The Rudolf Steiner Archive

To-day we will continue our study of subjects connected with art. The lectures are meant to help us in regard to the kind of thoughts which should permeate the work before us. If we would couple right thoughts with the task which we are here beginning in a primitive fashion, the necessity arises to bring before the soul many things that impress us when we study man's achievements in art and their connection with human civilisation.

Herman Grimm, the very intuitive student of art in the nineteenth century, made a certain apparently radical statement about Goethe. He spoke of the date at which humanity would first have developed a real understanding of Goethe, placing it about the year 2000. According to Grimm's idea, therefore, a long time will have to elapse before mankind will have developed to the point of understanding the real significance of Goethe. And, indeed, when one observes the present age, one does not feel inclined to contradict such a statement. To Grimm, Goethe's greatest significance does not lie in the fact that he was a poet, that he had created this or that particular work of art, but that he always created from a full and complete manhood—the impulse of this full manhood lies behind every detail of his creative activity. Our age is very far from understanding this full manhood that lived, for instance, in Goethe. In saying this I have naturally no wish to speak derogatively of the specialisation that has entered into the study of science, which is indeed often deplored—for from one point of view this specialisation is a necessity. Much more significant than the specialisation in science is that which has crept into modern life itself, for, as a result of this, the individual soul, enclosed within some particular sphere of specialised conceptions or ideas, grows less and less capable of understanding other souls who specialise in a different sphere. In a certain sense all human beings are “specialists” to-day so far as their souls are concerned. More particularly are we struck with this specialised mode of perception when we study the development of art in humanity. And for this very reason it is necessary—although it can only be a primitive beginning—that there shall again come into existence a comprehensive understanding of spiritual life in its totality. True form in art will arise from this comprehensive understanding of spiritual life. We need not enter upon a very far-reaching study in order to prove the truth of this. We shall come to a better understanding if we start from something near at hand, and I will therefore speak of one small point in the numerous irrelevant and often ridiculous attacks made against our spiritual movement at the present time.

It is so cheap for people to try, by means of pure fabrications, to slander us in the eyes of the world, saying, for instance, that we are on the wrong track because here or there we have given to our buildings a form that we consider suitable to our work. We are reproached for having coloured walls in certain of our meeting rooms and we are already tired of hearing about the ‘sensationalism’ in our building—which is said to be quite unnecessary for true ‘Theosophy’—that is how people express it. In certain circles ‘true Theosophy’ is thought to be a kind of psychic hotch-potch, teeming with obscure sensations, glorying to some extent in the fact that the soul can unfold a higher ego within. This, however, is really nothing but egotism. From the point of view of this obscure psychic hotch-potch people think it superfluous for a spiritual current to be expressed in any outer form, although this outer form, it is true, can only be a primitive beginning. Such people think themselves justified in chattering about these psychic matters no matter where they may be. Why, then—so they think—is it necessary to express anything in definite forms? We really cannot expect to find any capacity of real thought in people who hurl this kind of reproach at us—in fact we can expect it from very few people at the present time—but, nevertheless, we must be clear in our own minds on many points if we are to be able at least to give the right answers to questions that arise in our own souls.

I want to draw your attention to Carstens, an artist who made his mark in the sphere of art at the end of the eighteenth century as a designer and painter of decided talent. I do not propose in any way to speak of the value of Carstens' art, nor to describe his work—neither am I going to give you a biographical sketch of his life. I only want to call your attention to the fact that he certainly possessed great talent for design, if not for painting. In the soul of Carstens we find a certain artistic longing, but we can also see what was lacking in him. He wanted to draw ideas, to embody them in painting, but he was not in the position of men like Raphael or Leonardo da Vinci—or to take an example from poetry—of Dante. Raphael, Leonardo and Dante lived within a culture that teemed with import—a culture that penetrated into and at the same time surrounded the soul of man. When Raphael painted his Madonnas they were living in men's hearts and souls and in the very highest sense something streamed from the soul of the public in response to the creations of this great artist. When Dante set out to transport the soul into spiritual realms he had only to draw his material, his substance, from something that was resounding, as it were, in every human soul. These artists possessed in their own souls the substance of the general culture of the age. In any work of the scientific culture of that time—however much it may have fallen into disuse—we shall find connecting links with an element that was living in all human souls, even down to the humblest circles. The learned men of the spheres of culture where Raphael created his Madonnas were fully cognisant of the idea at the back of the figures of the Madonna, nay more, the idea was a living thing within their souls. Thus artistic creations seem to be expressions of a general, uniform spiritual life. This quality came to light again in Goethe as a single individual, in the way that was possible at the turn of the eighteenth and nineteenth centuries. So little is this understood in our times, that, in Herman Grimm's opinion, as I have already said, it will be necessary to wait until the year 2000 before the world will again reveal such understanding.

Let us turn again to Carstens. He takes the Iliad of Homer, and he impresses into his penciled forms the processes and events of which he reads. What a different relationship there is to the Homeric figures in the eighteenth and the beginning of the nineteenth century from the relationship that existed between the soul of Raphael and the figures of the Madonna and other motifs of that age! In the greatest epochs the content of art was immediately perceptible because it flowed from something that moved the innermost being of man. In the nineteenth century’ it began to be necessary for artists to seek for the content of their creations by dint of effort and we soon find that the artist becomes a kind of ‘cultural hermit,’ one who is only concerned with himself and of whom people ask, ‘What relationship is there between himself and his own particular world of form?’ A study of the history of art in the nineteenth century would reveal the true state of affairs in this connection.

Thus there gradually arose, not only the indifferent attitude to art, but the cold one that exists nowadays. Think of someone in a modern city walking through a picture gallery or exhibition of pictures. The soul is not moved by what is seen, no inner confidence is felt in it. The person is faced by what really amounts to a multitude of riddles—to use a radical expression—riddles which can only be solved if to some extent penetration is made into the particular relationship of this or that artist to nature, or to other things. The soul is faced with purely individual problems or riddles, and the significant thing is, that although people believe they are solving the problems of art, they are, in the vast majority of cases, trying to solve problems not really connected with art itself—to wit, psychological problems. Such problems as: How does this or that artist look on nature—are problems of philosophy or the like and are of no importance when we really penetrate into the great epochs of art. On the contrary, when this penetration is undertaken, the problems that emerge not only for the artist but for the contemplator of the works of art, are truly artistic, truly aesthetic ones. For it is the manner that really concerns the creative artists, while the mere matter, the mere substance, is only the element that flows around him, in which he is immersed. We might even put it thus: our artists are no longer artists. They are contemplators of the world, each from a certain point of view and what they see, what strikes them in the world, this they contrive to shape. But these are theory, problems of history and so forth, while on the other hand our age has almost altogether lost the power—or indeed the heart—to perceive art in its essence, to perceive the manner, not the mere matter.

Our conception of the world—theoretical from its very foundations—is a good deal to blame for this. Practical as men have become in technical, industrial and commercial affairs, they have become eminently theoretical so far as their thinking is concerned. The endeavour to build a bridge between modern science and the conception of the world held by the artist is not only fraught with difficulty, but with the fact that so few people feel there is any need to build it. Words like those of Goethe: “Art is the manifestation of secret laws of nature without which they could never find expression” are wholly unintelligible to our age, although here and there people think they understand them. Our age holds fast to the most external, the most abstract natural laws—laws which are themselves based on utterly abstract mathematical principles—and it will not admit the validity of any penetration into reality which transcends all abstract mathematics or systems of that kind. No wonder our age has lost the living element of soul which feels the working of the very substance of world connections—the substance that must indeed well up from these world connections before art can come into being. The thoughts and ideas evolved by the modern age in regard to the universe are inartistic in their very nature—nay more, they even strive to be so. Colours—what have they become according to modern scientific opinion? Vibrations of the most abstract substance in the ether, etheric vibrations of so many wave lengths. These waves of vibrating ether sought by modern science, how remote they are from the direct, living essence of colour! What else is possible than that man is led wholly to ignore the living essence of colour? I have already told you that this element of colour is, in its very being, fluidic and alive—an element moreover in which our soul lives. And a time will come—as I have also indicated—when man will again perceive the living connection of the flowing sea of colour with the colours of creatures and objects manifested in the external world.

This is difficult for man because, since he has to develop his ego during earthly evolution, he has risen out of this flowing sea of colour to a mode of contemplation that proceeds purely from the ego. With his ego, man rises out of the sea of colour; the animal lives wholly within it and the fact that certain animals have feathers or skins of particular colours is connected with the whole relationship existing between the souls of these animals and the flowing sea of colour. The animal perceives objects with its astral body (as we perceive them with the ego) and into the astral body flow the forces living in the group-soul of the animal. It is nonsense to imagine that animals, even higher animals, behold the world as man beholds it. At the present time there is no understanding of these things. Man imagines that if he is standing near a horse, the horse sees him in exactly the same way as he sees the horse. What is more natural than to think that since the horse has eyes it sees him just as he sees it? This, however, is absolute nonsense. Without a certain clairvoyance a horse would no more see a human being than a human being, being without problems of psychological clairvoyance, would see an angel, for the man simply does not exist for the horse as a physical being, but only as a spiritual being. The horse is possessed of a certain order of clairvoyance and what the horse sees in man is quite different from what man sees in the horse: as we go about we are spectral beings to the horse. If animals could speak in their own language—not in the way they are sometimes made to ‘speak’ nowadays, but in their own language—man would realise that it never by any chance occurs to the animals to contemplate him as a being of similar order but as one who stands higher than themselves—a spectral, ghostlike being. Even if the animals assume their own body to consist of flesh and blood, they certainly have a different conception of the body of man. To the modern mind this of course sounds the purest nonsense—so far is the present age removed from truth!

As a result of the relation between astral body and group-soul, a receptivity to the living, creative power of colour flows into the animal. Just as we may see an object that rouses desire in us and we stretch out towards it by movement of the hand, an impression is made in the whole animal organism by the direct creative power in the colour; this impression flows into the feathers or skin and gives the animal its colour. I have already said that our age cannot understand why it is that the polar bear is white; the white colour is the effect produced by the environment and when the polar bear ‘whitens’ itself, this, at a different level, is practically the same thing as when man stretches out with a movement of his hand to pick a rose in response to a desire. The living creative effects of the environment work upon the polar bear in such a way that an impulse is released within it and it ‘whitens’ itself.

In man, this living weaving and moving in the element of colour has passed into the substrata of his being because he would never have been able to develop his ego if he had remained wholly immersed within the sea of colour and were, for instance, in response to an impression of a rosy hue of dawn to feel the impulse to impress these tints through creative imagination into certain parts of his skin. During the ancient moon period these conditions still obtained. The contemplation of scenes in nature like that of a rosy dawn worked upon man as he then was; this impression was reflected back, as it were, into his own colouring; it penetrated into the being of man in those times and was then outwardly expressed in certain areas of his body. During the earth period, this living bodily existence in the flowing sea of colour had to cease in order that man might be able to evolve his own conception of the world in his ego. So far as his form was concerned he had to become neutral to this sea of colour. The tint of the human skin as it appears in the temperate zones is essentially the expression of the ego, of absolute neutrality in face of the outer waves of colour; it denotes man's ascent above the flowing sea of colour. But even the most elementary facts of Spiritual Science remind us that it is man's task to find the path of return.

Physical body, etheric body, astral body—these were developed during the periods of Saturn, Sun and Moon; the ego has to develop during the earth period. Man must find the ways and means to spiritualise his astral body once again, to permeate it with all that the ego has won for itself. And as he spiritualises his astral body and so discovers the path of return, he must again find the flowing, surging waves of colour out of which he arose in order that his ego might develop—just as a man who rises from the sea only sees what is over the sea. We are indeed already living in an age when this penetration into the spiritual flow of the powers of of nature—that is to say of the spiritual powers behind nature—must begin. It must again be possible for us not merely to look at colours, to reproduce them outwardly here or 'there, but to live with colour, to experience the inner life-force of colour. This cannot be done by merely studying in painting, for instance, the effects of the colours and their interplay as we look at them. It can only be done if once again we sink our soul in the flow of red or blue, for instance, if the flow of the colour really lives—if we are able to ensoul the essence of colour that instead of evolving any kind of colour symbolism (which would of course be the very opposite way of going to work) we really discover what is already living in colour just as the power of laughter exists in a man who laughs. Hence we must seek out the paths of return to the flowing world of colour, for as I have already said, man has risen above it with his ego. If he has no other perception save ‘here is red, here is blue’—which is often the case to-day—he can never press onwards to living experience of the real essence of colour. Still less is this possible when he gives an intellectualistic garb to this inner essence and perceives red as a symbol, blue as another, and so forth. This will never lead to real experience of colour. We must know how to surrender the whole soul to what speaks to us from out of colour. Then, when we are confronted with red we have a sense of attack, aggression—this comes to us from the red. If ladies were all to go about dressed in red, a man possessed of a delicate sense for colour would silently imagine, simply on account of their clothing, that they might at any moment set about him vigourously! In red, then, there is a quality of aggression, something that comes towards us. Blue has an element that seems to pass away from us, to leave us, something after which we gaze with a certain wistfulness, with yearning.

How far the present age is removed from any such living understanding of colour may be realised from what I have already said about Hildebrand, an excellent artist, who expressly states that a colour on a surface is simply that and nothing more; the surface is there, overlaid with colour—that is all—though to be sure it is not quite the same in the case of form which expresses distance, for example. Colour expresses more than mere distance and we cannot help finding it deeply symptomatic of the whole nature of the present age that this is not perceived, even by an artist like Hildebrand. It is impossible to live into the essence of colour if one cannot immediately pass over from repose into movement, realising that a red disc approaches us, and that a blue disc, on the other hand, withdraws. These colours move in opposite directions. When we penetrate deeply into this living essence of colour we are led further and further. We begin to realise—if we really believe in colour—that we simply could not picture two coloured discs of this kind remaining there at rest. To picture such a thing would be to deaden all living feeling, for living feeling immediately changes into the realisation that the red and the blue discs are revolving round each other, the one towards the spectator, the other away from him. The relation between the red that is painted on a figure, in contrast to the blue, is such that the figure takes on life and movement through the very colour itself. The figure is caught up into the universe of life because this is shining in the colours. Form is of course the element that is at rest, stationary; but the moment the form has colour, the inner movement in the colour rises out of the form, and the whirl of the cosmos, the whirl of spirituality passes through the form. If you colour a form you endow it with the soul element of the universe, with cosmic soul, because colour is not only a part of form; the colour you give to a particular form places this form into the whole concatenation of its environment and indeed into the whole universe. In colouring a form we should feel: ‘Now we are endowing form with soul.’ We breathe soul into dead form when, through colour, we make it living.

We need only draw a little nearer to this inner living weaving of colours and we shall feel as if we are not confronting them on a level but as if we were standing either above or below them—again it is as if the colour becomes inwardly alive. To a lover of abstractions, to one who merely gazes at the colours and does not livingly penetrate into them, a red sphere may indeed seem to move around a blue, but he does not feel the need to vary the movement in any sense. He may be a great mathematician, or a great metaphysician, but he does not know how to live with colour because it seems to pass like a dead thing from one place to another. This is not so in reality; colour radiates, changes within itself, and if red moves it will send on before it a kind of orange aura, a yellow aura, a green aura. If blue moves it will send something different on before it.

We have, then, a play of colours as it were. Something actually happens when we experience in colour; thus red seems to attack, blue to pass away. We feel red as something which we want to ward off, blue as something we would pursue as if with longing. And if we could feel in colour in such a way that red and blue really live and move, we should indeed inwardly flow with the surging sea of colour, our souls would feel the eddying vortex of attacks and longings, the sense of flight and the prayer of surrender that intermingle with one another. And if we were to express this in some form, artistically of course, this form, which in itself is at rest, we should tear away from rest and repose. The moment we have a form which we paint, we have, instead of the form which is at rest, living movement that does not only belong to the form but to the forces and weaving being round about the form. Thus through a life of soul we wrest the material form away from its mere repose, from its mere quality of rigid form. Something like this must surely once be painted into this world by the creative elemental powers of the universe. [Note 1] For all that man is destined to receive by way of powers of longing—all this is something that could find expression in the blue. This on the one hand man must bear as a forming, shaping principle in his head, while all that finds expression in the red he must bear within him in a form that rushes upward from the rest of the body to the brain. Two such currents are indeed active in the structure of the human brain. Around man externally is the world—all that for which he longs—and this is perpetually being flooded over by that which surges upward from his own body. By day it happens that all which the blue half contains flows more intensely than the red and yellow: by night, so far as the physical human organism is concerned it is the opposite. And what we are wont to called the two-petalled lotus flower [Note 2] is indeed a true image of what I have here portrayed, for this two-petalled lotus flower does indeed reveal to the seer just such colours and movements. Nobody will really be able to fathom what lives in the world of form as the creative element, as the upper part of the human head, if he is not able to follow this flow of colour that in man is indeed a “hidden” flow of colour.

It must be the endeavour of art again to dive down into the life of the elements. Art has observed and studied nature long enough, has tried long enough to solve all the riddles of nature and to express in another form all that can be observed by this penetration into nature. What lives in the elements is, however, dead so far as modern art is concerned. Air, water, light—all are dead as they are painted to-day; form is dead as is expressed in modern sculpture. A new art will arise when the human soul learns to penetrate to the depths of the elemental world, for this world is living. People may rail against this; they may think that it ought not to be, but such raillery is only the outcome of human inertia. Unless man enters with his whole being into the world of the elements, and absorbs into himself the spirit and soul of the external world art will more and more become a work of the human soul in isolation. This of course may bring many interesting things to light in regard to the psychology of certain souls, but it will never achieve that which art alone can achieve. These things belong to the far, far future but we must go forward to meet this future with eyes that have been opened by Spiritual Science—otherwise we can see in that future nothing but death and paralysis.

This is why we must seek for inner connection between all our forms and colours here and the spiritual knowledge that moves innermost depths of the soul; we must seek that which lives in the Spirit in the same way as the Madonnas lived in Raphael, so lived in him that he was able to paint them as he did. The Madonnas were living in Raphael's very being, just as they were living in the learned men, the labourers in the fields and the craftsmen of his time. That is why he was the true artist of the Madonna. Only when we succeed in bringing into our forms in a purely artistic sense, without symbolism or allegory, all that lives in our idea of the world—not as abstract thought, dead knowledge or science, but as living substance of the soul—only then do we divine something of what the future holds in store.

Thus there must be unity between what is created externally and all that permeates the soul in the innermost depths of her being—a unity that was present in Goethe as the result of a special karma. Bridges must be built between what is still to many people so much abstract conception in Spiritual Science and what arises from hand, chisel and paint brush. To-day the building of these bridges is hindered by a cultural life that is in many respects superficial and abstract, and will not allow life to flow into action. This explains the appearance of the wholly groundless idea that spiritual knowledge might cause the death of art. In many instances of course a paralysing effect has been evident, for instance in all the allegorising and symbolising that goes on, in the perpetual questioning, ‘what does this mean?’ ‘what does that mean?’ I have already said that we should not always be asking what things ‘mean.’ We should not think of asking about the ‘meaning’ of the larynx, for instance. The larynx does not ‘mean’ anything, for it is the living organ of human speech and this is the sense in which we must look at all that lives in forms and colours when they are living organs of the spiritual world. So long as we have not ceased asking about allegorical or symbolical meanings, so long as we interpret myths and sagas allegorically and symbolically instead of feeling the living breath of the Spirit pervading the cosmos, realising how the cosmos lives in the figures of the world of myths and fairy stories—so long have we not attained to real spiritual knowledge.

A beginning, however, must be made, imperfect though it will be. No one should imagine that we take this beginning to be the perfect thing; but like many other objections to our spiritual movement made by the modern age, it is nonsense to say that our building is not an essential part of this spiritual movement. We ourselves are already aware of the facts which people may bring forward. We realise also that all the foolish chatter about the ‘higher self,’ all the rhapsodies in regard to the ‘divinity of the soul of man’ can also be expressed in outer forms of the present age; and of course we know that it is everywhere possible for man to promote Spiritual Science in its mental and intellectual aspects. But over and above this merely intellectual aspect we feel that if Spiritual Science is to pour life into the souls of men it demands a vesture of a different kind from any that may be a product of the dying culture of our day. It is not at all necessary for the outer world to remind us of the cheap truth that Spiritual Science can also be studied in its mental aspect in surroundings of a different kind from those which are made living by our forms. The ideal which Spiritual Science must pour into our souls must be earnest and grow ever more earnest. A great many things are still necessary before this earnestness, this inner driving force of the soul can become part of our very being. It is quite easy to speak of Spiritual Science and its expression in the outer world in such way that its core and nerve are wholly lacking. The form taken by the most vigorous attacks levelled against our spiritual movement creates a strange impression. Those who read some of these attacks will, if they are in their right minds, wonder what on earth they are driving at. They describe all manner of fantastic nonsense which has not the remotest connection with us, and then the opposition is levelled against these absurdities! The world is so little capable of absorbing new spiritual leaven that it invents a wholly grotesque caricature and then sets to work to fight against that. There are even people who think that the whole movement should be done away with. Attack of course is always possible but it is a reductio ab absurdum to do away with an invention that has no resemblance of any kind to what it sets out to depict. It behooves us, however, to realise what kind of sense for truth underlies these things, for this will make us strong to receive all that must flow to us from Spiritual Science, and, made living by this Spiritual Science, shine into material existence. That the world has not grown in tolerance or understanding is shown by the attitude adopted towards Spiritual Science. The world has not grown in either of these qualities.

We can celebrate the inner confluence of the soul with Spiritual Science in no better way than by deepening ourselves in problems like that of the nature and being of colour, for in experience of the living flow of colour we transcend the measure of our own stature and live in cosmic life. Colour is the soul of nature and of the whole cosmos and we partake of this soul as we experience colour.

This was what I wanted to indicate to-day, in order next time to penetrate still more deeply into the nature of the world of colour and the essence of painting.

I could not help interspersing these remarks with references to the attacks that are being made upon us from all sides—attacks emanating from a world incapable of understanding the aims of our Anthroposophical Movement. One can only hope that those within our Movement will be able, by a deepening of their being, to understand something truly symptomatic of our times, the falsehood and untruth that is creeping into man's conception of what is striving to find its place within the spiritual world. We of course have no wish to seclude our spiritual stream, to shut it off from the world; as much as the world is willing to receive, that it can have. But one thing the world must accept if it is to understand us, and that is the unity of the whole nature of man—the unity which makes every human achievement the outcome of this full and complete ‘manhood.’

These words are not meant to be an attack on the present age. I speak them with a certain sense of pain, because the more our will and our efforts increase in this Movement of ours, the more malicious—perhaps not consciously, but more or less unconsciously malicious—do the opposing forces become. I have, moreover, spoken thus because the way in which these things must be looked at is not yet fully understood even among ourselves. The unshakable standpoint must be that something new, a new beginning, is at least intended in our Movement. What lies beyond this ‘intention’ has of course yet to come. We with our building can still do no more than ‘intend.’ Those who can do more than intend—they will come, even though it be not before the time Herman Grimm thinks must elapse before there will be a complete understanding of Goethe. A certain humility is bound up with the understanding of this and there is little humility in modern spiritual life. Spiritual Science is well suited to give this humility and at the same time to bring the soul to a realisation of the gravity of these things.

A painful impression is caused by the opposition arising on all sides against our spiritual Movement, now that the world is now beginning to see real results. So long as the Movement was merely there in a spiritual sense the world could see nothing. Now that it does, and it cannot understand what it sees, dissonant voices are beginning to sound from every side. This opposition will grow stronger and stronger. When we realise its existence we shall naturally at first be filled with a certain sorrow, but an inner power will make us able to intercede on behalf of what is to us not merely conviction, but life itself. The soul will be pervaded by an ethereal, living activity, filled with something more than the theoretical convictions of which modern man is so proud. This earnest mood of soul will bring in its train the sure confidence that the foundations of our world and our existence as human beings are able to sustain us, if we seek for them in the spiritual world. Sometimes we need this confidence more, sometimes less. If we speak of sorrow caused by the echo which our spiritual Movement finds in the world—this mood of sorrow must give birth to the mood of power derived from the knowledge that the roots of man's life are in the Spirit and that the Spirit of man will lead him out beyond all the disharmony that can only cause him pain. Strength will flow into man from this mood of power.

If in these very days one cannot help speaking of things spiritual with a sorrow even greater than that caused by the discrepancy between what we desire in our spiritual Movement and the echo it finds in the world—yet it must be said that the world's disharmonies will take a different course when men realise how human hearts can be kindled by the spiritual light for which we strive in anthroposophy. The sorrow connected with our Movement seems only slight when we look at all the sadness lying in the destiny of Europe. The words I have spoken to you are pervaded with sorrow, but they are spoken with the living conviction that whatever pain may await European humanity in a sear or distant future there may, none the less, live within us a confidence born from the knowledge that the Spirit will lead man victoriously through every wilderness. Even in these days of sorrow, in hours fraught with such gravity, we may in very truth, indeed we must, speak of the holy things of Spiritual Science, for we may believe that however dimly the sun of Spiritual Science is shining to-day, its radiance will ever increase until it is a sun of peace, of love and of harmony among men.

Grave though these words may be, they justify us in thinking of the narrower affairs of Spiritual Science with all the powers of heart and soul, when hours of ordeal are being made manifest through the windows of the world.

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Notes:

Note 1. Translator's Note. Presumably Dr. Steiner was here drawing on the blackboard while he was speaking. The expressions used in the German seem to indicate this.

Note 2. See ‘Knowledge of the Higher Worlds and its Attainment,’ by Rudolf Steiner. Anthrosophical Publishing Co.

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The Goetheanum, as a finished structure in all its beauty, was able to speak its message to humanity only for a few short years. The full wonder of it was revealed to but a small group of people, although day in and day out crowds of eager sight-seers wound up the hill, there to open their hearts to the breath of the Spirit, in curiosity, wonder, admiration, emotion, and—richer by yet another longing—once again to wend their way back to the world of banality. For a short span of time certain human souls had gazed at wonderland, had been raised above themselves, while others were seized by the forces of hatred and anger. Nobody was left indifferent. To those, however, who had learnt to understand the language of the forms, who had actually moulded them from the substance of wood with all its earthly solidity and at the same time ethereal flexibility—to those and to their companions in this work of regeneration, were revealed ever deeper, ever vaster world-connections under the mighty sweep of the architraves, between the capitals and plinths of the columns, whose motifs stood out with sudden boldness and novelty in the process of metamorphosis. There they wound, in and out each other, striving organically from primordial simplicity to complexity of form, and then back in a decrescendo to an inwardly deepened simplicity.

It was an architecture that developed onwards like a symphony, flowing into harmony—an architecture condensed into earthly substance from ethereal worlds, sending forth into space formative forces which were bound to take hold of the creative impulses of man and transmute them. The proportions of this architecture rendered it a dream in wood, too fair to endure, too pure not to be hated to its destruction, yet strong enough to call the new, of like nature with itself, into being.

Life, new and growing, is the Spirit's answer to the stab of death. Life, rich and abundant, is coming to flower around the urn where rest the ashes of Rudolf Steiner and round the new Building arising from the ashes of the old. The wide-flung sparks from the burning brand of the Dornach Sylvester night are becoming a spirit-seed, and those flames will be changed into spiritual life. However feeble our deeds may be, there lies, none the less, in the accomplished work of what has passed away, the Future that rescues mankind from a second death.

Therefore I have ventured to publish these lectures wherein Rudolf Steiner led us to the precincts where his spirit unfolded its creative Art, the while we worked with him in the newly built worksheds of the future Goetheanum. In the evenings we used to encamp ourselves among the planks in the great shed where the gigantic columns were put together, among the machines that shortly before had been ceaselessly working and now had come to momentary rest. There we listened to his words—words which opened up for us in all their inexhaustible fulness, new regions of his spirit, new depths of his being. We hardly dared realise that it was actually our destiny to be able to live among it all. And indeed, near Rudolf Steiner, there was no opportunity for self-indulgence. Time did not permit it nor did the ethereal intensity of his personality, which demanded, by dint of perpetual example, a ceaseless moving from one task to another. The soul had perforce to brace itself to receive the greatness and intensity of that mighty inrushing stream of the Spirit. And indeed if it had not been for the unending kindness and gentleness of one who was ever giving and creating, the soul, without having the power to assimilate all this wealth, could scarcely have endured the strain. Only if the soul were willing to accept this as a necessary sacrifice in the service of man, could it rise above the sheer intensity of the torrent—and then its power was borne as if on wings.

The work on the growing building demanded the constant presence of Rudolf Steiner, and so the earlier life of ceaseless journeys in the service of Spiritual Science was temporarily discontinued. With the erection of the building an abundance of new tasks fell upon him, tasks that he gratefully and willingly took upon himself, though only after repeated requests and urgings that were proof against all discouragement, from friends in Munich who had seen the Mystery Plays there and wanted to build a hall for them. When the building plans were rejected in Munich the pleadings continued, with the same insistence, that they should be carried through in Switzerland. This entailed many burdens for Rudolf Steiner, but his heart was full of gratitude and this gratitude and feeling of responsibility streamed with warmth and inwardness through all the words which stimulated us to work and to understand.

