The Rudolf Steiner Archive

Address by the architect Carl Schmid-Curtius

As the builder of this house, it is my privilege to address the first words of greeting and welcome to you at today's house dedication.

The abundance of feelings that move me at the handover of this building, our new Theosophical home, should above all find expression in my heartfelt thanks to all those who, with their advice and support, have actually made this building possible. Once I have thus fulfilled the noblest duty of someone who has accomplished a work with the help of others, I may summarize my many wishes for this house, in which Theosophy is to be taught for many generations to come, that I say: In these rooms, the occult motifs have been arranged according to a fundamental idea under higher guidance and approval; we know that everything that surrounds us here is the expression of a spiritual. May these forms all serve to promote Theosophical work and may this building always be dedicated to the spirit in which it was built!

I hereby hand over the keys of the house to the building association of the Stuttgart branch association, and express my heartfelt thanks for their loyal support. I also wish them all the best and much success in their work in these beautiful rooms.

Address by the chairman of the Stuttgart branch association's building association, Jost del Monte

On behalf of the building association, I take over the key of this house.

If you, my dear Mr. Schmid, have addressed words of thanks to all those who have helped you to accomplish this work, we are well aware that these thanks must go above all to the one whose profound knowledge alone made it possible to develop the ideas embodied in these rooms, and each of us shares your sentiments with all our hearts. And as far as these thanks are directed at us, let me tell you that we have regarded it as a very special favor to be allowed to participate in this work. We leave it to our dear guests to judge the extent to which the work has been successful; but let me add one thing: working together with you in harmony has given us great satisfaction, and we fully appreciate the amount of dedicated work this work has required of the builder. We thank you very much and are pleased to be able to say this to you from this point.

Furthermore, we would like to thank all those who have generously contributed to this undertaking, and in particular we would like to mention one of our members who, with a large, fundamental donation, has made it possible to fulfill our long-held wish.

And finally, on behalf of the building association, let me express our joy at being able to celebrate the inauguration of the house together with so many friends from outside. We thank you for your interest in our celebration and warmly welcome you. We have been able to create a stronghold for theosophical life through our loyal cooperation; this house is now complete, and the building association has thus fulfilled its primary task. I now hand over the key to this house to the Stuttgart branches, which may become a place of loyal work for them.

Address by the Chairman of the Association of Stuttgart Branches Adolf Arenson

On behalf of the Association of Stuttgart Branches, I take possession of the key to this house.

It has been designed and built in accordance with spiritual rhythms and spiritual laws that have been transmitted to us by our esteemed teacher.

The forms and designs that confront us, the signs and images that give the room its character, are drawn from those spheres that underlie our earthly one; we should always be mindful of this, and the work we do in this house should strive to achieve harmony with our surroundings. The symbols that look down on us – they shall become inner life through our work.

Sacred is the space in its arrangement - in its holiness it shall be animated by our work. It shall become a home for the Highest, which has become ours through high spiritual powers. And we want to protect with all our strength the good that has been entrusted to us. We solemnly swear this.

In this spirit, we ask our esteemed leader to consecrate the place of our future work.

Consecration speech by Rudolf Steiner

All of us gathered here today feel the significance and consecration of this moment. And perhaps at this hour many a heart here will ask itself what the greater significance and the greater consecration lies in, whether in the fact that we have before us, and whose importance for the theosophical life in our circles we cannot sufficiently feel, or whether in the symbolic meaning, in the symbolic importance of what we are allowed to begin here today. The most beautiful and solemn words at this moment are undoubtedly those that resonate quietly in the hearts of those gathered here, and it is hardly my duty to express these unspoken words that now fill our hearts. We feel the significance of the fact that from now on, for the first time, the spirit that has been maintained for years within our Central European Theosophical Society can be realized in a space that, wherever we we turn our eyes, surrounds us with signs and features of what is so intimately connected with all that we strive for as an impulse for our knowledge, which should lead us into the supersensible worlds. And basically, the full weight of this moment can be summed up in a few words: for the first time we are surrounded by a home, by a space that is ours. A concept can easily be associated with such words, but it must be a distant one. Such a word can be associated with the concept of selfishness; but the word cannot and must not be understood by us in this sense, but solely and exclusively in the sense that we now have a space around us that belongs in an intimate and personal way to what we strive for in the spiritual worlds; and if we allow the weight of these words to weigh on our soul, then the all-embracing feeling of gratitude to all those who have made it possible for us to stand today before such a fact will spring up.

However, if we want to go back to the first sources of this possibility, we have to go back years, we have to look back on the dedicated theosophical work that has been done here in this place for years, and we have to remember the beautiful way in which the most diverse most diverse theosophical impulses have interacted here in this place, how mystical-inner and theosophical-intellectual striving have been lovingly combined here for years, and how harmoniously people with of the most diverse temperaments and working methods, but who were all able to harmonize their working methods, temperaments and characters because the deepest impulse lived in them, which we can express as theosophical love, as a theosophical feeling and striving for peace. We would have to reach far into what has been achieved here on the horizon of our theosophical life if we wanted to characterize everything that has finally been condensed into one impulse. So we can say: born here out of diligent, energetic work in the theosophical field was an understanding of the needs of real theosophical life.

