock, is the figure of Ahriman. From the right arm of the

The figure of Christ emanates lightning bolts that snake around the ahrimanic figure. The Ahrimanic figure is everything that man would be if he had only reason, only intellect, only a materialistic attitude, not a heart. Above it is the figure of Lucifer, carved out of the red, all that which in man tends to rapture, to fantasy, to one-sided theosophy, to mysticism.

Here (Fig. 87) you see this figure of Lucifer, the face painted entirely out of the red, above the figure of Christ.

The Ahrimanic figure (fig. 88), the countenance - the wings are bat-like in the Ahrimanic figure - bound by the lightning bolts emanating from the hand of Christ. Of course, it all depends on how you perceive it from the color.

Here is the head of the Christ figure (fig. 90). This is what is painted into the dome at the very east end of the small dome room. Below this painting - Christ, Lucifer, Ahriman - is a nine and a half meter high wooden group (Fig. 93); again in the middle is the representative of humanity, who can be perceived as Christ. Twice above it is the Lucifer motif, twice below it the Ahriman motif. And then out of the rock an elemental being, which looks at the Christ in the midst of Lucifer and Ahriman like a natural being.

Here (fig. 91) the first model of the Christ figure in profile, as I made it in order to base the wooden group, the sculpture on it.

En face the first model; it is somewhat defective (fig. 92). A model of the Ahriman figure (Fig. 99). A Lucifer figure (Fig. 101), at the side of the wooden figure in the middle.

Another Lucifer (Fig. 98). Above it, carved out of the rock, an elemental being bending its head, as it were, and looking at Christ in union with Lucifer and Ahriman. I have dared to form a face quite asymmetrically, so that it is carved out of the composition. This is usually done in such a way that the composition is made up of the individual figures. Here in the wooden group, the individual figure is always created from the meaning and spirit of the whole composition, hence this asymmetry. It is a completely asymmetrical face, but it has to be like this at the point in the composition where it is in the group.

Here you have the heating and lighting house (Fig. 106) standing on its own, the rear front completely adapted to the machines that are inside. The whole thing is only finished when the smoke comes out of the top. Then these extensions will also be perceived as justified. Artistically, one creates from the form and cannot give an abstract explanation as to why it is this way or that. Some people think they are leaves, others think they are ears. That's not the point, it's the form that matters, which adapts on the one hand to growing out of the boiler house and on the other hand to what happens in the boiler house.

The glass house in which the glass windows have been cut (Fig. 103). These windows are located in the auditorium. They are cut out of monochrome glass panes, i.e. glass panes tinted with a single color. They have a certain history: We had first ordered glass panes from a factory near Paris in the spring of 1914, but the shipment was so delayed that it simply disappeared on the battlefield; we never saw anything of it. We had to buy the panes a second time.

The idea is that the motif is now cut out of the single-colored glass pane using special machines. The pane is then inserted and the work of art is created in the sunlight that passes through. This is connected with the whole idea of building in Dornach. In buildings everywhere else, you have to deal with walls that close off the room. In Dornach you have walls that don't evoke the idea at all: You are closed off. Everything I have now shown you is actually designed to make the walls artistically transparent. The viewer or listener has the feeling in the building that the wall is transparent, artistically transparent through its form, and that he is in contact with the whole wide universe. This is expressed artistically and physically through these glass windows, which are actually only a kind of score, as they are worked out as glass etchings. They become works of art when the sunlight shines through them. In other words, what is inside the building expands into the outer, sunlit nature. The glass cutting had to be done in this studio, which now serves as the building office.

The door to the glass house (Fig. 104). Not even philistine door handles, but completely new door handles (Fig. 105).

[Now] a small sample of the stained glass windows. All kinds of motifs cut out of the single-colored glass pane, but they only make sense to enjoy when you are standing in front of them.

Here (Fig. 112) a pair of people, the feelings of this pair of people carried out in what is around them.

Another window motif, scratched out of the glass (fig. 110). The glasses are not all of the same color, but one color is always followed by another. So that when you enter the building, you can see the different colors from the various windows. The whole room is then illuminated with a symphony of colors, which is artistically perceived as being composed of the most diverse colors. Now, ladies and gentlemen, I have taken the liberty of presenting to you the architectural concept of Dornach in the eighty pictures I have shown you. I have also taken the liberty of explaining to you how this Dornach building concept aims to replace merely static, geometric, symmetrical building with organic building. This had to happen because this spiritual science, as I have represented it here in my lectures, is not merely a one-sided science, but full of life; because it wants to draw fully from the source of world and human life. Therefore, it is not merely a phrase when it is said that religion, art and science and social life should be united with one another, but that the building in its new architectural style simply had to express the same thing out of the whole essence of this spiritual science that is expressed in the spiritual science itself through thoughts or laws.

My esteemed audience, through the willingness of a large number of understanding friends to make sacrifices, we have brought the building so far that last fall we were able to have about thirty experts, people of practice, hold courses in this building, and shorter courses are to be held again at Easter. However, the building is not yet finished. We can only express the hope that we will be able to complete this building, from which a spiritual-scientific movement, which will also bring the social liberation that is necessary for the people of the present and the near future, will emanate. For this, however, it will be particularly necessary to have the international understanding that I described yesterday as the basis for a world school association that works towards the liberation of spiritual life as one member of the tripartite social organism. It will be necessary for this spiritual life to be promoted and supported by the World School Association in an international way.

With regard to the building of Dornach, I know very well what can be objected to from older points of view, from old architectural styles. But if we never dared to do anything new, the development of humanity could not progress. And the impulse to move forward has to do above all with that which wants to emanate from Dornach as anthroposophically oriented spiritual science. Forward in the development of humanity, according to the goals that I indicated yesterday at the end of the lecture.

We know, in that we have also formed this outer shell of anthroposophical spiritual science in the building of Dornach, the Goetheanum, what all can be criticized about this building, what all can be objected to it. We have only one justification for ourselves, which is ultimately decisive for everything new: we must dare to try this new thing. And we always remember what is true: that what is justified will work its way through against all resistance if it is justified. If it is not justified, it will be eliminated and will do little harm to humanity. In the face of all opposition, it will become clear whether the building idea of Dornach is justified as an outer shell for anthroposophically oriented spiritual science. We can only say: we think it is justified, and that is why we dared to do it!

I would like to say a few words about the building concept, with the direct support of the building. From the outset, the view could arise that if one has to talk about such a building, it indicates that it does not make the necessary impression as an artistic work; and in many cases, what is thought about the building of Dornach, about the Goetheanum in the world, is thought from a false point of view influenced by a [one-sided] view. For example, the opinion has been spread that the building in Dornach wants to symbolize all kinds of things, that it is a symbolizing building. In reality, you will not find a single symbol in it when you look at it, as they are popular in mystical and theosophical societies. The building should be able to be experienced entirely from the ki-based feeling and has also been created from these artistic feelings in its forms, in all its details. Therefore, it must only work through what it is itself.

Explaining has become popular, and one then complies with such requests for explanations; but in mentioning this here before you, I also say that such an explanation of an artistic work always seems to me to be not only half, but almost completely unartistic, and that I will now give you a kind of lecture in front of the building, a lecture that I fundamentally dislike, if only because I have to speak to you in abstract terms about what emerged in my mind as details when designing the building, the models and so on, and what was created from life. I would rather speak to you about the building as little as possible.

It is already the case that a new style, a new artistic form of expression, is viewed with a certain mistrust in the present day. I can still hear a word that I heard many decades ago when I was studying at the Technical University [in Vienna], where Ferstel gave his lectures. In one of them, he says: “Architectural styles are not invented, an architectural style grows out of the character of a nation.” Therefore, Ferstel is also opposed to any invention of a desired new architectural style, a new type of construction. What is true about this idea is that the style, which is supposed to stylize the characteristics of a people, must emerge not from an abstraction, but from a living world view, which is at the same time a world experience and, from this point of view, comprehensively encompasses the chaotic spiritual life of contemporary humanity. On the basis of this thoroughly correct idea, it becomes necessary to transform what was characteristic of previous architectural styles into organic building forms by incorporating the symmetrical, the geometric-static, and so on.

I am well aware of what can be said – and, from a certain point of view, justifiably said – by those who have become psychologically attuned to previous architectural styles against what has been attempted here in Dornach as an architectural style: the transference of geometrical-symmetrical-static forms into organic forms. But it has been attempted. And so you can see in these forms of building that this building here is an as yet inadequate first attempt to express the transition from these geometric forms of building to the organic. It is certain, of course, that the development of humanity is moving towards these forms of building, and when we again have the impulses of clairvoyant experience, I believe that these forms of building will play the first, leading role.

This building should be understood in the same way through its relationship with the organizing forces of nature as the previous buildings are understood through their relationship with the geometric-static-symmetrizing forces of nature. This building is to be viewed from this point of view, and from this point of view you will understand how every detail within the building idea for Dornach must be completely individualized here. Just think of your earlobe: it is a very small part of the human organism, but you cannot imagine that an organic form like the earlobe is suitable for growing on the big toe. This organ is bound to its place within the organism. Just as you find that within the whole organism a supporting organ is always shaped in such a way that it can have a static-dynamic effect within the organism, so too the individual forms in our building in Dornach had to be such that they could serve the static-dynamic forces. Every single form had to be organized in such a way that it could and had to be in its place what it now appears to be. Look at each arch from this point of view, how it is formed, how it flattens out towards the exit, for example, how it curves inwards towards the building itself, where it not only has to support but also to express support in an organic way, thereby helping to develop what only appears to be unnecessary in organic formation. Ordinary architecture leaves out what the organism develops, that which goes beyond the static. But one senses that the idea of building has been transferred to the organic design of the forms, and that this is also necessary.

You will have to consider every column from this point of view; then you will also understand that the ordinary column, which is taken out of the geometric-static, has been replaced by one that does not imitate the organic - everything is so that it is not imitated naturalistically - but transferred into organically made structures. It is not imitating an organic structure. You will not find it if you look for a model in nature. But you will find it if you understand how human beings can live together with the forces that have an organizing effect in nature, and how, apart from what nature itself creates, such organizing forms can arise. So you will see in these column supports how the expansion of the structure, the support, the inward pointing, and, in the same way as, say, in the upper end of the human thigh, the support, the walking, the walking and so on, is embodied statically, but organically and statically.

From this point of view, I would also ask you to consider something like the structure with the three perpendicular formations at the top of the stairs here below (Figs. 23, 24). The feeling arises here of how a person feels when he is striving to ascend the stairs. He must have a feeling of security, of spiritual unity in all that goes on in this building, indeed in all that he sees in this building. Everything came to me entirely from my feelings. Believe it or not, this form came to me entirely from my artistic feelings. As I said, you may believe it or not, it was only afterwards that it occurred to me that this form is somewhat reminiscent of the form of the three semicircular circles in the human ear, which, when injured, cause fainting, so that they immediately express what gives a person stability. This expression, that a person should be given stability in this building, comes about in the experience of the three perpendicular directions. This can be experienced in this structure without having to engage in abstract thought. One can remain entirely in the artistic realm.