Listening to his words, which led us into new depths of being, we learned to know how in art man becomes one with divine creative power, if this, and not imitation, is the source of his own creative activity; we learned how the Divine-spiritual lives and moves within man as abundance of power if he becomes conscious of his connection with the universe. By giving form and mould to what lives in cosmic laws, by dint of inner penetration of spiritual connections, man creates art that is born from the depths of the universe and his own being. This is no mere hearkening to the secrets of nature; it is a fathoming of the hidden spirituality active behind nature. A fiery power thrilled through Rudolf Steiner's words and gave us life. We were able to feel how ancient civilisations had arisen out of these impelling forces of art and how in our spiritless age of disenchantment, degeneracy and barreness, the same possibilities are once again offered, at a higher stage, at the stage of conscious knowledge. A fire of enthusiasm thrilled through us and gave our artists strength to work, year in and year out, with chisel and mallet at the wood, with diamond drill at the glass of the windows, each of a single colour and shining only in different colours at their different positions in the Building. Both inside and outside, the Building stood there as a masterpiece of art created by a human hand; the relief-modelling of its inner surfaces might well be an organ for the speech of the Gods; its windows showed in the coloured shades of their designs the way to the Spirit, the stations along the path to the spiritual world. Those walls that became living through the movement in the forms, those light effects that were charmed into the windows by the thickness or thinness of the glass surfaces, called to the soul, now also stirred to action, to tread the path to regions whose speech flowed through the ethereal forms in the wood, through the windows which linked the outer and inner worlds together in a music of spiritual harmony.

All earlier buildings pointed to a connection with the earth, they rested within the earthly forces; here the walls were living, inducing exaltation and deepening alike, portraying an onward flowing evolution.

“Thus, O Man, thou findest the way to the Spirit!”—This was what spoke from the forms and windows of the Goetheanum. Gothic architecture contained the prayer: “O Father of the Universe, may we be united with Thee in Thy Spirit.” The hidden Spirit permeating man makes him able to experience the world in forms and movements which to-day confront us like riddles. Rudolf Steiner expresses the thought of the new art of architecture in these words: “We enter with reverence into the Spirit, in order that we may become one with the Spirit which pours out around us in the forms and enters into movement—for behind the Spirits of Form stand the Spirits of Movement.”

To-day, the inner, living growth of man's being would fain come to expression in a building art which in ancient Greece created the dwelling place of the God, and in Gothic times the house of the community in prayer.

The lectures in which Rudolf Steiner thus spoke to us of the new style of architecture, of the art of relief and of the nature of colour, are only available in imperfect, incomplete transcriptions. Sketches made at the time are in many cases missing, as well as quotations which after this long lapse of time can no longer be found when a name had by chance escaped the stenographer. Yet so great is the abundance of the revelations, both in a spiritual and artistic sense, that I feel it my duty to make them accessible to the world. The series of these lectures was broken by the World War, to which the sorrowful utterances of the last lecture point as if prophetically. One after another our artists were called away to the scene of war. With very few exceptions, there remained only those men who belonged to neutral countries, and the women. In the early days of the war, Rudolf Steiner gave us a First Aid Course. For four years we heard the cannons thundering in neighbouring Alsace and they were the terrible daily accompaniment to the beats of the hammer in a work of peace and human brotherhood. Rudolf Steiner's constant thought and heart-rending care during this time was the bringing to pass of peace, of an understanding for its necessity, but his warning voice was unheard. In spite of the deep sorrow into which the tragedy of world happenings plunged him, the words he spoke to those who were working at the Building were as full of light and as kindly as the doors he moulded, as the staircase that called out its welcome to those who entered, crying to them to be fully Man in the service of the radiant, sun-lit power of the Spirit.

In order to give an impression of these stairways, these doors and relief motifs, a series of photographs has been added to the lectures. The first shows the Goetheanum with its double domes in the blossoming time of the Jura countryside. This interpenetration of the two unequal sized domes called forth the astonished admiration of architects and engineers. It was a mathematical problem which they felt themselves wholly unable to solve. A well-known architect from California, who lad constructed many great public buildings there, could not say enough in admiring appreciation: “The man who has solved this problem is a mathematical genius of the highest order. He is a master of mathematics, a master of our science: from him we architects have to learn. The man who built this has conquered the heights because he is master of the depths.”

Here too, as in other spheres, experts recognised their master in Rudolf Steiner.

MARIE STEINER.
Dornach, April 1926.

My dear friends! When the Johannesbau-Verein followed on from our last General Assembly of the German Section of the Theosophical Society here in Berlin, I addressed a few words to you about the way in which the Johannesbau is to be placed in the whole development of art, especially architectural art; that it in the sense in which we also otherwise consider that which we want to achieve in the field of theosophy or anthroposophy - as something necessary in the whole spiritual development of humanity; so that what is to happen through theosophy or anthroposophy does not appear as some kind of arbitrariness, not as something that we give birth to out of ourselves as some kind of arbitrary ideal, but appears as we see it as a necessity, as it were, in that writing that reveals to us the necessary path of the human spirit through the evolution of the earth.

Now, one can choose many points of view to present this necessity that has just been characterized. At that time, I showed from a certain point of view how this necessary placing in human history of what is intended by the Johannesbau is to be understood. Today, I would like to choose a different point of view, so that my present considerations may, in a certain respect, supplement what was presented here in December 1911.

Architecture is actually bound to a very specific premise if we understand architecture in the sense that man wants to create a shell, as it were, using some material, through some forms or other measures, be it for profane living and working, be it for religious activities or the like. In this sense, the art of building, architecture, is definitely bound up with what we can call the soul, is connected with the concept of the soul, arises from the soul and can be grasped by grasping the whole extent of the soul.

Now, over the years of working in spiritual science, the soul has always presented itself to us from three points of view: from the point of view of the sentient soul, from the point of view of the mind or emotional soul, and from that of the consciousness soul. But then this soul-life also presents itself to us when it first announces itself, as it were, but does not yet really exist as soul-life when we speak of the sentient or astral body. And again, the soul-life presents itself to us when we say that the soul-life has developed to such an extent that it seeks a transition to the spirit-self or manas. If you look at my Theosophy, you will find the threefold soul in it: the sentient soul, the mind or emotional soul, and the consciousness soul. But you will find the sentient soul bordering on the sentient body, so that the sentient soul and sentient appear as two sides of one and the same, the one side more soul-like, the other more spiritual; and then you will find, joining together again, consciousness soul and spirit self; the consciousness soul representing the more soul-like side, the spirit self, on the other hand, the more spiritual side.

Those who, as anthroposophists, gradually find their way into such an understanding of these terms, as our esteemed friend Arenson has very beautifully explained in these days, will not be able to stop at the words sentient soul, mind or soul, and consciousness soul, and only seek to find one or the other definition for these words , but as a true anthroposophist will long to gradually develop in his mind many, many concepts, feelings and insights, which lead from one feeling to another and so on, in order to arrive at a more comprehensive understanding, which in the case of these concepts is structured in the most diverse directions.

For the seer himself, the words quoted include, one might say, entire worlds. Therefore, in order to understand such concepts, one must also take into account what has been presented about human development, for example, in the post-Atlantic period: that the sentient body has particularly developed in the ancient Persian culture, the sentient soul in the Egyptian-Chaldean culture, the mind or emotional soul in the Greco-Roman period, the consciousness soul in the time in which we ourselves live, and that we see the next period, so to speak, as already approaching in its development, yes, that we ourselves, with what we want as anthroposophy, theosophy, are working on the approach of this next period, which in a certain way should show us the connection between consciousness soul and spirit self or manas.

Architecture, it was said, is closely linked to the concept of the soul. Someone might ask: Should architecture not then also be linked to the development of the soul, as it has just been characterized? And should not the forms, the designs of architecture show certain peculiarities in their succession, which are connected to this development of sentient body, sentient soul and so on? And would we not then have no justification at all for speaking of architecture in the case of certain periods – for example, the first post-Atlantean period, which particularly brought forth the etheric body – so as to be right in speaking of architecture? For if architecture is bound to the soul, then it should only begin to dawn when it begins to develop. Therefore, one would assume that it begins to emerge in the sentient body, because that is, as it were, the other side of the soul; and before that, one would have to refer to times when an actual architecture - in the sense in which we characteristically understand architecture - would not exist at all.

Now it is difficult enough to answer this question from the standpoint of external history; for everything that goes back beyond the Egyptian-Chaldean period can hardly be gained from historical monuments and traditions, but can only be derived from clairvoyant research. Even the time of Zarathustra, which we call the original Persian period, lies so far back that historical research is out of the question, let alone the time period that we know to be connected with the development of the etheric body, namely the original Indian period.

However, one can also have strange experiences with this matter if one approaches the very clever people of the present day with it. Recently, for example, one of these clever people said that these post-Atlantean periods, as they are recorded, for example, in my “Occult Science”, are untenable, because anyone who is familiar with the linguistic monuments of India would never believe that Indian culture had progressed as far ahead of Egyptian and Chaldean culture as it is presented in the sense of this “Occult Science”. Well, one can only be surprised that such very clever people of the present day have not yet managed to read a book written in their mother tongue with understanding, even if they can sometimes read Sanskrit. For it is expressly stated in “Occult Science” that the culture of India, including the Vedic culture, which is the subject of external science, is not the culture of ancient India, the first culture of the post-Atlantic period, but that in the case of the Vedic culture we are dealing with a time that can be counted as belonging to the third post-Atlantic cultural period, which thus runs parallel to the Egyptian-Chaldean culture. The original Indian culture, on the other hand, was one of which no external documents and no external monuments and the like exist and of which only the last echoes are contained in the Vedas. I do not want to dwell on this any further, but say this only because one or the other of you might hear this objection and perhaps not immediately have the concepts and ideas at hand that can dispel such an objection.

So the question remains, as indicated earlier, that in the first post-Atlantic period we would have to go back to times when an actual art of building, as for later times, could not yet be possible. But then we come to a strange boundary point, to which external research also points; we come, so to speak, to a preliminary stage of architecture: the building of spaces for religious, for worship in caves, carved into the rock, as one finds in India or Nubia. This is indeed the epoch that stands on the boundary of the development of the soul out of the physical. These cave structures confirm what spiritual research indicates regarding the development of the soul: Only in the period of human evolution in which we see the development of the soul out of the physical development do we also see the real higher art of building evolving out of what were previously rock caves, underground rock caves that had been hewn into the earth itself.

In this respect, the earth appears like the physical realm into which the human soul first works, as it also happens in the development of the human being itself, where the soul works into the physical realm, the sentient soul into the sentient body. And in the transition from cave rooms to architectural works that encompass human activities, we see at the same time the importance of the transition from the culture of the sentient body to that of the sentient soul.

There will come a time when the insights of Theosophy and Anthroposophy will be developed for all branches of human knowledge and for all branches of human development. And it will be found that everything that other human worldviews present one-sidedly has been cobbled together from some inadequate concepts and ideas, while spiritual science or anthroposophy shows the whole picture, with which one will be able to shine in everywhere. We can be completely reassured, even if people today do not yet believe it. That is not important, but that time will provide the evidence for it. We just have to give it time. The confirmations will gradually emerge in all areas of life and development. Also in the field of architecture.

And if we now go through the post-Atlantean development, we see that in the course of time the individual developmental epochs are, so to speak, bound to the soul, to the development of the sentient soul, then to that of the mind or mind soul and then to that of the consciousness soul, right up to our time. And in our own time we see, still in the preparatory stage, the time when the consciousness soul is being worked out of the spiritual self or manas, so that we are, as it were, standing before a reversal of the process that took place in the post-Atlantic epoch, when we passed from the bodily to the soul realm. Just as the sentient soul was worked out of the sentient body in those days, so we are now facing a time in which we have to work our way out of the soul and into a spiritual realm. For architecture, this means that we can expect the opposite again. That is to say, just as in those earlier times caves were hewn out of the rocks as the preliminary stages of human architectural works, so now, in the present rising time, we have to work into the spirit in order to create the complement, the counterpart to this.

Let us now try to visualize the following, initially without more precise details of time, for everyone can form for themselves what is necessary for parallelism.

Let us take the development through the sentient soul, the mind or intellect soul and the consciousness soul; first, therefore, the development through the sentient soul.

Through being endowed with the sentient soul, the human being enters into a reciprocal relationship with the world around him. Through the sentient soul, so to speak, what is present in the world as reality enters into the human soul, into the human inner self. The 'outside becomes an inside by way of the experience in the sentient soul. Therefore, in the development of architectural art, there should be something that emerges quite naturally from cave construction and shows something in itself that is characteristic of the sentient soul. That is to say, it should be built in such a way that one wants to represent an exterior as well as an interior. Here we need only recall the construction of the pyramids and similar buildings, and we can even think of more recent scientific research that has shown how astronomical-cosmic relationships are reflected in the dimensions of the pyramid construction. More and more will be discovered about the pyramid's strange structure based on cosmic conditions. Astronomical dimensions can be found in the ratio of the base to the height, for example. And anyone who studies the pyramid gradually comes to the conclusion that with the pyramid, the pyramid priests expressed everything that could be expressed in a structure as a perception of cosmic conditions. The pyramid was built as if the earth wanted to experience within itself what is perceived from the cosmos. Just as the sentient soul brings the outer reality to life within itself and presents what is outside as an inner reality, repeating in its own way what is outside, so the pyramid repeats in its proportions and forms outer cosmic relationships, for example, in the way sunlight falls within it. Just as external reality finds a kind of representation in the human being through the sentient soul, so the pyramid looks like a large sentient organ of all earthly culture in relation to the cosmos.

Let us move on. How should architecture behave in a cultural stage in which the characteristic is the intellectual or mind soul?

The mind or mind soul is the inner soul in man, which has the most work to do within itself, which, on the already inner foundation of the sentient soul, further develops this inner soul , but does not go so far as to reunite it into the actual I; thus it spreads and expands the soul-life without allowing it to culminate in the center of the I. The person who has developed precisely this soul element comes to us through the richness of his soul life, through the many inner soul contents and experiences that he has fought for and achieved; he has less of a need to build systems out of his inner experiences, but rather gives himself over to the breadth of these inner experiences. The soul of mind or feeling is a life of the soul that bears itself inwardly, closes itself inwardly, and totalizes itself inwardly.

What kind of architecture would be needed to correspond to such a soul? It would have to be an architecture that, unlike the construction of a pyramid, does not so much resemble or represent cosmic conditions, but is more of a self-contained, complete being in itself; something that is self-supporting and, in accordance with the intellectual soul or the soul of feeling, shows the breadth of development in the way the individual parts are supported, and is less concerned with uniting what already exists in the breadth of development. No one who is familiar with the nature of the intellectual soul or the soul of feeling, as it has just been characterized, can doubt that Greek and also Roman architecture can be understood as an external image of the life of the soul of intellect or of the soul of feeling.

If we look at Greek architecture, for example Greek temple architecture, as we have done many times before, by understanding it as the house of the god himself, so that the god dwells within it and the whole house presents itself as the dwelling of the god, the whole inwardly rounded as an inward totality. From our contemplation of the Greek temple, we have even been able to say: This Greek temple does not claim that a person or a community of people is within it. It is the dwelling place of the god and can stand alone, closed, as a totality in itself, just as the intellectual or emotional soul is an inner totality, a self-contained inner life, which does not yet lead to egoity, but which, even if unconsciously, is the manifestation of the god in man. And when we see how in Greek temple architecture each part supports the other, how everything is based on the columns striving upwards and supporting the beams, how the mutual forces are joined together into a totality without the whole any way systematically toward a unity, toward a pinnacle, we find in it – and in Roman architecture the same is actually the case – that breadth, that expanse, which we find in the intellectual or emotional soul itself.

'This is precisely what is striking about Greco-Roman architecture: it is based on statics, on the pure statics of the individual forces that unfold in a supporting or burdening way. But there is one thing you can forget about a Greek temple: you can forget that it has a sense of 'heaviness'. For anyone who feels in harmony with nature will, or at least can, feel that the columns are something that grows out of the earth. And with that which really does grow out of the earth, with plants, there is no sense of oppressive heaviness. That is why the column in the Greek temple gradually strives to become similar to the stem of a plant, even if this only becomes visible in the Corinthian column. And so, in our perception, the burden is not on the column, but for our perception the column is a carrier. But when we then come to the beam, to the architrave, we have the direct feeling that this weighs on the column, that is, the structure is inwardly permeated by static equilibrium. And anyone who has developed their inner life will also have the feeling that the perceptions, feelings and concepts they have arrived at, which they have worked towards inwardly, are supported inwardly in the same way that the column supports the beam. Because at the time when Greco-Roman architecture originated, the intellectual soul or soul of mind was particularly developed in humanity, therefore, when the soul wanted to express itself in the language of architecture, it naturally strove to express its inner experiences in static form. It was not intentional, but rather a natural expression of the human soul, to create a reflection of the soul in architecture.

And then gradually the development passed over to the consciousness soul. It is essential to the consciousness soul to summarize what the soul experiences in the total feeling: “You are! And you are this one human being, this one personality, this one individuality.” By living in the intellectual or emotional soul, God lives in you; but you allow God to live in all the vibrations of your soul, you are so certain of him that you do not need to summarize them as in one point and not to bring yourself to consciousness: “You are identical with your divine.” But you have to do that in the consciousness soul. In this soul, it is not the case that man rests inwardly in himself as in the soul of understanding or of feeling; but in the consciousness soul man strives out of himself to unfold his ego arbitrarily to reality, to existence.

If you have a feeling for the formation of words, you can literally see how the words that have just been spoken as the characteristic of the consciousness soul form themselves as if by magic into the Gothic pillar pillar and the Gothic arch, where the enclosures give us a structure that no longer expresses calm self-reliance, but rather the striving to escape from mere internal stasis through its forms. How great the difference is between the beam, which is carried in full static calm by its column, and the mutually supporting arches, which come together at the apex and hold each other, where everything pushes towards a point, just as the power of the human soul is concentrated in the consciousness soul.

And anyone who can empathize with the ongoing process of human development feels, especially when observing Italian or French architecture, that during the transition from the development of the intellectual or emotional soul to the development of the consciousness soul, it is no longer a matter of calm, static support and carrying it out of the inner totality, and one no longer strives for inward unity in form, as in Greek architecture, but seeks to pass over into the dynamic, as it were, to emerge from one's skin, in order to enter into connection with the reality of the outer world, as in the consciousness soul. The Gothic arches open up to the light of heaven in long windows. This is not the case in Greek architecture. In a Greek temple, it would make no difference to the perception whether light fell into it or not. The light is only incidental. This is not irrelevant to the Gothic cathedral; the Gothic cathedral is inconceivable without the light refracting in the stained glass windows.

There one can feel how the consciousness soul enters into the totality of the world and strives out again into general existence. The Gothic style is therefore the architectural striving that is characteristic of the age of the development of the consciousness soul.

And now we come to our own age, in which a world view that does not arise out of arbitrariness but out of the necessities of human development must realize that the human being must work his way out of the soul and into the spiritual, that the human being in the spiritual self rests in himself spiritually. The Gothic building, with its special architecture of the wall broken through by the windows, with its opening up for that which can come in, for that which must now come! Like the harbinger of what is to come – where the wall necessarily leads to a structure and in this respect is also only a filler, a decoration, not an enclosure, like the walls of the Greek temple – this Gothic building appears as a harbinger of what what the new building must now become for the envelopment of the coming Weltanschhauung, the new building whose essential peculiarities I have already hinted at here and there and of which some essentials have even already been attempted, for example in the Stuttgart building.

The essential thing will be that the complement to the preliminary stage of architecture, to cave construction, where the rock itself materially closed off what was hewn into it; that our new building opens up in all directions, that its walls are open on all sides, not to the material, but open to the spiritual. And we will achieve this by designing the forms in such a way that we can forget that there is any city or the like besides our building. In the Stuttgart Bau, such an attempt has already been made; its walls are open despite the material closure, open to the spirit. In the new building, too, we will shape the forms, the decorative, the picturesque, so that the wall is broken through, so that we can feel our way through color and form: even though we are closed off, the spiritual and mental view expands into the world. Just as the proportions of the cosmos were taken up in the pyramid, so we take what we can experience through anthroposophy and theosophy and create forms, colors, outlines and figures for it, but we create all this in such a way that precisely through what we create on the walls and , these walls themselves disappear, and we experience the closed space in such a way that we can feel the illusion everywhere: it expands out into the cosmos, into the universe, just as the consciousness soul, when it merges with the spiritual self, lives itself out of the merely human into the spiritual.

Thus in the new architecture the significance of the individual column will also advance to something quite different. If, as in the Greek temple, we are dealing with static relationships, with relationships in which inwardness is of primary importance, then it is natural that the forms of the columns and the capitals should repeat themselves. For how could one think of a column in one place as being different from another in the neighborhood if they have exactly the same function? It must be shaped in the same way as the other. It cannot be any different, because every column has the same function.

If we are now dealing with the new art of building in the cosmos, which is differentiated in the most diverse ways on all sides, we should forget that we are in an inner space, so the columns take on a completely new task, a task that is somewhat like that of a letter that points beyond itself by forming a word with the other letters. Thus the columns join together, not in their diversity, but like the individual letters of a weighty writing, pointing outward to the cosmos, from the inside out. And so we will build: from the inside out! And just as one capital letter follows the other, so they will join together and express something as a totality. This will be something that leads beyond the room. And what else we will add, for example inside the dome, will be added in such a way that we will not have the feeling: we are closed in by a dome – but that the whole painting seems to pierce the dome, to take it away into infinity. To do this, however, one will have to learn to paint a little in the way that Johannes Thomasius paints for Strader's sensibility, so that Strader gets the feeling: “The canvas, I want to pierce it to find what I am supposed to seek.”

One can see that in the mystery plays not a single word is written in vain, but always from the perspective of the whole, and that all the things we want from the preconditions of our culture necessarily come together. Today I just wanted to evoke a feeling for the fact that in the overall treatment of walls, architectural motifs, columns, and in the use of all decorative elements, the new architecture must aim at the destruction of the material, so to speak, overcome the wall and , so that the pictorial must also overcome the wall; I wanted to evoke a feeling that all this must occur and be attempted through the new architecture and that this is a necessity in view of the course of human development, as we recognize it as a necessary one.

However, in view of the necessity of such a building from the course of human development, it seems pathetic that it is so difficult to actually carry out the building, and pathetic are also all the objections that are being made by the authorities in Munich, and also by the artists who have been called upon to judge it and who have said that the building would overwhelm the neighborhood. Perhaps they had a slight feeling of unease about the building overwhelming the neighborhood, about it growing out of it into a very wide environment. They will feel it as oppressive at first.

Such objections, raised by artists who believe themselves to be at the cutting edge of their time, seem grotesquely comical when considered in the context of human evolution.

Let us hope, dear friends, and let us do our part, because it could be good for our cause, that our guardian spirit takes pity on us and turns his gaze to us, so that we, recognizing the necessity of our structure, may soon be able to truly create this covering for anthroposophy or spiritual science, which corresponds to the development of humanity.

My dear friends! In connection with the building of our Johannesbau in Dornach, a number of our friends and members have felt the desire to create some kind of home around or near the Johannesbau. A number of members have already registered and considered the purchase of property there in order to create permanent homes for the whole year or for some of the time. Of course, my dear friends, the words I would like to say at this moment, following on from what I have just said, are not meant as if I wanted to interfere in any way with what these colonists are undertaking around our Johannesbau in Dornach. It is self-evident that, in view of the whole way we understand our anthroposophical movement, the freedom of each individual member must be preserved to the greatest possible extent. I have no right to speak in favor of the least hint of compulsion in either direction; but I may perhaps have the right to express a wish.

So, in Dornach we shall now have the Johannesbau as such, for which we have endeavored to find a truly new kind of architecture , to express in architectural forms what we want, and to create something that can represent, in the sense already often hinted at, a not only dignified but also correct embodiment of our cause.

Dr. Grosheintz has shown you in various illustrations the efforts that have been made to achieve this goal. If the funds are sufficient, buildings will be found immediately around the Johannesbau, individual houses, some of which you have already seen, that they will be in the immediate vicinity of the Johannesbau. And these houses will be built in such a way that they can really form a whole with the artistic design of the Johannesbau itself.

It takes a lot to create such a whole. We have, of course, only had the opportunity to implement the idea just characterized for the small house that you see there (in the model ) at one point and which is initially intended to serve as a place where the glass windows are to be made; so that Mr. Rychter and perhaps someone else can work in it, and the glass windows can be made in the other rooms. The second building, which already has a very definite form, is the so-called “Kesselhaus”. This boiler house had to be designed using the modern material of reinforced concrete. And so the problem was how to construct such a giant chimney – which would of course be an eyesore if it were to be built as chimneys are built today near buildings – how to construct such a chimney in connection with the building, architecturally, using the corresponding material.

In the small figure form that you see here (in the model), and in what Dr. Grosheintz showed as an image of this boiler house, you will have seen that an attempt has been made to solve the architecture of this structure as well. And when it is finally built, and especially when it is heated – because the smoke emerging from the chimney is incorporated into the architecture – then people will perhaps be able to feel that these forms have intrinsic beauty despite their prosaic purpose. Perhaps it is precisely because the building's function is truly expressed in its forms that one can sense that these forms have not only been purely formed according to the principles of the old utilitarian architecture, but at the same time in such a way that an inner aesthetic formation has taken place. By thinking of the two domes together, with an expansion that is shaped differently on each side, and by the chimney with its “leaf-like” structures (one member who saw this model found them to be “ear-like”), but it is not necessary to define them as define them as such, they need only be correct. It will probably be possible to achieve, through all these forms, a feeling that even a building like this, which serves a very modern purpose of heating – the Johannesbau and the buildings immediately around it will be heated from here – can be given aesthetically satisfying forms.

For a matter like this – the other matters are therefore only provisional, and it will become clear to what extent they are provisional – in order to know what is needed for this shaping, it is necessary to first know a precise, specified indication of everything that is to take place in the building, for which purpose it is to serve. I would like to say: Do we know how many rooms, for what purposes rooms are needed, how many types of staircase, how many types of view and so on someone wants, and do we also know exactly the location of the building in question in relation to the Johannesbau, to the north or south, then we can find a corresponding architecture for each such specification.

Therefore, it will be necessary for all those friends who want to become colonists and are thinking of building something near the Johannesbau to really follow, at least in a broader sense, what must be pursued for the buildings in the immediate vicinity of the Johannesbau if we do not want to be unfaithful to our principles. For the first thing to be borne in mind is that the external structure, the overall style, should make it clear to the outside world that all these houses belong together, so to speak, and form a whole. Even if other houses are situated between them, it would still be desirable that the houses built by the colonists be built in such a way that it is clear from their appearance that they belong to this whole. People outside might say: These people are warped! Well, but one should feel it - whether one looks at it affirmatively or negatively - and we should give cause for feeling that in this way - even if perhaps disturbed by many other things in between - the complex of buildings built towards the Johannesbau forms an ideal whole.

This is the one point of view that really needs to be taken into account. But the other aspect is that we really want something that has a certain significance in the cultural development of the present day. We want, my dear friends – and you can see this from the forms of the Johannesbau itself – that our spiritual-scientific attitude should actually be incorporated into the architectural style and into the artistic forms in all fields. Just as we would not be able to say, if someone were to ask us today: how can one best practise the art of dance? to say: go to such and such a person who has such and such a method. Just as we would be compelled to seek our own in eurythmy, so we must also learn to understand how to seek our own in the other art forms and thereby create something for those who want to understand, something that is perhaps only possible for such a productive spiritual current as is given by the spirit of spiritual science.

I have often pointed out how it remains in my ears, what the architect Heinrich von Ferstel said after he had built the Votive Church in Vienna and was elected rector of the Vienna University of Technology, when he gave a lecture on architecture; what his actual tenor was in this lecture: architectural styles are not invented! One can object to this statement in many ways, one can also prove it, both can be equally correct. They are not invented, the architectural styles, but from the correctness of the statement that they are not invented, it does not follow at all that one simply takes the Gothic architectural style, as Ferstel took it, and sets up the somewhat enlarged confectionery, this sugar work of the Viennese Votive Church. Nor does it follow at all from that sentence that architectural styles in our own time can only be formed by modifying old architectural styles in an eclectic sense, welding them together again and again, and in this way bring about this or that.

A spirit-scientific attitude should show that it is possible to bring real art forms into the architectural style from the inner life of spiritual life. And we should prove to the world that this is also possible in a private house. We should be able to gain understanding for our cause from this point of view. By being able to proceed from this point of view, we will create an enormously significant ideal value for our culture.

So it would certainly be nice, without wanting to exert any influence on the freedom of any member, if the colonists came together and, out of their own free will but with the knowledge of our principles, achieved something unified. Since this cannot be changed for the time being – it may be different later – we have to take into account the factor that there is a house near the Johannesbau that cannot be removed yet and will not enhance the beauty; but it is there and it does not matter that we do not make everything ” beautiful, but that we make what we do beautiful in our own way.

Therefore, I have to say, I was really saddened when, in the past few weeks, I saw construction plans and proposals for houses that the colonists are supposed to build there. They were, of course, conceived with the very best of intentions, but they exhibited all the ugliness and monstrosity of a terrible architectural style. It really can be done differently if you have the good will to do so. It goes without saying that a number of obstacles and hindrances will have to be reckoned with, but what new movement that has to find its place in the world does not encounter obstacles or hindrances?

I do not want to interfere in what might arise from the members of the colony – that is, the colonists themselves – uniting tomorrow; but it would sadden me if something different were to arise than what was intended by the words just spoken. It will certainly be possible if we all take care to ensure that what has just been characterized comes to pass. Of course, if colonists do not have the patience to wait until the time comes when it may be possible to indicate how one or the other could be done well, then nothing favorable can be done.

As much as it is understandable that some of the colonists may be in a hurry to get their construction project , it would still be desirable for the colonists who are serious about our cause to exercise a little patience in order to let things develop in accordance with the intentions, which I cannot say are ours through our will, but that they arise from what we have to extract from the spiritual scientific attitude. Something might actually come of it, which might at first make an impression on the world, and it might laugh at it. Let them laugh! But the time for laughter will come to an end. If we never undertake anything of this kind, we will never advance in human development.

No one need fear the slightest inconvenience in their household if the principles I have mentioned are observed. But one thing will certainly be necessary: that not every colonist goes his own way, so to speak, but that what is done is done in a certain harmony, so that people can discuss and support each other.