This has captured the heart of one of our dear friends, who was able to turn an idea into reality, which must surely always live in all our hearts. Therefore, our thanks must go to the person who made the basic donation for this building, which was conceived in the noble theosophical spirit and can be entered in the memory of the theosophical development. Thus, relatively early in our theosophical striving, a home for our 'Theosophy' was created here, showing a reflection of our thinking and feeling in every detail. The impulse given by our dear friend is, first of all, an invitation to work in a dignified manner in the home that has been given to us. Thus, we feel, as we have done from the very beginning, that not only what lies before our eyes, what affects our senses, is theosophically ours, but we feel at this moment that space is also, in a sense, morally ours; and we feel this space permeated by theosophical love and theosophical willingness to make sacrifices, the love of those who have worked here for years, devotedly and self-sacrificingly, to give the impulse of theosophical understanding, and the love of the one who first made this room possible. And we may say that we also feel the exemplary nature of this present moment in many respects. It has often been emphasized how Theosophy must find its way into all branches and activities of the human spirit, of the soul life and of the outer life.

Just as everything comes from the spirit, so should all human activity be imbued and inspired by the spirit, and so we must regard it as a fact to be recognized in the true sense as a theosophical result, that we have found in our own midst the man who with what our theosophical spirit is. And you all undoubtedly feel at this moment that our dear Mr. Schmid, who has executed this building, has combined his best theosophical feeling and thinking with what the outside world has given him as his artistic ability. We can feel happy with him about this fact. What do we feel when we take a look at everything that surrounds us! Above all, we feel that not only the skill of a master builder, but also the heart of a theosophical master builder has worked here. As true as it is that we stand in awe of the way our friend Schmid implements what 'Theosophy is' in his art, it must also be true that we are full of gratitude for all the love that he was able to put into this building. I think it has also been a task for you, my dear Mr. Schmid, which filled your heart with joy, with the kind of joy that belongs to the realm of spiritual feeling and that arises when a person is allowed to let his ability to work, his creative urge, his skill flow into the forces of spiritual life. But we consider it a favorable karma of our theosophical movement that we have found precisely this master builder, who — as I, perhaps more than anyone outside Stuttgart, can assure you — has shown a wonderful devotion and understanding for what architecture in this case can offer to spiritual life. And we may be glad if a similar relationship can be achieved in the future.

And now let us, who have come together from the most diverse regions to celebrate this hour with our friends here, remember not only the general, sacrificial and dedicated work that has been done, but also the more specific work that has had to be done in recent years. Just think back to nine and a half months ago, when we were able to lay the foundation stone for this building, and consider all the selfless work that had to be done beforehand. Consider further what had to be done by our friends in Stuttgart, by the inner circle of the Society, which today took possession of this building, so that we can be united within this theosophical new structure. It would be impossible to describe this laborious and devoted work. But one thing in particular should be emphasized about this work. Let me mention a fundamental aspect of such theosophical work! You are all undoubtedly filled with joy and heartfelt satisfaction at how our Theosophical Society has grown; but on such an occasion we should not forget that, although it is the greatest happiness in the sense that one can speak of it here, that it has grown so much, with the growth the difficulties in the management of the affairs of this very Society are also growing considerably.

Things such as those that are now appearing before us, full of significance and laden with meaning, must be accomplished by people who, at the time of their creation, can put their whole hearts into the work. This makes it necessary to speak of the fundamental nerve of such a matter at this moment. The more our Society grows, the more it seems as if such work should be placed in the hands of all theosophists. That cannot be! That is impossible! But something else is possible: that the genuine work on such a project should be carried out in an exemplary manner, almost pedagogically, for all those who profess to be our followers. What will be the best in social terms if our movement is to realize in numerous fruits what it has as a germ? It will not be voting and majority decisions, but the trust that one person can place in another personally and individually; that trust that consists in letting the small groups that have to carry out one or the other work work without hindrance. Then they can work as we have worked here. Let us not disturb those who, sacrificing their hearts, are attached to what should promote our great goal, and let us give them complete freedom to work, let us not surround them with the obstacles of know-it-alls who cannot possibly be there! And when the small circle here has been working quietly for years, demanding that trust, then we may say: If we may judge from the fruit on the germ, then what is in any case in line with the theosophical work has proven itself here in the most brilliant way. The work that we see today is, in the fullest sense, a glorious vindication of the trust that we had in the faithful work of this small building association that has been at work here. With understanding and trust, we express our gratitude for the exemplary work of this building association.