If you look at the wall-like structures, you will find that natural-looking forces have been poured into the forms, but in such a way that in these forms, which are radiator covers (Fig. 26), the concrete material of the structure is worked out first, and then, further up, the material of the wood, so that they are metamorphosed. You will find that in these structures, the process of metamorphosis is elevated to the artistic. It is the idea of the building that should have a definite effect on such radiator covers, which are designed in such a way that you immediately feel the purpose and do not need to explore it intellectually first. This is how these elementary forms, half plant-like, half animal-like, came to be felt. One only realizes that they must be so when one has shaped them out of the material. And it also follows that it is necessary to metamorphose them depending on whether they are in one place or another, depending on whether they are long and low or narrower and higher. All this is not the result of calculating the form, but the forms shape themselves out of the feeling in their metamorphosis, as for example here, where we have come so far, where the building is a concrete structure in its basement and where one has to empathize with the design of what the concrete is. You enter here at the west gate. Here is the room for checking in your coat. The staircase, which leads up on the left and right, takes you up to the wooden structure containing the auditorium, the stage and adjoining rooms. Please follow me up the stairs to the auditorium.

We first enter a kind of vestibule (Fig. 27). You will feel the very different impression that the wooden paneling creates compared to the concrete paneling on the lower floor. I would like to note here: When one has to work with stone, concrete or other hard materials, one has to approach it differently than when one has to work with a soft material, for example, wood. The material of wood makes it necessary to focus one's entire perception on the fact that one has to scrape corners, concaves, and hollows out of the soft material, if I may use the expression. It is scraping, scraping out. You deepen the material, and only by doing so can you enter into this relationship with the material, which is a truly artistic relationship. While when working with wood you can only coax out of the material what gives the forms if you focus your attention on deepening, when working with hard material you do not have to do with the recesses. You can only develop a relationship with the hard material by applying it, by working convexly, by applying raised areas to the base surfaces, for example when working with stone. Grasping this is an essential part of artistic creation, and it has been partially lost in more recent times.

You will see when we enter the auditorium how each individual surface, each chapter, is treated individually. In this organic structure, a chapter can only be such that one feels: In what follows each other, no kind of repetition can be created, as is otherwise the case with symmetrical-geometric-static architectural styles. In this building, based on organic ideas, you have only a single axis of symmetry, which goes from west to east. You will only find a symmetrical arrangement in relation to this, just as you can only find a single axis of symmetry for a higher organism, not out of arbitrariness, but out of the inner organization of forces of the being in question.

At this point, I would also like to mention that the treatment of the walls also had to be completely different under the influence of the organic building idea than it was before. A wall was for earlier architects what demarcates a space. It had the effect of being inside the room. This feeling had to be abandoned in this building. The walls had to be designed in such a way that they were not felt as a boundary, but as something that carries you out into the vastness of the macrocosm; you have to feel as if you are absorbed, as if you are standing inside the vastness of the cosmos. Walls had to be made transparent, so to speak, whereas in the past every effort was made to give the wall such artificial forms that it was closed, opaque. You will see that the transparent is used artistically at all, and that was driven out of elementary backgrounds into the physical in these windows that you see here and that you will see in the building.

If you see windows in the sense of the earlier architectural style, you will actually have to have the healthy sense: they break through the walls, they do not fit into the architectural forms, but they only fit in through the principle of utility. Here, artistic feeling will be needed down to the last detail. It was necessary to present the wall in such a way that it is not something closed, but something that expands outwards, towards infinity. I could only achieve this by remembering that you can scratch out designs from single-colored window panes, as if using an erasing method, a glass etching method. And so, monochromatic window panes were purchased, which were then processed in such a way that the motifs one wanted to have were scratched out with the diamond stylus. So for this purpose, an actual glass etching technique was conceived, and from this the windows emerged.

When you consider the motifs of the windows, you must not think that you are dealing with purely symbolic designs. You can see it already on this larger windowpane (Fig. 109): nothing is designed on these window panes other than what the imagination produces. There are mystics who develop a mysticism with superficial sentences and strange ideas and constantly explain that the physical-sensual outer world is a kind of maja, an illusion. Often people approach you and say that so-and-so is a great mystic because he always declaims that the outer world is a maja. The human physical countenance has something that is maya, that is absolutely false, that is something quite different in truth. What appears on this windowpane is not something that symbolizes; it is an essence that is envisaged, which only does not look to the spiritual observer as it appears to the senses. The larynx is the organ of vision for the etheric; the larynx is already Maja as a physical larynx, and that which is a merely physical-sensual vision is not reality.

What is the spiritual meaning behind this? The spiritual fact is that the human being is truly being whispered in the ear, left and right, what the secrets of the world are. So that one can say: the bull speaks in the left ear, the lion in the right ear. If one wants to depict something like this as a motif in a picture or in words, one can only put into the word what is already in the picture itself. It must be clearly understood, however, that such a picture can only be understood by someone who lives in the world view from which it originated. A person who does not have a living Christian feeling will not be able to relate to the pictorial representations that Christian art has produced.

The artist experiences a great deal when he immerses himself in a vision; but such an experience must not be translated into abstract thoughts, otherwise it will immediately begin to fade. One example of the artist's experience is this: when Leonardo da Vinci painted his Last Supper, which has now fallen into such disrepair that it can no longer be appreciated artistically, people thought it took too long. He couldn't finish the Judas because this Judas was supposed to emerge from the darkness. Leonardo worked on this painting for almost twenty years and still hadn't finished it. Then a new prior came to Milan and looked at the work. He wasn't an artist; he said that Leonardo, this servant of the church, had to finally finish his work. Leonardo replied that he could do it now; he had always only sketched the figure of Judas because he had not found the model for it; now that the prior was there, he had found the model for Judas in him, and the picture would now be quickly finished. — There you have such an external, concrete experience. Such external, concrete experiences play a much greater role in all the artist's work than can be expressed in such brief descriptions.

You have [now] entered the building through the room below the organ and the room for musical instruments, dear attendees. If you look around after entering, you will find the building idea initially characterized by the fact that the floor plan (Fig. 20) represents two not quite completed circles that interlock in their segments. It seems to me that the necessity for shaping the building in this way can already be seen when approaching the building from a certain distance and if one has an idea of what is actually supposed to take place in the building. I will now explain further what is connected with the building idea. First of all, I would like to point out that you can see seven columns arranged in symmetry solely against the west-east axis, closing the auditorium on the left and right as you move forward. These seven columns are not formed in such a way that a capital shape, a pedestal shape or an architrave shape above it is repeated, but the capital, pedestal and architrave shapes are in a continuous development. The two columns at the back of the organ room have the simplest capital and pedestal motifs (Figs. 28, 33): forms that, as it were, strive from top to bottom, with others striving towards them from bottom to top. This most primitive form of interaction between above and below is then metamorphosed in the following architrave, capital and pedestal forms (Figs. 35-54).

This progressive metamorphosis came about through the fact that, when I was forming the model (Fig. 22), I tried to recreate what occurs in nature by force. What happens in nature, where an unnotched leaf with primitive forms is first formed at the bottom of the plant, and then this primitive form metamorphoses the higher you go, into the indented, more intricately designed leaf, even transformed into a petal, stamen and pistil, which must be imitated - although not in a naturalistic way - one must place oneself inwardly and vitally into it and then create from within, as nature creates and transforms, as it produces and metamorphoses. Then, without reflection, but from much deeper soul forces than from reflection, one gets such transformations of the second from the first, the third from the second, and so on.

It is possible to misunderstand that, for example, in the fifth column and in the architrave motifs above the fourth column, something like a caduceus appears (Figs. 41, 42). One could now believe that the caduceus was stuck in these two places by the intellect. I believe that someone who had worked from the intellect would probably have placed the caduceus in the architrave motif and, because the intellect has a symmetrical effect, the column motif with the caduceus below it. Someone who works as we have here finds something different. Here, with the motif that you see as the fourth capital motif, this Mercury staff emerged just as a petal emerges from the sepal, only through sensing the metamorphosing transformation, without me even remotely thinking of forming a Mercury staff. I did not think of a past style, but of the transformation of the fourth capital motif from the third. One can see how the forms that have gradually emerged in the development of humanity have developed quite naturally.

Then we come to the epoch when the human being intervenes in his or her psychological development. If we work this into the column in an individualizing way, what is worked on earlier on the surface of the architrave comes later. That is why you see the caduceus on the capital later than on the architrave. A plant that is thin and delicate develops different leaf shapes than a sturdy one. Compare just a shepherd's purse with a cactus, and you will see how the filling and shaping of space is expressed in the figurative design.

At the same time, a cosmic secret arises in this way of feeling evolution through. There has been much talk of evolution in recent times, but little feeling about it. One only thinks it through with the mind. One speaks of the evolution of the perfect from the imperfect. Herbert Spencer and others have done much harm to this, and the thought has arisen that is completely justified in front of the mind, but which does not do justice to the observation of nature: In intellectual thinking, one assumes that in evolution, the simpler forms are at the beginning and that these then become more and more differentiated and differentiated. Spencer, in particular, worked with such evolutionary ideas. But evolution does not show it that way. There is, however, a differentiation, a complication of the forms; but then one comes to a center, and then the forms simplify again. What follows is not more complicated, but what follows is simpler again. You can see this in nature itself. The human eye, which is the most perfect, has, so to speak, achieved greater simplicity than the eye forms of certain animals, which, for example, have the xiphoid process, the fan, which has disappeared again as the eye in evolution moved further up to become human.

It is therefore necessary for man to connect with the power of nature, to feel the power of nature, to make the power of nature his own power and to create from this feeling. Thus, an attempt has been made to design this building in an entirely organic way, to design every detail in its place as it must be individualized from the whole. So you can see, for example, that the organ (Figs. 28-30) is surrounded by plastic motifs that make it appear as if the organ is not simply placed in the space, but that it works out of the whole remaining organic design, as if growing out of it. So everything in this building must be tried to be made in this way.

Here you see the lectern (Fig. 68) on which I am standing. Initially, the idea was to create something here that would, as it were, grow out of the other forms of construction, but in such a way that it would also express the fact that from here, through the word, one strives to express everything that is to be expressed in the building. At the moment when a person speaks here, the forms of what is spoken must continue in such a way that, just as the nose betrays in its form what the whole person is through his or her countenance, so too can the forms of what is spoken continue in such a way that the whole human being is revealed through the form of the nose. Anyone who has made artistically inspired nose studies can create the 'architectural style', the physiognomy of the whole human being, from a nose study. No one can ever have a different nose than they have, and there could never be a different lectern than the one that is here. However, if you claim this, it is meant according to your own view; you can only act according to your own view.

That an attempt has been made here to truly metamorphose the body can be seen from the fact that the motifs here in the glass windows are in part really such motifs that arise as images of the soul's life. For example, look at the pink window here (Fig. 113). You will see on the left wing something coming out like the west portal of the building; on the right wing you see a kind of head. There you see a person sitting on a slope, looking towards the building, and another person looking towards the head. This has nothing to do with speculative mysticism; it has to do with an immediate inner visual experience. This building could not have been created in any other way than by sensing the shape of the human head in a mysterious way, and the organic power on the one hand and the shape of the human head on the other hand result in the intuitive shape of the building. Therefore, the person sitting on the slope sees the metamorphosis of the building in his soul, sometimes as a human head, sometimes as the building revealing itself to the outside world. This provides a motif that leads, if I may say so, to an inner experience.