What the architectural style of the colonists' houses will make the whole colony appear as an ideal unity will be an external expression of a harmony that will be an internal one. I say what I now say partly as a wish, partly as a hypothesis, partly as something, yes, I myself do not know what word to choose: it should just be an impression of the inner harmony of those living in this colony!

It will be of the Anthroposophical Society that there will never be the slightest discord or mutual incompatibility in this colony, nor even a single harsh word from one member of the colony to another, nor even a frown from one to another. And it will be wonderful if this is also expressed outwardly, as it were, so that peace will be poured out over everything. But even if it should ever happen that a little thing might cause one or the other to have a crooked mouth or face, because outward forms stimulate thoughts, he will and will turn his eyes to the common, peaceful forms, and a peaceful smile will immediately spread over his twisted face.

If we consider all this, then we really have the reasons for the impulse to create something unified there. Do not think that this unity will mean that one house will be like another. On the contrary. The houses will be very different from each other and everything will have to have a very individual character. After all, a human organism is not created by saying: an arm is like this, a hand is like this... [gap]. If an arm or a hand had ever been placed at the top instead of a head, an organism would never have been able to develop. Likewise, the shape of a house that is correct on one side will not be correct on the other. But all this will have to be deeply thought through for our purposes.

And then, when we are in a position to really put it all into practice, there are other aspects to consider. Just think, we were united here this week. On Monday some Theosophical Society was meeting in the next room with a lecture by so-and-so; on another day another Society was meeting with something else, and on a third day an “Anthropos-Society” was meeting and so on. Just think, if it could happen that the son, daughter, grandson, or nephew of one of our members would join some “Anthropos” society or even some theosophical society, and it came to that later on houses in our colony would be inherited by such members of a family, we would not only have the lectures of the other societies in a neighbourly way, but we would also have the attitudes and so on of these societies right in the middle of us.

We must therefore consider today what difficulties may arise over time and how we can counter them. We will only be able to counter them if we create such an association of colonists through which ways and means can be found to ensure that the possessions of members of the Anthroposophical Society really do remain with members of the Anthroposophical Society in the future. That this will only be possible through the most diverse means will become clear to you tomorrow when you discuss the practical principles. Of course, heirs must never be affected, but it is also possible to create the possibility that what one owns in the colony will never pass to heirs who are not members of the Anthroposophical Society, without affecting the heirs.

It would be highly desirable to maintain this colony as one for members of the Anthroposophical Society in the future would be highly desirable; but not just thinking about how nice it is for oneself to live there, how nice it is not to have far to go to the events in the Johannesbau and to be there with anthroposophists. To think only of that would be even less in line with our spiritual current than to think only of something else in this matter. The fact that our spiritual current still has to be connected with certain sacrifices is particularly evident when the principles and impulses of our spiritual current have to be translated into practical reality. It should be more or less self-evident that we cannot have our houses built by just any architect who is completely outside our movement. That we want to express the anthroposophical character of the colony should also be self-evident.

These are certain points of view that I would like to present to you, of course, as I said, not to exert any pressure, but as something that you will that it cannot be avoided if anything is to come of the whole matter of our Johannesbau and thus serve our anthroposophical cause.

You see, we had to leave Munich because we found no understanding there, at first purely for what we wanted artistically. Out there in Dornach, where we can now be, we can put ourselves in a position to become, in a certain respect, a model for what our spiritual movement should bring in the future. And it would be a misunderstanding of our movement if we did not want to do it, if we let ourselves be deterred by petty considerations or by anything else from keeping to the points of view that have been discussed. Basically, everyone who wants to build there should realize that it is necessary for them to actually join a colonists' association. Perhaps it would be best if the artistic side of things were subject to a kind of committee or commission. There is no need to force this matter, but it would be wonderful if all the colonists were to agree that it is best to submit to a kind of commission what is to be built in the way of houses and so on. If we can really carry this out, showing that we, as colonists, can imbue a number of us with a common will and give this will the direction that is prescribed by our anthroposophical ethos, then we will create something exemplary there. And what is created there will be a test of how well or how poorly our cause has been understood. Of every house that is built as a monster by any architect, people will say: a new proof of how little our present is still understood in relation to our anthroposophical movement! And of every house that is a formal expression of our anthroposophical attitude, people will say: How glad it can make you that there is already an inner understanding in one or the other for what we want!

I would have been so very happy if what I had intended for this General Assembly could have come about. Let us see what can still be achieved tomorrow if a very stimulating discussion arises from this General Assembly in free debate, based on the theses: How should we, each and every one of us, best work anthroposophically among our fellow human beings and how can we best show our anthroposophical attitude and put our experience at the service of the world? But, my dear friends, by endeavoring to merely bring the wisdom of the anthroposophical movement to the people, we alone do not do what we must do if we want to establish our movement in the world. We must really ensure that the spiritual knowledge given to us is properly presented to the world in the embodiment of what is created externally by us, just as the old architectural styles were embodiments of the old cultural ideas.

If we succeed in creating something truly unified there and in legally safeguarding this unity as something to be preserved for the anthroposophical movement, then we will have provided proof that we understand our movement. Would it really be the case that quite a number of such artistic elements, including architectural and other forms, provide us with proof on this occasion, where it can, that the Anthroposophical Movement is understood!

Truly, we do not want to be a sect or any kind of community that represents and spreads these or those dogmas. We want to be something that takes cultural tasks seriously. However, we can only do so for the Johannesbau and the associated colony if we act in the spirit of what has just been said.

I think, my dear friends, that these few words may have provided some insights for your colonization efforts around the Johannesbau.

In the lectures which it has been my lot to deliver, I have often drawn attention to an observation which might be made in real life, and which shows the necessity of seeking everywhere below the surface of life's appearances, instead of stopping at first impressions. It runs somewhat as follows.—A man is walking along a river bank and, while still some way off, is seen to pitch headlong into the water. We approach and draw him out of the stream, only to find him dead; we notice a boulder at the point where he fell and conclude at first sight as a matter of course that he stumbled over the stone, fell into the river and was drowned. This conclusion might easily be accepted and handed down to posterity—but all the same it could be very wide of the mark. Closer inspection might reveal that the man had been struck by a heart-attack at the very moment of his coming up to the stone, and was already dead when he fell into the water. If the first conclusion had prevailed and no one had made it his business to find out what actually occurred, a false judgment would have found its way into history—the apparently logical conclusion that the man had met his death through falling into the water. Conclusions of this kind, implying to a greater or lesser degree a reversal of the truth, are quite customary in the world—customary even in scholarship and science, as I have often remarked.

For those who dedicate themselves heart and soul to our spiritual-scientific movement, it is necessary not only to learn from life, but incessantly to make the effort to learn the truth from life, to find out how it is that not only men but also the world of facts may quite naturally transmit untruth and deception. To learn from life must become the motto of all our efforts; otherwise the goals we want to reach through our Building¹ as well as in many other ways will be hard of attainment. Our aim is to play a vital part in the genesis of a world-era; a growth which may well be compared with the beginning of that era which sprang from a still more ancient existence of mankind—let us say the time to which Homer's epics refer. In fact, the entire configuration, artistic nature and spiritual essence of our Building attempts something similar to what was attempted during the happenings of that transitional period from a former age to a later one, as recounted by Homer. It is our wish to learn from life, and, what is more, to learn the truth from life.

There are so very many opportunities to learn from life, if we wee willing. Have we not had such an opportunity even in the last day or two? Are we not justified in making a start with such symptoms, particularly with one that has so deeply moved us? Consider for a moment!² On Wednesday evening last, many of our number either passed by the crossroads or were in the neighbourhood, saw the wagon overturned and lying there, came up to the lecture and were quite naturally, quite as a matter of course, aware of nothing more than that a cart had fallen over. For hours, that was the sole impression—but what was the truth of the matter? The truth was that an eloquent karma in the life of a human being was enacted; that this life so full of promise was in that moment karmically rounded off, having been required back in the worlds by the Spiritual Powers. For at certain times these Powers need uncompleted human lives, whose unexpended forces might have been applied to the physical plane, but have to be conserved for the spiritual worlds for the good of evolution. I would like to put it this way. For one who has saturated himself with spiritual science, it is a plainly evident fact that this particular human life may be regarded as one which the gods require for themselves; that the cart was guided to the spot in order that this karma might be worked out, and overturned in order to consummate the karma of this human life. The way in which this was brought home to us was heartrending, and rightly so. But we must also be capable of submerging ourselves in the ruling wisdom, even when it manifests, unnoticed at first, in something miraculous. From such an event we should learn to look more profoundly into the reality. And how indeed could we raise our thoughts more fittingly to that human life with which we are concerned, and how commemorate more solemnly its departure from earth, than by forthwith allowing ourselves to be instructed by the grave teaching of destiny which has come to us in these days.

Yet it is a human trait to forget only too promptly the lessons which life insistently offers us! It is on this account that we have to call to our aid the practice of meditation, the exercise of concentrated thinking, in order to essay any comprehension of the world at all adequate to spiritual science; we must strive continually towards this. And I would like to interpose this matter now, among the other considerations relative to our Building, because it will serve as an illustration for what is to follow concerning art. For let us not hold the implications of our Building to be less than a demand of history itself—down to its very details.

In order to recognise a fact of this kind in full earnest, it must be our concern to acquire the possibility, through spiritual science, of reforming our concepts and ideas, of winning through to better, loftier, more serious, more penetrating and profound concepts and ideas concerning life, than any we could acquire without spiritual science.

From this standpoint let us ask the downright question What then is history, and what is it that men so often understand by history? Is not what is so often regarded as history nothing more at bottom than the tale of the man who is walking along a river's bank, died from a heart attack, falls into the water, and of whom it is told that he died through drowning? Is not history very often derived from reports of this kind? Certainly, many historical accounts have no firmer foundation. Suppose someone had passed by the cross-roads between 8 and 9 o'clock last Wednesday evening and had had no opportunity of hearing anything about the shattering event which had taken place there: he could have known nothing, only that a cart had been overturned, and that is how he would report it. Many historical accounts are of this kind. The most important things lying beneath the fragments of information remain entirely concealed; they withdraw completely from what is customarily termed history. Sometimes possibly one can go further and say that external reports and documents actually hinder our recognition of the true course of history. That is more particularly so if—as happens in nearly every epoch—the documents present the matter one-sidedly and if there are no documents giving the other side, or if these are lost. You may call this an hypothesis but it is no hypothesis, for what is taught as history at the present time rests for the most part upon such documents as conceal rather than reveal the truth.

The question might occur at this point: How is any approach to the genesis of historical events to be won? In all sorts of ways spiritual science has shown us how, for it does not look to external documents but seeks to discern the impulses which play in from the spiritual worlds. Hence it naturally cannot describe the outward course of events as external history does, It recognises inward impulses everywhere. Moreover, the spiritual investigator must be bold enough, when tracing these impulses on the surface, to hold fast to them in the face of outer traditions. Courage with regard to the truth is essential, if we would take up our stand on the ground of spiritual science, The transition can be made by attempting to approach the secrets of historical “coming into being” otherwise than is usually done.

Consider all the extant 13th and 14th century documents about Italy, from which history is so fondly composed. The tableau, the picture, obtained by thus assembling history out of such documents brings one far less close to the truth one can get by studying Dante and Giotto, and allowing what they created out of their souls to work upon one. Consider also what remains of Scholasticism, of its thoughts, and try to reflect upon, to reproduce in yourself, what Dante, Giotto and Scholasticism severally created—you will get a truer picture of that epoch than is to be had from a collection of external documents. Or someone may set himself the task of studying the rebellion of the Protestant spirit of the North or of Mid-Europe against the Catholicism of the South. What can you not find in documents! Yet it is not a question of isolated facts, but of uniting one's whole soul with the active, ruling, weaving impulses at work. You come to know this rising up of the Protestant spirit against the Catholic spirit through a study of Rembrandt and the peculiar nature of his painting. Much could be brought forward in this way.

And so it comes about that historical documents are often more of a hindrance than a help. Perhaps the type of history bookworm who subsists upon documentary evidence would be elated by a pile of material on Homer's life, or Shakespeare's. From a certain point of view, however, one could say: Thank God there is no such evidence! We must only be wary not to exaggerate a truth of this kind, not to press it too far. We must indeed be grateful to history for leaving us no documents about Homer or Shakespeare. Yet something might here be maintained which is one-sidedly true—one sided, but true, for a one sided truth is nevertheless a truth. Someone might exclaim: How we must long for the time when no external documents about Goethe are available.

Indeed, with Goethe it is often not merely disturbing, but an actual hindrance, to know what he did, not only from day to day but sometimes even from hour to hour. How wonderful it would be to picture for oneself the experience undergone by the soul of a man who at a particular time of life spoke the fateful words:

“ I've studied now Philosophy
And Jurisprudence, Medicine,
And even, alas! Theology,
From end to end, with labour keen;
And here, poor fool! with all my lore
I stand, no wiser than before.”

“Faust”, Part I,
(Tr. Bayard Taylor)

If one wished to find the answer oneself in the case of such men, one might well yearn for the time when all the Leweses, and so on, whatever their names may be, no longer tell us what Goethe did the livelong day in which this or that verse was set down. And what a hindrance in following the flight of Goethe's soul up to the time in which he inscribed these words:

“The sun-orb singe, in emulation
‘Mid brother spheres, his ancient round. . .”

What a hindrance it is that we are able to refer to the many volumes of his notebooks and correspondence, and to read how Goethe spent this period. This view is fully justified from one angle, but not from every angle; for although it is fully justified in the case of Homer, Shakespeare, and so on, it is one sided with regard to Goethe, since Goethe's own works include his “Truth and Poetry” (“Dichtung und Wahrheit”). An inherent trait of this personality is that something about it should be known, since Goethe felt constrained to make this personal confession in “Truth and Poetry”. Hence the time will never come when the poet of “Faust” will appear to humanity in the same light as the poet of the “Iliad” or the “Odyssey”. So we see that a truth brought home to us from one side only can never be given a general application; it bears solely on a particular, quite individual case.

Yet the matter must he grasped still more profoundly. Spiritual science tries to do this. By pointing out certain symptoms, I have repeatedly endeavoured to show that modern culture aspires towards spiritual science. In my Rätsel der Philosophie³ I have tried to show how this is particularly true of philosophy. In the second volume you will notice that the development of philosophy presses on towards what I have sketched in the concluding chapter as “Prospect of an Anthroposophy”. That is the direction taken by the whole book. Of course this could not have been done without some support from our Anthroposophical Society, for the outer world will probably make little of the inner structure of the book as yet.

I said that Goethe must be regarded differently from Homer. On the same grounds I would like to add: Do we then not come to know Homer? Could we get to know him by any better means than through his poems, although he lived not only hundreds but even thousands of years ago? Do we not get to know him far better in that way than we ever could from any documents? Yes, Homer's age was able to bring forth such works, through which the soul of Homer is laid bare. Countless examples could be given. I will mention one only one, however, which is connected with the deepest impulses of that turning-point during the Homeric age, much as we ourselves hope and long for in the change from the materialistic to the anthroposophical culture.

We know that in the first book of the Iliad we are told of the contrast between Agamemnon and Achilles: the voices of these two in front of Troy are vividly portrayed. We know further that the second book begins by telling us that the Greeks feel they have stood before Troy quite long enough, and are yearning to return to their homeland. We know, too, that Homer describes the events as if the Gods were constantly intervening as guiding divine-spiritual powers. The intervention of Zeus is described at the beginning of this second book. The Gods, like the Greeks below, are sleeping peacefully; so peacefully, indeed, that Herman. Grimm, in his witty way, suggests that the very snoring of the heroes, of the Gods and of the Greeks below, is plainly audible. Then the story continues:

Now all other gods and chariot-driving men slept all night long, only Zeus was not holden of sweet sleep; rather was he pondering in his heart how he should do honour to Achilles and destroy many beside the Achaians' ships And this design seemed to his mind the best, to wit, to send a baneful dream upon Agamemnon son of Atreus. So he spake, and uttered to him winged words: ‘Come now, thou baneful Dream, go to the Achaians' fleet ships, enter into the hut of Agamemnon son of Atreus, and tell him every word plainly as A charge thee Bid him call to arms the flowing-haired Achaians with al' speed, for that now he may take the wide-wayed city of the Trojans. For the immortals that dwell in the halls of Olympus are no longer divided in counsel, since Hera hath turned the minds of all by her beseeching, and over the Trojans sorrows hang.’

So spake he, and the Dream went his way when he had heard the charge. With speed he came to the Achaeans' fleet ships, and went to Agamemnon son of Atreus, and found him sleeping in his hut, and ambrosial slumber poured over him. So he stood over his head in seeming like unto the son of Neleus, even Nestor, whom most of all the elders Agamemnon honoured.”⁴

Zeus, then, sends the Dream down from Olympus to Agamemnon. He gives the Dream a commission, The Dream descends to Agamemnon, approaching him in the guise of Nestor, who we have just learned, is one of the heroes in the camp of the allies.

“In his likeness spake to him the heavenly Dream: ‘Sleepest thou, son of wise Atreus tamer of horses? To sleep all night through beseemth not one that is a counsellor, to whom peoples are entrusted and so many cares belong. But now hearken straightway to me, for I am a messenger to thee from Zeus, who though he be afar yet hath great care for thee and pity. He biddeth thee call to arms the flowing-haired Achaians with all speed, for that now thou mayest take the wide-wayed city of the Trojans. For the immortals that dwell in the halls of Olympus are no longer divided in counsel, since Hera hath turned the minds of all by her beseeching, and over the Trojans sorrows hang by the will of Zeus. But do thou keep this in thy heart, nor let forgetfulness come upon thee when honeyed sleep shall leave thee.’ ”

This, then, is what takes place. Zeus, the presiding genius in the events, sends a Dream to Agamemnon in order that he should bestir himself to fresh action. The Dream appears in the likeness of Nestor, a man who is one of the band of heroes among whom Agamemnon is numbered. The figure of Nestor, whose physical appearance is well-known to Agamemnon, confronts him and tells him in the Dream what he should do. We are further told that Agamemnon convenes the elders before he calls an assembly of the people. And to the elders he recounts the Dream just as it had appeared to him:

“Hearken, my friends. A dream from heaven came to me in my sleep through the ambrosial night, and chiefly to goodly Nestor was very like in shape and bulk and stature. And it stood over my head and charged me saying: ‘Sleepest thou, son of wise Atreus tamer of horses?’ ”

(Atreus' son then tells the elders what the Dream had said. None of the elders stands up excepting Nestor alone, the real Nestor, who utters the words:)

“My friends, captains and rulers of the Argives, had any other of the Achaians told us this dream we might deem it a false thing, and rather turn away there from; but now he hath seen it who of all Achaians avoweth himself far greatest. So come, let us call to arms as we may the sons of the Achaians ...”

Do we not gaze unfathomably deep into Homer's soul, when we know—are able to know, to perceive, by means of spiritual science—that he can recount an episode of this kind? Have we not described how what we experience in the spiritual world clothes itself in pictures, and how we have first to interpret the pictures, how we should not permit ourselves to be misled by them? Homer spoke at a time when the present clairvoyance did not yet exist; at a time, rather, when the old form of clairvoyance had just been lost. And in Agamemnon he wanted to portray a man who is still able to experience the old atavistic clairvoyance in certain episodes of life. As a military commander he is still led to his decisions through the old clairvoyance, through dreams. We know what Homer knows and believes and how he regards the men he writes about; and suddenly, in pondering on what is described in this passage, we see that the human soul stands here at the turning-point of an era.

Yet that is not all. We do not only behold in Agamemnon, through Homer, a human soul into which clairvoyance still plays atavistically, nor do we only recognise the pertinent description of this clairvoyance; but the whole situation lies before us in a wonderfully magical light. Homer is humorous enough to show us expressly that it is Nestor who appeared to Agamemnon; the same Nestor who is subsequently present and himself holds forth, Now Nestor has spoken in favour of carrying out the Dream's instructions. The people assemble; but Agamemnon addresses them quite differently from what is implied in the Dream, saying that it is a woeful business, this lingering before Troy: “Let us flee with our ships to our dear native land”, he exclaims. So that the people, seized by the utmost eagerness, hasten to the ships for the journey home. Thus it rests finally with the persuasive arts of Odysseus to effect their about-turn and the beginning of the siege of Troy in real earnest. Here, in fact, we gaze into Homer's soul and discern in Agamemnon a lifelike portrayal of the transition from a man who is still led by the ancient clairvoyance to a man who decides everything out of his own conclusions. And so with an overwhelming sense of humour he shows us how Agamemnon speaks to the elders while under the influence of the Dream, and later how he speaks to the crowd, having bade farewell to the spiritual world and being subject now, to external impressions alone. Homer's way of depicting how Agamemnon outgrows the bygone age and is placed on his own feet, on the spearhead of his own ego, is wonderful indeed. And he further implies that from henceforward everything must undergo a like transition, so that men will act in accordance with what the reason brings to pass, with what we term the Intellectual or Mind Soul, which must be ascribed pre-eminently to the ancient Greeks. Because Agamemnon is only just entering the new era and behaves in a quite erratic and contradictory way, first in accordance with his clairvoyant dream and then out of his own ego, Homer has to call in Odysseus, a man who reaches his decisions solely under the influence of the Intellectual Soul. Wonderful is the way in which two epochs come up against each Other here, and wonderfully apposite is Homers picture of it!

Now I would ask you: Do we know Homer from a certain aspect when we know such a trait? Certainly we know him. And that is how we must come to know him if we want rightly to understand world-history—an impossible task if nothing but external documents were available. Many other traits could be brought forward, out of which the figure of Homer would emerge and stand truly before us. We can come close to him in this way, as we never could with a personality built up only from historical documents. Just think what is really known of ancient Greek history! Yet through traits of this kind we can approach Homer so closely that we get to know him to the very tip of his nose, one might say! At one time there were men who approached Homer in this way, until a crude type of philology came in and spoilt the picture. Thus does one know Socrates, as Plato and Xenophon depict him; so also Plato himself, Aristotle, Phidias. Their personalities can be rounded off in a spiritual sense. And if we thus hold these figures before our mind, a picture arises of Hellenism on the physical plane. To be sure, one must call in the aid of spiritual science. As the sun sheds its light over the landscape, so does spiritual science illumine for us the figure of Homer as he lived, and equally of Aeschylus, Socrates, Plato, Phidias.

Try for a moment to visualise Lycurgus, Solon or Alcibiades as a part of Greek history. How do they present themselves? As nothing but spectres. Whoever has any understanding of an Individuality in the true sense must recognise that in the framework of history they are just like spectres, for the features that history sets itself to portray are so abstract as to have a wholly spectral quality. Nor are the figures of later ages which have been deduced from external documents any less spectral in character.

I am saying all this in the hope that gradually—yes, even in things that people treat as so fixed and stable that the shocks of the present time are treated as mere foolishness—spiritual science in the hearts of our friends may acquire the strength and courage to bring home an understanding that a new impulse is trying to find its way into human evolution. But for this we shall need all our resources; one might say that we shall need the will to penetrate into the true connections that go to make up the world, and the power of judgment to perceive that the true connections do not lie merely on the surface. In this regard it is of surpassing importance that we should learn from life itself. For very often—to a far greater extent than one might at first suppose—error finds its way into the world through a superficial reliance on the external pattern of facts, which really can do nothing but conceal the truth, as we saw in the cases described. In the field of philosophy particularly, it is my hope that precisely through the mode of presentation in the second volume of the “Rätsel der Philosophie” many will find it possible to recognise the connection between the philosophic foundations of a world-conception, as presented in the “Philosophy of Spiritual Activity” and the “Outline of Occult Science”. If on the one hand we are looking for a presentation of the spiritual worlds as this offers itself to clairvoyant knowledge, then on the other hand there must be added to the reception of this knowledge a penetration of the soul with the impulses which arise from the conviction, that man does not confront the truth directly in the world, but must first wrest the truth from it. The truth is accessible only to the man who strives, works, penetrates into things with his own powers; not to the man who is ready to accept the first appearances of things, which are only half real. Such a fact is easily uttered in this abstract form, but the soul is inclined over and over again to back away from accepting the deeper implications of what is said.

I believe many of those who have tried to enter into spiritual science with all the means now at their disposal will understand how in our Building, for example, the attempt has been made through the concord of the columns with their motifs and, with everything expressed in the forms, to enable the soul to grow beyond what is immediately before it. For a receptive person, beginning to experience what lies in the forms of the Building, the form itself would immediately disappear, and, through the language of the form, a way would open out into the spiritual, into the wide realms of space. Then the Building would have achieved its end. But in order to find this way, much has still to be learnt from life.

Is it not a remarkable Karma for all of us, gathered here for the purpose of our Building, to experience through a shattering event the relationship between Karma and apparently external accident? If we call to our aid all the anthroposophical endeavours now at our disposal, we can readily understand that human lives which are prematurely torn away—which have not undergone the cares and manifold coarsenings of life and pass on still undisturbed—are forces within the spiritual world which have a relationship to the whole of human life; which are there in order to work upon human life. I have often said that the earth is not merely a vale of woe to which man is banished from the higher worlds by way of punishment. The earth is here as a training-ground for human souls. If, however, a life lasts but a short while, if it has but a short time of training, then forces are left over which would otherwise have been used up in flowing down from the spiritual world and maintaining the physical body. Through spiritual science we do not become convinced only of the eternality of the soul and of its journey through the spiritual world, but we learn also to recognise what is permanent in the effect of a spiritual force by means of which a man is torn from the physical body like the boy who was torn from our midst on the physical plane. And we honour, we celebrate, his physical departure in a worthy manner if, in the manner indicated and in many other ways, we really learn, learn very much, from our recent experience, Through Anthroposophy, one learns to feel and to perceive from life itself.

• 1. The First Goetheanum, later destroyed by fire.
• 2. Note by translator: A seven-year old boy was smothered by an overturned horse-drawn removal van, quite unnoticed since darkness had already set in. The boy, who was in the habit of running an errand for his mother at this hour, normally went another way.
• 3. Riddles of Philosophy
• 4. The Iliad, Book II. (Macmillan, 1949)

Friends should feel the quality of universality in the style of the Dornach Building. This means that endeavours must be made to transform into feeling the results of spiritual-scientific investigations that have come before our souls in the course of the years. Out of inner feeling we. shall then be able to conceive of the forms in our Building as a universal script, full of meaning

When I last spoke here I drew your attention to clues that help us to acquire a really comprehensive view of the evolution of humanity. I pointed out how in Homer's works we find a figure who represents the transition from ancient times—when everything in human evolution and culture was based upon a certain kind of clairvoyance—to the age in which we are living and into which the rays of the Mystery of Golgotha have radiated.

I said that in Agamemnon and Achilles, Homer has created figures in which he has shown how the ancient cultural life of man, permeated as it was with clairvoyance, passes over to a different kind of feeling, thinking, perception, willing, a different way of acting.

Fundamentally speaking, what has come about since the dawn of the Fourth Post-Atlantean epoch (the Greco-Latin age), and also what has developed among the different peoples as the goal of their strivings, can be understood only if it is conceived as resting on the foundation of ancient clairvoyance.

Certainly, much that is new has been achieved in the Fourth Poet-Atlantean epoch of culture and in the part of the Fifth that has already elapsed. Yet in the root-impulses at work in these epochs—as can be clearly felt by one who is willing to feel it—there still live elements that have come over from ancient times.

It is not so very easy to recognise on the surface of history this ancient heritage of human evolution. But if one is willing to penetrate into those forces which hold sway in human nature either more or less unconsciously, and reach into more recent phases of development, one perceives everywhere how the men of the Fourth and Fifth Post-Atlantean epochs bear, so to say, in their nerves and blood, elements that have come over from the First Post-Atlantean epoch (ancient Indian culture), from the Second (ancient Persian culture), from the Third (Egypto-Chaldean-Babylonian culture) and on into our own times from Greco-Latin culture. The achievements of humanity in these periods of culture are less easy to trace in outer history, but in the characters of men, how men inevitably—I say, inevitably—think and feel, it can be perceived and felt. The man of the Fifth epoch in which we are living is so constituted that his nerves, blood and astral body contain what he has received as a heritage from ancient times. It lives within him as feeling, as a fundamental impulse. He has received, in addition, impulses coming from higher worlds.

As we live in the age when the Ego is developing, when culture based on external reason is the vogue and external philosophy is authoritative; what comes from above into the impulses of men in the physical world; from the guidance and leadership of the spiritual world; meets with little understanding. In order to kindle a feeling for the dynamic, let me indicate by a sketch how the men of the Fifth Post-Atlantean epoch are placed in the whole evolutionary process of mankind. To indicate it in a few strokes, we can choose this motif (one of the carved forms in the Building), representing a force that works from below upwards, and illustrates as can be clearly felt—all those impulses which man bears in the blood; in the nerves, in the etheric body, in the astral body, and which originates in the preceding epochs, actually in the First Post-Atlantean epoch of culture. [ Figure 1 (a) ] As an impulse coming down from above we can indicate the force that works downwards from the spiritual world into the intuition of the individual but with less power than what man bears within him from ancient times.

Spiritual-scientific investigation helps us to understand the conditions in which we ourselves live. This investigation has shown how the different qualities of the soul are distributed among the cultures of the leading peoples of the Fifth Post-Atlantean epoch. The peoples inhabiting the Italian and Spanish peninsulas—as peoples, not as individuals—have absorbed into their culture everything that is connected with the Sentient Soul. Consequently the characteristics of the Sentient Soul predominate in the culture of these two peoples. These peoples represent a particular continuation of the main process indicated in the diagram. In a more concrete, more definite way, they make manifest what lives in the impulses of the blood and the nerves, of the etheric and astral bodies, in the sense referred to everything that came over from ancient times takes exprestion in these peoples and their fundamental impulses in such a way that the forces striving upwards from below take on a more definite configuration. In these peoples there is something inorganic, purely mathematical in the other forces; there is no more than an indication of the impulses of the Fifth Post-Atlantean epoch.