When you leave this room today or tomorrow, take this feeling with you: how different it is to be able to devote ourselves to theosophical thoughts in such an environment than in an environment that we encounter when we have to work elsewhere. Let us feel in this moment how the word can expand for us: This space is ours. What does this mean in yet another sense? What was said at the laying of the foundation stone can be repeated in a modified way: “We have built a temple for the Spirit we serve.” How differently we can feel connected to this spirit within such a building! And we then understand the longing for images of the beautiful, magnificent model that has been given to us here. Perhaps more than any words that could otherwise be spoken, this room itself can speak to those who are able to create afterimages; it speaks in a clearly audible way of the necessity to be surrounded by that which is our spirit's temple. And if there has been talk in Munich of another, similar building, only to be executed on a larger scale, then consider as a beautiful intensification of all these words, which can only be spoken with the mouth, what this room is able to say to you. When we enter it with understanding, dwell in it, and leave it to return to it again and again, does it not emphasize the necessity of such buildings in other places as well?

If we allow our feelings free rein for a moment, we cannot but say that human karma works in the strangest ways. We could be filled with emotion that this building of ours could be placed in this region of this country. Let us remember how much of the intellectual life of Central Europe has sprung precisely from these regions. Think of how, in a quiet, earnest, intimate way, a 18th-century spirit wrote the fervent worship of the spirit that reigns and weaves through all worlds in a friend's book with three words: “One in All.” The unfortunate ZZölderlin, from a sense of the spirit in the universe, wrote the words to his philosophical friend in this very area: “One in All.” The word that was written out of deep feeling in this area has often been repeated. It was written in the family register of a man whose philosophical spirit filled all of Germany and, in fact, the whole of the educated world.

Let us also remember how intellectual life in the 18th and 19th centuries took its starting point from this very area. Theosophy, which could only have existed at that time, originated in this very area. Within the Swabian region, there were theosophical centers in the 18th century from which many colonies originated, some of which are still active today. Let us remember that it was a son of this area who came to an 18th-century seer in Thuringia, Oetinger, who represented the theosophy that was possible at that time. Through his own temperament, he found that seer personality of Central Germany who bore a name that has local significance here. Let us remember that from the vision of the 'Thuringian peoples, the theosophy of this region drew rich sources of seership. Let us remember that the great philosophers were sent to us from the same spiritual substance of this region, let us remember that the one who has become so popular within the spiritual life and who spoke the beautiful word: “Thought is an immeasurable realm, and the word is a winged tool.”

If we bear in mind that we wish to be servants of the spirit through the word in this building, which in symbols and forms is intended to be an expression of the spirit we serve, then in a somewhat modified form, transposed into our theosophical thoughts, a word that long, long ago moved and uplifted countless hearts, which had gathered together everything they had left to build a temple for the Spirit they served. And the one who was allowed to serve with his person in the construction of this temple spoke words that we may translate into our language:

"O Spirit of the Universe, You who proclaim yourself to our true self-awareness, You have graciously kept the word You gave us when You saw our work, as it has been done for years by Your servants; and it is becoming apparent today in this hour. Although the furthest reaches of the spirit are not able to grasp You, great Spirit of the Universe, You who permeate all Your works with Your thoughts, You who want to dwell in the words that may sound from our lips; how much less can these temple walls, which we have built for You, grasp You. But behold, Spirit of the Universe, You who make Yourself known in our true self-awareness, upon our will to understand, upon our yearning for knowledge of Your servants! Behold, Spirit of the Universe, Pervader of every ego, look down upon us, and let Your eyes be open over this structure, where You have decided to dwell! Hear our feelings, which urge us, through our work of letting Your spirit flow into the spaces we have dedicated to You, to show ourselves worthy of You!"

I had to resort to the words of the Old Testament, to the words of Solomon, to express what we ourselves, out of the spirit of human development that has progressed with the world, have to address like a prayer to the spirit of the universe, which dwells in all hearts that strive for true self-knowledge. If we can develop something in us of the devoted feelings that have been invoked in all times by the spirit of a community towards a building, then let us create this feeling in our hearts! As we continue to work in this room, we will see how differently our work can be done than in an otherwise indifferent space.

What, above all, is possible here? There is one thing we need that we can summarize in a single word: concentration of mind, seclusion of soul, while we devote ourselves to theosophical knowledge. We can feel what the voice of the universe itself can tell us if we tune into the spring mood. Even if it is autumn outside, we have spring in this room. Then we can understand from the language of the world spirit in nature how justified it is to seek contemplation and collection. If those who say, “Why do you shut yourselves away with your work, don't carry it out as a labor of love?” should come, then we will not answer, but let us let the great world spirit answer, which speaks from the works of nature itself. How much depends on what happens in spring! What is necessary for the salvation of the plant world that sprouts out of the earth in spring? That the seeds are taken from the full sunlight of outer activity; but in order to flourish, they must enter into the darkness, into the seclusion in which they enter in autumn. Thus, these spiritual seeds of life must be carried into the quiet home of meditation, of knowledge, of love and of peace, in order to work there quietly like the seed in the bosom of the earth; and only then can they be effectively carried out into the full sunshine of life. Such places are necessary for the interaction of human development, and insofar as we ourselves want to be bearers of the best seeds of our cultural life, it is necessary that what can be won from outside, what can only be cultivated and flourish here, be brought into the hiddenness.