There you will find in the blue windowpane (Fig. 111) a person who is aiming to shoot a bird in flight. In the right-hand pane you will see that the person has fired. The bird in the left-hand field is in a sphere of light. Around the man you find all kinds of figures vividly alive in the astral body, one when he is about to shoot, the other when he has shot. This is reality, but it is from mundane life. I can imagine that those who always want to be dripping with inner elevation take offence when they experience such things as they are meant here, that a human shooting is simply depicted. Yes, I was pleased when an Italian friend once used a somewhat crude expression about theosophists, who are such mystics. The friend who had already died said it, and I may say it in the very esteemed company here, because the person concerned was a princess, and what a princess says can certainly be said. She glossed such people, who always want to live in a kind of inner elevation, by saying that they are people with a “face up to their stomachs”. I also do not repeat her not quite correct German.

Now, dear attendees, the same idea was then also implemented in painting. I can only talk about the actual painting, about spiritual painting, by referring to the small dome. Only in the small dome was it possible for me to carry out what I have indicated as the challenge of a newer painting: that here, behind the emergence from the color experience, drawing disappears altogether. I had one of my characters in the first mystery drama express this as follows: that the forms appear to be the work of color. For when one feels with the feeling for painting, then one feels the drawing, which is carried into the pictorial, as a lie. When I draw a horizontal line, it is actually a reproduction of something that is not there at all. When I apply the blue sky as a surface and the green below, the form arises from the experience of the color itself. In this way, every pictorial element can be formed. Within the world of color itself lies a creative world, and the one who feels the colors paints what the colors say to each other in creation. He does not need to stick to a naturalistic model; he can create the figures from the colors themselves. It is the case that nature and also human life already have a certain right to shape the moral out of the colored with a necessity.

Yesterday, Mr. Uehli quite rightly pointed out how newer painters already have an intuitive sense of such effects created by light and dark, by the colors themselves, and how they come to paint a double bass next to a tin can. They are pursuing the right thing in and of itself, that it is more important to see how the light gradates in its becoming colored when it falls on a double bass and then continues to fall on a tin can. That is the right thing. But the wrong thing is that this is again based on naturalistic experience. If you really live in the colors, something other than a tin can and a bass violin arises from the colors. The colors are creative, and how they come together is a necessity arising from the mere colors, which you have to experience. Then you don't put a tin can next to a bass violin because that is outside the colors.

So here I have tried to paint entirely from the colors. If you see the reddish-orange spot and the black spot next to the blue spot, it is first of all a vivid impression from the colors. But then the colors come to life, then figures emerge from them, which can even be interpreted afterwards. But just as little as one can make plants here with the human mind, one can just as little paint something on them that one has thought up with the human mind. One must first think when the colors are there, just as the plant must first grow before one can see it.

And so a Faust figure with Death and the Child came into being (Figs. 69-74). The whole head emerged out of the colors, with all the figures in it. Only in the realm of the human soul does something spiritually real take shape of its own accord. For example, you can see above the organ motif how something is painted (Fig. 31) that a person with a philistine attachment to the sensual world would naturally perceive as madness. But you will no longer perceive it as madness when I tell you the following: if you close your eyes, you will, as it were, feel something like two eyes looking at each other, inside the eye. What takes place inwardly can certainly be further developed in a certain way. Then what, when viewed in a primitive way, looks like two eyes glowing out of the darkness and what is seen when it is experienced inwardly, can be projected outwards and experienced in such a way that an entire beyond, an entire world-genesis can be seen in it. Here again an attempt has been made to create out of color what the eye experiences when it looks into the darkness and sees itself. One need not merely read the secrets intellectually, one can see them – suddenly they are there.

In a similar way, attempts were made to bring other motifs into reality, again not from the naturalistic imitation of signs and forms, but entirely from color. The ancient Indians and their inspiration, the seven Rishis, who in turn were inspired by the stars, to paint with an open-topped head (Fig. 32, far right) is, if you do it that way, abstract, actually nonsense; I say that quite openly. But when one experiences what was experienced in the ancient Indian culture in the relationship between the disciple and the guru, the teacher, one feels as if the ancient Indian did not have a skullcap, but as if it had evaporated and as if he were not the one human being who lives in his skin, but one feels as a sevenfold being, as if his soul power was composed of the seven soul rays of the holy Rishis of ancient Atlantis, enlightening him, and that he then communicated to his world that which he revealed, not from his own spirit but from the spirit of the holy Rishis. The more one works out what is said here, the more one comes closer to what has been painted here. The intuitive perception has first placed itself in ancient India, in ancient Atlantis. That which can be seen there has been painted on the wall here, and only afterwards can one speculate when it is there. This is how the message can relate to artistic creation. This is how everything in this building should actually come about.

You will find this building covered with Nordic slate. The building idea must be felt through to the point of radiating outwards. The slate, or the material used to cover it, must shine in a certain way in the sunlight. It seemed to happen by chance here – but of course there is always an inner necessity underlying it. When I saw the Nordic slate in Norway from the train, I knew that it was the right thing to cover the building with. We were then able to have the slate shipped from Norway in the pre-war period. You will feel the effect when you look at the building from a distance in good sunshine.

My main concern during the construction was the acoustics. The building was of course also provided with scaffolding on the inside during construction so that work could be carried out above. This did not produce any acoustics, the acoustics were quite different, that is, it was a caricature of acoustics. Now it so happens that the acoustics of the building were also conceived from the same building idea. My idea was that I had to expect that the acoustic question for the lecturer could be solved from occult research. You know how difficult it is; you cannot calculate the acoustics. You will see how it has been done, but to a certain degree of perfection in the acoustics.

You may now ask how these seven pillars, which contain the secret of the construction, are related to the acoustics. The two domes within our building are so lightly connected that they form a kind of soundboard, just as the soundboard of a violin plays a role in the richness of the sound. Of course, since the whole, both the columns and the dome, are made of wood, the acoustics will only reach perfection over the years, just as the acoustics of a violin only develop over the years. We must first find a way to have a profound effect on the material in order to be able to feel through the building idea what is now sensed as the acoustics of this building. You will understand that the acoustics must be sensed best from the organ podium. You will also see that when two people talk to each other here in the middle, an echo can be heard coming down from the ceiling. This seems to be an indication from the world essence that one should only speak from the stage or the lectern within the building and that the building itself does not actually tolerate useless chatter from any point.

Now, dear attendees, I have tried to tell you what can be said in this regard while looking at the building. I will have to supplement what I have spoken today in my presentation of the building idea, which I will give at the final event next Saturday. Then I will say what can still be said. Now we have to clear the hall for the next lecture.

Dear attendees!

With your permission, I would like to expand on what I said during the tour of the Goetheanum by saying a few more words about our building today. For many years, our anthroposophical movement held its meetings in ordinary halls, just as they are available today. And even when we were able to present dramatic performances based on the impulses of the anthroposophical worldview, starting in 1909, we initially had to limit ourselves to having these performances in ordinary theaters and under ordinary theater conditions. As our anthroposophical movement grew, a large number of our friends came up with the idea of building a house for anthroposophy. And now I was given the task, so to speak, of creating a home for the anthroposophical movement. I would like to make it clear that the order to build did not come from me, but from friends of the anthroposophical worldview.

The question now arose: how should the construction of such a house be approached? If any other society, an association with any task or objective, builds a house for itself today – and today there are all kinds of associations with all kinds of objectives – then it consults with some architect. They agree on the style in which such a house is to be built: Greek, Gothic, Renaissance or some other style. This is the usual procedure today. If anthroposophy were a movement like all the others, it could have proceeded in this way. But anthroposophy takes into account the great demands of our time for a thorough renewal of our entire culture, and therefore it could not be built in this way.

Furthermore, anthroposophy is not a one-sided body of ideas, but the body of ideas of anthroposophy arises from the whole of human experience, from deep sources of the human being. And that which lives in the ideas of anthroposophy has sprung from a primeval source, just as it did in the case of the older cultures. And just as the words of Anthroposophy can be proclaimed by human mouths and given as teachings, so too can that which flows from the sources from which the Anthroposophical ideas also flow be given for direct artistic contemplation. It is not a matter of translating or applying anthroposophical ideas to art, but rather of another branch growing out of the same source of life from which anthroposophical ideas come, and developing as art. What Anthroposophy has to reveal can be said from a podium in words that signify ideas. But it can also speak from the forms, from plastic forms, from painting, without sculpture or painting becoming symbolism or allegory, but rather within the sphere of the purely artistic. But that means nothing other than: If anthroposophy creates a physical shell for itself in which it is to work, then it must give this physical shell its own style, just as older world views have given their physical shells the corresponding style.

Take the Greek architectural style, as it has partly been realized in the Greek temple: This Greek temple has grown entirely out of the same world view that gave rise to Greek drama, Greek epic poetry, and Greek conceptions of the gods. The Greek felt that in creating his temple, he was building a dwelling for the god. And the god is again nothing other than what older cultural views saw in the human soul that had passed through death in its further development; a certain qualitative relationship between the god and the human soul that has passed through death was felt in older cultural currents. And so, as in ancient times, when people believed that the human soul had passed through death, they built dwellings for it while still on earth, thus constructing houses for the dead, they designed something similar for the older times, as the Greeks then designed in their temples at a later stage. The temple is the dwelling of the god, that is, not of the human soul that has passed through death itself, but of that soul which belongs to a different hierarchy, to a different world order.

Those who can see forms artistically can still feel in the forms that have been created by carrying and other loads for the Greek temple, as in older times the dead, who still remained on earth after death, who, so to speak, as a chthonic deity, as an earthly deity, this house was formed out of this earth; so that a continuation of the gravitational forces of the earth, as they can be felt by man when he somehow looks through his limbs, such a connection of forces as a temple was erected. The Greek temple is only to be regarded as complete when one looks at it in such a way that the statue of the god is inside. Those with a sense of form cannot imagine an empty Greek temple as complete. They can only imagine, they can feel, that this shell contains the statue of Athena, Zeus, Apollo and so on.

Let's skip some of the art historical development and look at the Gothic building. If you feel the Gothic building with its forms, with its peculiar windows that let in the light in a unique way, you actually always feel that when you enter the empty Gothic cathedral, it is not a totality, nothing complete: the Gothic cathedral is only complete when the community is inside, whose souls resonate in harmony in their effects. A Greek temple is the wrapping of the god who dwells on earth through his statue in the people; a Gothic cathedral is in all its forms that which encloses the community in harmony and with thoughts directed towards the eternal.

Greek world view, world view that created form in the Gothic, are dead worlds for humanity. Only the degenerate forces of decline that originated from them can still live today. We need a new culture, but one that is not only expressed in a one-sided way in knowledge and ideas, but one that can also express itself in a new art. And so the development of art history also points to the necessity of a building style for anthroposophy, which wants to bring a new form of culture.

The way in which Anthroposophy is to be lived is based on the idea that a higher being, which is in fact the human being himself, speaks to the person who lives in the ordinary life that unfolds between birth and death. By feeling this, the two-dome structure presented itself to me as the necessary building envelope for this basic impulse of the anthroposophical world view. In the small dome, what is inwardly large and wide is, as it were, physically compressed; in the large dome, what is inwardly less wide, what inwardly belongs to the life we lead between birth and death, is spatially expanded.