If we are to understand the particular character of the peoples of the Italian and Spanish peninsulas, we must be clear that the impulses working in the blood, the nerves, the etheric and astral bodies, are developed consciously into greater concreteness of form, but with the force of the old. The impulse from below upwards in these peoples can be indicated by elaborating the lower part of the design [ Figure 2a ] and giving it a form that opens upwards like a flower, suggesting at the same time, in what comes down from above as spiritual guidance, the kind of capacity these particular peoples, have for understanding that guidance. All this is connected with the plastic forms on the columns of the Building.

These peoples still have little relation with what is expressed by this central part of the design [ Figure 2b ], but they take over all the qualities and characteristics which the Sentient Soul is able to take over from ancient times, all the secrets of the ancient forms, of the ancient artistic script, if I may put it so. A force that shapes itself into forms enters into the first design, like a renewed gift from above [ Figure 2c ] . The character of these peoplee is expressed by this second design.

Everything we come to know from spiritual science must find verification in the realities of the outer world—when, as is essential, we really survey the outer world. If we are to absorb spiritual science in the right way, we must first take what it says into our hearts and souls and then put the question to the world whether what spiritual science says is actually realised there. This means that we must be able to find in the external culture of the peoples in question the living elements of the Sentient Soul. And we shall expect to find in the culture of the peoples of the Fifth Post-Atlantean epoch a kind of resurrection of something that already existed in earlier times and to which the so-called Sentient Soul peoples gave expression. We shall expect to find a repetition of what lived in the Egypto-Chaldean age, but born anew, in a form corresponding to our age.

What then, was characteristic of the souls of the Egyptian and Chaldean peoples? Abandonment to the outer world—in keeping with the character of the Sentient Soul—so that in the relation of the fixed stars to the planets men felt something that was connected with human destiny. Men looked out into the universe and found in what the stars expressed, the secret of happenings in the life of the human soul and spirit.

The first stage of Fifth Post-Atlantean culture was to repeat what was contained in the former Sentient Soul culture, but now in the soul itself. If, therefore, spiritual science is a trigs guide, we shall expect to find in the peoples of the Italian peninsula something that on the one side expresses the character of the Sentient Soul in the Egypto-Chaldean epoch, but on the other side indicates the great inwardness brought about by the impulse of the Mystery of Golgotha. We shall expect to find something that is a re-creation of the ancient spiritual astrology, but is now applied to the inner world, to the human soul. (Second design.) We must feel everything that approaches from the stars as a blossom springing from the human soul, indicated here at [ Figure 3a ] in the second design the aspiring impulses in man are met by what comes into them from the stars, that is to say, from the spiritual world [ Figure 3b ]. There must be something within the culture of these Southern peoples which represents an astrology applied to the soul—Egypto-Chaidean astrology applied entirely to the soul.

You are naturally thinking of something that provides complete confirmation of what I have just said. It is what Dante has presented in the “Divine Comedy”. Dante is the spirit who has re-awakened the Egypto-Chaldean element in a new form—applied now to the life of soul.

It will be easy for you to designate everything that relates to the basic impulses of ancient times as “Saturnian”.

The fundamental impulse of all connection between the cultures of the Fifth Post-Atlantean period and the ancient cultures, bears the Saturnian character. The Saturnian element works its way upwards from the fundamental impulses of the human soul and receives from above the impulses that can spring from the culture arising from the Intellectual Soul and the Ego.

It will also be easy for you to perceive the impulse that is Sun-like in character [ Figure 2 ]. I have indicated that this Sun-quality is present in Dante, who represents an important impulse of Latin-Italian culture. It need only be added that Italy is the motherland of all that is formative, of the Sun—qualities that come to man through the Sentient Soul. We might even expect a thinker of a distinct character to arise within this culture, one who out of unconscious impulses remembers this Sun-element. In the light of what we have learnt from spiritual sciences this would seem entirely natural.

There might, for example, be a philosopher—perhaps not philsophieally clear about the impulse in his souls but feeling it and allowing it to dominate him—who maintains that the external life of the State must be planned in such a manner that it is irradiated by the Sun-element.—We have no reason to be surprised when we find such a case. Campanella wrote a philosophical treatise on the Sun-State, the solar State.¹ You will become more and more convinced that everything, every details accords with what spiritual science brings down from the spiritual worlds, ad that life can be understood only when it is illuminated by the findings of spiritual science.

We then come to the culture-epoch which, according to the findings of spiritual science, will be designated as that of the Intellectual Soul or Mind Soul. It is the culture that has developed particularly in the region of present-day France.

To find a suitable design for this culture we must realise that it was destined—in a more concrete way than was the case at any point in Italian culture—to lead what comes from above to particular brilliance, to a higher stage of elaboration of the Intellectual Soul. What comes from above [ Figure 3b ] Intellectual Soul culture—brings the earlier culture [ Figure 3a ] to a state of greater concreteness.

If you steep yourselves in the characteristics of this new culture, you will perceive that it is particularly adapted to absorb the culture of the Fourth Greco-Latin culture, permeated with what comes from above trickles into French culture as a liquid might trickle into a chalice [ Figure 3 ] .

Spanish and Italian culture passes over into French culture but in such a way that in the latter, Greek culture undergoes a revival and renewal. I do not think that a better design than this could be found to express the gradual transition from Spanish into French culture. Even the outer quality of finish can be expressed by allowing the central part of the design to be enclosed to right and left by these lines [ Figure 3c ].

Anyone who asks whether the results of spiritual science are also demonstrated in external reality can easily find an answer if he will devote a little study to actual conditions. But it must be emphasised that these things must be judged on the foundation of facts as they are, not on that of pre-conceived ideas.

This has constantly to be stressed at the present time, because everybody wants to pass judgment on everything ignoring, of course, facts which can be understood only by dint of effort. But I advise anyone who wants to gain insight into the very distinctive form in which the Greek element flows into French culture, to study how the Oedipus theme has found its way into French poetry; how Sophocles' Oedipus lives again in the Oedipus of Corneille and also in that of Voltaire. What I have just said can be confirmed down to the very details. It can be clearly discerned in these particular examples, although many could be quoted.

It is, of course, a fact that most editions of Corneille's works no longer include the tragedy of Oedipus and that in those of Voltaire practically no value is attached to this work. But study will show that the new form into which the Oedipus theme has been cast by Corneille and Voltaire is a sign of the revival of the Greek age in French culture.

It will be found that because Greco-Latin culture stands at the dividing line between the age of ancient clairvoyance and the modern age, the element that in Sophocles is received, as it were, out of the spiritual world in the age of ancient Greek heroic culture, has become in Corneille and Voltaire entirely an affair of the human soul itself. Whether Sophocles' Oedipus is more to one's liking than the form given to the story later on must be altogether disregarded; attention must be concentrated upon the trans formation that took place, bearing in mind that this transformation consists in the Oedipus story being reborn entirely out of the personal soul-nature of man.

I said that all antipathy must be put aside. This done, it can be demonstrated quite objectively that what in Sophocles is linked with the figure of Oedipus: is woven into a human-universal destiny: such as can be indicated only by words as momentous me those with which Goethe describes such a destiny: that it exalts man in that it crushes him.

The breath of magic emanating from Sophocles' Oedipus is due to the fact that in this drama the spiritual worlds which guide the destiny of peoples can be sensed: worlds which play into human destiny in a way that men are unable to fathom; therefore what the gods allow to befall may appear to be the most cruel injustice. One can conceive how every Greek was aware of the inscrutability of the fate in which the actual will of the gods was contained. The Greek felt: Yes: this is how the gods deal with man; their will remains inscrutable; fate can befall everyone as it befell Oedipus, but it remains inscrutable.

The breath of magic emanating from Sophocles' tragedy of Oedipus has been drawn right into the sphere of the personal by Corneille and Voltaire: quite as a matter of course. The transition is made in Corneille; in Voltaire the situation has become quite distinct. In Voltaire's Oedipus there is a figure who would be quite unthinkable in ancient drama. This is Philoctetus, the family friend who makes the conjugal alliance into a triangle. Jocaste was already acquainted with Philoctetus before her first marriage; the situation continues until she is widowed and then she marries Oedipus, her own son. These are personal relationships of soul which would be unthinkable in an ancient drama.

But we can go farther; we can try to understand what streamed through the souls of the great French poets, and then we shall find how the Greek element was absorbed. This is clearly expressed, not only in French poetry itself, but also in the theory of poetry. Do we not know how Lessing studied the way in which, as part of its theory, French poetry had taken over from Aristotle, the great Greek philosopher, the principle of the unity of Time, Place and Action, which is a feature in the works of Corneille, Racine and Voltaire?

French classic poetry can be understood only by those who perceive how the spirit of ancient Greece shines into it. And if we want to find concrete evidence in French culture of the indications given by spiritual science, we can do so by asking: Where does the essence of this French culture appear in its most brilliant form? Where is it unparalleled? Where does it reach its highest peak?

To answer this question rightly calls for great objectivity, and objectivity does not come easily to modern man, especially in our days. Nevertheless, for those who look at thinge objectively, the highest peak of French culture is to be found in the works of Molière. However strongly any culture may believe that what Molière achieved could be equalled among a people of a different character—leaving aside what has been achieved by Corneille and Racine, or also by more modern French culture—it would be foolish to assert that the particular perfection to be found in Molière has ever again been reached. In a different sphere there has been equal perfection, admittedly—perhaps even greater perfection—but not in this particular sphere. It would be a fallacy to maintain that Molière's essential quality.—born as it was from the Intellectual Soul or Mind Soul could be achieved again or even an echo of it. Molière represents the highest peak of the culture that is born out of the Intellectual Soul.

Molière's comedy is comedy per se, comedy in its very essence. It cannot be understood inwardly, spiritually, unless one realises that the Intellectual Soul is dominant in it, in a way in which this uniqueness could never be repeated. For everything that arises in the evolution of humanity emerges at a characteristic point once and once only. Just as in one life the age of 18 or 25 is never reached twice, it is equally impossible for mankind to produce twice over that which reached the degree of finish it did in the personality of Molière. All this is indicated and can be felt in this design [ Figure 4 ].

If at this point we make a break and refer to what was said in my lecture-course on the Folk Souls about the European Folk Souls, of the Fifth Post-Atlantean epoch, we can ask other questions of the same kind on the subject of Middle-European culture being the culture of the Ego.

If this Middle-European culture is the Ego culture, its relation to the other cultures of which we have spoken will be similar to the relation of the Ego to the Sentient Soul, the Intellectual Soul and the Consciousness Soul (Spiritual Soul).

Here, too, the outer reality must provide adequate confirmation of the indications given by spiritual science, If Italian culture represents what is received through the Sentient Soul, it must have a particular relationship to the Ego culture, to Middle-European culture: that is to say, Middle-European culture, which works essentially out of the Ego, would have to submerge itself in the Sentient Soul, to be fructified by it, in the way that happens with the Ego and the Sentient Soul in an individual man.

Let us think of the relationship of the Ego to the Sentient Soul in man. The Ego, in which the impulses of its own inmost being are contained, must dive down into the Sentient Soul, otherwise it remains unfructified by what can work upon it from the outer world through the forms of that world. Man must ever and again dive down into his sentient experiences, his feeling. A relationship must be in operation between the impulses of the life of feeling and the Ego. Accordingly we may expect that those who belong to the Ego culture of Middle Europe will try to establish a living link with the Sentient Soul culture in the South; they will seek for a channel of expansion, not only in political but also in higher, spiritual connections.

Look up the history of the Staufer dynasty, look up the events originating in the impulses of the Hohenstaufen and the Guelphs, or the accounts of the constant campaigns of the Saxon and Staufen rulers to Italy. Study all these relations of Middle Europe with Italy, and you have an exact picture of the life of the Sentient Soul in relation to the Ego.

But it can be further ecpected that the Ego-nature will produce forms of art in keeping with the character of man; from the Ego-nature, gnarled, knotty forms must be expected, forms shaped by the characteristics of the Ego. Such forms are to be found in the creations of Holbein and Dürer.

But they are found in Dürer only after he had gone to Italy and had been enriched by the culture born of the Sentient Soul. In more modern times we find the same phenomenon everywhere. From Goethe's journey to Italy, down to Cornelius and Overbeck, and on into our own time, we find evidence of the exchange between the Ego culture and the Sentient Soul culture.

What goes on between Middle Europe and Italy is an image of the relation between the Ego and the Sentient Soul of man. In every detail the outer course of evolution provides confirmation when we study it in the light of the indications resulting from spiritual-scientific research.

Now let us consider the relation between the Ego-nature in the soul and the Intellectual Soul. There too we must expect that what shows itself inwardly in human nature between the Ego and the Intellectual Soul will also make its appearance in external life. The nature of the relation between the Ego and the Sentient Soul is such that the Ego dives down uncritically, as it were into the Sentient Soul, lets itself be fructified by the Sentient Soul culture. Intellectual Soul culture quite naturally assumes a character that is more like an intellectual exchange, a “head” exchange, so to speak. The Intellectual Soul, or Mind Soul, is the middle member of the soul. It is at the same time that out of which the Ego arises and with which the Ego, for its own sake, must come to terms. (Try to form an idea of the nature of the Intellectual Soul from the book Theosophy.) We must expect an inner relationship to exist between Intellectual Soul culture and Ego culture.

One can think of no more graphic illustration of this than the relation to French culture of the philosopher Leibnitz, who was through and through a Middle European in his way of thinking. Leibnitz transposes into the idiom of Middle Europe everything he absorbs from outside—for example, from Giordano Bruno in whom the Italian Sentient Soul is so alive—and also the Monad theory. Leibnitz wrote in French; he formulated a great deal in his philosophy in accordance with the demands of the French language.

A process of exchange between the Ego culture and the Intellectual Soul culture is clearly to be seen when we follow the arguments in Lessing's Hamburgische Dramaturgie We see there the tension between what Lessing was striving for and the elements in French culture originating from Hellenism, from which he wants to free himself. Leseing engages in polemics, in intellectual controversy. This is an exact image of the exchange between the Ego and the Intellectual Soul. Lessing's “Hamburgische Dramaturgie” will be understood only when it is seen in this light.

And there is something else that is apt to be overlooked today. The shape which external conditions have assumed in Middle Europe is in many respects connected with, the rise of the Prussian State, And who would not connect the emergence of the Prussian State with Frederick the Great? Of him it must be said, however, that he clung with every fibre of his being to French culture, and took over a great deal from it into his own. He said that he regarded Voltaire ae a far greater personality than Homer. He considered German culture to be still semi-barbarous He who laid the foundation of modern Prussia strove to promote culture by means of the French element. Frederick the Great must be understood in the light of his relation to the French element, for this still lives in modern Prussia today, just as everything originating from the Intellectual Soul lives in the Ego.

All these things are important for an understanding of the Ego culture, just as an understanding of the Intellectual Soul is important for an understanding of the Ego—This is indicated in the book Theosophy.

It would be extremely desirable if today, particularly, heed were paid to the real foundations of world-events before judgments are passed, so that the remarkable way of judging which has come to a head at the present time could be recognised at least by a few people as unreliable, hollow and superficial, and full of the shallow cynicism of the newspapers and the journalists.

When we follow the course of evolution in the Fifth Post-Atlentean epoch we necessarily come to a further stage of elaboration in the forms of the columns. This advance can be expressed by indicating a powerful development of what comes from above as Intellectual Soul culture, accompanied by a certain shutting off from the Spiritual. This shutting off can be indicated by a dividing motif [ Figure 4c ]above the upper portions of the design.

The element that comes from above flows in with greater definition and bears the stamp of the Fifth Post-Atlantean epoch more distimetly; but it shuts itself off in a certain way. Here we come to the culture of the Consciousness Soul that is in preparation, and is to be especially characteristic of the Fifth Post-Atlantean epoch, Whereas Italian culture has taken over qualities and traits of the Egypto-Chaldean age, and French culture those of the Greco-Latin age, we now come to what expresses the essential character of the Fifth epoch of Post-Atlantean nature which stands entirely and solely upon its own base.

What must necessarily be the attitude of this culture to the outside world? The man who stands on his own base becomes a spectator, an onlooker, and as such he will be in a position to gaze deeply into the configuration of the beings of the world, into their organic structure and mechanism, in order to be able to re-create them from within outwards, so that they stand there as if created by Nature herself. We find there a culture of keen observation, penetration into the nature of beings and things which are then described from the standpoint of the spectator or onlooker. What does this culture produce when it is really great?

One need mention one name only—that of Shakespeare. He is great and unsurpassable as a spectator, an observer of the world. Shakespeare's creations would be unthinkable in any earlier or subeequent culture. When I was describing the characteristic English philosophers in the first edition of my book Welt- und Lebensanschauungen fifteen years ago, I did not take into consideration the aspect we have in mind today But I tried to find an expressive word, which I used in the second volume of the book “Riddlee of Philosophy”. I tried to find a telling word to describe the fundamental character of John Stuart Mill's philosophy. I chose the word “spectator”, a “spectator” of the world. All the indications given by spiritual science are indeed confirmed in outer reality.

The further questien regarding the exchange between the Ego and the Consciousness Soul discloses something very distinctive. We can expect that because the Consciousness Soul itself must tend and foster the Ego, what the Ego wishes to achieve comes to it in many ways from the Consciousness Soul. We can expect that much from the Consciousness Soul will flow into the Ego. But because the Ego wants to preserve and protect its independence, there is a great deal that it must ward off.

It is a wonderful experience to watch the process of how modern physics receives its stamp from Newton, but how, in Goethe, the Ego culture of Europe rebels against the Consciousness Soul culture. Read Goethe's “Theory of Colour”—it is wonderful to see how he rises up in opposition against Newton. It is wonderful to see how two discoverers of the infinitesimal calculus appear contemporaneously in Leibnitz and Newton, entirely in conformity with the relation between the Ego and the Consciousness Soul. The conflict of the Ego with the Consciousness Soul is mirrored here.

Much that is rooted in the nature of the Ego appears in a characteristic form in the spirituality of Jacob Boehme in the 16th century. A great deal is rooted in the Ego for which the Ego cannot immediately find the adequate words. The Consciousness Soul then finds the words, finds the elements that can be outwardly effective. Think of Goethe's efforts to understand the precess of natural development, in the sense of the Ego culture of Middle Europe. He discovers the principle of the natural development of living beings, from the simplest to the most complex. But the world does not understand the profound theory of this natural development because it is a product of the Ego culture. In Goethe's time the theory was not understood. Then a representative of the Consciousness Soul appears on the scene. Darwin produces, out of the Consciousness Soul, the same that Goethe had produced out of the Ego, and all the world understands it; even the Ego culture understands it! It is not possible to understand the drama of the evolution of mankind unless one is able to recognise the actual connections through the guiding lines given by spiritual science. The living forces in the evolution of humanity progrees from culture to culture as if they were based upon the eternal pillars of the primal laws of mankind.

We can divine the progress when in these designs we feel the Saturnian quality in the fundamental character of the Fifth Post-Atlantean culture, the Sun quality in the character of Italian and Spanish cultures, the Moon quality in that of French culture, and then a Mars quality in the culture that develops in the British Isles. It is not possible to understand what really ought to be understood—the symphony of the Post-Atlantean cultures as if in chorus—unless one can feel the distinctive characteristic of those Post-Atlantean cultures.

Those who live with lots of spiritual science should be able to feel the course of human evolution is one great whole. Consequently a dome is to arch overhead, rising over the forms which help us to feel how the evolution of mankind goes forward. The dome or cupola is to show how human beings, how peoples, work together; it is a picture, too, of the interworking of the soul-forces in man himself. It will work upon the soul when we go into our Building with inner, sensitive understanding. For in our Building the endeavor has been made to put aside everything of a personal nature, and in every line, in every form, to represent what is spiritual worlds reveal whether we try to express world-happenings in forms, in order that men may be able to feel the meaning and significance of these happenings.

It must be admitted that the world today is nowhere near the stage of transforming into feeling those things that have now again been spoken of. This requires an ever-increasing spread of spiritual science, a greater and greater understanding of a new style of building that is connected with the secrets of the World-Order, as has been attempted in our Building. Naturally this Building can be a people beginning only—it cannot be more than that. But among individuals there does live, more or less unconsciously, something that can provide the basis for an understanding of the symphony created by the several cultures existing in the Fifth Post-Atlantean epoch.

And so even in our own grievous times certain things may be welcomed with a feeling of elation, because in what is now coming to light we must watch for signs that give some promise of a peaceful culture—culture that will not be inactive, but full of vigour, and can be understood only when efforts are made to promote mutual understanding of the essential qualities of the various peoples.

Although any egoistic relationship to one culture or another falls far short of the ideal of spiritual science, it is nevertheless to be welcomed when some measure of insight is developed into the element that makes for a bond of union—for there lies the force that is truly creative.

And so by the side of much that is so deeply grievous, we may be mindful of other voices which gladden us because they show that the principles of spiritual science can be appreciated also by one who stands outside our circle. Those who are willing to listen to spiritual science are still only few. But I have said that in Herman Grimm there was a longing for spiritual science, and I can also give another example from our own unhappy times.

Among many voices I will quote only one—When some of the young men at a university in Middle Europe were to leave for the Front and some to remain at home, one of the tutors spoke words which cheer the heart and deserve to be known, because, although they were spoken without any knowledge of spiritual science, they reveal impulses of hope and longing for the mutual intercourse among the peoples that must one day result from spiritual science. This tutor said to his students:

“You will come to know that nothing attunes the cultivated soul to Beauty more deeply than efforts to perform heroic deeds. You will come to know that nothing calls to the soul and steels it more effectively for renewed efforts, and that there is no purer bond from soul to soul, than that which resides in the hallowed realm of Beauty. Then, even if, as the most terrible consequence of this war there should remain a hatred among peoples such as was never known before, amid all the enmity you will not forget to love the higher soul of the enemy. You are fighting a good fight for the truth. There is no need for you to engage in the calumny and slander emanating from confused minds. You will receive Shakeapeare as a guest among the good spirits of German culture and know that, in the sense in which he is ours, just so much of English thought belongs your reputedly to our own spiritual life. you will remind yourselves of the noble struggles of the French mind for aesthetic culture in its great refinement. You remember how in Tolstoy and Dostoyevsky, Russia in our time had both her Homer and her Shakespeare. Certainly, the Russian State meted out to these two greatest of her sons nothing but sorrow and sometimes inhuman persecution. What would they think of present developments! Yet through them speaks, unforgettable in its inwardness and sincerity, the eternal evangel of the people of God, of the realm where love is a sustaining, helping power. The meaning of the war lies in the peace to which it leads. As warriors, bear the lofty meeting of the coming peace within you, in order that the hatred among the peoples may ultimately end in a new kingdom of love. The deepest German quality is to love everything that bears the countenance of man, to love every kind of people as a portion of humanity, as a revelation of God. Realm of human love, filled with understanding, is the realm of the German spirit.”

These words were spoken by Eugen Kühnemann, any university tutor, on the 18 August 1914, to his students who were going to war. They are words to rejoice over in these momentous times when one experiences so much that is grievous. These words show great understanding of Shakespeare, who is ours to, in as much as through him English thought becomes part of our spiritual culture; they also show great understanding of French spiritual culture. They emphasize the significance of Tolstoy and Dostoyevsky for the new spiritual culture—and to emphasize that it is a great deal better than what is so often to be heard today from another side.

May such an attitude of mind and heart not disappear in our days! Perhaps our friends may be able to do something to point to the fact that such an attitude does the deed exist and furthermore that it is by no means rare in Middle Europe.

I will now close this lecture, and tomorrow at 7 o'clock I will speak about how the further stage of evolution—represented by Middle European culture and the Russian spirit—is indicated in the forms of the columns in our Building.

• 1. See Karmic Relationships, Vol IV, p. 128.

Continuing our study of the evolution of European Cultures in the Fifth Post-Atlantean epoch, we come to the culture for which I found the following design when I was working out the forms for the columns in our Building. It includes a drop-like motif above (a). The justification for this design can be felt when one studies the Middle-European culture of the Post-Atlantean epoch. I say Middle-European expressly. The reason for this will emerge from the subject-matter itself.

In this Middle-European culture the most varied national elements have for centuries been gathered together, making it impossible to speak of a “national” culture in the same sense as in the case of the cultures of the Southern and Western peoples of Europe.

In considering this Middle-European culture we must bear in mind at the outset that at the present time it is to all appearances composed of the people of two State-organisations. Remember, please, that in these lectures I am not speaking specifically of States but of cultures, and am saying here that the Middle-European culture is composed of two State-organisations—the German Empire and Austria.

In the case of Austria we see immediately that it would be absurd to speak of a national State, for in Austria there is an agglomeration of national cultures of the most varied kinds. This has been brought about by history, and Austrian life really consists in the interplay of these national cultures.

History is also responsible for the fact that the culture of the German Empire appears today in a certain unified form. Let us enquire, to begin with, only into the culture of the German population of Germany, and that of the German population of Austria, which has indeed many connections with that of Germany, geographically too, but on the other hand is geographically separated from it by great mountains. We will think first of the German element in a general sense.

If we ask: What is German?—this question cannot be asked in the same sense as the question: What is French? What is English? What is Italian? This cannot be done, because a member of the German people—if this expression can be used at all—never knows in any particular period under what definition he stands. What he would necessarily express if he were to say: “I am a German”, would quickly change, and in a comparatively short space of time; from age to age he would nave continually to be moairying the concept of “German nationality” (Deutschtum).

It is highly significant that when during Germany's period of distress Johann Gottlieb Fichte gave his famous “Addresses to the German Nation”, in two of these Addresses he struggled to find a concept to express “German-hood” (Deutschheit). It was a struggle to find a concept to express “German-hood”, just as one struggles to find concepts for something one confronts quite objectively—not subjectively, as a people usually confronts the concept of nationality.

There lies in the striving of an inhabitant of Middle Europe a trait that must be described as an “aspiration to become something”, and not as an “aspiration to be something”. To “become” something, not to “be” something—so that in Middle Europe a an who understands his own nature would have to rebel against being classified under some particular concept. He wants to become what he is. What he is to become hovers before him as an ideal. Therefore Goethe's “Faust” characterises the innermost aspiration of Middle Europe in these words:

“Whoe'er aspires unweariedly
Is not beyond redeeming.”

or again:

“He only earns his freedom and existence,
Who daily conquers them anew.”

It is being in a state of becoming, being that is never stationary, perpetually aspirins towerds something, beholding in the far distance what it desires to become.

And so it can be said that the work that is so essentially characteristic of the Middle-European nature was necessarily an outcome of human aspiration. This work is Goethe's “Faust”, which in spite of its many perfections has countless imperfections; it is not a work of art finished and complete in itself. “Faust” could be written again in a later epoch and written quite differently, but even so it would still be an expression of the nature of the man of Middle Europe.

If we ponder deeply upon this we shall get the picture of the upward striving Ego in Middle-European humanity serpent-entwined.

Serpent-entwined! This means, striving with the wisdom that is undetermined, the wisdom that is forming? in process of becoming never living in any certainty of complete fulfilment. Such is the situation of the man of Middle Europe.

And then there is Faust's ascent into the spiritual world at the end of Part II. Through Goethe, Faust becomes a Messenger of the gods—if I may put it so. There can be no more graphic expression of this than the “caduceus”—the staff of Mercury.

But in still another way this German element can best be described by saying that its members are “messengers”. The messenger of the Spirit was Mercury. It is only necessary to consider what has happened, and we shall find that to be a bearer of the message of culture lies in the deep foundations of the character of the German people.

By way of illustration I will quote particular instances connected with Austrian culture. In examining the remarkable, very complicated structure of the Austrian State, we can recognise three filaments of the population. There were once—they have now for the moot part disappeared or are in process of disappearing—the inhabitants of northern Hungary in the Zipser district, certain inhabitants of Siebenbürgen and certain inhabitants of the lower Theiss district, the Banat. Who were these peoples? Thy were peoples who in earlier centuries: migrated from regions more to the West and had brought with them from there their German thinking and their German language. One of these filaments settled south of the Carpathians in northern Hungary. In my youth they were called the “Zipser Germans”. Today they are largely merged in the Magyars, They have entirely surrendered their folk-nature, but it has not entirely disappeared: it lives on in many impulses that are present among the Magyars, but also in the achievements of the industrious people of northern Hungary. They have not clamoured for any especial recognition from ths surrounding people, for they have made no real effort to avoid surrendering their German element to the general nature of their environment.

The inhabitants of Siebenbürgen are Saxons; they are of Rhenish descent. I myself came across them in the year 1887 when I gave a lecture in Hermannstadt. Today they are on the point of being absorbed into the Magyars, like the Zipser Germans. The folk-substance lives on but no claim is made for stress to be laid upon their own national element.

In the southern Theiss region (Banat) the people are pure Swabians who have migraterd. The inhabitants of Württemberg are called Swabians. The seine happened to them as to the people of the Zipser region; they were messengers, in the truest sense, of the element that is now dissipating under the influence of a quite different language. And if one is more closely acquainted with the situation, one knows how necessary it was that these people should be merged in a common Middle-European element, in order that this element might itself thrive.

The same thing could be demonstrated in numbers of other cases. Anyone who wants really to understand and not merely to judge according to stereotyped concepts, will find that such things disclose an overcoming, a suppressing of the nationalistic principle. Everything in Middle Europe is adapted to lift man out of the nationalistic principle and to promote the expression of his own nature as man.

Hence it would be ridiculous to call Faust a German figure, although he could have originated nowhere except in Middle Europe, and in the truest sense the play is to be numbered among the works most truly representative of Middle-European culture.