Thus it is a wonderful fulfillment of karma that our first Theosophical house has been built on this very ground, like a tribute of the new spiritual life to the old. When the spirit we serve has received this shell, we ourselves feel integrated into the organism of the whole human spiritual life and know that we have a contemporary work in the highest and most sacred sense. It is contemporary because this work is connected to the spiritual current that flows from the source of spiritual life after the karma of all humanity in the present.

Therefore, we can admit it today: we feel that we have been allowed to serve those whom we regard as the source of our work, but also of our opportunity to work, with this work. We were allowed to serve the Masters of Wisdom and of the Harmony of Feelings, in whom lie the sources of our occult knowledge, with our outer work as well, and because we are allowed to feel this, we are also allowed to feel that they help us in our work. May their spirit prevail in this room, which has arisen out of theosophical devotion, which the masters of wisdom and of the harmony of feelings will honor by allowing the forces of the invisible worlds to flow into it, which we need to strengthen and invigorate what our souls themselves are capable of. I visualize the Masters of Wisdom and of the Harmony of Feelings looking down with favor upon this hour and especially upon the feelings that live in our hearts, which are the best when we pledge ourselves to fulfill the work of the Masters in this room that we have built for them. The spirits who have been connected with Theosophy in its best form, as long as it has existed, will send their help into this room; so speaks the feeling that they may do so, but so also speaks a prayer that may be addressed to them in a silent way. When the Masters of Wisdom and Harmony of Feeling, whom we invoke, work in a place where we strive for knowledge, for harmonization, for a foothold in our lives, then this work thrives.

May these good spirits of the theosophical movement bestow their blessings on me when I write out of all your hearts at this hour, not with physical words but only with spiritual words, something like a motto over the door of this house, which is to be written in our hearts , so that we need no physical eyes when we read it upon entering this house, and which we keep in our hearts when we are in this house, when we leave this house, taking with us the longing to gather again and again to cultivate Theosophy. Written over the door shall be:

Those who enter bring love to this home, those who stay inside seek knowledge in this place, those who leave take peace with them from this house.

To me it seems fitting today to speak of something that concerns us very closely; this our home for anthroposophical work in Stuttgart. Perhaps for all of you who have entered this room, and then with a kind of inner vision try to survey the feelings which come to you here, there is a word which may describe what we should like to indicate as the special characteristic of our experience today, namely, mood, feeling; we have doubtless a special feeling, an exalted frame of mind when we are gathered together in this hall. If one follows this feeling further occultly, one may from their standpoint look into the foundation of our life. The most noticeable thing is that we are surrounded by a certain shade of colour which has been used for this room a deep ultramarine. The fact that in many respects combinations of colour play a great part with us, you will also have seen from the way in which we have tried to present the Mystery Plays, and also from the colours of other rooms which we have been able to dedicate to anthroposophical work.

Now it is by no means a matter of indifference to a person in a certain frame of mind what kind of colour he is surrounded by. And further, it is not immaterial what principle shade of colour acts upon a person of this or that temperament, intellectual nature of character. It is also not immaterial for the whole human organisation whether a certain shade of colour acts upon him by being repeated again and again for a long time, or whether it acts only temporarily. You will remember that we covered the hall which served us for the 1907 Congress with a certain shade of red; but from this the conclusion must not be drawn that red is always the right colour for a lecture room. The room here we have covered with a different colour, and if one enquires the reason for these different procedures, the answer is that the hall at Munich was used for a few days for a particular festive occasion, and event which was over in a few days, and was intended to arouse the frame of mind appropriate to this occasion. But here we have a workroom in which our Stuttgart friends will do their anthroposophical work and carry on their classes again and again from week to week. Essentially we are dealing with a room which will be used for oft-recurring classes.