And when a person enters this structure in the sense of such an anthroposophical worldview, they must find their own being. This is based on what has just been said. And while he is inside, he must feel the structure in such a way that he, as a human being, as a microcosm, does not feel constrained by the structure, but is externally connected to the universe, to the macrocosm, through the entire structure. But if you look at the structure from the outside, you must have the feeling: Something is going on in there that brings something unearthly, something extraterrestrial, to earthly existence. Something is going on in there that is hidden in the earthly itself. So it must be possible to look at the building in terms of its overall form and also in terms of the sculptural extensions, which, as I said over there, must represent organic structure.

I ask you to view the slides from this perspective, which I will now take the liberty of showing you. Of course, they show nothing other than what you have already seen; they are only intended to conclusively present what can be seen of the building. We will start by showing an exterior view looking towards the west portal.

The building seen from a little further away (Fig. 6), looking towards the west portal.

The next picture (Fig. 7): looking more towards the south portal, the west and south portals seen more together.

Here (Fig. 2) is a view of the building from the east, with a simultaneous view of the building that contains the lighting and heating units for the building. This boiler house is, of course, particularly controversial in its form because it looks different from the buildings we are accustomed to seeing today. And this boiler house is not built according to any principle other than everything that has been built here at all. The original idea was to have a number of heating and lighting systems. That is, in a sense, the nut. And now, as with the nut, only the nutshell can arise as a covering from an inner, logical necessity, and that, when one has such a utilitarian building, one cannot proceed otherwise than that one perceives everything that must be inside this structure in its essence and then makes a shell that corresponds to this content in the same way that the nutshell corresponds to the nut.

Of course, this can only be felt; it cannot be discussed. Another person may feel differently. But if one criticizes the ground, I would like to ask the people who do so to consider what would be there if no attempt had been made – even if it was not immediately successful at the first attempt – to find the right covering for heating and lighting, but had stuck with the current one, then there might be a red chimney here. Perhaps the philistines would have liked it more, but art would have been less satisfied.

The next picture (Fig. 4) will show a view from a greater distance of the north-west portal.

The next picture (Fig. 1) is supposed to show the building from an even greater distance.

It was always my intention, despite the fact that the building was not originally intended for here, but in the middle of houses, to design it here so that it fits into the overall configuration of the landscape, the Jura landscape. I cannot, while trying to avoid any illusion, but say otherwise than that I think the building is already growing out of the plastic forms of the landscape.

Here I take the liberty of showing you the ground plan (Fig. 20), which expresses exactly what I have just said. The point was to feel through the effect, I would like to say, of one side of the human being on the other, in the ground plan and in the whole form of the building.

What now follows is a cross-section through the entire structure (Fig. 21).

Now I will try to show this cross-section; I will try to show what can be built on this cross-section by showing you the model that I originally made (Fig. 22). This is the original model of the construction, the large dome, the small dome, as I made it here from the fall of 1913. It is largely made of wax, insofar as one is dealing with plastic forms, and partly of wood.

The next one will show a side wing, seen from the side (Fig. 13), where you can particularly see the metamorphosis that the motif, which can be seen above the west portal, can undergo in a smaller form. The forms become quite different on the outside, but according to the idea, they are the same on the inside.

The next motif is depicted in the piece above the south portal, which is above the southern entrance door (Fig. 11): the same motif as on the west portal, but in a simpler, more primitive metamorphosis. Next, we present part of the room that one enters when going down into the concrete sub-room, which is intended for depositing the clothes (Fig. 23). One goes up there via the stairs. In any case, all the honored attendees have become aware of the underlying feelings behind the design of this room.

The staircase with its surroundings (Fig. 24), which we can pass over particularly quickly because they are only intended for recapitulation. The next thing I bring is a column from the interior, which one enters when one has gone up the stairs, that is, before one enters the main room (Fig. 27). Everything that is worked here is already worked in wood.

Here I present the organ motif, but not as you see it now, but as it was as a model (Fig. 30). It is a photograph of the organ motif model and you can see it here (Fig. 29) in an unfinished state at the same time. I said in the description over in the building that an attempt was made to design the whole sculpture around the organ so that the organ does not appear to be inserted into the space, but rather to have grown out of it. Here you can see the work of this organ sculpture still half-finished. First, I had to work out the general shape, and only later did I adapt the general forms to fit exactly with what emerged as the lines through the ends of the organ pipes upwards.

We now see in the next picture [the capital of the first column in the west] (Fig. 33), and I ask you to pay attention to the next three pictures. They are presented here to show two consecutive capitals. You should note that a single capital is actually not something that can be viewed on its own. The thing on which everything is based is the way in which each subsequent capital emerges from a preceding one. Therefore, I show two capitals emerging from each other [of the second and third columns] (Figs. 36, 38), and in between the two together [with the architrave above] (Fig. 37), thus each individual one in succession and in between the two together.

We see here the fourth capital (Fig. 40). Now the two capitals in succession, the fourth and fifth (Fig. 41). Now the fifth alone (Fig. 42).

Likewise, I will now show two bases that have been formed one after the other, again the individual one is not to be understood in isolation, but only as emerging from what has gone before.

The first pedestal, the fifth (Fig. 52).

Now the sixth (Fig. 53). The next picture will show the motif that arises when we look east, standing in the building and see what is in the east (Fig. 57).

A column order: This is the view after the organ motif when standing in the building, looking from east to west (Fig. 29).

Here you can see the motif carved into the wood above the curtain slit (Fig. 55). The curtain is open, we look into the small domed room, and below we can also see the carving of the small domed room, only a little indistinctly, and above it the painting.

The next one shows the motif that was carved in the small domed room: as a kind of synthetic conclusion of the individual forms (Fig. 67). If you look from the auditorium into the small domed room, you will see, immediately below the painted Christ-like figure, with Lucifer above him and Ahriman below him, a wood carving that combines all the forms that are otherwise distributed throughout the building – but initially, I would like to say, only in an organic, not yet spiritualized way.

Psychically, it is only summarized in the Christ group (Fig. 93), which is a nine-meter-high wooden group that will stand in the far east and show the representative of humanity in the middle, who can be understood as the Christ – but must be understood in the feeling – [and] has the Luciferic principle above him and the Ahrimanic principle below him. Psychically, this will synthesize all the individual forms.

I will now describe some of the motifs in the small cupola painting.

First, you see the child, depicted in an orange tone (Fig. 72), in front of the blue figure, which looks like a fist (Fig. 70), holding a tablet with the “I” – the only word that will be found in the entire structure, for very specific reasons. I would be pleased, ladies and gentlemen, if you would feel something absurd from these pictures, which, after all, could only be viewed in black and white, because here the painting is done in such a way that everything is brought out in color. You can actually only give something in the reproduction in which, according to perception, something must be missing, something absurd. Perhaps one should see here that something quite unfinished, something absurd stands before one, and then one should give oneself the answer: it must actually be so, because the thing has meaning only in color. Whoever understands the inner meaning of the colored world will thoroughly grasp that even the figurative can, to a certain degree, be created entirely out of color. Those who see the blue above in the neighborhood of the other colors will perceive it purely as a possible creation from the color that a kind of Faust figure appears here. The next picture (Fig. 71) shows Death below Faust. The modern discerning person is placed between Death, the end of life, and Birth, the other end of life, which has been depicted in the child.

The next image (Fig. 78): a kind of figure that resembles an Egyptian initiate.

The inspirers hovering above him, initiating world powers (Fig. 77). From the way the treatment is presented, it will be clear that I may say: Although Figural is distinguished here from the colored, what I have said about the creative in color still applies.

Here you can see a detail, a kind of ahriman head (Fig. 81). It is only conceivable to paint from the color used in the dome above: a peculiar brown-yellow.

Here together: Ahriman head and Lucifer head (Fig. 79). They are only truly contrasted in color. The lower one shows what is inspired by Lucifer and Ahriman when they are grasped in their objectivity, when one is not grasped by them oneself, which is then particularly effective in man or can become so because man is of a special kind, who stands to the child as indicated in the lower figure.

The next picture shows Lucifer's head on its own (Fig. 80), that is, painted; in sculpture, it looks different.

Here (Fig. 82) you see the [Germanic] man with the child, who has Ahriman and Lucifer above him, as shown earlier.

Here (Fig. 87) you can see Lucifer in a reddish-yellow painting above the representative of humanity in the central image of the small dome.

The next image (Fig. 88) then represents Ahriman under the representative of humanity – Ahriman, who is embraced with his love rays as if by a crushing lightning bolt.

This is the painted Representative of Man, that is, the head of it (Fig. 90). This (Fig. 91) represents my model as it is initially worked in profile view of the Representative of Man; while what was shown earlier is a painting, this here is a sculpture. This is the first model of the Representative of Humanity in sculpture, the Representative of Humanity who can be felt as Christ.

The next part will show the plastic group (Fig. 98). At the top left, this elemental being will show itself, an elemental being that has, to a certain extent, grown out of the forces of the rock. Below, you can see Lucifer striving upwards. The elemental being has grown out of the forces of the rock here in the wood group, whereby it becomes clear how one first dared here to work out ways of overcoming mere composition through organic design by means of asymmetry work out ways of overcoming mere composition through organic design, thus working in asymmetry. What is important here is that the form is worked out precisely from the place, with all its asymmetries, from the place where this being is located in the nine-meter-high group.

I will now show you my first Ahriman model (Fig. 99), which was created in 1915 in wax. The other Ahriman heads here are modeled after this Ahriman head. I would just like to note: This is what a person would look like if he had no heart at all and only reason. For the Ahrimanic represents the super-intellectual, the super-rational in man.

I will now show two views of the boiler house, the boiler and lighting house (Figs. 106, 107).

Now we come to the glass house below, in which you have held many a meeting here (Fig. 103). You can see the double-dome structure in a different form, a metamorphosis of the large building, metamorphosed in such a way that the two domes have to be the same size and do not adjoin each other, but are separate. I would like to illustrate the fact that everything about these buildings is individualized down to the last detail by showing you the gate of this glass house (Fig. 104), where you will see the individualization down to the stairs and the woodcarving.

Now another picture (Fig. 110 or 112), which should show how what is intended by scratching out the colored glass pane, what is created from the feel of the material, so that it can only appear in the color in question. I ask you to look at this and see for yourself that if this appears uncolored, it is hideous.

In recapitulating these things, I believe I have once again been able to point out how anthroposophy does not want to be just a science, but wants to be something that can act creatively in culture, that can speak in words, but that can also reveal itself in artistic forms. And now I just want to add at this point that perhaps it has emerged to you from what we have seen here in the building, what you have heard here in the building, what is intended and how it is connected with the signs of the times. The project that has come to fruition could only be realized through the great willingness of some of our members to make sacrifices; but the exchange rate situation in the world and the poverty of the Mediterranean countries have led us to a point where I I had to say, which was also spread by a small brochure that was sent to members: If we do not receive active help from the world, we will not be able to complete the building, but the building will have to come to a halt. If our members apply themselves with the same zeal to the completion of the building as they did to the founding of the World School Association, which is intimately connected with the building idea of Dornach, then we will soon be able to see a torso in the fall, which can be seen as a torso.

Since your time is limited, in particular the time of some of our esteemed visitors, I will not add anything further to what has been said, but ask you to come over to the building, where I will then take the liberty of saying a few closing words for this summer event.

Dear attendees!