If these matters are really to be understood, we must bear in mind the many intertwinings that take place in the evolutionary process and disclose themselves when we think, for example, of what was said yesterday: that in French culture there has been a revival of ancient Greek culture. In a certain respect, of course, ancient Greek culture also lives in German art, especially in German poetry and dramatic art. Does not the Greek Iphigenia live again in Goethe's Iphigenia? Did not Goethe write an “Achilleid”, or at any rate a part?

One must always go to the very root of these matters. The Greek element does indeed live in Middle-European culture; but the essential point is how ancient Greek culture, born as it was out of the Intellectual Soul, lives again in the elements of the Intellectual South in French culture. The Greek element does not live in the thinking of the individual Frenchman, in his individuality, but in the way in which the folk-soul takes expression. In the individual Frenchman, indeed, it lives perhaps less consciously than, for example, in its reappearance in Goethe or in Schiller, but it is at work in French culture.

The whole inner impulse of ancient Greek culture lights up in French culture. One can of course refer to some such thing as Voltaire wrote in a letter of the year 1768, where he says: “I have always believed, I still believe and shall continue to believe, that as far as tragedy and comedy are concerned, Athens is surpassed in every respect by Paris. I boldly declare that all Greek tragedies are like the works of tyros compared with the glorious scenes of Corneille and the consummate art of Racine's tragedies.” This sentiment can be compared with what Schiller once wrote to Goethe, saying, in effect: “As you were not born a Greek or an Italian, but in this northern clime, you have had to let an ideal Greece come to birth within you.”—But for all that, one must not suppose that Hellenism appeared in Middle Europe in a form as adequate as that in which it appeared in French culture. In Goethe's “Iphigenia” the yearning for Greek culture can be perceived. Goethe believed that he had acquired a new understanding for art after experiencing it in Italy, yet his “Iphigenia” has something about it that is quite different from anything in a Greek work of art. The essence of the matter is the artistic form in which things are presented. A very great deal could be said on this subject, but in these lectures I am trying merely to give indications. The revival of the Intellectual or Mind soul culture in the French people is shown in their way of living, their modus vivendi.

When we study Voltaire's assessment of the evolutionary history of humanity, he seems to us entirely Greek. Here and there, of course, people have indulged in fantastic notions about ancient Greek culture. but if one known the kind of thing a Greek might have said and then reads a little poem by Voltaire, one can feel what is meant by speaking of the revival of Greek culture. The gist of this little poem is as follows: Full of beauties and of errors, the old Homer has my profoundest respect; he, like every one of his heroes, is garrulous, overdone—yet for all that, sublime.

A Greek, of course, could never have expressed himself about Homer in this way, but about other things, certainly. It is quite typically Greek.

Looking for an expression to use instead of the word “nationality” in the case of Middle-European culture, we find, even from geographical considerations, the words: “Striving after individuality”. And within this striving after individuality we include not the German only, for Middle Europe must be taken to embrace a number of other peoples as well, in all of whom this striving is present in a most marked degree. This striving after individuality is to be found in the Czechs, the Ruthenians, the Slovaks, the Magyars, in spite of all their external differences; and finally it is to be found at the other pole of German culture, in the Poles. In them, the element of individuality is developed to the extreme. Hence the intensely individualistic world-outlook of really great Poles: Tovianski, Slovacki, Mickiewitz. Hence, too, the very essence of Polish philosophy, which emanates entirely from the individual as such. (Whether this philosophy is attractive or the reverse, according to taste, is not the point at all; these things must be looked at objectively.) As for the Polish attitude to religion, the fact that in a given case the one concerned happens to be a Pole can always be ignored. And it is the same in this whole agglomeration of peoples which constitutes Middle European culture; one trait is common to them all a striving after individuality.

Polish Meseianism is only the other pole of this striving; it takes the form more of a philosophical ideal, but it is the same in essence as what comes to expreesion in Goethe's “Faust” as the character of the striving personality, of the single individual.

The following design expresses what is at work in Middle Europe. What comes from above is indicated in this upper, twofold motif; it must be two-fold, because on the one side there is the idealism that is present in Middle Europe and on the other, the sense for the practical. The important thing in the design is not the relative size of the forms but the fact that the one (a) is at the side of the motif and the other (b) arches above the motif. The latter (b) represents what expresses itself in the peculiar, not very strong, kind of tie which the population of Middle Europe has with the soil, in one case more, in another case less marked.

The form at (a) indicates the trait that expresses itself in the thought element of Middle Europe, with its inclination towards philosophical speculation. There was a suggestion of these two motifs, although what they really indicate was but little understood, in a characterisation of the Germans once in in a foreign nation, to this effect: The Germans can till the soil and they can sail in the clouds—(this did not refer to ballooning, but to flights of mind)—but they will never be able to navigate the seas.

This is a strange utterance when one thinks of the German Hanseatic League, but it was actually made. It does, after all, point to two capacities with which the spiritual worlds have endowed the Germans—and these are at the same time Middle-European capacities.

The Ego is that principle in the human soul which has first and foremost to come to terms with itself; consequently there will be a seething and a swirling in this Ego-element. Whatever foreign wars the Germans have waged and will wage, the really characteristic wars are those which Germans have waged against Germans, in order to bring about inner clarification. If one follows the course of the wars fought out inside Germany, one has a faithful picture of what goes on within the enclosed Ego of man himself.

I have pointed out—the thought is to be found in many of my lectures—that the Ego could never have become conscious of itself if it were not kindled anew every morning by the outer world. The Ego wakens into consciousness through being kindled by the outer world; if this did not happen the Ego would be there, certainly, but it would never become a centre of consciousness. Every guiding-line given by Spiritual Science concerning the being of man is confirmed by the external facts.

The configuration assumed by the Middle-European States does not really originate from these States themselves but has been determined from outside. I will speak of Austria first. When I was young, numbers of people there were constantly saying that this agglomeration of peoples which constituted Austria must soon dissolve, that it was ready for dissolution. Those who understood something about world-evolution did not hold this view, because they knew that Austria was not held together from within but from outside. This can be demonstrated in all details by history.

If one were to speak quite objectively of the latest configuration of Middle Europe, of the German Empire; one would have to say: The German has always talked of the ideal of the one united German Empire. But perhaps it would still not be there if the French had not declared war in 1870 and so forced on apace the founding of the German Reich. It was really consolidated frcm outside rather in the way the Ego is kindled each morning by the outside world. Otherwise it might still be a goal to be striven for, an ideal existing, perhaps, only in the minds of the people.

All these things must be weighed quite objectively, particularly by those who adhere to the principles of Spiritual Science. Only so can one survey, calmly and dispassionately, what is taking place in the fifth Post-Atlantean epoch of culture. I can give guiding-lines only, for the subject could obviously not be exhausted in fifty lectures. And every lecture would present further proof of the truth of what can only very briefly be indicated here.

So we may say that the spiritual scientist can acquire a picture of European culture in which he perceives the interworking of Sentient Soul, Intellectual Soul or Mind Soul, Consciousness Soul and Ego. And through this knowledge a lofty ideal can stand before us that of being able to play our part in bringing it about that in place of the present chaos, harmony shall arise in the individual human soul.

This is possible, but only possible if every single individual presses on toward objectivity. The individual man stands at a higher level than the nation. in our time these things are obscured in many ways. It is necessary to say these things, once at any rate. It is my spiritual duty to say them, and only because it is my spiritual duty do I say them at the present time.

We are living in an age when perception of what constitutes the harmony between the soul-members represented by the several peoples, and also of everything that is taking place around us, seems to be more clouded than ever before. In so saying I do not lay the main stress upon what is happening on the battlefields—for that must be judged in the light of other necessities—but upon the judgments now current among the peoples. They all seem to be at utter variance with what ought to be.

I have already spoken here about a symptomatic experience I have had in connection with my last book (“Die Rätsel der Philosopnie”). I had written up to page 206, and then the war broke out. What follows after this point—the brief outline of Anthroposophy—was written actually during the war. I tried to give an objective picture of the philosophy

of Boutroux and of Bergson. I do not believe that anyone could fail to realise the complete objectivity of what I said, even though only a brief space could ba allotted to the subject. It was necessary to call attention to the fact that Bergeon's philosophy is not original and in a certain way is lightly formulated. From pages 199-204, the views of Boutroux and Bergson were set forth without comment, and then on page 204, I said: “Out of easily formulated, easily attainable thoughts, Bergson presents an idea of evolution which, as the outcome of very profound thinking, W. H. Preuss had already presented in his book “Geist und Stoff” (“Spirit and Matter”) in 1882. Then, on pages 205-69 the philosophy of the lonely thinker Preuss is dealt with. It would naturally have been Bergeon's duty to make himself conversant with the ideas of Preuse. I say expressly, it would have been his duty to know something about the philosophy of Preues, for a philosopher ought to be aware of the ideas of his contemporaries if he proposes to write. Please bear in mind that I said, it would have been his duty to know this philosophy—for I may very possibly be accused of having said that Bergson intentionally kept silent about Preuss. I said no such thing and the passage quoted above stands there for all the world to see.

Now suppose that everything the different peoples have said about each other during these last weeks had not been said—in that case the above reference to Bergson would have been considered an objective statement. But now it will in all probability not be so regarded. Naturally, I shall not at any other time be able to speak differently about this matter. Those who stand on the ground of Spiritual Seience must remain objective. At the present time, things that ought to be clearly perceived are clouded over; but when a sufficiently large number of people have taken Spiritual Science to their hearts and are really steeped in it there will emerge out of this obscurity the ideal arising from the truths of Spiritual Science.

What we know of these truths—it is only a question of being steeped in them deeply enough—enables us to develop the right feeling for them. Let those who want to feel the true relationship between the different cultures, read what is contained in the forms of our columns and architraves, let them contemplate the curves and forme, and they will understand the spiritual relationships between the several nations. Not a single motif is accidental. When you look at a motif, when you see how it passes over from the third pillar to the fifth, you have there an expression of the relationship between the peoples corresponding to the two columns. From these architraves you can envisage the inner configuration of the soul-life of the peoples.

You enter the Building by the West door, and as you move towards the East you can feel what makes man truly man, in that he gathers into his soul what is good and admirable in each of the particular cultures—and then, as we hope, it will all sound together in harmony in the second, smaller part of the Building under the small cupola. Those who open their hearts to the Building will find the way out of tie prevailing obscurity; those who do not, will be swept along in it.

As we go towards the East, this next motif links on to the last (see pages 1 and 11). It is evident that this new form has arisen out of the foregoing Staff of Mercury! whereas in the latter the serpent-motif spreads horjzonally into the world, here the main motif points upwards and forks downwards, receiving what comes from above like a blossum opening downwards.

In this, which is the Jupiter motif as the former was the Mercury motif, the East of Europe is expressed. With its tapering slenderness this motif suggests folded hands stretching upwards to what comes from above, and gliding by their side that with which earthly man has to connect himself as it comes down from above like a flower.

It is not at all easy for the European to understand this motif and what lies behind it, because it is connected much more with the future than with the present. On account of the character of modern language it is extremely difficult to find words to characterise what lies behind this motif. For once spoken, the words would immediately have to signify something different, if they were to be really expressive. One cannot speak of the Russian element in the same way as one can speak of the English, French and Italian elements. We have already seen that we cannot speak of a “national” element in the case of Middle-European culture in the same sense as in the case of the cultures of Western Europe; still less can we speak of the Russian element in this sense. For does Russia present a picture similar to that presented by the English, French or Italian peoples? Most, certainly it does not! There is something in the Russian nature that is like a transformation of Western Europe, but a transformation into something totally different.

In the West of Europe we see national cultures whose fundamental character can be discerned by deepening our knowledge of the culture actually existing there. In the German nature we find a state of incompleteness, a striving after something that is not present, but is there as an ideal only. But this striving after the ideal lives in the blood, in the astral body and the etheric body of the man of Middle Europe. Looking over to the East we see a magnificently finished philosophy of religion, a culture that is eminently a religious culture. But can it be called “Russian”? It would be absurd to call it Russian, even though the Russians themselves do so, for it is the culture that came over to them from ancient Byzantium; it is a continuation of what originated there.

Naturally, what lives in the Sentient Soul comes from the Sentient Soul; what lives in the Intellectual Soul comes from the Intellectual Soul; what lives in the Consciousness Soul comes from the Consciousness Soul; and what lives in the Ego, even though it is in flow, in a perpetual state of becoming, proceeds from the Ego. But what comes from the Spirit Self is something that descends out of the Spirit into the Sentient Soul, the Intellectual Soul and the Consciousness Soul.

The Spirit Self comes down from above towards Sentient Soul, Intellectual Soul, Consciousness Soul and Ego. This Spirit Self must announce itself through the fact that something foreign hovers down, as it were, upon the national culture. So we see that, fundamentally, everything it has hitherto experienced as its culture is foreign to tbe Russian soul, and has been foreign over since the time when the Greco-Byzantine culture was received, up to the external institutions that were imported from outside by Peter the Great. So we see bow through the Spirit Self there daecends the force which strives down to the soul-forces; but the Spirit Self will be able to give effect to its true force, its true character, only in the future. The Russian soul has, however, to make preparation for the reception of the Spirit Self.

Quite obviously what has reached the Russian soul from foreign elements is not the Spirit Self that will come in the future. But just as the Byzantine influence, Eastern Christianity, Western culture, have descended upon Russian souls, so, one day, the Spirit Self will descend. At the present time there is nothing more than preparation for it, nothing more than an inclination towards receiving it.

Examples can be given to illustrate everything for which Spiritual Science gives guiding-lines. Here is an example lying close at hand.—I have often spoken of the greatness of the philosopher Solovieff. His greatness was first revealed to me through spiritual observation, for I know that he is even greater, has effected even greater things, since his death in 1900 than he had effected before his death.

But let us consider the facts; you can convince yourselves from Solovieff's own writings. Many of them have been translated. There are the translations by Nina Hoffmann, by Keuchel, and now the excellent translation by Frau von Vacano, “Die geistigen Grundlagen des Lebens”.

If a man of Middle Europe steeps himself in the works of Solovieff, he can have a remarkable experience—especially since the latest translation has become available. It is extraordinarily interesting. One who is really conversant with Western and Middle-European philosophy will ask himself at first: Is there anything new in Solovieff? If we compare Solovieff with Western philosophy, we shall find not a single new thought as far as the actual text is concerned; there is nothing, absolutely nothing, not even in a turn of phrase, that could not equally well have been written in the West. And yet there is something altogether different.

But if you search for this difference in the philosophy itself, in what has been written, reading it as you read an ordinary book, you will not discover what is different. For what is different is something that is not contained in the sentences themselves. It is not in them, and yet it is there. What is contained within and behind the sentences will eventually be found by the sensitive soul, despite the conviction, after reading the book, that it contains nothing that differs from West European philosophy. What is contained in Solovieff's works is a certain nuance of feeling which may seem to the man of Middle Europe like a sultry atmosphere. Sometimes one feels as though one were in an oven, particularly when great and far-reaching questions are involved. If you follow a sentence closely, you will discover that nothing of exactly the same kind emerges as it does in the case of a West European philosopher. There is a certain tone of feeling which resounds as if it were unending expectant; this tone of feeling has a mystical character; certainly, it is still a sultry mysticism which may even contain an element of danger for the man of Western Europe if he allows himself to be affected by it.

But if one knows what lies in the substrata of the human soul—and it is necessary to know this—and really gets to the root of this element of sultriness, then it is certainly not dangerous. I believe that unless anyone has knowledge of the undertones of the life of soul, the essence of the difference in Solovieff's works will escape him and he will simply be convinced that he is reading a philosopher belonging to Western Europe. It is a very strange phenomenon, a phenomenon which clearly shows that what must come out of the East has not yet been uttered, above all has not yet been put into words.

We can recognise the characteristic traits of the European cultures from another angle by considering, for example, the following.—Something of the very essence of French culture, the Intellectual Soul culture, is contained in a certain saying of Voltaire. It will certainly be discerned by anyone who is able to perceive realities from symptoms. The saying, “If God did not exist, he would have to be invented”, is rightly attributed to Voltaire. This presupposes—otherwise the utterance would have no sense that God would have to be believed in; for he would hardly be invented for amusement.

Such a saying could be formulated only by a mind working entirely out of the Intellectual Soul, the Mind Soul, and having confidence in what arises from it—even in the matter of invention; for this belongs to the sphere of the Intellectual Soul.

Now let us take a Russian: Bakunin. He formulated the saying differently—and that is very remarkable. He says, “If God existed, he would have to be abolished.” He discovers that he cannot tolerate the existence of God if he is to claim validity for his own soul.—And another saying of Bakunin is very characteristic: “God is—and man is a slave”—the one alternative. The other is: “Man is free—therefore there is no God.” He cannot conceive a way out of the circle and decides to choose between the two alternatives. He chooses the second: “Man is free—therefore there is no God.”

This is a picture of the contrast between culture in Western and in Eastern Europe. West-European culture can still reconcile the idea of the free man with the idea of God. But in East-European culture there may be no God who coerces me, otherwise I am not free, I am a slave.

One feels the whole cleft between Sentient Soul, Intellectual Soul, Consciousness Soul and Ego on the one side and the Spirit Self, which is present now, as it were, in counterpart, and is only preparing, its true being. We feel the whole cleft in what confronts us from the East, and we feel the lack of kinship of the East with the West when we perceive what effect representative personalities of the East make upon West-European culture. Who in the West, if he is not already a student of East-European culture, could understand what the Devil says to Ivan Karamazov? Who could reallyunderstand what Gorki calls “gruesome, yet veritable truth”?—“Yes, well, what is the truth? Man is the truth! What does it mean—Man? You are not it, nor am I it, and they are not it.—No! But you, I, they, old Luke, Napoleon, Mahomet all of us together are it! That is something quite tremendous! That is something wherein all beginnings are lodged, and all endings.—All in man, all for man. Man alone exists; all else is the work of his hands and of his brain. Man! Simply colossal! The very sound is exalted! MM—A—N! One should respect man! Not take pity on him—not degrade him by pitying him—but respect him!”

And how does one who has been an actor speak about his relationship to the public? And how the convict?—“I have always despised those people who are too much concerned with satiety. Man himself is the main thing! Man stands at a higher level than the satisfied stomach!”

It will be very difficult for the West to understand such things, for they give expression to the mystical suffering of the East; they let the cleft be felt between what is yet to come in the East and what lives in the West and in Middle Europe.

This immense cleft indicates to us that what is there in the East today is not the real East at all. I should have a great deal to say on the subject but can only indicate these things. This East is something of which the East itself still knows little, something concerning which it only dimly senses what it will become in the future

We understand well that it must be difficult for this East of the future to find, the bridge leading to its own true nature, to find itself, for we are confronted by no less a phenomenon than that the East still lives in feeling, still in something that is unutterable; it is seeking for a form of utterance. It seeks it in the East, seeks it in the West. The East was greatly enriched by what the Byzantine element brought to it but when the East gives expression to this, it no longer belongs to the East's own being; it is foreign to the East's own being.

But one thing leads above all clefts, namely, what we know as the true Science of the Spirit. And if what is now going on in West and Middle Europe can show us that without Spiritual Science the further course of evolution must lead ad absurdum, the East shows us that progress is utterly impossible unless understanding is reached through Spiritual Science.

Through Spiritual Science men will find and understand one another—in such a way that not only will their theoretical problems be answered, but the sufferings of culture will also be healed.

Even more than elsewhere there will be opportunity for the East to feel the events of today as a hard testing. For what must needs be felt there in particular strength will be in complete opposition to every impulse, in the East that willed this war. And still more than in the West and still more than in Central Europe does it hold good for the East, that self-identification with the active motives of this war is a denial of its own true being. Everything in the East that has led to this war will have to disappear if the sun of salvation is to rise over the East.

Our Building should become part of our very hearts, my dear friends, for it expresses everything that I try to say about it in sketchy words. More deeply than by any words you can understand what I have now said when you have a right feeling for the Building, when you feel that everything is contained there—in every curve, in every motif.

Our Building should be something that can be called “A Dome of Mutual Understanding among European Humanity”, So it is perhaps in a particular sense—I must say this, for it is my duty to say it—also a contribution towards what is to be found in the preface to my book “Theosophy”, namely, that Spiritual Science is something that our age rejects in the intellect and on the other side longs for in the soul, and of which it is in dire need.

When we contemplate the events of today we can say that Anthroposophy is something from which European humanity in the present epoch is as remote as it ought to be near, is something that it should long for with every fibre of its being. For if Spiritual Science penetrates our hearts in a way that could at the moment only be indicated in interpreting the forms of the columns and architraves, then the souls of European humanity will stand in the right relationship to each other.

If Anthroposophy—and for our immediate present this is still more important—if Anthroposophy fulfils its task in the human soul in having a clarifying effect in the thoughts of men, bringing real clarity into them, permeating and rectifying them, then a very great deal will have been achieved for the immediate future. For as well as the fact that men's hearts are not rightly related to each other in our materialistic age, the karma of which we are experiencing, men's thought, too have gone astray. Men do not want to understand each other; but not only that; they have perhaps never lied about each other to such a colossal extent as they do in our time! That is still worse than what is happening out there on the battlefields, because its effect lasts longer and because it works up even into the spiritual worlds. But at bottom it is sheer slovenliness of thought that has brought us to the pass we have already reached. Therefore Anthroposophy is today the most urgent of all necessities in the evolution of humanity!

Already one can ask the question: Are people today still capable of thinking? And further: Do not people feel that they must first have knowledge of the actual facts about which they want to think and speak?

I raise these two questions today because, as I have said, it is my duty to do so. What is at work in Middle Europe was called “Bernhardism” by the American ex-President Roosevelt. I will not discuss what the ex-President has said but will point to something that is not usually noticed. Fundamentally, this book which I have in my hand and is the one alluded to by Roosevelt, is a very serious book: “Germany and the Next War”, by Friedrich Bernhardi, written in 1912. The author was one who knew a great deal about this impending war from an external, exoteric, point of view, and for this reason the book is extraordinarily instructive. But what kind of thinking do we find in a book that in its own way is honest and sincere? Here is a chapter entitled: “The Right to make War”. Naturally, if one talks of a right to make a war, one must take a standpoint determined by a community of people, not by individuals; in other words, one speaks out of the consciousness of the Luciferic and Ahrimanic spirits. Here is a passage which from the standpoint of the author is well meant, full of good intention. The attempt is made to explain that as long as there are separate nations, these nations have a right to make war on each other. The passage continues: “The individual can perform no nobler moral action than to sacrifice his own existence to the cause which he serves, or even to the conception of the value of ideals to personal morality... Similarly, nations and States can achieve no loftier consummation than to stake their whole power on upholding their independence, their honour, and their reputation.”

The first part of the passage is correct, but the thought behind it as a whole is absurd; States cannot adopt a selfless standpoint, because with them totally different conditions prevail. We must be clear in our minds about this. Imagine yourselves in the shoes of an Austrian statesman after the events which culminated in the assassination of a Serb at Serajevo.—Can one speak there in the sense of the foregoing passage? Most certainly not! A statesman is obliged to act as the egoism of the State demands. And so quite correct utterances are made today while the thought behind them is utterly false. This is only one example. The spiritual-scientific attitude here will he illuminating in the truest sense of the word, if only there are a sufficient number of people to represent it. These are not trivial matters; they are matters of vast significance. For they have all combined into what has now led to this terrible outbreak of war. I say this, becausel I know it. I say it because at the same time I can truly say—so far as anything of this nature can be said in the sense in which an occultist means it—that I have suffered and am still suffering enough from the events of these last weeks. I have gone through enough shattering experiences beginning with the Serajevo assassination and including much else. Never before have I myself seen anything as astounding, nor have I heard from occultists of anything as astounding, as what followed upon the assassination at Serajevo. A soul was there lifted into the spiritual worlds who produced an effect entirely differerst from that produced by any other soul; this soul became, as it were, a cosmic soul, forming a cosmic centre of force around which all the prevailing elements of fear gathered, All the existing elements of fear gravitated towards this soul—and lo! in the spiritual world exactly the opposite effect was produced than had been produced in the physical world. In the physical world, fear held back the war; in the spiritual world it was an element that hastened on the war, hastened it rapidly. To have such experiences for the first time is one of the most shattering moments that can occur in occult observation. If at some time or other, what has happened in the last eight or ten weeks is objectively surveyed, it will be possible, even by following the outer events, to recognise something that is like a mirror-image of what was happening in the spiritual.

It is the task of Anthroposophy, today more than ever, to learn objectivity from the evente of the time—true objectivity, which is so remote from the attitude prevailing today. I tried to bring out this point by asking two questions: “Are people today still capable of thinking?” and “Do people try, do they accustom themselves to look for the real facts when they want to think or speak?” Do they really do this?

Wherever we look—when men and whole nations are lying about each other on such a colossal scale—everywhere it is evident that the feeling of duty to put facts to the test, to go into the real facts, is lacking, even in high places.

This duty to test facts must be deeply engraved in the hearts of anthroposophists. We must learn to realise that among people who are to be taken. seriously, things must no longer happen as they are happening today, so universally.

As anthroposophists we must realise that these things need to be kept firmly in minds for otherwise we shall not emerge from this chaos in cultural life. With strict earnestness we must adhere to our basic principle: “Wisdom is only in the Truth”. Our whole Building is an interpretation of this principle. We must learn to read our Building—that is the important thing. When it is rightly read, an attitude of earnestness, of conscientiousness, of longing for truth, will grow in our hearts in connection with cultural and spiritaal life.

If our friends permeate themselves with the conviction that the truth rests upon the foundation of the facts of evolution, then their activities will bring blessing everywhere, no matter to which nation they belong. But if they themselves adopt a one-sidedly nationalistic standpoint, they will certainly not be able to do what is right in the anthroposophical sense.

The reason why Blavatsky's Theosophy went astray was that from the outset the interests of one portion of humanity—not the English, but the Indian—were placed above the interests of mankind as a whole. And it is true in the deepest sense that only that leads to genuine occult truth which at all times places the interests of humanity as a whole above those of a portion of humanity—but does so earnestly, with the most earnest, deepest feelings. Occult truth is clouded over the very moment the interests of one part of humanity are made to override the interests of the whole. Difficult as this may be at a time like our own, nevertheless it must be striven for by those who in the true sense of the word call themselves anthroposophists.

In the last two lectures an endeavour was made to interpret the sequence of columns in the Buildings to give one of the many possible interpretations to which the Building naturally lends itself.

It is possible for one who enters the Building from the West to feel, as it were, in the very heart of humanity, because the forces working in the various cultural communities are given expression in the forms of the capitals, and the mutual relationships of the single European cultures in the architraves.

It may have occurred to some of you that mention has not been made of all the European peoples. It is of course, impossible on every occasion to present a subject in all its aspects, for it is a matter of indicating the principles involved, not of making dogmatic statements.

In the single motifs of the capitals, artistic expression has been given to the impulses at work in the souls belonging to European civilisations—in the inhabitants of the Italian peninsula, or rather the South-westerly peninsulas, of Western Europe, Middle Europe and Eastern Europe.

The subject was presented as it was because the character of these civilisations enables them to be expressed by a single design, a single motif. The design and the cultural community concerned are therefore related.

From West to East, the second pillar is an expression of the civilisation of the peninsulas in the South-West of Europe; the third pillar of that of France; the fourth of that of the British people, and so on.

But there are also other European peoples. I cannot deal with all of them but will again speak of the underlying principles. It may be said that the cultures already referred to are the simpler cultures, however strange that may seem; they are simpler at any rate as far as the occultist is concerned. For the occultist, the Danish, Swedish and Norwegian cultures, for example, are much more complicated than those already mentioned, for many things which to the observer on the physical plane may seem the simpler, are for the occultist the more complicated. Thus if we are speaking of Danish culture, the queation may arise: How should we approach the designs in this case?

In entering from the West we should have to look, first, at the capital of the third column, and then also at that of the fifth, seeing the third column, as it were, through the fifth.

Obviously there is something more complicated here, for two capitals have to be taken into consideration.

Now take Sweden. There we should have to view the capital of the second column from the West through the capital of the fifth column.

And now, Norway. We should have to take the capital of the fourth column from the West and look at it through that of the fifth.

It would be a matter of superimposing these capitals, and then we should have the same expression of feeling in connection with the cultures of Denmark, Sweden and Norway as we have for the Italian-Spanish, the French, the British and the Middle-European cultures when we look at the corresponding capitals.

Really, everything is contained in these motifs of the capitals. Now that the principle has been explained, it might be very interesting to study for example, how it applies to the civilisations of Holland, Switzerland, and so forth. But I leave that to your own occult studies.

So you see, when we speak of our Building we are truly not speaking of anything arbitrary, of anything whose forms and other artistic content have arisen in such a way that one can remain stationary at these forms and think of them as one is obliged to think of the forms of painting motifs produced at the present time. As I have already said, everything we have absorbed of Spiritual Science in the course of the years, and a great deal more besides, is expressed in this Building—but the appeal is to perceptive feeling, not to theoretical, intellectual cogitation. It would therefore be possible to speak about this Building without ever finishing. But again I leave it to your own hearts to elaborate the indications I have given you. For the aim of the Building is to bring hearts and souls into movement when, in contemplating the forms and their relationships, people do not interpret them intellectually or symbolically but allow the heart and mind and soul to speak when they are inside and outside the Building.

What I now have to say can be explained by taking a particular motif of four columns embraced above by a cupola or dome. To regard any such motif as completely self-contained would be to take too constricted a view. Nothing in the world is completely self-contained—not a blossom, not an animal, not a human being. Neither, then, is a motif such as this, for part of its very essence is that forces are present entirely apart from the geometrical aspects. There are four columns embraced shows by a dome. But this geometrical aspect is only part of the whole. What belongs to the motif in addition is a set of forces which inhere in the whole structure of the universe and enable the columns to support the dome. The dome rests on the columns, the columns stand on the earth; the force of gravity comes into play.