You will best realise the importance of colour if we describe how it affects occultists. For this it is necessary that a person should free himself completely from everything else and devote himself to the particular colour, immerse himself in it. If the person who devotes himself to the colour which covers these physically dense walls were one who had made curtain occult progress it would come about that after a period of this complete devotion the walls would disappear from his clairvoyant vision; the consciousness that the walls shut off the outer world would vanish. Now what which first appears is not merely that he sees the neighbouring houses outside, that the walls become like glass, but in the sphere that opens up there comes a world of purely spiritual phenomenon, spiritual facts and beings become visible. We need only reflect that behind everything around us physically there are spiritual beings and facts. That which lies at the foundation of the physical objects outside in a certain way become visible, what becomes visible is not the same if there are different surroundings. The worlds which surround us spiritually are of many kinds, many different kinds of elementary beings are around us, These elementary beings are not enclosed in boxes or in such a state that they live in various houses. The law of impenetrability only applies to the physical world; penetrability is the law for the higher worlds. But they cannot all be seen in the same way; according to the capacity of clairvoyant vision there may be visible and invisible beings in the same space. When spiritual beings become visible in any particular instance, depends upon the colour to which we devote ourselves. In a red room, other beings become visible than is a blue room, when one penetrates to them by means of colour. We may ask: what happens if one is not clairvoyant? That which the clairvoyant does consciously is done unconsciously by the etheric body of a person if it is not clairvoyantly trained; it enters into a certain relation with the same beings. The consequence of this is nothing less than that, according to our surroundings, we come in touch with one or another kind of spiritual beings. Now, further, it is a case of being able to establish a favourable or unfavourable connection with the beings that surround us. Let us suppose that we use a colour for the room which brings us into connection with beings who disturb us in what we do in this room, then the colour is unfavourable. Conversely, our etheric body may be assisted by spiritual beings though using the corresponding colour; this is then, of course, favourable. Now this room is devoted to repeated study through which we desire to progress in our knowledge. If we have to work in such a room as this, it is necessary that we should be able fully to devote ourselves with our entire human organisation to what is brought before us. We do not wish to be disturbed by anything, we wish to work under the best conditions so that we may take in these things as well as possible; naturally one person will take then in better, another not so well, but the best possible conditions are to be made, so that each one can devote himself—so far as it is possible in accordance with his inner organisation—to the studies which are here brought forward. The colour surrounding us here, brings us in touch with beings in our spiritual environment who come to help us in our etheric body in the spiritual truths within us. In such a building and such a room as this, we are least disturbed, our etheric body is not burdened with fighting against prejudicial influences of certain elementary beings, but the forces of our etheric body are able to work more easily.

Thus we see that for work which is continually repeated and for which there must be a certain calmness of soul as a foundation, exactly this surrounding must be chosen. Let us suppose that we have to deal with something particularly earnest, but which is temporary; in this case if we consider the occult law it is very advantageous—if we are to have not only a festive spirit but also inward strength—to surround ourselves with red. If we have to make a strong decision of the will, we must overcome the spiritual beings which penetrate in. That is to say, on festive occasions we must become strong, so that what we may become a permanent impulse; and unsympathetic weakness of disposition and does not allow earnest decisions of the will to be made, which although roused in a short time, are to remain permanently. The effects of colour are extremely important.

Now you know that under certain circumstances in the general state of our cosmic environment, we see a fundamental colour outspread above us; the blue sky. This blue of the sky is very important to the people of our age, for though the blue expanse of space working upon our souls they continually receive the call to come into touch with the beings in the great world, these beings act upon us through this colour and call upon our etheric body to think of the spiritual. With regard to the blue sky it was not always with man as it is now. The people of the present day think that men have always been as they are now, but the entire constitution of man has changed in the course of time. In those ancient days when man possessed an original clairvoyance there was no blue sky such as exists for present humanity, but at that time when he gazed out into the expanse of space, it was not limited by the blue sky, but he saw into the spiritual worlds which lie out there in space. When our ancient ancestors spoke of heaven beginning there above, that is to say, that the spiritual beings of the Hierarchies are to be found there, they expressed the literal truth.

With these colours which appear transparent (the coloured windows) it is again different from what it is in the case of a colour which is on a wall which we cannot see through. When we observe this shinning bright colour we have to say: Just as through the colour which is on the opaque walls we enter into relation with certain beings, so through the transparent shining colour, we enter into relation with other beings. While the beings with whom we come in touch through the opaque walls are primarily outspread in space, but really have nothing to do with the three kingdoms below us, the mineral, vegetable and animal kingdoms, through shining colours we come in touch with the beings who are directly occupied with bringing the objects of the three kingdoms of nature into being. When we look particularly through shining red, we come in touch with quite a particular type of beings within the kingdom of nature. When shining red forms a kind of window through which to look clairvoyantly into the kingdom of nature, we meet with beings whose work forms the best forces for the future of our earth existence. They have to be there in the kingdoms of nature, so that inner forces may develop in man which make him more and more chaste in his blood, that is to say, in his passion life, and when we look into the kingdom of nature in this way, we are looking upon those beings which, although we may not be aware of it, incite us the most to rouse up and push forward in the purification of our passions.