It is my task today to speak about the place that is to be a center of activity for everything that can radiate from the work in which you have participated here in such a deeply satisfying way over the last eight days. I may say in a deeply satisfying way, for the reason that you will believe me when I say that I am connected with this work in the deepest sense and therefore may express the deepest satisfaction about the course of this congress.

Now, my dear attendees, the Goetheanum is, so to speak, a physical manifestation of that which, in the most diverse ways and in the most diverse fields, would like to emerge as the result of anthroposophical spiritual science in the world. When it first emerged in the world, anthroposophy naturally did not immediately have its own place of activity, and it could not even be thought of, not even remotely, to build a place of activity for it. After about a decade of activity, a number of people who believed in the anthroposophical worldview came up with the idea of creating such a center for anthroposophy. The idea had initially come from the impressions gained from the performance of the mystery plays, which we started in Munich in 1910. It struck a number of our friends how unsuitable the architecture of an ordinary theater, such as we had to use to stage the mysteries at the time, is for what is actually artistically intended by anthroposophy.

And so the plan arose to found a kind of college for anthroposophy. The first attempt was to build in Munich. Land had already been acquired in Munich. But now the question was that precisely because anthroposophical spiritual science wants to be what has been spoken of here again in these days, the same could not be said for such a building as is otherwise the case. You have a society or an association, as you will, that has set itself some goal and believes it needs its own building. You get in touch with some master builder, an architect, and receive his suggestions. The building is constructed in the antique, Renaissance, Gothic style or similar, and then the events of the respective association or society are held in such a building.

Those who are thoroughly connected with their own soul life, as it should be, with an anthroposophical worldview, can never agree to such an outward agreement for a framework, for a wrapping of that which is to be created through anthroposophy. Because it has been emphasized over and over again: Anthroposophy is, on the one hand, a science of the spirit, of the supersensible, arising from the deepest sources of human knowledge. But it is not a theory, it is not a sum of abstractions, it is not something about the world and about life; it becomes, as it develops, life itself, it takes hold of the deepest inner impulses of the whole, of the full human being, and pursues everything from the inner being of this full human being, whatever it can be for him. In this way, it not only stimulates the impulses for scientific research, but also for artistic creation.

Not as if out of the true anthroposophical spirit – I have already mentioned this in my evening lectures – not as if out of this spirit an allegorizing or symbolizing art wanted to arise; that would not be art at all. Not ideas are to be transformed into symbolic or allegorical forms. No, anthroposophical spiritual knowledge penetrates into the depths of the human soul and takes its origin from sources that can flow into the world in other currents than in the field of the presentation of ideas. And so the one stream of the presentation of ideas arises as the one, and the other stream, the stream of artistic creation, in addition to many others, from the same source. But it is not about the translation of spiritual science into art or into sham art, but rather about an elementary, very original, I would say, expression of the artistic. In Dornach today, one can see how nothing symbolic or allegorical is striven for, but how what is intended to be art is conceived as art and created out of the artistic.

I would like to express myself with an image: if the relationship between the anthroposophical worldview and art is really as I have just described it, then this anthroposophical worldview must not allow itself to be built a place from the outside, in some style that for the Greek, for the Renaissance, for the Gothic worldview. Instead, the anthroposophical worldview must be housed in a building that has arisen out of the most original impulses of anthroposophy. Then the matter must be such that, for example, speaking takes place from the podium, singing or reciting or acting in eurythmy takes place on the stage, and so on; that which emerges in this way to the people must, so to speak, be the one language, and the other language must be the building forms, must be the architecture that envelops that which wants to reveal itself within the space. Anthroposophy must not accept a style from outside; Anthroposophy itself, being intimately related to the artistic, must appear as a creator of style.

This is what was there, I would like to say, with the same inner spiritual necessity as - now I would like to express myself through an image - as the nutshell cannot be different in its formation, in its design, than it is. The nut fruit and also the nutshell arise from the same lawfulness, from the same forms and life forces. He who sees the one can judge the other. This must also be the case with the structure for the anthroposophical world view. Therefore, what was to become the style for such a structure could arise out of all that was alive in the ideas of anthroposophy.

It is understandable that this met with resistance at first from all those who cling to the old, who cannot imagine that the development of humanity can only come about through the constant emergence of new and new metamorphoses of human labor, human creativity and human insight, and so – and I emphasize this – it was not the police or the government that rejected us at first, but the art world rejected our styles for Munich. It is not our fault that the building was not built in Munich, where it was originally intended to be. Of course, in the end people grew tired of submitting, I might say, to the yoke of what would have been dictated to them from the old ways of thinking. Those who knew what kind of architectural style must arise from the anthroposophical worldview were not allowed to have their wings broken.

And so it happened that through the donation of a friend, our project on the hill near Basel, in Dornach, in the northwestern corner of Switzerland, could be realized, and that the foundation stone could be laid in the fall of 1913. Of course, we fell into the most difficult period of Western cultural development. But we have at least already come so far that a whole series of university courses have been held in the building since last fall, which is still far from completion.

Now I would like to characterize in just a few words how that which lives in anthroposophy has poured out into an architectural style. That, ladies and gentlemen, is precisely the essence of anthroposophical research, of anthroposophical knowledge: that the concepts, that the whole forms of knowledge live, unfold in free activity, and this led, I would like to say, in a very elementary, naive way, to transferring the old architectural styles, which are based on the geometric, symmetrical, mechanical-static, into the organic. And so the previous architectural styles are, I would like to say, external images of that which can live in the static, in the carrying, in the load-bearing and in the symmetrical, in the geometric.

Of course, the Dornach building and my words here are not a criticism – it would be foolish towards these architectural styles – but it is a matter of drawing on progress. In this case, it could only consist of the geometric, the symmetrical, the static being transferred into something that, in all its forms of expression, in all its formation, also represents the organic, just as the inorganic is otherwise represented in architectural styles. I am well aware, esteemed attendees, of all the objections that can be raised against such a thing; but it had to be done at some point, based on the fundamental impulses of an anthroposophical attitude. There had to be a building idea that is lived and woven through the contemplation of the organic.

And consider what that actually means in terms of the human body itself. Take the smallest organ, perhaps it will be most illustrative. Please take your earlobe, a very small organ, it has a certain shape and size. If you feel the whole meaning of the human organic structure, feel it artistically, then you will say to yourself: firstly, this earlobe could not be in any other place in the human organism than where it is, and secondly,

in the place where it is, it could not be other than it is. The same had to be achieved with all the individual forms in the construction of the Goetheanum. One had to connect inwardly with the metamorphosing formative forces that otherwise live in the organic, and one had to experience what must of course be observed as the basis for every building idea: the geometric, the symmetrical, the static. One had to experience this through what can be experienced in this way in harmony with organic creation. Every single shape, every door, every window, every column, every detail [of this building] had to be individually felt. And the whole, in turn, had to be the one that, as a unified organic building idea, could absorb these individual organic building elements.

One difficulty arose from the fact that the matter was initially conceived for Munich in such a way that, in fact, only interior design would have been considered in the main. The building was to be surrounded by houses that anthroposophical members wanted to acquire, so that the exterior architecture would have been of little consequence. When the building had to be moved to Dornach, the space available was a completely open field on a hill, on a Jura hill, in a Jura configuration. There were unobstructed views in all directions and a clear view of the building. The mountain formations were there, and the whole thing had to be adapted to them. Since the interior design could not be changed much due to the haste with which I promoted the matter at the time, it was necessary to design the exterior in accordance with the finished interior. That is the thing that still leaves me somewhat dissatisfied today, because the person who will fully appreciate the whole can already see a certain discrepancy between the exterior and the interior design. However, every effort has been made to overcome the difficulties as far as possible. And in such a matter, basically only something incomplete can be created in the first attempt. But that is also the only reason for the Dornach building, to start a new architectural style, which cannot arise from any other foundations than those that can be made at all for modern civilized life from the knowledge of the spirit of the world.

The way the Goetheanum presents itself to the observer when approaching from afar is connected with the overall task: one is dealing with something that arises in the depths of the human soul, be it art or science, and that the person who has fathomed it has a duty to communicate to others. We are dealing with something that comes from the bottom of the heart, with something that is taken from the whole soul by someone who truly understands. This can be felt. And it may be demanded of the one who can feel it that this is now translated into contemplation. As I said, nothing should be thought up, no idea should be cast into form. But what I have just hinted at can be felt, can be experienced inwardly, this relationship of an intimate unity to a receptive other unity and the union of the two. By feeling this, it arose for me quite naturally only in contemplation, not as an allegory or as symbolism, a double-domed building, designed in such a way that two domed spaces met in a segment of a circle. And it seems to me that in this form of construction one can feel everything that a soul can feel in relation to anthroposophy and the world, as it must actually be felt as the ideal relationship, as the blissful relationship. And I believe that, just by looking at the outer form, one can feel this when approaching the hill at Dornach, just as one feels the inner necessity of the form of the nutshell compared to the form of the nut fruit; one can feel that there is something in the two juxtaposed domes of a large and a smaller dome structure that should be explored in the most intimate way, and yet at the same time wants to openly communicate with the world. That is what is expressed first in the external forms that I will take the liberty of showing you.

Yes, please, now the first picture (Fig. 5).

You see, dear attendees, here is the road that leads to the west side of the building. The building is a concrete structure down to the upper terrace. From here on, it is a wooden structure. You first enter the concrete structure. In the concrete structure - we will see later - is stored. Then you go up the stairs and come to a foyer and from there to the actual auditorium. You can see here in this motif how an attempt has been made to transfer the otherwise existing forms of construction, which, as I said, are based on the purely geometric, symmetrical, static or dynamic, into organic forms, but not in a naturalistic sense, not in such a way that natural forms would have been imitated. No one can ask what something depicts, just as one cannot ask what a plant leaf or a human ear depicts. It is something that has its inner form of life and vitality and life force within itself; something that justifies itself through its own form and its own unfolding of life.

When you create such a form, you do not feel that you are imitating something, but rather you feel, as a human soul, inwardly connected to that which lives metamorphosing in the plant from leaf to flower to fruit, shaping and reshaping everything, if I may use this Goethean expression. And that is what we have here, not something copied, but something formed in such a way that is otherwise only formed in the organic world. Those who then see the building itself may perhaps be able to see how we have tried to sense artistically from the material all around. It was rather difficult – I will have to come back to this later – to find forms for the concrete, a new material.

The next picture (Fig. 6): You can see the entrance to the west portal again. Here you go in, here left and right up, then you enter a vestibule, then the actual auditorium. The second, smaller dome is now completely covered by the larger dome of the auditorium. All the individual such secondary forms are in complete harmony, and in fact in organic harmony with the larger forms.

The next picture (Fig. 7): Here you can see the building from the southwest side; here the entrance, here the west portal; here the south side, here a transverse building, which we will see in more detail; here the entrance from the south side. You can see how this main form reappears here in some window forms, but actually in such a way that the main form is formed quite differently than the window forms. It is really the case that, when designing in this architectural style, one has to form organic shapes in such a way that, let us say, at the bottom of the plant there is an entire unnotched leaf, further up the leaf is notched, becomes of a very different shape, then in the sepal again something else. One must have the possibility, so to speak, to slip with one's feeling through all the possible forms that arise within, which are quite different according to external sensuality, but are inwardly spiritual and yet quite the same.