If we really feel this motif, we do not feel the geometrical aspect only, but also the other, which I have often called the dynamic element, or element of force—the insertion into the configuration of forces of the whole universe, more particularly of the earth.

This motif, then, has the peculiarity 0f being symmetrical at every point in its circumference. It is symmetrical in every direction of space, as far at least as the dome is concerned. So we can say: On the body of the earth there is a motif which stretches heavenwards and at its periphery is symmetrical.

The important thing is to have an artistic feeling for such a motif. If we try to feel this motif in the right way—it is of course a matter of really sinking oneself in the character of the forms themselves—we shall come to realise: This motif, which rises upwards from the earth and in its upper part at least is symmetrical in every direction, seems to impel us to go down into ourselves, to experience our feeling inwardly.

If you want to make progress in occultism it is essential to abandon the one-sidedness of an abstract, intellectual approach, and to adopt an approach which originates in actual experience. For this reason many things must be expressed, not in terms of the intellect, but in terms of experience.

It is particularly difficult for the man of the present day to accept forms of experience in the same way that he accepts forms of the intellect. I will tell you what I mean by a form of experience. I can do no more than indicate, but everyone can understand it who makes the effort to go through it as an actual experience of his own. How can one develop a feeling for such a motif and what it expresses? This can be done in the following way.—In the morning, on getting out of bed to set about the day's work, you can say to yourself consciously: “I have now passed from the lying position into the position of standing or walking.”

That is an actual experience—one of which few people make themselves conscious, but it is an experience to pass from the lying position into that of standing and walking. When one is lying down, the force of gravity works upon one as it does upon a sack, let us say a sack of flour. The force of gravity also works in a deeper sense, for when you are lying down you always lie on some area of the body and this area presses upon what is underneath. So pressure is always being exercised upon the area of the body on which you are lying. True, you are not aware of this pressure in the ordinary way, but for all that, it is there; it is connected with your sentient experience of the force of gravity and it works into your astral body.

When a man begins to be conscious of this pressure-experience, he becomes aware at the same time of the elemental spirits of the earth. It is here that he is very well able to be aware of them, for when he is standing or walking the only area of pressure is that of the soles of the feet.

When you stand up after having been lying down, you leave the sphere of the pressure; you assert yourself against the force of gravity; you insert the axis of your own body into the field of gravity, no longer resigning yourself to it like a sack of flour; you enter actively into the sphere of gravity. That is an actual experience different in character from some thought-experience of the brain which thinks in abstractions.

In the lectures I gave on “Occult Reading and Hearing” I spoke of three brains. As soon as a man begins to experience things with his middle brain, he experiences them in a living way; feeling begins to be a middle brain experience.

Very well, then, when we have made ourselves conscious of the experience of standing up, we have the experience of Feeling the World, and we know for the first time what feeling really is. This can be achieved in many other ways too, but we do really begin to realise what feeling is when we make the act of standing up a conscious experience.

If it is brought to consciousness in the real sense this experience will lead us to understand the form here (see diagram). We say to ourselves: This form differs from what I myself am, in that it cannot stand up but must remain always in the lying position. To achieve my experience it would have to turn through 90° into the vertical plane. This dome stretches heavenwards. When man standing upright, has a feeling of the world, this upward stretching impulse works especially through his hands. And if he were to lie down and were able to feel what is above him, he would feel with his hands something of the nature of a cupola arching over him. What comes to expression in this architectural motif is contained in the sphere of feeling.

If man were able to lie bound to the earth, reaching out spiritually into the universe with his hands, he would feel the spiritual world above him as though he were inside a great dome, symmetrical in every direction.

In a certain respect the Greeks had a similar experience. Greek culture, which sprang primarily from the Intellectual Soul, was, in one of it aspects, a, culture born from a peaceful union between man and the earth; while peacefully united with the earth, man felt the heavens above him.—There may appear to be a contradiction here, but when we are, finding our way into occultism such apparent contradictions must be faced and understood.

We in our age have not the impulses that were at work in the inner life of the Greeks, nor have we within us what is now for the first time beginning in the evolution of humanity and is to come to expression in our Building.

A man who rises out of repose must not merely make the transition into the standing position, but he must also begin to move, to go forward. As well as the sphere of feeling he must come to know the sphere of will. This can be expressed in art only by transforming what was symmetrical on all sides (the dome) into something that is symmetrical about a single axis only. We can therefore say that when the dome-motif is transformed into a motif that has only one axis of symmetry, we have expressed in the Building not only what is experienced by the man who passes from repose into the sphere of feeling, but also by the man who pasees from feeling into willing, into progression, going forwards. The motif of will is a motif that leads onward. Hence the experience of one who is looking at the architraves and capitals must also lead him onwards; it must be an experience of progression. This was indicated in the two foregoing lectures.

Now the will is the sphere in man's being that is connected with subconscious experiences. It is that element which, in the case of man as he is at present, is for the most part directed by the gods. Naturally, then, by Lucifer and Ahriman as well. Hence there can also be evil will. Nevertheless, the will is borne onwards by the gods, and only in the rarest of cases is man able to know what goes on in his will. What a man expresses quite involuntarily when he is speaking belongs to what is conditioned in his will- nature and to which his will gives rise. One may even say that this is as it should be. It is not at all necessary, to begin with, for man to be fully conscious when he gives himself up to the primal, fundamental nature of his will, when he allows the impulses of the gods to be active in his will. The impulses of the will are the most fundamental of all. Hence the human being is able in his successive incarnations to progress from nation to nation. This is expressed in our Building through the progression in the series of columns.

Man is able to progress from nation to nation, from people to people with every incarnation he is born into a different people. He experiences what proceeds from the sphere of his will as coming in a certain sense from the gods. Neither, to begin with, can he change very much that belongs to this sphere of the will. A man who is born in some particular place on the earth cannot alter the fact that he is born at some place represented in one or another of the forms of the columns. For he stands at this particular place in the evolutionary process through the subconscious foundations of his life of will.

The way in which the members of the different nations think about each other, the way in which they mutually—let us say—esteem each other, is basically connected with what rises up like smoke out of the substrata of the sphere of will; it springs from nothing else than the impulses of the will.

From what has been said we shall realise that it is possible for us to raise ourselves above these impulses of the will. But then we must naturally take a different direction. The direction of the will-impulses is it ˂—: it is the direction of progression. The direction of the impulses of feelings, however, is from below upwards. Man can raise himself out of what proceeds entirely from the impulses of will. He can do this through contemplating what is expressed in the motifs of the columns and architraves.

Is not our whole mental horizon widened by these thoughts? And is not Spiritual Science a means of attaining this wider mental horizon? Only think of all that could be done to enable men of every cultural community to acquire mutual understanding of one another if what was presented in the two last lectures were to become living feeling, living knowledge. How could a member of one cultural community hate and abuse a member of another if he understood the things that were spoken of in those lectures? The limitations of what springs from the sphere of will in a single cultural community expand into the harmony formed by all such communities together when we know what mission each one has to fulfil.

We begin to feel the single communities as we feel our own soul-members. This too had to be given artistic expression in the structure of our Building, in the direction from below upwards. And what is indicated as a theoretical, ethical principle in the first declared Object of our Movement (the universal brotherhood of peoples) has been given concrete expression in the forms of the Building, when these forms are contemplated in their flow from below upwards, inside and, as well, outside the Building.

Now the whole is always contained in the part, so we have not only the direction of the will impulses ˂—, and the direction of the feeling-impulses (up), but something else as well. We have something else as well through the fact that there is a closure, an endings, overhead.

In referring to this motif I have so far spoken of the supporting force, with its upward direction. But I can also speak of the closure above, the covering, the roofing in. The motifs may thus be described as motifs which progress, ascend, and enclose.

You can also picture the Staff of Mercury. If you carry it, forward, it progresses; if you lift it up, it ascends; if you press the spirals together at the top, allow them to become rigid in themselves you have the closure above. This closure represents the thought-sphere, just as the progression represents the will sphere, and the ascent the feeling nature.

A true feeling of the whole evolution of humanity will develop in one who absorbs what is contained in the form-motifs of our columns and architraves in their flow from below upwards. They are motifs which express the principles of mutual understanding between the members of the different cultures and civilisations on the earth.

To pass from the sphere of the will into the sphere of feeling one must rise above the state of isolation, of separateness; one must actually participate in what is expressed in this movement from below upwards. A certain element which will become more and more essential in the modern age will then be laid into the life of feeling, into the sympathies and antipathies of the members of the different spheres of culture.

The Unconscious is an even stronger factor than what man has in his actual consciousness. The will impulses belong to the Unconscious; the feeling-impulses are more conscious, but still partly unconscious. The thought-impulses belong to the sphere of Consciousness, for a man is conscious of what he is thinking about. He is conscious of it, but only when he is really thinking, when he lives in the thoughts. But he does not always do this; when he is speaking he more often brings the impulses of the spheres of feeling and of will to expression.

It is a peculiarity of man that he can speak but by no means always gives expression to thoughts; what seems to be thought in what he says is often maya—nothing more than an unburdening of the spheres of his will or feeling. To think in the real sense is something different, something more. Despite the fact that it is man's privilege to have thought-impulses, it is nevertheless one of the most difficult things to fill these impulses with real thoughts. Although it suffices for daily intercourse, if one desires to have adequate thoughts about the great impulses at work in the evolution of humanity, it will certainly not do to remain content with what originates from feeling, still less with what originates from the will. Thinking must be irradiated by something still higher; it is not enough merely to let the successive spheres of culture work upon the soul; there is something that works still more deeply in these spheres of culture. This can be brought to expression only in the effect made by the dome, the cupola.

So one who passes through the Building from West to East will have in the progression of the columns the expression of will; and as he becomes aware of what flows from below upwards, he will feel the nature of the several European cultures, and a great deal else as well.

What will come to him from the dome? The secrets of the evolution of all earthly humanity. Therefore, as he looks up into the dome or cupola he will see on the one side the portrayal of the primeval Indian inspiration: how through the Rishis there flowed into mankind what was to come from spiritual spheres into ancient Indian civilisation. What had to come to mankind in those days in conformity with the character of the ancient Indian epoch will be painted in one part of the dome. How Zarathustra gave the ancient Persian culture its stamp—the sunlight battling as it were with the darkness—this will be seen at a second place in the dome. Then how the Egypto-Chaldean culture gradually comes right out to the physical plane but is still permeated with astrological, spiritual realities—this will be found in a third area of the dome. At a fourth place will be portrayed the Greek, as if standing by an abyss. This is the culture born of the Intellectual Soul or Mind Soul. What man is, comes to the fore, how he is faced with the necessity of having to solve the riddle of the Sphinx, how, through solving it, he thrusts the Sphinx down into the abyss—that is to say, down into his own being—this will be portrayed in a fourth area of the dome. How the eternal, divine forces and powers work into this evolution of man will come to expression inasmuch as what lies still deeper in the evolution of humanity than the Post-Atlantean impulses, namely the impulses of the Atlantean and Lemurian epochs, will be portrayed at the points of the compass: Atlantean evolution in the South, Lemurian evolution in the North of the dome.

And finally, the outcome of the Lemurian and Atlantean evolution will be portrayed: namely, our own era. Implicit within it is that impulse in world-evolution which expresses itself in the “J A O”. This will meet the gaze of one who looks from West to East towards the smaller cupola., Not that “J A O” is represented symbolically, but it is expressed in the motif. One who looks from East to West will see that which speaks out of the depths of the Cosmos into the development of culture, just as the “J A O” speaks from within into the development of the soul.

But all that I have described is perceptible to a man only if he overcomes the dome which arches over his brain; if he frees the etheric body of his head and looks from within outwards, then what I have described comes to him as a mighty Imagination.

These things are realities, are actually seen. when the etheric body is liberated from its physical foundation. Then one sees what presents itself inwardly to the etheric brain which has expanded to the Cosmos. The whole earthly evolution of man is represented here. (See sketches for paintings in the large cupola.)

To have thoughts about the realities of the evolution of humanity is possible only when we penetrate the secrets that are to be portrayed in paintings in the interior of our dome. In the same way that we can reach the sphere of feeling—that is to say, unprejudiced feeling devoid of sympathies and antipathies—when we experience what comes to expression from below upwards in the motifs of the columns and architraves, so through these motifs (of the paintings) we can penetrate to what is living reality in human evolution at every hour, every moment. Only when we know what is actively at work in the human soul at every moment, can we know what has been evolved in the course of millions of years. For everything that was contained in the Atlantean and Lemurian cultures lives in every soul—otherwise no soul would be as it now is. A human soul in all its depths can be understood in thought only if it is understood as the product of the whole process of world-evolution.

And so our Building expresses—if I may use the word “expresses”—Willing, Feeling, Thinking, but in their evolution, what they should become in the human being who is striving to achieve a measure of self-development.

Thus neither the forms as they are, nor the things that are done here, are the result of arbitrariness, but everything comes out of the very core of what we also try to grasp in Spiritual Science.

How often, when we are trying to describe the secrets of manes nature, do we not have to consider Willing, Feeling and Thinking? We have portrayed them in our Building and there, just as in man's own nature, willing, feeling and thinking are mysteriously linked with one another. If we go from West to East in this Building, we are moving as the Will-sphere of man moves; if we direct our gaze from below upwards in contemplating the forms of the columns and architraves, we sink down into the Feeling-sphere of human nature; if in what arches over the Building in the painting of the domes we study what we experience inside the Building, then we are studying the secrets of the sphere of human Thinking.

In a production such as this Building, everything corresponds to a certain inner necessity, everything comes into being as it inevitably must. And that is part of the significance of a Building of this kind.

What makes us realise that some Imagination, Inspiration or Intuition contains objective reality? We realise it through the fact that when we have the Imagination, the Inspiration or the Intuition, we have the actual experience that it is not something that has arisen out of ourselves but has its place within the harmony of the whole Cosmos. From now onwards into the future, humanity must have a concept of art which has as its essential characteristic what is felt to be inner necessity. We must feel that a truly artistic creation is not due to ourselves but that the gods create it through us, because it is their will that it shall be in the world.

We may well be convinced that the real progress of 0f human nature will depend upon such feelings and ideas gaining wider and wider recognition and taking the place of those that are current today.

What I mean by saying this, is that everyone who is working on this Building or is in any way connected with it, should feel above all that it is his business to compare what is aimed at here, what is expressed by and in this Building, with what is dominant in the world today.

Such a comparison can give rise to the fervent question; What was it that enabled Christianity in its earliest form to come into being? I have often spoken of this, for all such impulses in cultural life have arisen in the same way: namely, through the fact that in the case of a genuine, initial impulse of culture, those who were the first to ally themselves with it, were sufficiently strong in their souls to let this impulse completely dominate them.

What would have become of Christianity if in the souls of the first Christians the Christian impulses had not been all-powerful? In the Roman world above them, in the physical light of day, a different culture prevailed; we know that Christianity developed in the darkness, down below in the little cells in the catacombs, and then rose above the surface. Nothing of this Roman culture has remained—what developed down below in the catacombs rose up and conquered the world.

This came to pass because Christianity became part of the hearts and souls of those down there in the catacombs. Today the position is not quite the same—if it were, we should have to hollow out this Dornach hill into catacombs so that nobody should see anything of what we are doing. We need not hollow out the hill, we need not keep anything in concealment, we need not prepare the new culture underneath the earth while what is now taking place on the surface runs its course. Spiritually, however, the situation is the same. How much of what we want to inscribe in our hearts and souls is to be found in the culture of the present day? As much as there was of early Christianity in Rome!

Even though we do not worship physically in the catacombs, spiritually we are in the catacombs, and our feeling is true if we realise that this is indeed our situation. Our feeling for the Building is true only if we say to ourselves: There, in the sunshine, the dome of our Building with its glistening grey slate roof gleams. over the countryside. We are under this arching vault, above all, spiritually under it.

By these words I wanted again to indicate what must be the attitude of those who understand the inmost impulse of Spiritual Science towards what is to be found in the outside world. Oh, those early Christians—they heard the Word that resounded through their souls, their hearts, the Word that came from the Mystery of Golgotha, and they did not succumb to the temptation of what was taking place above the catacombs!

May it be the same today—spiritually—within our Movement! A certain difficulty lies in the word “spiritually”. The difficulty is expressed in the fact that if one considers the actual situation, one might sometimes be tempted—I say, might be, not is tempted—to wish that there were still present today the dire compulsion for inner deepening that would be there if we were forbidden by all the means of present-day culture to build on the Dornach hill, so that we should literally have to go into caves and there, in concealment, take up our abode. Confronted with such a prospect we should realise more strongly how our own impulses, which should be those of Spiritual Science, must differ from the blustering racket overhead.

These are things which can be expressed only by analogies such as I have now put into words. You can feel something of what is meant—and more is meant than seems, to be contained, in these analogies—if you penetrate a little into the gist of these words.

May you feel all that I have meant to convey in today's lecture and in these concluding words.

We spoke yesterday of the way in which the impulses of Will, Feeling and Thinking in man are brought to expression in our Building.

It will be apparent to you from many things that have been said here recently that the art in our Building must contain a new element that has not hitherto existed in the evolution of art but is essential for the further progress of humanity.

Admittedly it will be difficult from a purely external point of view to understand the real aim of this Building. A person may say to himself: I really can make nothing of it—and according to the standard of what he has hitherto regarded as artistic he will naturally have criticism to make. But remember, any new impulse in human evolution has always been criticised when it is judged according to the standards of the past.

It will help us to understand the point here if we try to find a formula to express what is entailed by this renewal of the principle of art through the anthroposophical conception of the world. When we review the development of art, we can think of the architectural forms produced by mankind, either in the original Egyptian, Greek or Gothic architecture, or what represents the renewal in a later age of what was there in an earlier one—I mean the Renaissance. We can also think of sculpture, painting, and so forth.

If we compare the effect made upon us by the essential character of these arts with what is aimed at in our Building, we can say; Everything that has been brought into being hitherto is like something in repose which, for us, has been wakened to life. Picture a human being in some fixed position. Somebody comes along and speaks to him - and he begins to walk, to move! This might well apply to the evolution of art up to our own day. We can regard it as something in repose, to which we would fain speak the magic word which rouses it into inner life and activity, into movement.

This is what we want to achieve, because it is demanded by the impulses of transition which are at work in our time and call upon us to find a new impulse for the future evolution of humanity.

To take an example, let us think of a beautiful Greek building. Its essential character consists in the symmetrical structures which mutually bear and support each other, just as the limbs of a human being standing immobile bear and support each other—but everything is at rest.

Compare this with what we have aimed at in our Building. In time, of course, everything will develop, for we have been able to make only very primitive beginnings with the means and help available to us, In the Building we have movement from West to East; we have motifs which grow, as it were, from the simple forms to be seen in the West in the capitals and architraves into greater complication, and then become more inward and simpler again towards the small cupola. What was formerly a merely inorganic principle of symmetry has been brought into movement. What formerly was at rest is now in movement. This will have to come to expression in the painting—as far as it is possible in our age to achieve what must be the goal.

In painting there are two poles. The one pole is that of drawing, the other that of colour, Fundamentally speaking, there are these two poles in all painting. Now a person may be a wonderful draftsman—that is to say, he may have the gift of reproducing in the lines he draws the inner form-quality of his subject, so that a picture of this form-quality is evoked by the drawing.

Now we must be clear that anyone who concentrates on the actual drawing in a painted picture must inevitably be very one-sided in his relation to the Real—or, as is often said, to Nature. Nature does not work with lines only, but has far richer means for giving expression to what is inherent in a living being. Hence the painter or the draftsman, when he is inwardly moved by his subject, must express more in his lines than Nature is able to bring to expression in lines.

But we shall never be able to avoid feeling that drawing in itself is nothing more than a substitute for what Nature can achieve. Whatever we may be capable of expressing through drawing, we can never produce anything that surpasses Nature; we cannot even equal Nature. Whatever we aim at in this respect must always remain a bungling attempt, for the simple reason that with the far richer means at her disposal, Nature is able to bring to expression the inmost essence of her creations.

On this account, drawing can never be anything more than an auxiliary. And I believe that one who is a true draftsman will always feel that in drawing he is only producing something like a scaffolding to be removed later on, and that the less any evidence of it remains, the better. I think that anyone with artistic sensibility, looking at a painting in which the actual drawing is especially conspicuous, would have an impression similar to that made by a building from which the scaffolding has not been removed but still stands in position. Indeed the point can be reached where the actual drawing is felt to be just a clumsy adjunct to the work of art itself.

It is rather different as regards the other pole of painting, the colour pole. Here we must bear in mind that colour is a fixation of something that, fundamentally speaking, is not present in Nature at all, or at most can be captured only momentarily. One cannot really count what is attached to some object, and which one then paints, as belonging to the element of colour in itself; for if a painter is concerned with making a meticulous reproduction of say, the colours of the clothes of people he is painting, he is certainly a bad artist.

But fundamentally speaking, anyone who might try, in the colour of the face, for example, to bring the inner, vital processes of the human organism into evidence, would not be a good artist either. One who paints a pale face—assuming, to take the extreme case, that the pallor is intended to indicate that the person in question is ill—would certainly not have produced anything really artistic, not to speak of how inartistic it would be to depict a wine-bibber by painting him with a red nose!

If it is desired to capture in colour something that is, so to say, stationary, and expresses itself in the world of reality, one is still not working with truly artistic impulses. But if one paints, let us say, a cloud, and in the cloud brings the whole magic of Nature to expression—perhaps the early morning sun and its effect upon the tints of the cloud—then one captures something that is transient in Nature and does not originate from the configuration of the actual cloud itself. What is captured here is something that is transient, but for all that rooted in the conditions prevailing in the whole environment, in the whole Cosmos, in so far as the Cosmos is involved in the phenomenon. In painting a cloud that at a particular hour of the day is brilliantly coloured, we really paint the whole universe as it is at that time. If in painting a human being we attempt to reproduce his inner, organic state, then, as I have said, we are not working with the true artistic impulses. But if we succeed in giving expression to what this human being has experienced—if, for example, we can suggest in the painting something that is the cause of the particular reddening of the countenance - then we are truly in the realm of the artistic; and still more is this the case when we can perceive from the picture itself what the experience has been, when the red of the cheeks tells us what the person must have undergone—again something that is not confined to the individual, but is in the whole environment, in the whole Cosmos.

What I am saying here is connected in a certain way with something I spoke about in the lectures on “Occult Reading and Occult Hearing”. I said there that even in the waking life of day the soul is in reality always outside the body, and that the body is only a mirror by means of which man makes himself conscious of what is out there in the Cosmos. He alone is a true artist who lives, as it were, with the Cosmos and who regards what he has to portray simply as the stimulus to depict his life in the Cosmos.

If we paint a cloud and therewith the whole Cosmos, we are outside the cloud in our life of feeling and ideation, and the cloud is there merely to enable us to project what lives in the whole Cosmos into a single entity.

But if we want to live in this way in the Cosmos when it is a matter of using colour, we must awaken colour to life. Colours confront us as qualities of the beings in outer Nature. When our observation is confined to the physical plane we recognise the colours that are attached to the objects of Nature. If we are to see colours, a foundation is always necessary, with the possible exception of atmospheric phenomena such as a rainbow or other phenomena of the kind. Hence the rainbow has not without reason been regarded as something that unites the heavens, the spiritual, with the earth, because in the rainbow we see the heavens in colours; we actually see colours as such.

I have already said that it is possible to plunge into the flowing world of colours, to live with the colours themselves, liberating them, as it were, from the objects. If we succeed in doing this, colour becomes the revealer of deep mysteries; a whole world resides in the flowing, surging sea of colour.

But the world of colour must first be liberated from the conditions imposed upon it on the physical plane; the creative power of colour must be sought and found.

If painting is to be an organic part of our Building, it must be born out of this impulse; the attempt must be made to portray in colour something that is not to be found on the physical plane, where everything coloured—with the exception of the rainbow and similar phenomena—is attached to objects. It must be possible to live in the colour blue, for instance, with one's whole soul, as if the rest of the world simply were not there; the soul must feel itself flowing out into the blue which fills the whole world.

But if we really penetrate into the surging world of colour, the result will be that we shall not simply brush on tints, for we then discover the creative power of colour; we shall also find inner differentiation in colour. We shall find that blue has something about it that draws and attracts the soul, something in which our soul would like to lose itself, longing and yearning for it without end. We shall also find that forms arise out of the colour blue itself, forms which bring the secrets and the very soul of the universe to expression. From the creative power of colour a world will come into being, a world that has form, inner differentiation. Form will be born out of the colour itself. We shall feel that we are not only living in the colour, but that the colour itself gives birth to the form—in other words, the form is created by the colour.

In this way we shall find our way, through colour, into the creative forces of the world. Only so can we succeed in painting in such a way that what we paint is not merely a covering of surfaces, but leads out into the whole Cosmos, participating in the life of the whole Cosmos. Reference was made yesterday to what the paintings in the two cupolas must represent; the impulses of Lemurian, Atlantean and our own life, as well as the impulses at work in the cultures of ancient India, ancient Persia, Egypt and Chaldea, Greece and Rome. In this way, the subjects will be inwardly understood and this inner understanding of colour, which, as it passes over into the actual painting, simultaneously becomes an understanding of form, will reveal to us what is actively at work in the evolution of humanity.

A review of painting in the past will show that the tendency of this art has been to work with colour attached to objects on the physical plane. But colour must be freed from objects if the paintings in our cupolas are to achieve their aim.

What is essential, therefore, is that the impulse of painting shall be deepened and quickened inwardly. It will he difficult to make our contemporaries understand what is being aimed at here. We shall have to resign ourselves to this for as long as people persist in judging a work of art as “right” or “good”, or I don't know what else, when it reminds them of some real object, so long will our paintings not be understood.

As long as it is possible to say that a tree is well painted because it is naturalistic, giving the impression that one is standing in front of an actual tree—as long as this is the criterion for judging painting and art in general, just so long will people be unable to understand what our painting is intended to be. They will inevitably regard it as nonsense, and be incapable of seeing anything in it.—Why have works of art existed? Surely in order to be looked at! Who has ever supposed anything else? But what we want to create in our Building will certainly not be there merely to be looked at! Indeed, we may be happy if those people who believe, as a result of their previous experience and study, that works of art exist merely for the sake of being looked at, consider our art extremely bad. For one thing is certain: what these people do not want, is the very thing we want to achieve!

Typical incidents often occur in this connection. One of our friends met me one day on the way from the glass-engraving studio to our house, and told me that he had been talking to an old gentleman who said that if the one who had conceived the idea of the domes of our Building had ever seen the Church of St. Peter in Rome, he would have designed them differently. Now the one who conceived the idea of our domes has seen St. Peter's not only once but many times, has admired and appreciated its greatness, but for all that he designed the domes as they are.

It is quite natural that such things should happen. Even St. Peter's in Rome is there to be looked at—but what we are doing in our Building must not only be looked at, it must also be experienced. And what would have been the right answer to give to that old gentleman? The right answer would have been to say to him: Do you know the fairy-tale of the king's son who looked at things only through his window? And do you know what happened when one day he had to “eat of the serpent”? Then he began to understand what the sparrows on the roof-tops and the chickens in the courtyard say to one another.—That old gentleman had obviously not eaten of the serpent! What does it mean, to “eat of the serpent”? It means, not merely to have theoretical ideas about Spiritual Science, but to have been gripped by it in the very fibres of one's heart and soul, so that one feels oneself to be an actual image of this Spiritual Science. If we can feel this with our whole being then we have eaten of the serpent, and we shall know as an actual experience what is intended by our Building. We shall not merely look at it but experience what it aims to achieve; we shall realise that man, dimly and unconsciously in his life of will, passes from incarnation to incarnation, born in one incarnation in this people, in another incarnation in that.

Just as this will-impulse in man can be experienced in the progression of the Building from West to East? in the successive motifs of the columns, capitals, and architraves, so can the element of feeling be experienced in what unfolds in the direction from below upwards—but it must be an actual experience. And the element of thought, when thinking is not merely abstract, cold, prosaic, but is quickened to life by the heart of the Cosmos itself—this should be experienced in the closure denoted by the domes, and also in their details. If, for example, the juxtaposition of one colour to another is one that is never found in Nature, if a being with facial features resembling those of man is portrayed in a colour which it could never have in Nature, one must feel in actual experience that what comes to expression there does so through its own inherent impulse.

This will be achieved for the first time—even if only in the most elementary beginnings—if the attempts made are in any degree successful. In the paintings, particularly, things will not be as they are in Nature, but far rather as they are in the spiritual world.

Two things must be achieved about which very few people nowadays are capable of thinking at all. But the fact that there are still a great many people who do not know, and moreover do not want to know, anything about the great vistas which lie ahead in evolution, certainly does not contribute to the welfare of humanity. To feel as it were in concentrated form those things of which our Building stands as the sign and token, we must quicken our inner life, quicken the soul to life through rich and varied experiences gathered from the manifold sources available in the world.

Let us think of times very different from the present and of the mental horizon of men in those times. Think of the mental horizon of the Greeks and of all that was unknown to them but is well known to men of the present age.

The Greeks did not know of America or Australia; they knew nothing of the Western hemisphere; they knew nothing of a very great many things we now know about Europe, Asia and Africa. Geographically, their horizon was narrow.—See what your feelings are when you study the map which a Greek was able to draw; think at tile same time of the rich inner world of the Greek, of his creative power. Compare what might be called the “geographical” chart of the heavens which the Greek was able to draw with present maps of the heavens. In ancient Greece, the map of the physical configuration of the earth was very meagre, the chart of the heavens very comprehensive. What was present in Greece was still, in essentials, a spiritual experience of the physical plane, geographically—within narrow limits; spiritually—a vista of wide expanses of the heavens.