Besides being surrounded here in this room by certain shades of colour, we see all kinds of tokens and symbolic figures. These are filled with meaning, although I do not mean the meaning which can be found by the intellect. Ingenious persons may discover in them all sorts of curious things, but to occultists explanations such as these mean nothing. The chief point is that these figures are actually here, and if we turn our physical eyes to any one of them, it is not merely the physical eye, but the whole organization, above all, it is the currents of the etheric body which come into motion in quite a special way, they are roused by the course of the lines and by the forms of these figures, so that the etheric body has different movements within it, according as one looks at one figure or another. This means that within the world of etheric substance, which surrounds us, with all the beings incarnated in it, the forms which we see here, are actually present, There are beings who really have these forms in the etheric world; and when we look at one of these figures our etheric body arranges itself in such a way that in its own movements it builds up forms according to these lines, that is, it produces a thought-form which then proceeds from it; and according to the thought-form, will our etheric body be able to make a real union with one or another kind of being. These figures are the means by which this may be accomplished, for when we look at them, we produce within ourselves the thought-forms, that is, the movement-forms in our etheric body. Now these figures are chosen in such a way that when looked at in a rhythmic consecutive order they yield something which is a whole, namely, something which corresponds to a certain stream of development in the outer etheric world, something which through a particular circumstance is favourable to our etheric body; our etheric body has within it the tendency to change, in a certain way it will be different when it is more perfect. The series of forms corresponding to the gradual perfecting of our etheric body will be developed in the consecutive order shown in these figures. When we display these symbolic figures, which are in accordance with certain occult facts, and can let our vision penetrate more deeply, this is a help towards what we are aiming at, and if we produce the corresponding thought-forms in the right consecutive order, we assist our inner being which is to open our understanding for the rhythm which exists when you are speaking of the seven principles of man. We have not placed these figures there merely for decoration, but because they are inwardly connected with what we wish to accomplish here.

We are placed in touch with the surrounding etheric world by means of the thought-forms which we ought to build up in the manner just described; by means of music we are placed in touch with the astral part of our surrounding world. Music acts directly upon our astral body, so that we are made receptive—because this works from within on the etheric body—to all that is incarnated in the astral word, not in the sense in which one speaks of the astral world as contained in kamaloka, but the universal astral world into which the devachanic world also streams down. The revelation through music is a more direct one than when the higher worlds clothe themselves in the forms around us in space; but that which is outspread in space, if it is in accordance with occult results, leaves us independent, whereas music constrains us.

We now come to a kind of action on human beings which affects the etheric body by first stimulating the astral body, also by means of the element of space, and we may also study an example of this in this room. Up above you see two pictures which were contributed to this special occasion by our friend, Stockmeier. These two pictures will later be painted differently, and they will then produce the full effect intended. The effect of these two pictures together, not of each one singly, is somewhat as follows; when first one picture works and then the other afterwards, under all circumstances, whether it is wished or not, the one picture and afterwards the other will together rouse up thought-forms particular formations in the astral body. This remains in the sub-consciousness, and because it is contained in the intention of the pictures—it is only reproduced in an abstract way by means of ideas. Our feeling may perhaps render somewhat more perceptible the thought-forms which our actual body will produce perfectly under all circumstances from these pictures, if Mr. Stockmeier, succeeds in painting them in the right way. The picture on the right; a certain astral form, an kind of dragon is vanquished by a great being who belongs to the higher Hierarchies (Raphael) merely by his magnetic gaze; and when through the development of his will man comes to receive the power of this being into his own will we shall have the powers of which the Greeks thought in connection with the divine powers of Aesclepius with which he healed. All that is contained in the spiritually magnetic gaze, which can have curative effects when it is suitable trained, may be called forth in thought if immediately afterwards we pass over to what belongs to this feeling in the other picture. The optical effects must be conveyed to the phantom, so that with the help of the phantom-forces of the physical body, the effect is strengthened which proceeds from the dragon which is then overcome by the power of Michael. When we acquire the power to feel this thought out of the forces of the universe and think how through the physical body it may receive a vehicle through the will-forces being strengthened, so that a person need no longer say in regard to such forces that the spirit is willing but the flesh is weak, when we have these consecutive feelings and formations of the astral body, we have something which subconsciously can strengthen the moral nature very much. Thus we can draw moral power directly from the consecutive consideration of the two pictures, and still more from three. But it must be expressly pointed out that this applies only to the united notion of such themes, not to one single theme. If it were to depend upon one picture it would have to be differently formed, the two motives would have to act together, as for example, in the Sistine Madonna; in that instance there is a crossing of two motives which can strengthen the moral nature to the highest degree. Up above the clouds out of which the angels heads are formed, and when we look at the child Jesus in the arms of the mother we perceive that it has originated through the consolidation of the same forces which bring the angels only to a cloud existence. That is one motive, in which we perceive the origin of the pure light-being of man out of the cloud-light of the universe, as it were. This motive meets that which in expressed in the mother; she is full of innocence and love, and from that which appears to us as the body, the face, the lines of the mother, we see coming forth, as it were the warmest love. Light from above, condensing into the pure light-body of the child Jesus, and warming love from below, meeting and touching in the position of the arm—the two motives blending together—this gives subconsciously to our astral body, whether it wishes it or not, if a person only has the patience to devote himself to it, the feeling: It is thy duty to bring thy love towards that which can reveal itself to thee from divine heights, so that thou takest it into thine own arms and realisest it in the world, that thou bringest impulses in life from the spiritual world. The Sistine Madonna is an alter picture in which this thought-form works together with a congregation. We have here to do with two motives which are to rouse in us the frame of mind in which we may become capable of holding fast in thought the laws and the principles of action of the spiritual world. That is the essential point in our anthroposophical work. Spiritual things are always in motion and to the untrained seer they are like dreams. It is difficult to hold fast in thought these moving, fleeting peculiarities of being, and, conversely, it is also difficult in thought to give thought itself such an inner consistency that ont receives the feeling: Thou art thinking a reality of the true spiritual world. We can receive this feeling if we allow these pictures to act upon us in the manner described, not be apathetic towards these things, but look at them repeatedly. Then the forces of the astral body are obliged to experience the effect which may be described by saying, that we come more and more to perceive the true content of anthroposophical thought. We are not coerced unawares, but this recognition is quite free; the co-operation of two motives is something which liberates the free powers of man.