Here the large dome, there the small one. One of the issues, for example, was to find the right roofing for this building. The building had to appear as a unified whole, and, I would say, fate brought it about: While I was still occupied with the idea of building, I had to undertake a lecture tour in Norway, from Kristiania to Bergen, and from a train I saw the wonderful slate quarries of Voss. And just as this Voss slate presented itself to me in brilliant sunlight at the time, I said to myself at that moment: this belongs to the covering of this building. And indeed, a certain necessity for it will be felt by anyone who comes to Dornach and sees the wonderful grey-blue of this slate, shining and radiant in the sunlight.

The next picture (Fig. 8): Here you see the building from the south side. I emphasize, here would be the entrance, here is the side wing, as there is one on each side of the building. Here are the storerooms for the equipment, dressing rooms for performances, here the dome of the stage area. This is where the two domes meet. And it is precisely at the point where they meet that these side wings are located.

The next picture (Fig. 2): Here we have the construction from the northeast, and you can see the stage area, the dressing room, the storage room, [the large dome partially covered by the small dome]. Here is the so-called boiler house, which is completely made of concrete, and it is perhaps the one that is most [challenged by individuals], and that is because, firstly, an attempt was made to find a form out of the concrete material with a real sense of the material, but then to find a form in the way that is only possible for utility buildings. The lighting and firing systems had to be accommodated in it. It was important to see what the whole thing looked like and how it would appear. That was the nut to crack, so to speak, and the concrete shell had to be built around it according to the same principles. And I tried to think it through to the point where the whole shape of this building is only complete when the smoke comes out here, when it is in full operation. The shapes of the smoke clouds actually belong to the whole shape.

The next picture (Fig. 3) offers a completely different view. There is a small domed structure nearby that had to be built for a reason that I will explain later. This composition of a building with two domes is intended to be another metamorphosis. Here the domes are intertwined, intersecting, while there they are separate, on the adjoining building. But this then means that all the details of the structure had to be designed differently.

The next picture (Fig. 20): Here you can see the floor plan. Here is the entrance; below that would be the room for storing clothes. Here are the stairs. You go up these stairs and come into the vestibule, which we will see in a moment. Now you enter the auditorium. Here is the space below the organ, which is slightly elevated, with the other musical instruments. Here are the rows of benches for about a thousand spectators, here on each side are seven columns. These seven columns are, as we shall see, only symmetrical in relation to the only axis of symmetry that the whole building has, and which runs from west to east. The whole building is symmetrical in relation to this west-east direction, so that the capital of the second and third column is not a geometric repetition of the first column, but the capitals are progressive, metamorphosing forms from the first to the seventh column, and only this column is symmetrical with this one, the second with the second here and so on, so only symmetrical in relation to the one axis of symmetry. The rest in the course of this axis of symmetry is perceived in organically progressive transformation.

The next picture (Fig. 21): Here is an average in accordance with the axis of symmetry. Here are the storerooms, the stage rooms, the smaller domed room, the large domed room, here is the floor of the auditorium rising, here the entrance, here then the anteroom, here you come in, put your things down here, here is the staircase. You come into the anteroom here and go into the auditorium under the organ here.

The next picture (Figure 22): Here I have taken the liberty of showing you the model, cut in the same section as the one I have just shown you. This is the first model of the structure, which I made in Dornach during the winter of 1913–1914, partly out of wood and partly out of wax. The structure was then built according to this model. The model contains the essential building idea.

The next picture (Fig. 10): Here we have the west portal, the main entrance, seen in more detail.

The next picture (Fig. 12) shows a detail. If you approach from the south side, you will see a similar detail here. You saw it earlier at the building itself. But here you see a concrete house, the house of the friend who provided us with the land back then. An attempt has been made to design this house as a concrete mold for the residential building in the style that it must have next to the building.

The next picture (Fig. 13): This is a side wing. You can see here the window forms in more detail, that is, the forms that the main form, which is on the west portal, takes on in metamorphosis. The next picture (Fig. 11): Here is such a metamorphosis of the main form above the west portal at one of the side entrances.

The next image (Fig. 14): Here, isolated so that it can be seen better, is a motif of one of the side entrances, and the concrete walkway, a gallery, a terrace.

The next picture (Fig. 23): Imagine, dear attendees, that you have now gone down through the gate in the concrete building that I have often pointed out to you. You enter; here are the stairs leading up to the auditorium, here is the stairwell. You see, I have dared to replace the usual pillars or columns with something that is organically designed, and in such a way that, artistically speaking, it can only be in the overall organism of the building as it is, tapering outwards with reference to its curves towards the gate, where it has little to bear, bracing itself here, as a muscle braces itself where it has to bear, because here the whole weight of the building rests. But it was not attempted to make it out of thoughts, so that one can say that something is meant to express something. It does not express anything other than, for example, the human thigh expresses in its architectural structure. It expresses itself, that is, what it is for the organism as a whole. And one must have the feeling that it cannot be otherwise.

Of course, when people with habitual ways of thinking approach something like this, their desire to ridicule is stirred up. And since they can usually only think in a naturalistic way, they don't really know what to imagine by it. It seems organic to them, but they can only imagine the organic in naturalistic terms, as an imitation. Then along came an obviously very clever critic who noticed, as it seems, that it represents a certain strength. It has to bear weight, it has to represent a certain strength. But since he can only think in naturalistic terms, an elephant's foot occurred to him. But then again, it seems to him that something of an artistic-critical conscience has arisen, and he felt that it does not look like an elephant's foot. But now he already has this idea of the elephant's foot, it was already on his mind. He thought, but it must be an elephant foot. But now it was not as thick and clumsy as an elephant foot, and he thought it was rachitic, and now, in order to do justice to both these impressions, he said it was a “rachitic elephant foot”.

The next picture (Fig. 24): You see, at this point I felt how it must be for someone who enters our auditorium via these stairs. They must, so to speak, receive the feeling that Inside, my spiritual powers will be balanced by spiritual insight. Now, the whole feeling was realized for me in such a way that I had to make three such perpendicular forms, which stand perpendicular in the three directions of space. Believe it or not, it is still true: only when I had already done it in this way, when I had the model, did it occur to me that it reminds me of the three semicircular canals that are perpendicular in the ear and that, when injured, cause people to faint. One must unite one's own experiences of the soul with the sense of the creative forces of nature, then one discovers things that are by no means – I must keep saying it – symbolic or allegorical, but that come entirely from artistic feeling and yet have an inner necessity in themselves.

It is true that I actually prefer it when what I say about the building tonight is not expressed at all, but only felt when looking at the building, because the building should speak for itself. I don't really like talking about the building the way I am doing tonight. But not everyone can see the building over and over again; in art, one speaks of artistic works, and so perhaps one may try to talk about the building through a surrogate.

The next picture (Fig. 23): you can see here the staircase that was only hinted at there, here the form just discussed, here the “rachitic elephant foot”. You can see here, for example, this curve. I hope that whoever enters the building will feel the necessity of these forms at this point from the sense and view of the entire building.

The next picture (Fig. 26): Here you see a concrete mold – formed out of the wood above, it is somewhat different – for a radiator cover. This is also a form that arises from the feeling of saying to yourself, what do I have to put in front of a radiator, which grows out of nature like an organic thing, but which does not bring it to life, only the conclusion is for a radiator.

The next picture (Fig. 27): Now we have gone up the stairs and are here in the anteroom, which is only the anteroom, which is already quite in the area of timber construction. Here you see a column, and quite distinct from the sense of space in this place, you see this one column capital with its various curves, which reach out in the most diverse ways in the most varied directions in space, formed out of the sense of space itself. When you come to Dornach, I would ask you to see that in this room which is perhaps most clearly visible because it is the simplest. You will see that the whole thing is carved out of wood and it must be said again and again wherever there is an opportunity, that friends have devotedly worked for many years to bring about this building, because all of it is carved by hand after very crude carpentry work, all of it is carved by hand by our friends themselves, including this wall, which is individually designed in a variety of curves in different directions.

What I would particularly ask you to see is precisely the treatment of the wall. The whole building idea of Dornach resulted from the fact that the wall had to be conceived differently than one has been accustomed to, always thinking of walls. Walls are something final and limiting for the old architectural styles. Here they are not, here the thought should not arise: when you are inside the Dornach building, you are in a closed room. This thought should not arise. You come in and you should feel all the walls as if they were designed in an artistic way that actually makes the walls artistically transparent, so that you feel inside as if the wall does not close you off, but through its own form, which artistically makes the wall transparent, connects you with all the secrets of the macrocosm, allows you to look out, to look out inwardly, spiritually and soulfully into the vastness of the world.

The next picture (Fig. 28): We have entered through the space below the organ, are standing in the auditorium, looking back and see here, somewhat elevated, the organ space.

The next picture (Fig. 30): But this is not yet the finished organ motif, rather it is the model, which you can see here is still unfinished. The framing of the organ should also be developed in such a way that one has the feeling that the organ has not been placed in some corner or on some side, but that one has the feeling that the organ grows out of the whole organic structure as a necessary element. This motif would then have to be added later, in keeping with the height of the organ pipes. That was the first wax-wood model.

The next picture (Fig. 29): Here is the organ motif, here you enter. This is directly above the organ. These are the two columns to the right and left of the axis of symmetry. There you can see the sequence of columns. This sequence of columns with the architrave-like structure above it, I was already able to show in the first model earlier. But here I may draw attention to the fact that you see here the simplest capital motif; now the following capital motif is somewhat more complicated, the third again more complicated and so on. It is the case that the same formative forces, the same formative maxims that can be seen in nature, ascending the plant stem, metamorphosing the leaves, are at work here. The leaves are outwardly different in shape, but inwardly, in the sense of Goethe's theory of metamorphosis, they are ideally or spiritually the same.

If you now feel this form, descending, this ascending, but not in thought, but in artistic contemplation, and then connect with the creative forces of nature in such a way that you can really can deduce one from the other in the same way that the next plant leaf, which is shaped differently, emerges from the previous one, then you get these following forms; but, as I said, they are meant artistically. And it follows from this that it is actually of no particular value to focus attention on only one capital; what is important is that each capital emerges from the one that precedes it. For it is precisely this living transformation of one into the other that brings life to the building. And the same applies to the architraves.

I might say that you make some astonishing artistic discoveries. When I had designed the capitals according to the same principles as the advancing bases and architraves, I was able to follow a line of development. The idea of development has become a central tenet of modern knowledge. But one has – just look at this in the works of Herbert Spencer or others who have developed the idea of development in an abstract form, not in an inwardly living form – one has always believed that development progresses in such a way that first there is the primitive, simple form, then comes the complicated and so on and more and more complicated, and the last form is the most complicated. You can think that up if you think abstractly, but you can't express it artistically. If you express it artistically, the most complicated form is in the middle, then it becomes simpler again. One is simply pushed by artistic feeling to ascend to a middle most complicated form, and then to pass into the simpler one.

Then, however, one comes to realize that nature itself does it that way. The human eye is indeed the most perfect in the series of living beings, but not the most complicated. In its simplification, it no longer has the organs, for example, the fan and the xiphoid process, which are found in certain animals that have less perfect but more complicated intermediate forms of eyes. That is what I would particularly like to emphasize here.