True, it was no longer as it had been, for example, in Egypt, when men looked out into the Cosmos and in astrological pictures still experienced something of the spiritual Being; whose physical expressions are the stars. Nevertheless, a precipitation of all this was still present in ancient Greece. When we read in Homer's “Iliad” that information is given by Thetis that Zeus can do nothing at the time because he is in Ethiopia and will not return home for twelve days—that still has an astrological meaning—but it is expressed in such a way that the reader does not notice that the description refers to the passage of the heavenly bodies through the Zodiac, When 'the Greek said “Zeus is with the Ethiopians”, he meant: Zeus is in a particular sign of the Zodiac—and the number twelve is also mentioned. All this Indicates a change from an earlier time, but on the other hand there is still an echo of what was revealed to men originally from the wide expanse of his spiritual horizon.

Now let us turn away from Greece and consider the modern age. Geographically , the globe has nearly all been explored and only a few regions today are blank patches in the maps. We see the new age arising. America is included by the Oriental peoples in their earth—the America that simply did not exist for the Greeks. The geographical horizon widens and widens but the spiritual horizon, the map of the heavens, shrivels up completely. What does modern man know of the denizens presented to us in Greek mythology? He knows nothing at all! Europeans really live under the delusion that they still know something about the heritage left by ancient Greece.—What precedes the times of ancient Greece has no more than a spectral character for historians, however much they may investigate it by means of physical records.—But man is at least still a living reality in Greece. When the man of today imbibes what is imparted in the schools, he is assimilating history, and his soul lives in the history he has come to know in such an external way. We drag around with us a great deal of history—a very great deal of history.

It is not so in the case of the Asiatic, nor is it yet so in the case of the American. Although he has his history, it is not a vital part of his life. The American is much less conscious of history than the European. There will be few Americans who attach any great importance to being able to trace back their genealogical tree through centuries, Probably there are very few indeed—but in Europe there are numbers. That is what I mean by “dragging around” with us the history upon which so much depends today in the whole configuration of life, of the social life too.

A time is conceivable in a far distant future—for the occultist more than conceivable—when everything that we carry around with us as history since the Greek age will lie at rest (we will not speak of where it will be resting)—a time is conceivable when the tide of the peoples will have rolled across Asia over the Europe and America, and when men will know as little on the physical plane of all that we now recount and experience as European history as we today know of what happened in Europe four to six thousand years ago. We can look towards a time when this tide of the peoples will have rolled across Asia, a time when a quite different kind of life will develop and when everything that now stirs the very fibres of our hearts will lie as it were in a geological stratum of history. It will then lie as much in the past as what happened in Europe some four thousand years ago lies in the remote past for us.

The time will come when Goethe, let us say, will be “discovered” in the same way as modern man has discovered the ancient world and its happenings from the earliest Egyptian hieroglyphs. For in the outer world there will be physical men who will need to discover Goethe in this way!

We are gazing here at vast perspectives in the evolution of humanity. The Greeks knew nothing of America! In time to come no Greeks will be in existence, and the descendants of the present-day Americans will know of them only as a people belonging to a far, far distant past—or maybe they will know nothing of them at all!

The process of which I have just spoken more as a physical process, also takes place in the spiritual, in the following sense.—In the course of his evolution into the future, man must acquire the faculties which enable him to discover the spiritual again, to know a future spiritual world which for most people today is as unknown as the present continent of America was unknown to the Greeks. We are at the beginning of this voyage of discovery to the spiritual America. In this connection—from the angle of scientific thinking—we stand, spiritually, at the same point where men were standing physically when the first ship sailed from the Old World to America. Spiritually, we are on the voyage of discovery to the other, spiritual half of our human existence.

By saying this I only wanted to give some indication of the importance of Spiritual Science in the evolution of humanity. For now everyone can fill in for himself the gaps that still remain to complete the picture: Suppose for a moment that America had not been discovered, that Europeans were still living in ignorance of the existence of America. Is such a thing conceivable? It is quite inconceivable. But a time will come when it will be just as inconceivable that men were once incapable of discovering the spiritual world through Spiritual Science. This will be utterly inconceivable. And the thought can be carried even further.

What effect has the expansion of the geographical horizon had upon humanity? if we look for the most spiritual culture that has developed on the earth up till now, we must look for it before America was discovered. For with the discovery of America, materialism begins. In a mysterious way, every geographical expansion is bound up with the expansion of materialism. Humanity must again acquire a spiritual knowledge of the world. This will be achieved through discovery of the spiritual America—when the path symbolised in our Building is found by the world outside.

We have spoken of the element of progression in the Building from column to column, from architrave to architrave. That is the progression on the physical plane. But we can also follow the motifs from below upwards, we can look upwards.

What comes to light in the course of history—in so far as we can observe it externally—is expressed for us in the progression. But an inner deepening will become more and more necessary, a deepening of the soul which is at the same time—as in the case of Goethe's Faust who descends to the Mothers—an actual ascent into the spiritual world—naturally into the spiritual world of the good Spirits.

But when man raises himself into the spiritual world, a kind of conclusion will eventually be reached. I say “conclusion”. Let us grasp what this word really implies. The idea of evolution prevailing today is that it is like a barrel that begins to roll and goes on rolling and rolling forever—it is also imagined that there was never any beginning to this process, that it has always been going on. People who talk about evolution today almost invariably imagine that there has always been evolution, that everything has always been evolving, that it has always been so! But in reality this is not the case. It is nothing but a bad habit of the mind, a slovenly kind of thinking, to conceive of evolution as having no limits either in the past or in the future. The geographical, physical evolution of the earth also means evolution for every race, every people, Yes, but that certainly has an ending, a conclusion, at some time or other!

When everything has been discovered, there is an ending. We shall not be able to say then: Now we will equip our ship once again and make further discoveries. it is not true that evolution can continue endlessly; evolution has a conclusion. And just as physical evolution must have an end, so too will spiritual evolution have to have an end; an actual dome will arch one day over what humanity has experienced in the course of history. And true as it is that when the whole globe has been explored, no further ships will be equipped in order to discover still more distant lands on the earth, it is equally true that what is to be spiritually discovered by man will also one day actually have been discovered. The idea that men will go on investigating endlessly is the most erroneous there could possibly be.

It is essential that thinking shall be in accordance with reality if sound ideas are to be developed. But so few people think in accordance with reality in our present age, although they are convinced that they do. One can, for example, come across people who say: When there is nothing more left to investigate, the world will be a very dull place. These people forget that according to the modern idea of evolution, investigation will never come to an end. Yet one day it will, just as geographical exploration of the earth will eventually come to an end. Those people who are tormented by the thought that investigation will one day come to an end and that there will be nothing more to do in this respect and who ask: “What will man do then?”—must be given the answer: That will be plain enough when the time comes, and in any case it will be something quite different from investigation.

I have now given you a number of ideas, the purpose of which may puzzle you. But if you take them together you will be able to recognise this purpose yourselves. We see that the course of all historical life is reflected in the form of our Building. Men live on through the ages, just as in the Building one goes forward from column to column. They rise to a higher level just as one raises one's eyes to the columns, capitals and architraves. And they hope for a consummation—a conclusion—just as one will find it on looking up into the interior of the cupola.

But there is to be a conclusion in history too—it is to be portrayed in the painting of the domes. This painting must not merely be a covering of the surface, but call forth the thought: When you come to the surface of the dome you will discover something.—One must forget that any physical structure is there. The physical element of the paintings must be pierced through; one must see through the surfaces into the expanse of the spiritual worlds. It may possibly be that we shall not succeed in this in the case of our Building, but as the principle is developed, one day, perhaps—as the result of Spiritual Science—men in some future time will behold a mighty dome whose configuration leads their gaze out into the infinitudes of spiritual life.

If we live at some particular place on the earth and want to travel to another—at certain times we may want to do this but are prevented—then it is brought home to us that men can confront each other as enemies, that they can fight with one another about things of the earth, and even more than fight. But they cannot fight about the sun and the stars! Even though the Chinese have called their ruler the Son of the Sun, the Son of Heaven, and although for various reasons they have started wars on the earth, they have never started a war about ownership of the sun; it has never occurred to them to engage in strife with other nations about ownership of the sun. All kinds of things can be the cause of strife in the souls of the peoples spread over the earth; but that which directs men's gaze upwards into the spiritual worlds can never be an inducement to strife. It cannot lead to strife.

It must be realised that a great deal has yet to happen in the course of earth-evolution before humanity will have advanced far enough to have such a vision of the spiritual world that Spiritual Science will be as the sun and the stars are in physical life. Much will be necessary before this point is reached—above all the point where, through Spiritual Science, men will begin to think not only with the instrument that is almost entirely used for thinking today, namely, the head. In a certain sense it is true to say that nothing is more remote from us than our heads! For in all, essentials, the head, as far as its main foundation is concerned, was already completed at the time of the ancient Sun-evolution. The rest is an inheritance, partly from the Saturn-evolution, and has developed to further stages; during the Moon-evolution another important impulse was given. But. what is thought out in the head is in reality as remote from men as is their knowledge of the Saturn-, Sun- and Moon- evolutions,

Although there are often profound truths in many sayings current in everyday life, there is one very common phrase which should not be believed. One often hears it said “I have a mind (German, “head”) of my own.” That is an error. No one has a mind (or “head”) of his own; his head belongs to the Cosmos! If someone were to say: “I have a heart of my own”, he would be talking sense. But he talks nonsense when he speaks of having a head or a “mind” of his own.

Men will have to begin to develop thoughts which are experiences in the way I described yesterday in speaking of the inner experience of rising from the recumbent into the standing position. We experience this too, merely with the head. In reality a stupendous process takes place in us when we raise ourselves out of the recumbent position in which we lie parallel with the surface of the earth, and place ourselves into the direction of the earth's radius—but we experience it in an utterly abstract way. This change of direction from the cross-beam of the cross to the vertical beam—when this becomes a real experience it is a stupendous. process, a cosmic process it is the Cosmic Cross.

This happens every day. But we do not by any means think every day about the fact that through the act of standing up end lying down, this Cross is inscribed into very life.

It is a far cry for man from this abstract process of standing up and lying down, from this assumption of the form of the Cross, to the conception that can be expressed by saying: If man were not so constituted on the earth that he lies down and again stands up, the Mystery of Golgotha would not have been necessary.

If someone utters the sound B—as for example in the word Building—and adopts the sign B for this sound, then the sign signifies the sound B. If someone asks for a sign to express the fact that the Mystery of Golgotha was necessary for earth-evolution, then it is to be found in the Cross, which embodies the acts of lying down and standing up. Because man is so constituted on the earth that he lies down and stands up, the Mystery of Golgotha had to take place.

This will be known when men begin to think with the second brain—not with the “head-brain” but with a second brain to which I referred in the lectures on “Occult Reading and Hearing” when I said: The lobes of the brain must be regarded as arms held in a fixed position. If your arms and hands grew to your sides, you would think in such a way that there would be no possibility of doubting that this Cross is the appropriate sign for the Mystery of Golgotha. It is only the head-brain that is baffled by this kind of thinking. But it is also the head-brain that creates the soil for the many misunderstandings prevailing in the world. The reason why so many misunderstandings arise is because the head-brain alone is active and creative today. But the second brain must also become creative, creative to such a degree that something indicated figuratively a little while ago, is fulfilled. I said that the Greeks did not know of America. But when we go back to other ancient traditions, we find that there were times when the existence of America was indeed known. But then this knowledge was lost. There were also times when that which Spiritual Science is striving again to acquire was present. Spiritual Science knows that a great deal that formerly came to men from subconscious, dreamlike experiences, must come again consciously. Men also had something like a common speech, which only later differentiated. There is profound truth in the biblical legend of the Tower of Babel. But as long as men can only think with their heads they will not be able to be creative in the way they were creative in ancient times, for example, in speech. Spiritual Science, however, has within it the capacity to bring the elements of speech into movement. And when it is said that in our Building the element of art has been brought into movement, it must also be said that life itself must be stirred into movement.

A vista can arise before us of a time when Spiritual Science will be truly creative, when through the thoughts and ideas unfolded in Spiritual Science, speech itself will become creative. Spiritual Science will one day be spread over the whole earth and will give rise to a common speech, corresponding to no speech or language existing at the present time. I am not referring to anything like Esperanto, for that is an artificial, inorganic invention. The speech of the future will come into being when man learns to live in sound itself, just as he can learn to live in colour.

When he learns to live in sound, then the sound itself gives birth to the configuration, so that it becomes possible once again to create speech or language out of actual spiritual experience. We stand only at the very beginning of many things in Spiritual Science but as yet not even at the beginning of what has here been indicated. We must, however, keep it in our minds in order to realise the importance of Spiritual Science and to be aware that Spiritual Science bears within it a new knowledge, a new art, and even a new speech—a speech that will not be compiled artificially, but will be born.

Just as men will never fight about the sun or the stars, they will also never fight about that new speech, by the side of which the other languages still in existence when this new speech has come into being can quite easily continue.

As you will certainly have felt, we have placed a far-reaching ideal before our souls, a very far-reaching ideal. Most materialistic thinkers of the present time would certainly say: This is all airy nonsense, for the fool who can talk like this about the creative power of speech and about Spiritual Science must assuredly have lost all solid ground from under his feet.

It is easy to imagine that if some person of eminence in our time had been listening from a corner to what has been said, he would have burst into derisive laughter at this flight into the clouds without solid ground underfoot. We, however, could have a certain understanding of his attitude, because by placing such lofty ideals before us, we have indeed lost the dense, solid earth underneath us. As long as the earth continues its evolution as a physical planet, this ideal will not be realised. The physical earth will have come to an end before this ideal is fulfilled. But the souls of men will live over into other planetary incarnations, and these souls will experience the fulfilment of this ideal if they become conscious of it in our time.

Yes! Ahriman might stand there and be the arbiter between ourselves and the person we have imagined sitting in the corner, listening and chuckling to himself because he supposes us to have lost all ground from under our feet. Ahriman might well rub his hands and say: “They call that ‘ideals of the future’! They have lost the ground from under their feet; the gentleman up there on the hill says so himself. He mocks himself and knows not how! He is speaking the truth and is not aware that he is doing so”—

But we know that even though we do not stand on the solid soil of the earth, we nevertheless stand in Reality with what we make into the living word of the soul, And why? Because we avow the Mystery of Golgotha in earnest and not with the shallowness that is so general today. We know that Christ lives, and that we can know the truth when we let Him be the great Teacher and Leader in our striving for spiritual wisdom. But He uttered words to this effect: You cannot truly believe in Me in your inmost being until you cease to acknowledge only those words and ideals which will perish together with the earth—(for the whole outer configuration of the earth will perish, the earth in its present form will pass away)—until you hearken to My true words. Of these true words He has said: “Heaven and Earth will pass away, but My words will not pass away”. Therefore in the life of soul we can have firm foundations, even though our ideals cause opponents to say that we no longer stand an the solid ground of the earth. If we are to make true avowal of the mystery of Golgotha we must have ideals which are more enduring than the earth and the configuration of the heavenly bodies circling around the earth in the Cosmos. We must hearken to the revelation of the Mystery of Golgotha which will be there even when the earth no longer exists, nor the heavens which now look down upon the earth.

The meaning of the word that proceed from the Mystery of Golgotha is infinitely deep. And those who will not lift their souls from the ground into the cupola—which should be transparent in order that they may look into the spiritual world—those persons are not living in Reality. For if this dome, this cupola, is to be the expression in architecture of the Mystery of Golgotha, it must itself remind us of the words: “Heaven and Earth will pass away, but My words will not pass away.”

Last night I tried to give some thoughts here about what a spiritual scientific worldview sets out to achieve, about the sources from which it originates, and I tried to draw attention to how this spiritual scientific worldview wants to place itself in a similar way in the spiritual cultural development of humanity, as the natural scientific worldview placed itself in the spiritual life of humanity centuries ago. Most of the honored audience is aware that here in this country, near Basel, on a hill surrounded by beautiful natural surroundings, in Dornach, a building is to be erected - work on this building has already progressed to a certain extent - that is intended to serve the spiritual-scientific world view, and which is to be, so to speak, a place where this spiritual-scientific world view can be cultivated in a right and dignified way.

Now, of course, it is certainly not possible to judge anything that is unfinished. But among the many voices and judgments that have come from the outside world to those who have to do with this building, there is so much that is adventurous, so much that is completely misunderstood and inaccurate, that it might perhaps be of interest to talk here in this city, in whose vicinity this building is located, about the principle of what is intended with this building. I would like to make it clear that this evening I will not be discussing the artistic or other details of this building, but will confine myself to a general description of what characterizes this building as a setting for spiritual scientific research. Anyone who has become familiar with the spiritual scientific world view and at the same time is aware of the prevailing habits of thought and feeling in the present day will not be at all surprised when those who have not yet concerned themselves much with the spiritual scientific world view see all kinds of fantastic, dreamy, perhaps even crazy and twisted things in it. Basically, however, this will appear quite natural to anyone whose whole soul is immersed in the spiritual-scientific world view. But nor will anyone be surprised that the architectural framework of such a structure, which - and this should be stated explicitly - is undertaken as a first, weak attempt, can often appear to the outside world as something adventurous, fantastic, and strange. After all, what lives in this spiritual-scientific world-view current, with all the people who profess this world-view current, is often and quite understandably taken at face value today.

To mention just one thing, really only as something symptomatic: After a lecture I was once asked whether a woman who embraces the spiritual scientific world view must wear her hair short and eccentric clothing. Surely that is not particularly appealing? Yes, I was also asked whether anyone could believe that women could somehow advance in their spiritual development by cutting their hair and wearing peculiar clothes? Such questions have really been asked, and they are actually not fundamentally different from some of the strange things that can be heard from some quarters, not only about the way the Dornach building is shaped, but also about what is to be done in this Dornach building, what mysterious things are to take place in this building in the future. I believe that an understanding of the design of this building as a house for spiritual science can best be gained by sketching out at least a few strokes of the origin of the building.

Spiritual science has been practised by a number of people for years. It goes without saying that at the beginning of its development it had to be cultivated in the spaces that are currently available in the world. Now it became apparent in various cities, including one in Germany, that the premises that had been used until then were gradually becoming too small as the number of participants in the spiritual-scientific worldview grew. So they thought about how to build their own house in this city for the cultivation of the spiritual-scientific worldview. Since the spiritual-scientific worldview not only produces certain ideas of beauty and art from its sources, but can also have a fertilizing effect on artistic creativity itself, the aim was to construct a building that, in its uniqueness, would be a framework for spiritual science, so that the world of feeling corresponding to this way of thinking would be expressed in the artistic form.

Another idea was connected with this. The need arose to express what spiritual science has to say about the laws and facts of the spiritual world not only through words, which in a certain way can only hint at the spiritual facts and spiritual laws hidden behind the physical, but to express it in a living presentation, one could say - if the word is taken with the necessary seriousness - to express it through a theatrical presentation. How could one arrive at this necessity for a theatrical presentation from the spiritual science itself?

Well, spiritual science wants to be something that, although the human soul rises through spiritual science to the regions of spiritual life, of the invisible and the supersensible, nevertheless directly engages with life. Spiritual science does not want to be something unworldly and escapist; in the strictest sense of the word, it wants to be a servant of life, a servant of life for those souls who, for enlightenment about what they experience in life, need insight into the deep connections of existence.

Take, for example, something very close at hand. People meet each other in life. We know that one soul meets another; perhaps at first the other person does not make any particular impression on the first, even though the first has the opportunity to get to know them well. In this way, you get to know hundreds and hundreds of people without being particularly impressed by any of them. But it is not like that with one soul. You feel drawn to this one soul in the first hour, perhaps even earlier, in the deepest sense. You feel something related in it; you do not ask what the relationship is; but that, of which we are not even aware, lives in the subconscious depths of the soul's life. It becomes the shaping of our further life. We are brought together with such a personality by bonds that are of deep, most important significance for our further life.

Spiritual science shows that man has a soul essence that can be brought, through the development of himself, to lift itself out of the physical and can be viewed purely spiritually. Spiritual science, not through philosophical speculation but through direct, real soul experience, thus learns that an eternal being, which goes through birth and death and is linked to the physical body for the time between birth - or let us say conception - and death, is present in man. And just as we have seen that our soul essence, before it enters its physical existence through birth or conception from a spiritual world, was already present in earlier earthly lives, so too does spiritual science show that our soul essence, when it has passed through the gate of death, has gone through a life between death and a new birth, in order to then bring to expression in a new life what it has carried through the spiritual world as results, as fruits one might say, of this life, in order to shape it anew in a new life. All these things are difficult for today's way of thinking to understand, but at the same time they are things that in the not too distant future will certainly have entered into the general consciousness of mankind to such an extent that human life will no longer be imaginable without these things being taken for granted.

Now, in response to what was said yesterday, I would like to say that even in ordinary life, without a person becoming a spiritual researcher, he goes out of his physical body with his soul every night from the moment he falls asleep until he wakes up and lives in a purely spiritual world. I already mentioned yesterday that dreams arise, dreams about the nature of external experiences, about the nature of what passes by during the day. Of course, these dreams are not such that they can provide enlightenment about the spiritual worlds. But if one does not approach the dream life superficially, as often happens today, but interprets it oneself with the probe of spiritual research, if one can see through the chaotic, the fantastic of dream experiences with understanding, and if one can separate from these what is only reminiscence, only memory of everyday life, then something remains at the bottom of the dream images that can be characterized as saying: there is something in dreams that has not been lived out in ordinary physical life.

Let us assume that we met with some personalities one day. We can then dream of them and of what we experienced with them. What we dream can be completely different from any memories, but it does not have to be that way. These experiences that we had with individual personalities can be transformed in such a way that we say to ourselves: “You neither experienced this in being with these personalities, nor did you think this.” The whole thing has shifted, so to speak, and something different has emerged from it. And if you now investigate – I can only briefly hint at this – you realize that in this unexperienced, but in the dream pushing through, something lives out of what still keeps us away from the personalities we have come together with, but what contains the seeds of something that will be experienced with them in a later life, something that is carried through the gate of death and will bring one together again with these personalities in a later life.

Now it seems fantastic what I am saying, but the one who can examine dreams in a spiritual scientific way knows that in these dreams, albeit chaotically, that which becomes fate for a person in later lives is already announced in the soul. We carry something in the depths of our minds that reaches into the distant, distant future, and what is just as decisive for our destiny in later life as the plant germ is for the formation of the flowers and leaves of the plant. And in the same way, in what we experience as fate, we can see the results of what was formed in the core of our soul in earlier earthly experiences. This is how man stands in the world. When he meets another person, there are forces at the bottom of his soul, soul forces, which he is not aware of, but in which he is alive. I would like to say that human life is interwoven, permeated and interwoven by that which determines man, which sometimes determines him to the most important and weighty actions of his life, but which does not come up so much in full day consciousness. How we place ourselves in life, how we place ourselves in the whole world, how we are determined by other people, by the whole world and its events, is based on hidden, supersensible experiences.

'If you look at modern dramatic art, it represents above all what takes place consciously in front of people. And it is quite natural that a drama appears all the more transparent the more it is composed merely of what can be directly surveyed. Those deeper forces that determine the human soul, that are connected with the soul, insofar as there is something in this soul that goes beyond birth and death, cannot be represented in ordinary drama. But the fact that life is dominated by such forces is an immediate result of spiritual science. Now spiritual science, by living out itself, not theoretically, not philosophically, but genuinely artistically, can come to a dramatic representation of life through something other than the word, so that in the play, in the way how the dramatic characters are juxtaposed and grouped, how the entire dramatic action is shaped, the deepest forces of life are expressed, which we do not talk about in ordinary life and which we often do not bring to consciousness. What determines and rules life from its depths can basically only be understood if one looks into this life with the same methods that spiritual science uses to look into what is behind external nature, into what transcends and determines the world. A deepening of human relationships, a deepening of the human soul's relationship to the world, that is what must underlie such drama, I would say, such dramatic expression of the facts of spiritual science.

So, in order to, so to speak, sensualize what spiritual science has to say about human life, dramatic representations had to be presented. In the early days we had to present such dramatic performances in ordinary theaters. It is understandable that the ordinary theaters, which are really - nothing at all should be said against them - intended for quite different tasks and goals, cannot provide the right setting for what this spiritual scientific worldview wants. Thus the idea arose from these and other reasons, arising out of pure necessity, to carry out such a building project ourselves and in doing so to combine an auditorium with a space – which does not need to be called a 'stage' – a space that is suitable for allowing such performances, drawn from the spiritual-scientific point of view, to be performed in it.

I am mentioning all this about the origin of our plan because all sorts of things have been said about what this building should contain. It has been thought that ghosts will only haunt the place, that ghosts will be cited there, that people will come into contact with all kinds of ghosts. No, that is not the case, but it is a matter of seriously grasping the depths of life, which are there, which people long and thirst for, and which are presented to the human soul through spiritual science, not through spooks and ghosts, but through artistic creation, artistic design with the means, which must be means of expression for that which has been hinted at as grounding life ever more deeply. It is with these means, these forms of expression, that spiritual science should speak to the audience in this building. This building in Dornach is therefore intended to be a house for cultivating spiritual science through the word and spiritual science through presentation. It goes without saying that as spiritual science advances, many other things will be connected with it, but it had to be be mentioned.

Now, basically, everything that is expressed in art, if it is to be real art, is a revelation of that which works through the human soul as a world view. Otherwise, art remains a mere appendage of life, an idle addition to life. Let us try to imagine ourselves in those art epochs that were truly great epochs of artistic development. Of course, because of the limited time available to us today, we can only touch on the most characteristic aspects, but let us try to realize how, in the dawn of the Italian Renaissance, Renaissance painting, in all that it offered, was in the deepest, most characteristic sense of the word an expression of what permeated and inspired the Christian world view at that time, what was revealed in it. There we see in Leonardo da Vinci's, in Michelangelo's, in Raphael's creations, what pervaded the mind as a world view. All art that does not flow with inner necessity from a world view is only an addition to life and not art in the real sense.

However, it must be clear that when we speak of a “world view,” we do not mean that it demands to flow out into art, as it were, and also not in such a way that this world view only touches our minds, as is the case with some modern philosophical or scientific world views that only affect the mind. When a worldview is built on mere philosophical or scientific concepts and ideas based on reason, there is no need to create or shape the framework, the architecture, in which the word of this worldview is expressed. But when a worldview seizes the entire human soul, when everything that vibrates in the human soul, in feelings and will impulses, is seized by this worldview, when the whole person belongs to this worldview, then this worldview is one that is not merely conceived, but brings the human being into connection with the whole world around him, then this world view is one that does not merely live in its concepts, but, by forming its relationship to the world around it, sees in all that it sees in its surroundings a continuation of its own inner in every tree, every cloud, every mountain.

Everything that surrounds us externally and everything that can be spiritually assumed behind what surrounds us externally wants to be grasped in a living connection with what we experience inwardly. Through his world view, the human being wants to grow together with everything that surrounds him; he wants to grasp his surroundings, not only in abstract understanding, but he wants to grasp spiritually and soulfully with his whole mind what extends out there in space. When, therefore, the world view takes hold of the whole person, it demands to flow out and radiate into the form, into everything that surrounds us. Since we cannot pursue a worldview in the great outdoors according to the needs of today's life, since it does not provide us with the space in which we can pursue a worldview, a spiritual-scientific worldview demands that it be framed by that with which the person pursuing this worldview is truly and inwardly connected.

Let us just realize that there is a core of being in every human being that is spiritual and soulful, that goes out of the human being in sleep. Let us realize that this spiritual-soul core of our being can become independent of the physical human being by recognizing, by grasping the whole world in a living, cognizing way. This core of being unites with the outer world in a completely different way than the human being who only uses the senses and his brain-bound intellect. While we are in the world of the senses, the human being stands here; the world is outside, is, as it were, spatially removed. As we advance into spiritual knowledge, we have to recognize that this spiritual knowledge is something that is much more intimately connected with the things and beings that are to be grasped by this spiritual knowledge than the sensual things are grasped by our senses. When the spiritual researcher with his soul-spiritual relates in such a way that he recognizes outside of his body – as I explained yesterday – he merges, as it were, identifies with everything in the environment. While we, when we stretch out our hand and point to something sensual, keep this sensuality outside of us, when we recognize something spiritually or soulfully, we connect with everything that fills the spiritual and soul world; we immerse ourselves in the spiritual and soul realm.

Let us now bear in mind that this spiritual scientific worldview should be expressed in the artistic realm. Is it not natural then that the need arises to have such an architecture, such an artistic framework, from which the soul can imagine: if you take the next thing that surrounds you here, should it not be something that arises directly from your spiritual-soul life itself; should it not be something that you would like to experience when you want to be with your immediate surroundings? Well, it necessarily follows that a very special form, a very special spatial arrangement, emerges. When we make a physical gesture, we are satisfied when the hand or the arm takes on the form of this gesture. When we speak of the spiritual context in which the soul comes into contact with its surroundings through spiritual knowledge, the gestures come out of us, the gestures directly populate our surroundings; that which otherwise lives in our skin, in that we are physical human beings, that comes out of us in spiritual knowledge, one might say it becomes a spiritual gesture that lovingly embraces the surroundings.

What this spiritual gesture wants to grasp, what it wants to touch, what it wants to see, the forms in which it wants to live, that is what the basic design must provide for a building in which spiritual science is practised. The forms, the colors, everything artistic must arise directly out of that which can be experienced with the world when it is understood spiritually. Thus, a building that is to serve the spiritual scientific world view is so directly connected to the essence of spiritual science itself in its forms, colors, and everything that is created, that spiritual science must transform itself out of its ideas and words into artistic forms. And by transforming itself in this way into artistic forms, it creates the necessary artistic framework for what must be done within the structure.