Thus you see that in what surrounds us here all the laws are fulfilled which so-called white magic uses, not to work by means of any overruling force upon modern humanity, but to consider that which is to be worked upon in another human being as a sacred thing which must not be touched, which is to allow the forces of the spiritual world to come forth out of itself. If you bear in mind what has been said in this lecture you will realise how important it is to anthroposophical work that it should have its own home, for you will have received the feeling that such a home must be built and arranged within according to the laws of occultism itself, and indeed, according to laws of occultism which at first are somewhat remote. You will also understand what it means on the whole when we possess no such home and are obliged to give our lectures on Anthroposophy and carry on our studies in the ordinary rooms usually at our disposal. Our age has, indeed, very little talent in the domain which has been touched upon today, and the greatest sins are committed in the realms of form and colour. For instance, the way people dress and the colours they use are outrageous, and when one goes through the streets of a large town and looks at the shop-windows with a vision sharpened by occultism, he will be obliged to decide for himself the question whether what he sees comes from sound reason or from something else. And if the judgment as regards colour is bad, it is still worse with form. But this limited talent also exists in regard to the decoration of rooms, and when it takes place in full consciousness it is frightful to be obliged to hold our anthroposophical lectures in conventional rooms. When this fact is considered and then compared with our present surroundings, with all this which has proceeded from our intentions, which surrounds us not in any way from caprice, but as we must be surrounded, if we wish to work under favourable conditions, then we shall be able to realise the importance of what has been done here; and the words that I have said to you today are intended to help us to realise it.

A spiritual movement can be injured very much by one-sidedness; and when we devote ourselves to such a subject as the occult standpoints of the Stuttgart building¹ we must clearly understand that when some single truth is specially emphasised, a strong light falls upon this truth, and one may then easily fail to recognise what should also be observed — the other side of the matter. In order to arrive at an all-round view one should always bear this in mind. For example, to all that was said yesterday² something else must be added. Certainly, a still greater perfection is attained when we are able purely in thought to erect around us such a temple, when we are able to imagine ourselves surrounded in thought by such a home. To this end our thoughts must be so strong that they act like a physical home. This may be achieved by a great power of concentration when, alone by ourselves, we follow rules such as are given in my books, The Way of Initiation and Initiation and its Results.³

But now, in order that we may have the right ideas about the necessity of such a building, we must say that when we devote ourselves to our studies in our lodge work, we require not only that we as individuals shall produce the conditions for our concentration, but also that we shall be disturbed as little as possible by what is around us. As the human being consists not only of the physical organism but also of supersensible principles, and these are active and set up relations with our environment, it is necessary when we exert our physical thought, for us to support the efforts of our will for our etheric and astral bodies. This we can do by providing for our subconsciousness — that is, for our etheric and astral bodies — conditions which may best be set up when we are in occult surroundings.

For this reason such a building is a great benefit and becomes a necessity to us.

We must bear in mind that in a certain way the great truths are at the same time difficulties to a person, something which he must first learn to bear, something which at first may be shocking, which may upset him, because it agrees so little with his everyday life. Therefore, in order to come to the higher truths in as favourable a way as possible it is necessary to provide a building such as this so that the spiritual knowledge which awaits us may indeed come into us — and in our age the Masters of Wisdom and of Harmony of Feeling are able to give us a great deal.

Since the end of the 19th century many doors have opened to the spiritual world, and many streams of spiritual life may be led into us. It may be said that just in the immediate future, towards which humanity is now going, the conditions are becoming more and more favourable for the influx of important spiritual knowledge which can enable us to progress quickly in every respect; but in order to clear away the hindrances which come through people — after they have just slipped out of materialism — not yet being sufficiently mature to receive the great truths, we must develop within ourselves a frame of mind which brings less danger of disturbance. This can be accomplished by means of suitable surroundings; and everywhere where from our standpoint just at this time care should be taken to see all is in order, there everything will really be observed which the occult point of view demands. It is natural that the needs and wishes of one who comes into Anthroposophy should go very far to one side or another, and because on the other hand there cannot be the necessary insight, it is difficult to be obliged to deny things which the other considers right. Very often it is not perceived that the denial is for the other’s welfare, and it is especially the case that some can only await the answer to one question or another with very great difficulty.