Nebulous mystics, people who want to ramble on about everything, naturally ask: Why are there seven pillars on each side? There is no other answer to that than: Why are there seven colors in the rainbow, seven tones and the octave as a repetition of the prime in the tone scale? It is an inner necessity. And precisely when one feels this inner necessity quite objectively, then one does not lapse into nebulous mysticism. That something was done in nebulous mysticism in the Dornach building is simply a calumny.

The next picture (Fig. 33): Here I present to you – here the organ motif – the two first forms, the simplest with the architrave motifs above them. I will now show the following in such a way that I always show a column, then this column together with the next, then the next in turn together with the next, and so on, so that you can see how the lively sense of progression from one column capital to the next and from one architrave motif to the next takes place.

The next picture (Fig. 34): Here, then, the first column, isolated, leaning down, rising up, but the whole thing sensed in its polyhedral spherical form.

The next picture (Fig. 35): The first and second columns, progressing from a simpler motif to a more complicated one, as well as with the motifs above them.

The next picture (Fig. 36): The next is the second column by itself. The next picture (Fig. 37): The second and third columns continue. The next picture (Fig. 38): The third column by itself.

The next picture (Fig. 39): the third and fourth columns. It is becoming even more complicated, and from these motifs one gets one such that any observer will believe that it was actually conceived as a single entity. However much it may seem familiar to you, if you have heard anything about mysticism – I hope not in a mystically nebulous way – it is simply obtained here by a metamorphic transformation of this motif. You can see it here, I would say, already in the forms.

The next picture (Fig. 40): This is the column still by itself, which was the fourth here.

The next picture (Fig. 41): Here you have the column that we just had. From this, then, by simply letting this motif continue to grow through metamorphosis, not by actually only developing this motif, this motif emerges. I believe that someone who had formed this concept intellectually, not emotionally, would have placed the same motif here [on the architrave above the fourth column] over the motif [on the fifth capital]. This did not occur to me because here [on the capital] I am dealing with columns in which the motifs that enclose a polyhedral shape can be felt. These motifs arise differently than those [of the architraves], where the surfaces are mounted; there they are distributed differently in space, and can only be understood from a sense of space.

The next image (Fig. 42): This [fifth] column on its own. It looks like a caduceus, but is simply the metamorphosis of the previous chapter.

The next picture (Fig. 43): This column and the one that emerges from its metamorphosis. When you have arrived at this most complicated one, the motif simply wants to become simpler again. It discards certain complications, it becomes more perfect, but simpler.

The next image (Fig. 44): This is the [sixth] column capital by itself.

The next picture (Fig. 45): So it has jumped over from one side to the other, it is this motif and then it becomes this through transformation.

The next picture (Fig. 46): This is the last motif.

The next picture (Fig. 47): Here you have the last column of the auditorium, here is the slit between the auditorium and the stage, here is the first stage column. Here you can see into the stage area. Here is the dome of the stage area seen from the inside. It is still equipped with scaffolding. It is under construction.

The next image (Fig. 48): I will now take the liberty of showing the metamorphosis of the pedestal figures in quick succession, so that it does not take us too long. You will see how one pedestal motif – for the columns of the auditorium – develops into the other.

The next picture (Fig. 49): So it gets more complicated. The next picture (Fig. 50): The third pedestal.

The next picture (Fig. 51): Next picture. The metamorphosis advances in this way. It is always the case with this metamorphosis, when it is felt through, that it tends to slope downwards again and new forms arise, expanding. The necessity for further development can only be felt artistically, not speculated upon.

The next picture (Fig. 52): The fifth base motif. The next picture (Fig. 53): The sixth motif. The next picture (Fig. 54). The seventh motif.

The next picture (Fig. 55): Here you can see into the stage area from the auditorium. This is the painting of the small dome, below it the stage area. The auditorium would then be here. You can see here into the small stage area from the auditorium facing east. This is the end of the auditorium. It is a motif; here the auditorium, then comes the curtain, which then belongs to the small stage area. It is the conclusion to the east. Below it will be the nine-and-a-half-meter-high wooden group, which I will talk about later, covered here by a wooden roof, which, in its various forms, synthesizes everything that is distributed over the other forms of the capitals and architraves.

I would also like to show some columns from the small domed room, i.e. the stage area. These columns are made according to the same principle, but because of the small size of the room, because of the whole complex, the capital forms are different again, but they are asymmetrical in relation to the west-east axis.

The next picture (Fig. 58): Another column from the small domed room. The next picture (Fig. 59): Yet another. The next picture (Fig. 60): Yet another.

The next image (Fig. 57): Once again, the view from the auditorium into the small domed room. Here are the columns of the stage area. Performances will take place here. I have redesigned the bases of these columns in the small domed room as twelve seats. This was possible because this room can also be used as a meeting room. And because a meeting of twelve people was not intended to be mystical, but arose from the overall architecture.

The next picture (Fig. 67): Here you can see what I just called the roofing. The columns of the small domed room would be here. Carved out of the wooden wall in various forms, these forms synthetically summarize the others. Below that is the nine-and-a-half-meter-high wooden group (Fig. 93).

Now I come to the painting of the small dome. In this small dome, what must be aimed for in painting is gradually, perhaps, already achieved, despite all imperfections, not in the sense of artistic perfection, but in the sense of artistic intention. In one of my mystery dramas, I have a character suggest how painting should actually develop, so that gradually one no longer seeks the pictorial motif from the drawing, from the forms, but that one seeks it from the color and color harmony. That is how I had the character express it, that “form becomes the work of color”.

Now, since everything depends on the color in this painting of the small dome, it cannot be shown in these black-and-white afterimages, what is meant. But I think you can gain something from the fact that you might feel that something is wrong with these reproductions, that what you see is actually nonsense. And this feeling that it is actually nonsense is just an expression of the fact that one actually feels the necessity, it must be created from the color everywhere. And the human form, no matter how individualized it is, is thoroughly felt from the color.

The next picture (Fig. 72): Here this child, which – here would be the first column, the other column of the auditorium here, here the curtain, here this orange-reddish-yellowish child painted – which stretches out its hands and its gaze towards this fist figure [Fig. 70]. Of course one can see a fist-like figure; but for the person painting, what matters is the blue bruise and how it relates to the other spots, that is, to the orange-yellow spots and so on. The colors represent a whole world, a cosmos in itself, with something creative in it; one can extract the form from what the colors speak to one another in the universe. It is the conversation of color, the color word, the creative color word. If one really feels all this artistically, then, just as the world is rightly described as emerging from the word, human, superhuman, and subhuman figures arise from color as it intensifies into the color word.

The next picture (Fig. 70): This is where the child would be, here the only word in the entire structure, here a kind of fist figure emerging out of the blue. As I said, the feeling arises from the color, and we are transported to the sixteenth century, to the culture of the sixteenth century. It is the dawning of that culture which we ourselves still carry within us in our spiritual life, the culture that rushes towards abstract knowledge. Those who do not experience it as it is largely experienced today by people, but who experience it with the whole, with the whole human being, feel the Faustian struggle within our modern knowledge. This Faustian struggle has led to the fact that only in recent times has man come to the full feeling of the I, and now of the unformed, inartistically written I, which is experienced darkly within. What can be borne is only that which one has in knowledge, when one feels it out of the fullness of the human being in the proximity of the child; for that which we will see in a moment, what is painted here, is linked from the brownish blackness below the fist, it is linked to the danger of modern knowledge for those who feel from the fullness, it is linked to death, because our knowledge only delivers the dead to us. And whoever not only thinks through theoretically, but inwardly experiences that our concepts themselves are corpses as concepts, always feels death standing beside him out of the Faustian striving, and so he longs for birth, which shows itself on the other side in the child.

The next picture (Fig. 71): Below Faust – here it would be Faust – [Death] is taken out of the black-brownish area.

The next picture (Fig. 73): Here the fist figure is merged out of the blue as a larger area, here the child, stretching out its hands, arms, and gaze, with Death below. Above it, a kind of inspirer, as these figures, which have been tried to be created out of colors, always represent - one can feel that, it is always initiated quite instinctively from the color harmony - the initiates, who receive the secrets of the world from inspirers. Here, then, is Faust, and above him is his inspirer.

The next picture (Fig. 74): This is the inspirer of Faust; below it, Faust would be taken out of the blue, yellowish, reddish colors.

The next image (Fig. 75): A Greek figure as you go further into the dome. Here there would be Faust with his inspirer, here a Greek figure with the inspirer above.

The next picture (Fig. 76): The inspirer; yellow and yellowish-white, sunny like an Apollo countenance, here below somewhat like an Athena countenance; but all this is drawn from the color word.

The next picture (Fig. 77): These are inspirers, spiritual beings that do not incarnate in the flesh, but who have an inspiring effect on those who live on earth in the flesh as human beings.

The next image (Fig. 78): An Egyptian person, inspired by the two preceding ones. An Egyptian initiate, brought out of the brownish-bluish-blackish coloration.

The next picture (Fig. 79): We are moving more and more towards the east, towards the center of the dome, so to speak. Here below is a type of human being that lived as an intellectual being in the whole zone from Persia north of the Black Sea in ancient times, and then developed in Central Europe in the Germanic being; here, in the arms of the child, is the aging human being who carries within himself the memory of the boy.

The ambivalence, the dualism that manifests itself in the Germanic nature when it becomes knowledge, reveals itself, precisely in this Germanic nature, always reveals itself by confronting powers: the Luciferic, which you see here, taken out of the yellowish-reddish, the Ahrimanic taken out of the brownish-yellowish. The Luciferic and the Ahrimanic, we shall see again later in the central figure, they are the two essential ingredients of the human being. Man can only be understood as a kind of state of equilibrium, which must be continually striven for, but which is continually in danger of falling out of itself, of falling towards what would present itself on one side, and on the other side, if the extremes were to develop one-sidedly. This is what man would be like if he had only a heart and no intellect. Then the rest of the human form would adapt to what the heart makes of the human being. This is how man would look if he only had reason and no heart: the Ahrimanic, ossified in himself.

This secret of human existence can be expressed in three ways: physically, psychologically and spiritually. In the luciferic form, which man does not become, but which he contains latently within him, towards which he always strives as towards one side of his nature, what is expressed is that which develops into pleurisy, which constantly places man in danger of fever. On the other hand, man carries within himself the forces of aging; he is always in danger; in morbid cases he succumbs to the physiological pathology of sclerosis, calcification. Between these two states man lives.

Here dualism is depicted, as it does not yet extend to the complete interpenetration of forms, in a kind of physiology that extends down to the animal kingdom, a kind of centaur. But then, something like this has been done before. I have just tried to reproduce the faces of Mr. and Mrs. Wilson in these figures, so that what is contemporary, what was particularly annoying in this period, is also immortalized to some extent.

The next picture (Fig. 81): Here we see the ahrimanic figure just discussed; that is, what the human being tends towards: physiologically in sclerosis, in calcification; psychologically, it is all that in man tends towards pedantry, towards moral intellectualism, and so on; spiritually, all that is actually most alive when man awakens and returns to his physical being.

The next picture (Fig. 82): the Luciferic figure all to itself. I have just discussed it physiologically. The psychic — that which drives people to enthusiasm, to wanting to go beyond themselves with their heads, so to speak, to falling into mysticism, into false theosophy — is something that can be found particularly in mystics and mystical societies. People are often in this mood of enthusiasm, of soulfulness, so that they are always half a meter above their physical head with their soul head, and with a certain inner arrogance - I have already spoken of this - they would then like to look down on their fellow human beings. Spiritually, this is the human being in the moment of falling asleep, of dreaming. These forces, to which the human being tends one-sidedly, are strongest in the moment of falling asleep, while the others, the Ahrimanic ones, are strongest in the moment of waking up.