Now, very specific difficulties arise here from the thought habits of our time. Spiritual science is really only in its beginning, and that which shines forth for the human being, perhaps not so very far in the future, for the one who stands in spiritual science with his whole soul, is nevertheless quite fundamentally present in what we can pursue in the present as spiritual science. Hence it is that among those who today approach spiritual science, there are many who, though not attached to outward materialistic prejudices, are still attached to other prejudices. How often must we see that just those who approach spiritual science with inner zeal of their soul, often with fanatical zeal, yes, even too fanatical zeal, with fanatical zeal that borders on untruthfulness, still cling to all kinds of concepts from mysticism and theosophy, which one would like to overcome through true spiritual science. Do we not very often hear a popular definition of mysticism today: Mysticism is that which cannot be understood, that which cannot be grasped. Mysticism is that which must remain hidden. Some people believe themselves to be infinitely profound when they utter the word “occult” every quarter of an hour, when they say, “These are occult truths!” It is precisely through the clarity made possible by spiritual science that one would like to eliminate such things.

I myself have experienced (please forgive me for mentioning such examples in order to characterize them) how, twenty-seven or twenty-eight years ago, in the city where I lived at the time, various Theosophists approached me and explained what otherwise reasonable people take for an ordinary poem or a dramatic poem, or otherwise a work of art or even a painting, they have explained it by looking for this or that meaning in it, which one must first spin into it if one wants to find it in it. If they wanted to say something very significant to show that they know more than ordinary reasonable people, then they said: That is abysmally deep! That was something you could hear at every turn back then; it was thought to be a very special way of saying something. Sometimes people don't seek to penetrate the things of the world, but rather to put something into them, to mix something in; and what they don't understand, what they don't penetrate, seems particularly deep to them.

We have even had to experience, for example, that Shakespeare's 's “Hamlet” drama, which everyone must take as self-explanatory, has been interpreted by Theosophists in such a way that one principle is seen in Hamlet, another principle in other characters and yet another in yet others; all sorts of things were pulled in and added. It was miserable, terrible. One could say: Yes, this Shakespeare did not just want to depict this dreamy Danish prince, but a particular principle. As if the work of art would gain something by turning a human being into an allegorical-symbolic straw man and a dramatic structure into an external skeleton of Theosophical-philosophical truths! It can happen that one seeks what is truly deeper in the symbols and allegories, while life becomes impoverished when one sees it only in symbols and allegories.

The rich life becomes impoverished when one believes that one can find something deeper in the symbols. There are people who see something special in putting a pentagram on any old wall or anywhere else. They don't realize what this pentagram is, they don't understand it at all, but this pentagram, that is the number five, the pentagram is directed upwards, you can talk a lot about it, you can whisper and obscure a lot about it and obscure, and if you can say something that is not really connected with the five lines that are intertwined, then you are convinced that you have said or expressed something particularly profound. Or even if you attach the snake staff, the so-called Caduceus, somewhere, then you believe you have done something very special. Anyone who somehow puts up such abstract symbols and forms and believes that they have something to do with art is like someone who has notes in front of him and spins and theorizes all kinds of abstractions about their form, while only the person who has a natural relationship to the notes, to whom the musical concepts arise, can truly appreciate the notes, in that the sound fixed in the notes comes to life in such a way that the sound lives in the mind. Only in relation to what lives in the mind can that which is recorded with the external note symbols have any meaning.

When it comes to a building that is intended to serve true spiritual science, it is only natural to have to deal with such misconceptions, which come from false mysticism, false theosophy, and all kinds of adventurous ideas. If the intention is not to express some kind of empty concepts in stone and wood, but to depict something artistic, then it is eminently necessary that nothing be given a symbolic form by a philosophical or theosophical idea or some mystical non-idea , but it is necessary that what emanates from the idea, what the mind experiences inwardly, shapes itself through the creative power of the soul into form and color, so that the art does not need an explanation, but explains itself. Art that needs an explanation is not art at all.

The aim is that anyone who understands the language of this structure should not need an explanation of the structure. Of course, no one who has not learned Spanish cannot understand a Spanish poem. Those who understand the language of spiritual science do not need an explanation of the structure; for them, without a word being said, there is something self-explanatory in this structure because they have their joy, their upliftment, an inner realization of the soul forces from the direct connection with what is standing there, with what really lives in the form and in the color. One would like to say that a picture is no longer a real work of art, where one needs to write below what it actually represents. A picture is only a work of art when one has only to look at it and when all that the picture has to say follows from what one sees. If we therefore seek symbolism or allegory in the Dornach building, if we seek something that requires us to answer the question, “What does this or that mean?” after every step, then nothing will be found in the Dornach building that corresponds to this. But if we seek something in the Dornach building that provides answers to the question, “Which forms does one find beautiful who has a spiritual-scientific feeling? What forms would he who wishes to gather his spiritual strength around him like to have around him? Then the answer to these questions will be found in the Dornach building.

But in a certain respect spiritual science is something that seeks to establish itself as a new element in our cultural life. It is therefore understandable that such a setting must also be something that, in a certain way, introduces something new into our artistic life. And here, at this point, I would like to emphasize that I ask you not to believe that what one might have in mind as architecture, or as an artistic expression of what spiritual science can give, has already been achieved in the Dornach building. The Dornach building is a beginning, and as a beginning it is as incomplete as any beginning can be. The limited funds that were available, despite the fact that the building took up considerable funds for certain concepts, only allowed the very first step to be taken. And even the work that was necessary from circles of friends could initially only make a very first start on what can present itself to the soul as a new style of art, as it must arise out of spiritual science itself.

Therefore, I would ask you to consider this Dornach building only from the point of view of a very first, primitive beginning, with all the defects and imperfections of a beginning; to consider it only from the point of view of asserting aspects of artistic creation of forms that correspond to spiritual-scientific feeling and sensing, not to spiritual-scientific thinking, but to feeling and sensing when it is artistically intensified. What is being built today, still very imperfectly, on that beautiful hill outside, is really the primitive beginning of something that will one day be formed into a real beauty, into an adequate expression of what spiritual science has to give to human cultural development. Therefore, it must seem quite understandable when so many objections are raised from this or that side against what is being built out there, when so much is found to be imperfect and incomplete. But I would like to mention some of the, one could say, basic feelings that can guide one in the architecture of such a building.

As I said, I cannot go into details today due to the limited time. I would just like to recall a saying of Michelangelo, in reference to the old master of architectural art, Vitruvius, a saying that truly reflects the idea, the essence of architecture. Michelangelo says: Only he who knows human anatomy is capable of truly grasping the inner necessity that underlies an architectural plan. It is a strange saying, but for someone who can engage with such things, it is perfectly understandable. When we survey the whole of nature, when we bring to our soul all the forces at work in nature, when we bring to our soul the formations that live in nature, then we ask ourselves: for an unbiased observer of the whole of nature and the world, where does all this world-becoming, all this world activity, point to? They point ultimately to the human form. In the human form, there is something before us of which we can say, in terms of form and in terms of the way it expresses itself, that Goethe's words apply: 'Man is placed at the summit of nature, so he regards himself as a whole nature that has to produce a summit within itself once again. To do so, he elevates himself by permeating himself with all perfections and virtues, invoking choice, order, harmony and meaning, and finally rising to the production of the work of art, which takes a prominent place alongside his other deeds and works.

That that which man himself then reshapes when he, as an artist, continues nature, so to speak, will therefore gain the most diverse points of reference precisely from what has been shaped from the whole world and its secrets into the human form, the human structure with all its gestures, with all its life. Today, it is not possible to go into architectural styles or the development of architecture. Those who are truly familiar with the development of architecture know that, while it is true that the essence of artistic creation is most difficult to see in architectural art, it is also expressed in this architectural art. But because this essence of artistic creation is most difficult to see in architectural art, it shall be shown in sculpture. The same could be shown in painting, in music, in other arts.

In our time, precisely because the materialistic view and attitude has taken hold of everything, there is little real insight into what the essence of artistic creation actually is, which is the emergence of art from the inner soul activity of the human being. Today, the artist is so often obliged to rely on the model, and the person who looks at something that is a work of art has the first question: Is this natural? Does it depict this or that naturally? Such judgments do not belong to real art, but to the decline of art. Real art is connected with what happens inwardly in man. When the sculptor creates a face, something of the feelings and inner soul experiences must truly live in him, which the physiognomy, which even the gesture of the face, conjures up from the depths of the soul. If it lives in the soul of the artist, then what lives in him feeling and creating can pour out into what he shapes.

The forms that we reproduce architecturally are not so close to what we experience directly or what lives in our soul. But in a certain way, what can be architecturally designed does arise from what is experienced in the human soul. I have already indicated how the gesture is continued, how that which can be created in the environment emerges from the movement, from the gesture - not from the gesture that the physical hand makes, but from the gesture that the spiritual organs make when they want to grasp the immediate environment. What is experienced inwardly, to be shaped in forms and colors and in other artistic means so that one stands in everything in it, so that what one creates in space as forms and colors is a continuation of the inner being that flows out into the forms, into all curves and inclinations, into all colors that cover the walls: that is what spiritual science wants to show.

Let us look at how the building should be designed from this point of view. As was explained in the description of the genesis, the challenge is to present to the audience's eyes and ears something that becomes clear to human knowledge through the results of spiritual science. Spiritual science is something that should be absorbed by the soul in a concentrated way; those who want to absorb what is presented in spiritual science must be concentrated. We are therefore dealing with a space for the audience and a space for what is to be presented from the sources of spiritual science.

When a person is collected, he must close himself off from the outside world; he must, as it were, hold his powers together. This is the outer nature of the structure. What kind of space will have to be created if what is in the people who are in such a space is to express itself meaningfully, but also to continue in the surroundings? It is quite clear, not for abstract concepts but for artistic sensibilities, that a rotunda must be created and that, above all, the collection can best be presented in a dome-shaped space. The dome-shaped conclusion expresses what is really alive there, not in a symbolic or allegorical way, but rather in such a way that, as it were, an excavation is made in the room, I would say, that the space is pushed back, and the way the space is pushed back results in the architectural form. In essence, therefore, such a building, which is based on interior design, must be a building that takes its form from the fact that what happens in it vibrates and bumps into its surroundings, and that the vibrations persist. What I have only hinted at so far could be developed further. It would then become clear that two rotundas are created by the two departments - the one derived from the humanities and the other from the audience; two rotundas that are connected, however, that must belong together. This would become clear, not through abstract thought, but by feeling it out in a very artistic way. The two interconnected round structures would arise in the middle, overlapping and closed at the top by parts of spherical surfaces (Figs. 1, 3, 8, 9).

It goes without saying that the exterior architecture, I would say, is of lesser importance for such a building, which is dedicated to inner contemplation and concentration. Everything that seeks to be artistically shaped in forms and colors must arise from within, must be projected from the inside out. What is formed on the outside is, so to speak, that which arises from the fact that, by repelling the waves of the world, the other waves of the world approach again, meet with what reaches out into space; and in the encounter, what is formed is, if I may use the word, the outer form, the outer decoration. But the whole must be formed out of this fundamental idea. Out of this fundamental idea, but out of the felt, sensed fundamental idea, this outer form necessarily arose. Technically, it was not at all easy to execute what you see executed there: to join spherical surfaces together in such a way that the thing can technically exist. And I may mention here that we were able to solve this problem, which has not been solved in architecture before, through the insight and efforts of a Basel engineer friend of ours. In this way we gave the outer form.

In the same way, we must think about how the building itself is to be designed. If you walk around the building, you will find three gates (Figs. 3-9). These three gates are designed in such a way that you may wonder about their forms. Why are these forms exactly as they appear to us? Is there an answer to the question: Do these gates have to be designed in this way?

Yes, you can get an answer, but it cannot be an abstract, philosophical one, nor can it be an unartistic one , but one could say something like this: Yes, I also know something else where something comes in from the outside into an interior, how people will enter through the gate into the interior, I know, for example, the human eye. Light enters through the eye to do its work, the weaving of light, inside the human being. And now do not ask for some abstract idea of how the eye is formed, but feel how the light necessarily evokes a very specific design of the eye. In order for light to come from the outside into the human interior, it needs the eye; in order for the light to propagate, it must come into the interior through something that is designed like the eye. Look at our gates, then you will have to give the answer: Let us assume that there are people who want to gain a certain relationship with spiritual science; these people enter this room from the outside through the gate. The fact that they enter, felt and sensed vividly, should be expressed in these forms of the gate.

And again, we enter the room (Figs. 28, 29). From the way I have depicted it, you can see that there are spectators sitting in it. In the smaller room, which is also a round structure and adjoins the other (Figs. 55, 62), something is taking place that is a revelation. It is not a ghostly or spectral revelation, but a natural revelation of the results of spiritual science, only it is completely transformed from the philosophical-theoretical into the artistic. There are spectators concentrating on what is happening in the space of the performance. The spectators' attention rushes through the space. Now let us imagine that this space, completely animated by the attention of the spectators, should reveal itself within itself. The whole atmosphere, which, so to speak, must take hold of the soul when it feels: There are spectators, there are listeners, there are attentive people, people in whose souls what is happening before them is taking place, this whole atmosphere, this feeling is continued in the structure of the columns that run along the room, is continued in the peculiar sculptural forms that .

There is a single axis of symmetry that runs from the entrance through the center of the room, and the shapes on the individual columns indicate that the audience's attention is directed towards the performance space, and that what emanates from the performance space in turn comes towards them (Fig. 29). If you look at what the columns are supporting, you will recognize from the forms carved out of the wood how attention really does encounter what comes towards it from the representational space, and how this is continued. It is not just depicted, it is really captured in the gestures in these wooden structures in the living life.

The whole thing is designed down to the material. I have heard it said that it is a complicated idea of these Theosophists out there in Dornach that they make their wooden columns in such a way that they always use different woods for the individual columns. Such a question arises precisely from the urge to get something philosophical and theoretical as an answer, and not an artistic feeling, not something that reaches in from direct life. What can one say in answer to someone who asks: Why do you make your columns out of different types of wood? One can perhaps answer: Have you ever seen a violin with only A strings? No, there are different strings; it has to do with the design of the violin. The whole structure is built for life, for direct feeling and sensing, right down to the material. Therefore, the structure should express what lives in spiritual science completely artistically and only artistically, not abstractly meaningfully. It was, of course, necessary for the individual artistic fields to develop in very specific ways, because spiritual science, as it were, seeks to penetrate the secrets of existence in the sensory world. This means that what would otherwise be developed as art only in direct connection with sensuality is shaped in a different way.

The interior of that dome – which can only be called a dome in a figurative sense, because it is not a dome at all, but only a spherical termination – this interior is painted (Figs. 29, 62). But this painting is based on something other than what usually underlies painting. Of course, the painting cannot depict what really is in the materialistic sense of the word. This painting shows the way in which a being, an object, a landscape is illuminated, what flits across the external material reality; it shows what in the next moment can no longer be there, it shows the fleeting, that for which the objects are only the cause of its being there. In a still completely different sense, our painting must have an effect.

Do you remember what I said before: that the essence of artistic creation is that the artist himself is present in what is created by the artist, that the artist, by shaping the material, shapes something that lives within him, where he is inwardly present, not painting after something external, but rather shaping the external itself according to what is within him. That this can also be transferred precisely to the principle of painting may not yet be universally understood today. But there is a way of thinking about it: How would you experience it in your mind if you, I would say, saw the world through and through red? Would it affect your mind differently? That the question is justified was known to those who had a somewhat deeper connection to art at all times. Goethe, for example, remarked that if someone wanted to depict how, at the end of earthly existence, the wrath of the world would pour out over all that is sinful in humanity, this divine wrath would have to shine in a red-hot light. Here we see how colors merge into the moral, into the soul-spiritual.

What do we experience in red, in green, in blue? Just as the form can be experienced, so can the color. Then one is not dealing with a reproduction of the colors of what light offers as a coloration; then one crawls into the color, so to speak, and experiences the essence of the color, and by living out in the color, one creates from the essence of the color itself. Thus, in our entire wall painting, nothing should be copied, but from the inner reason of things, insofar as they have something to do with color or with the moral, the spiritual-soul, which is expressed in color, the form should be created from the color itself. What is painted on the walls should express itself, not something else; it should speak to us through itself.

And so the whole structure is formed in such a way that the walls, as it were, are not real walls. The spiritual scientist is convinced that, just as he as a physical person is surrounded by air and the rest of the physical world, he as a spiritual being is surrounded by the spiritual, with all its entities and processes, which fills and fulfills the world. While a building is otherwise designed to be thought of as complete, it must be said of our building that, however much it is a frame for the gathering audience, it is at the same time something that cancels itself out. Seen from within, this ceiling should give the impression that basically there is nothing there, but that we know that by looking up at this ceiling, this ceiling lifts itself up; it becomes a spiritual direction, into infinite spiritual expanses it is the beginning. We will basically have no walls despite the frame, but something that is permeable, that leads into distant worlds, into vast worlds. And it is the same with architecture, with sculpture, with column forms, with everything that surrounds us. It should not shut us off; it should lead us out into the expanses and distances of the spiritual world. The walls must be placed in such a way that one says: when one takes the step out, that must be the first thing, and if one pursues this further, one comes out into the expanses of the spiritual world. Walls that destroy themselves through what they are, that is what, in a certain respect, is the goal of a new art, even if, as I have indicated, it is only in its very beginning.

And something else may be said. Anyone who enters our building today will be able to say: Yes, everything that is so often regarded as the actual architecturally correct, as the noblest forms of architecture, is basically no longer there here. And there is some truth to that. If we take an extreme case and look at a Greek building in its harmonious forms, built by the forces that act outside as spatial forces, brought into beautiful harmony, then we cannot say: our building is designed in the same way. The Greek building is designed in such a way that it represents the highest level of utilization of the forces of space, of pressure, or, as they are called, of gravity, which otherwise fills space. In our case, a breath of the living and weaving permeates the entire building. While we have something mathematical in Greek temple construction, something that comes from the mere interplay of forces, which is nevertheless inanimate, even if it is composed in the most beautiful harmony, in rhythm and proportion, our building is conceived in such a way that one can have the feeling that something alive is quietly passing through its lines, as something highly alive passes through the human form. Life pulses and vibrates through that which is expressed in forms. This is true; but therein lies the progress of architecture.

I would need many hours to discuss the architectural principles of style; how Greek gradually leads to that which brings life into architecture. In the future, the hitherto dead architectural form will truly come to life. We can only make an imperfect very first start. But this start must be made, and something dynamic, something invigorating, something that moves must be introduced into the purely physical-mathematical forms. Here, too, we may refer to Michelangelo's saying: Only he who knows human anatomy is able to form a true conception of the inner necessity on which an architectural plan is based.

But we find that when we look at the human form as it we see in the truly spiritually understood anatomy, that alongside all its movement and life, there is something that already presents itself in life as something dead, as something merely mathematical: the way in which the structure of our bone system relates to each other. The way in which we physically move the various parts of our skeletal system in relation to each other shows that something dead and mathematical is present in the life of a human being, that death is contained in it. And now it is possible to bring just as much life into the dead structure as there is death in the living human being. And that is what has been attempted with our structure. It has been lifted out of the rigidity of the merely mathematical, of merely following lines and adding forces. It has been imbued with life, with organicity, as much as there is dead matter in a living human being. The living element in the human being can only exist because the dead is mixed in with it in a certain way.

Our building takes on the appearance of life because what is merely joined together dead is given the appearance of life, the appearance of the living is lent to it. And at one point, it is shown what underlies it as a basic idea of spiritual science, that this spiritual science should stir up something in the soul that brings the soul into intimate contact with life. Spiritual science should make people life-friendly and devoted to life. In spiritual science, people should find something that introduces them to life, that makes them strong and powerful for life, which is becoming ever more complicated. Therefore, our building must also have something that directly shows how to not just put something together and paint it with the means that are available to us as human beings, but something must be presented here that expresses the tendency for our building to be in close contact with the whole world so that not only we as human beings work on the building but the whole world works on it.

This is attempted by transforming the earlier glass painting into a kind of glass etching (Figs. 102, 103). A special kind of artistic treatment of the windows in the Dornach building will be found. I can only hint at it. The window panes will not be treated in the way that stained glass was treated in the past. Instead, the panes of different colors will be treated in such a way that a special etching technique is used to scrape out the form from the glass, so that the corresponding figures are created by the fact that the light from outside can penetrate through the different thicknesses of the glass and the outer light, by holding the glass against it, works together with us. A glass pane like this is not a work of art in itself; it is only when it is installed and the external light passes through the glass pane that the work of art is created. Glass etching, through which sunlight penetrates directly into the interior of the room through various drawings on the glass. Here we have the whole world working together in the way that light can come in from the outside into the interior, which, during events, usually has to be illuminated with the artificial light of the modern age, with electric light.

And so it must be said that such a building is not intended to to represent something particularly abstract, something quite strange, which a few good-for-nothings of life perceive as a pleasant place to stay, but rather it should be presented in such a way that it is sought out by precisely those who need a boost for their lives, so that they can get to know life in its depths. It was not allowed to put something there that has nothing to do with what today's culture is. Therefore, the most recent material was used quite consciously. In addition to the part that was made of wood, for reasons that cannot be discussed today, the most recent concrete material was used, and an attempt was made, because artistic creation must really shape out of the material, to use this concrete material in such a way as to express, materially, if I may use the paradox, the most spiritual with this most recent, most material product. Not something outlandish should be collected, but that which the time yields should be used for the ideas that are supposed to bring, precisely for the time that works through external materiality, the spiritual, the ideal, the spiritual-soul.

Next to the building, you can see something else that many people today find particularly crazy (Figs. 100, 101). This is something that arose from the question: How should the whole building be heated? For certain reasons, one did not want what is in this annex to be inside the building itself, mainly for artistic reasons. Should one now build a chimney in the current way, should one put all that such a chimney requires with a boiler house in the way it is often put in the world? That was the question, and at the same time, the task of using concrete for such a construction had to be solved. Now this had to be solved: what concrete casing should be given to such a boiler house? How should what is formed in concrete be constructed? Certainly, the forms that have emerged will not be understood by very many people today. But that is how it is with everything that is built as something new. But people will learn to understand.

The boiler house is only completely finished when smoke comes out of it; that belongs to the forms. And people will one day understand that the forms carved out of the concrete material really relate to what happens inside, to the whole idea of the building – artistically speaking – like the nutshell to the nut. Just as we feel that the nutshell is designed for the nut – the nutshell has to be designed for the sake of the nut, and it would be ugly if it were not designed to be a proper shell for the nut – so what is going on in the boiler house must be enveloped in such a shell, like the strange concrete building that stands next to our Dornach building. So you see that artistic considerations have played a part everywhere. They were questions of artistic feeling, questions of feeling, not questions of allegorical or symbolic meaning.

I have taken up a great deal of your time and yet I have only been able to present to you, I might say, the most elementary main ideas of our Dornach building, without going into the actual fundamental artistic aspects. But perhaps it is precisely through what I have taken the liberty of discussing with you that it has become apparent how such a building must be formed, so to speak, out of the needs of modern life. And anyone who visits this building will also be able to find that this beautiful landscape, which lies around the Dornach hill, this beautiful landscape that continues on all sides, has something in the Dornach building that can be said in the same way as for many successful buildings: they really grow out of the earth, it is as if the earth were sending the power upwards for their creation. Those who allow the forms of mountains and hills, the whole of nature out there, to work on their soul, will find in the outer form of the Dornach building, to a certain extent, an architectural continuation of all of nature.

Therefore, those who were able to erect this building in this beautiful country can greet with particular joy that this has become possible, that it has been shaped by the circumstances. And I believe that those for whom this building is so close to their worldview are filled with a deep sense of gratitude that it was possible to erect this building in this part of the country. It may be called a kind fate that those people who are out there in the world, one in this, the other in that profession, one in this, the other in that place in the world, may stop at certain times of the year on the beautiful Dornach hill and get there, for what they have to do in the outside world, strength of life, strengthening of life, through that collection which is to be sought in our building and which is to be expressed through the forms, through the art of building.

In this context, it may perhaps be mentioned that it is perfectly understandable, indeed self-evident, that people who, through their lives, are able to be where they want, to build where they want, will build their houses near the building. It is indeed a great joy to see, from many points of view, that the building will be surrounded by a number of houses, perhaps later a larger number of houses, in which people will live who are in tune with the purpose of the building. But the main thing is not what is called this colony; the main thing is the building, which wants to be neither a church nor a temple, but precisely that which can be called an embrace of the spiritual-scientific world view. And because this building wants to be what has been described, it wants to serve people who are out there in the world, some of whom work here and others there. Our worldview cannot have much time for theosophical or mystical worldviews, or whatever you want to call them, through which people withdraw from the immediate life of the present, gathering in colonies to pursue their whims and fantasies and dreams in idleness. Spiritual science is not intended for idlers, for people who do nothing but sit together dreaming in what they call colonies. Our world view is not intended for them, but for people who want to work diligently on what is being achieved in the present for human labor, for human salvation and human progress; for these people, who are in the prime of life, for people who have something to do in life, this structure is intended. They should only be there during the times that are their life Sundays, their life holidays, when they come together to gain strength for the innermost forces of the soul for the rest of their active lives. We certainly do not want to found a colony for idlers, but we want to create something that serves life as it presents itself to people in our time, in our cultural epoch. We want to serve what is demanded of people in our cultural epoch. Of course, this is not a criticism of people who want to retire or have a summer house and recover, so that something can arise that can be called a colony surrounding the building. From certain points of view, this will have great advantages, but the basic idea requires that I express what I have just expressed.

Anyone who has grasped what has been said about spiritual science in connection with the design of this house in Dornach will no longer need to be told that this spiritual-scientific worldview is not hostile or opposed to this or that religious belief, this or that way of relating to the supersensible world. On the contrary, spiritual science wants to bring to the human soul that which lives behind physical-sensory phenomena, wants to bring this to the human soul in a way that has not been possible through the achievements of human culture to date, but which is demanded by the future. Just as from a certain point in the development of humanity, the Copernican worldview, the worldview of a Galileo, a Kepler, everything that is connected with modern science, was required for the outer space, so in our time something is required for the life of the soul, something that must come in, just as the scientific worldview has come in, something that will serve life in its moral , its spiritual-soul development, just as natural science has served material life.

Just as progress was indispensable and necessary there, so progress in the spiritual-soul sphere is indispensable and necessary, and in the future people will be just as unable to live without what spiritual science has to give as people today are unable to live without the achievements of natural science. Just as true scientific progress cannot in any way hinder religious elevation to the supersensible, the religious connection of the soul with the supersensible, so the spiritual scientific world view will not do this either. On the contrary, this may be particularly emphasized: While the natural-scientific world view easily leads man to what may be called a soul that does not want to concern itself with anything supersensible, that believes that a satisfactory world picture can be formed from what natural science itself provides, spiritual science shows us that man's soul is in contact with supersensible worlds. And by opening up these supersensible worlds to the human soul, it will deepen precisely the religious need.

Just as our building does not want to be a temple or a church, so spiritual science does not want to be anything that replaces any religion. On the contrary, anyone who penetrates into the depths of the world in a spiritual scientific way will be led back to religious life. What the individual then does with his religious belief is his personal business; spiritual science does not concern itself with this. Spiritual science aims to found a spiritual-scientific world view; it does not alienate people from their religious beliefs; it can only lead them more intimately, more deeply, more energetically into their religious life. And if one were to really see through the very core of true spiritual science, then religious beliefs would have very little to object to against this spiritual science. Rather, they would say: “Due to many things that have arisen in the has estranged many a soul, but now a current is coming that brings people together with the supersensible worlds; this will awaken and fertilize religious life in its depths. Once people have gained an understanding for it, they will no longer see spiritual science as something that encroaches on the religious communities, but as something that must necessarily come into the world, but that comes into the world in such a way that a religious person must welcome it as something gratifying.

But here too we see that there is still much remains to be done if our contemporaries are to develop a true and genuine understanding of what spiritual science wants and what it has to do in all areas of life – for example, in relation to the arts, but one could say the same in relation to social issues – in a world in which human conditions are becoming increasingly more complicated and complex as we look towards the future. And for many areas, indeed for all areas of life, it can be shown that spiritual science wants to be there to sow the seeds of renewal of life as it will be needed. This renewal of life, its inner necessity can be recognized by anyone who sees through life. The task of spiritual science is not to replace religion, nor to found another religion. The task of spiritual science is not to appear somehow polemically or critically against what has been artistically created so far. But like every genuine world view, one that takes hold not only of our abstract intellect, our ideas and concepts, but of the whole human being, must express itself artistically, so must spiritual science express itself artistically. And the first step in this direction is the building in Dornach – a primitive beginning, as I said.

It will be understood that spiritual science is able to deepen religious life and to fertilize art. But spiritual science wants to be a science, albeit a science that is close to the most intimate needs of the human soul. And it wants to be such a science, a strong promoter of the life that our time needs. Therefore, for everything artistic, for everything social, for religious and many other special areas of life, we can say what Goethe said in relation to the religious feeling of man:

He who possesses science and art also has religion. Those who do not possess these two, have religion.

Those who truly possess spiritual science and who immerse themselves in the artistic perception that flows from spiritual science in a feeling-based way, for them it can be said, once again summarizing a feeling, this time a Goethean feeling, which is also what every stone, every piece of wood in our building should express: Those who possess science (in the sense of spiritual science) and those who possess art (especially art in the sense of spiritual science) also possess religion. This is what can be said for religion and for many other areas of life from the point of view of spiritual science. Therefore, the feelings that should flow through my reflections today may end with Goethe's words – even if this only refers to the religious current, what applies to religion also applies to the other areas of life:

Those who possess science and art also have religion.
Those who do not possess these two may have religion.