The next picture (Fig. 82): The Germanic initiator, above him Mr. and Mrs. Wilson. He is holding the child by the arm, shining next to his dark figure.

The next picture (Fig. 83): Here we are already quite close to the eastern side of the small dome. Here is the Russian man, who actually always has his own shadow beside him. The one who sees spiritually actually always sees a real Russian twice, because the Russian always has the second man, the other, the double, with him spiritually. This is something that will only develop in the future; now it is rushing towards destruction, devastation and ruin. But out of this terrible devastation, out of this murder of human civilization, the good core of Russian-ness will one day develop. As here the Germanic has been shown, here is the Russian. Here the inspirer, out of the blue.

The next picture (Fig. 84): Here, if you note this point, you will find above the Russian – there is only one, as I said – the inspiring stars, above which there is a kind of cloud that forms the centaur, which, via the stars from the cosmos, stimulates that which is still present in the Russian today in an embryonic state of soul and spirit.

The next picture (Fig. 85): I will show you that from the other side in a moment. So over here [far right of the image] would be what I have just shown. Here is the actual central motif [directly to the right of the image], and here is the same inspiring angel from the north side; but it is created out of the orange and then, accordingly, this centaur figure. Below, there is again the one Russian who appears in two.

The next picture (Fig. 86): We are now in the middle. Here you see the Russian and here the inspiring blue angel and here the orange one, here in the middle the representative of humanity. Those who feel can feel the Christ in him. He stands there as the representative of human equilibrium; from his right side he sends out the rays of love, which, like serpents, entwine the ahrimanic form – that is, the sclerotic, pedantic, materialistic-intellectual human being; here above is the luciferic figure, which is physiologically, psychologically and spiritually what I have indicated.

This will be in the far east. This is painted on the inside of the dome, and below it, though differently designed, as it must be for the sculpture, is the nine-and-a-half-meter-high wooden group, which also has the Representative of Humanity in the center, who brings balance between the Ahrimanic and the Luciferic.

It so happened that the famous and influential Frohnmeyer wrote a pamphlet, a defamatory pamphlet about anthroposophy, and in this pamphlet he makes the monstrous claim that “when one comes to Dornach, one can see, as Steiner claims, that this is what the Christ looked like in objective reality.” I don't say to anyone else that I see him that way and don't impose him dogmatically on anyone, but I could only shape him as I saw him, he is the one who walked in Palestine according to my vision. Above that is the Luciferic-Ahrimanic.

Frohnmeyer now says that he depicts a Christ there as objective, who has Luciferian traits above and animalistic traits below. He [supposedly] saw it that way. Lucifer is above, the Christ is shaped entirely humanly, below is Ahriman, here is still a piece of wood, it is not yet finished in the wood. But someone writes it down who doesn't feel the slightest obligation to research the truth, just as in the other case, as Mr. Kolisko told it today, someone writes down the objective untruth and then apologizes by saying that he didn't have time to research the truth.

Pastor Frohnmeyer was confronted with the matter. He then said that he had not seen it himself, but had copied it from another pastor, and since it had already appeared a long time ago, he simply believed he could copy it. We did, in fact, send a correction from Dornach, but it was not included. This is how things are spread today; it is the level of conscientiousness with which people work today. But one must keep saying: what should a theology look like that is shaped only in this way? The person in question was also a lecturer at the University of Basel.

The next picture (Fig. 87): the figure of Lucifer in itself – here the figure of Christ would be underneath – this has been brought out of the red.

The next picture (Fig. 88): the Ahrimanic figure by itself. You see here the head, which is as it should be in a being that has only intellect and no powers of the heart.

The next picture (Fig. 90): the painted representative of humanity, the Christ.

The next picture (Fig. 91): Here is my original model of the plastic Christ, seen in profile, who is thus a wooden figure. And in the middle again this Representative of Humanity; above it, repeated twice, the Luciferic figure; below it, twice, the Ahrimanic figure. And then, on the side, an elemental being growing out of the rock, which I will show you in illustrations so that you can see how asymmetry has been attempted in the Dornach sculpture. The next picture (Fig. 92) is my original model for the Christ of the wooden figure. The asymmetry is taken so far that, because the left arm is directed upwards and the right downwards, and the whole figure, not just the face, should have physiognomy, the whole figure should be soul, that the held-up arm on the left corresponds to the forehead, and the held-down arm corresponds to the forehead. This asymmetry, which is only subtly hinted at in humans, has been attempted here. Such things had to be dared because the sensual should not be imitated, but on the contrary, the spiritual, concrete [forming] behind the sensual should be observed, which underlies the sensual formation.

The next picture (Fig. 98): This is a piece [of the execution model]. Here would be Christ. Here is Lucifer, who aspires to the right hand of Christ. Here is this being, growing out of the rock as an elementary being in complete asymmetry. You see, here it is attempted to overcome the usual way of composing. Usually, one composes figures that one puts together. Here, the whole group, which consists of a series of figures, is conceived as a unit, and the individual figures are taken out of the whole down to their fingers, noses, eyes and eyebrows, so that, of course, when the left is at the top, an asymmetry results, but one that is taken from the life of the whole.

The next picture (Fig. 101): once again the striving Lucifer. Here would be the second Luciferian figure, here the Christ figure.

The next picture (Fig. 99): This is my original Ahriman-Mephistopheles model. Mephistopheles is, of course, only a later metamorphosis of Ahriman, who signifies physiologically, psychologically and spiritually what I have said. This model underlies all the Ahriman figures. It was originally designed by me for the wood group in 1915.

The next picture (Fig. 106): Now I come back to showing you this heating house, here in profile, so to speak, since I have already told you how it came about. It is often perceived as annoying; but people do not consider what would be there if one had not tried to shape something out of the concrete material, out of this brittle material, which might be more perfect later on. There would be a red chimney here! I wonder if it would be more beautiful in reality.

The next picture (Fig. 107): the boiler house, seen from the front. As I said, it is only when the smoke comes out that you feel a certain necessity for these outgrowths.

The next picture (Fig. 103): This is the house that was built nearby, the glass house that is now used as a construction office. Some eurythmy practice rooms are inside. It had to be built originally because the glass windows for the building were cut inside it. These glass windows came about in such a way that what is otherwise only artistically executed – that the wall is artistically transparent – is formed in these glass windows right down to the physical level. The motif that had been specified was engraved with a diamond pencil from monochrome glass panes by friends who worked on it for years with tremendous dedication and devotion. This had to be done first in this house. The glass panes are large and a separate studio building had to be erected for this purpose. But it is designed entirely in the style of the whole. Two domes, standing apart from each other, determine the very different shape of the building up to the gate; the whole asymmetry, so down to the stairs, everything is individualized. Those who come here will see that the lock and the door handle are individually designed.

The next picture (Fig. 104): the gate lifted out. The staircase individualized so that it can only be as it is at this location. Here (Fig. 105) the lock, which also returns in various metamorphoses on the building, then the gate.

The next picture (Fig. 112): Here you see a sample of windows, engraved out of a [same-colored] glass pane. One could allegorize and symbolize many things from these colors; but what the person who feels the matter artistically likes best is to simply stand in front of it and let this whole interplay of the light color tone with the dark color tone take effect on them because the interplay – the glass panes are, after all, arranged in succession in different colors – this entire play of colors undulates in the building, but in such a way that it does not make anyone nervous, but on the contrary = as has been attempted – has a healing effect.

The next picture (Fig. 110): other motifs. Such Ahrimanic figures, scratched out.

Now, dear attendees, that was what I took the liberty of bringing to you as a single image from this Goetheanum in Dornach. It is precisely the place where we should find the center of what has been cultivated here for a week, through this week, which was actually dedicated to Goethe's name, Goethe's essence and Goethe's work. And everything that the Goetheanum stands for should be dedicated to this. Perhaps it will have emerged from what I dared to say in the course of these discussions, that what wants to come before the world in anthroposophy can work both artistically and cognitively.

Unfortunately, we are not yet finished; a great deal of effort and, in particular, a great deal of sacrifice from our friends is still needed; unfortunately, it cannot come from the central states at the moment because of the currency difficulties. The sacrifice of other friends is needed if the building is to be completed. It cannot be completed otherwise than by this spirit of sacrifice being renewed. But it must be said that for a long time this spirit of sacrifice has been revealed in the most beautiful, significant and understanding way for Dornach. And from the feeling of the cultural significance of our cause, we cannot thank enough – I would say, from the genius of this anthroposophical sense, we cannot thank enough – those who have been able to possess this spirit of sacrifice. May it continue to exist so that Dornach does not remain a torso, but can be completed.

In the past week, a worthy and beautiful contribution has been made by our friends in Stuttgart and those who have joined them, and this is also intended to serve Dornach; and since I do not belong to the organizing committee, but am only an invited guest, it will not out of place if I also include myself – one knows how much effort a congress committee has, how it has to consider all the details and the big picture and prepare them over a long period of time – to express my heartfelt thanks to this committee, even now that we are at the end of this event.

And then, we must indeed consider, my dear attendees, what calls are going out into the world today. Everywhere we hear, in the broadest circles, the ethical needs - if only in words - of what, in deepest reality, spiritual science wants to bring to the world. Do we not hear everywhere the yearning and speak of world brotherhood, which is to come about through all kinds of world covenants in the most diverse areas of life, but unfortunately out of the old? World brotherhood is sought; it is believed that this or that external event could lead to it.

But, my dear attendees, this world brotherhood cannot be found unless one has the deepest conviction that it actually exists, but is hidden for our time in the deepest subconscious depths of the human soul. But that is where it must be sought. That which is in the depths of the human soul must be sought and realized in the outer life, in social life. Then there will be world brotherhood, then this world brotherhood will be able to create the outer institutions that belong to it. But this world brotherhood cannot be brought about through external institutions. This world brotherhood, however, can only be found if man searches his deepest inner being in the spirit, at the point where his own being is bound together with the world spirit.

Knowledge and art, so they should arise from anthroposophical attitude and anthroposophical insight, as we tried to show in this week. Then, when knowledge and art emerge from human spirituality, which experiences world spirituality within itself, then this experience will also be a deeply religious one, one that will arise in man, entirely in the spirit of Goetheanism, that Goetheanism that sought in Goethe himself the harmony of the three most ideal fruits of life: science, art and religion.

If these fruits of life are there, then social life can also flourish for the benefit of humanity. If we speak less of the religious, it is perhaps precisely out of true religious experience, out of that religious experience that arises when science is sought in a spiritual way, art in a spiritual way.

And in this sense, esteemed attendees, the conclusion may well sound as the beginning sounded! Our dear friend Uehli began with Goethe, and may this event end with Goethe, with his words, through which he expressed his attitude towards science, art and religion; for he said what can also be our motto, which only must be developed further, in accordance with the insight that we do not have before us the Goethe who died in 1832, but the one who has developed with the world, whom we want to serve with his further education and development. But as a shining motto, everything that comes out of this work in the spirit of Goetheanism will be able to draw on what lies in his words, with which this event should come to an end:

He who possesses science and art also has religion
He who does not possess both, may have religion