Because all knowledge is exoteric, one has grown so accustomed to expect that fundamentally everything that a person may ask can always be answered; but to this belongs two things at least. One is that the person who wants the answer should be in the position to understand it, that is to say, that through his whole anthroposophical or theosophical development he had progressed far enough to understand the answer. Abstract reasons prompt him to put the question much earlier than it is possible for him to understand the answer which is given from occult worlds. The other is that the one asked knows the answer. In regard to certain spiritual knowledge we are just at the stage when a question may be very premature, not only for individuals but for our whole age, although the answer will doubtless be given to us in the right form in the course of time. For this reason I said in the course of lectures at Karlsruhe⁴ that an essential thing in occultism is: to be able to wait. Particularly one who perhaps has undergone a certain development must be able to do this, and most of all one who has reached a certain height of occult development. When a person considers it extremely important to answer a question at a certain time, the intellect, which is always ready to answer, may very easily conjure up an answer, even from the feeling of a trained occultist. This answer is not only false or insufficient, but it takes away for a long time the possibility of a coming to the right answer at all, hence it is necessary to be able to wait until one is favoured with an answer from the spiritual world.

This applies not only to the highest questions, but also to more elementary ones. Even to the trained occultist there is a great temptation to produce the answer out of himself, but then he will be liable to fall into error. These two pictures [in our building here in Stuttgart] are an example. Our friend Stockmeyer has said for a long time that he wishes to finish them. The answer concerning the idea was promised him as soon as it was possible. That went on for a long time. To the despair of the architect the pictures were only finished very late indeed. Where did the fault lie? It was because the answer which was necessary as a kind of occult sketch for these pictures could only be given very late. One had to wait until the intuition came. These ideas might very easily be thought out, but then they would be worthless. What is so necessary is that one should not only go the straight way, as it were, but one should also have the resignation not to excogitate something; only to exercise the intellect upon occult truths when they are there, but not in order to find them. For this purpose the intellect must be absolutely laid aside. When occult truths are there they must then be taken up and established by the intellect, it must give them a logical character. One must make a practice of this if one wishes to progress; just as when one uses details which may perhaps be elementary in order to fit them into a whole. Then what will happen if in Munich we wish to build a great hall and at the right time we have not the idea which is to be embodied? We are Anthroposophists and know that karma works not only in individual beings, but in all connections, and when we have this faith we know that when a thing is necessary it can let us wait, but it will come, and indeed at the right time. We cannot judge when the right time is, for this we need confidence in the future; if it does not come, then it is not the right thing for us. This is not fatalism, for such a faith does not prevent us from making every effort, but it directs these efforts into the right lines. We make no false attempts with our intellect, but prepare ourselves for the moment when we shall be favoured. Instead of worrying oneself in front of a sheet of paper it is better to sink into prayerful meditation and ask of karma that this moment of intuition may come.

With this is also connected what might be called the right view of the Rosicrucian principle. If one who is acquainted with the Rosicrucian Temple⁵ in a pedantic, external manner were to come into this building, and if he were to remember the rules taught him from old traditions, he would say: “You have done it all wrong, that is not Rosicrucian.” We should have to reply: That which you demand we do not wish, and could not wish it, for Rosicrucianism does not mean to carry on certain truths throughout the centuries, but it means to develop the sense for what each age can give to man from the spiritual world. That which in the l4th century might perhaps be wrong is right in our age, and in our age it must be done in this way, for our relation to the spiritual powers around us requires exactly this form. This building, therefore, is not constructed after an old pattern, but it is built in accordance with the requirements of our age.

For what is the demand made of us by the spiritual powers? I give hardly a single lecture without using the word ‘theosophical’, as this is linguistically possible, although it is not grammatically correct. Perhaps many would find our address, “My dear theosophical friends,” blameworthy.⁶ This word is purposely used because the heart of our mission may be characterised by this word. Theosophy, or Anthroposophy is something which has always existed in the world and has been cultivated in all ages in the way in which humanity had to cultivate it according to its requirements — at one time in wider circles and at another in smaller ones, according to the peculiarities of the several ages. It is something which — after all the preceding developments have taken place — may now be given in such a form that, within certain limits, it can enter into each human I, into every feeling and every stage of intellectual maturity.

Today there need be no one who, if he has the goodwill, may not receive Theosophy or Anthroposophy. For this reason it is on the one hand something external and on the other a special task of our age. From this standpoint we must consider ourselves as the vehicles of the world-movement which must be described as the theosophical or anthroposophical movement.

That within this movement, according to the capacities of the individuals, the most varied shades may be found, should be self-evident, and this has been the case in our movement in every age. When Theosophy becomes conviction it provides the ground upon which the most varied knowledge may blossom forth, but they have to be obtained on the paths of actual truth. Among those who understand the heart of occultism it is always the case that they cannot disturb one another; it is impossible for persons to disturb one another who are engaged in occult practice and through proceeding from different starting-points arrive at other formulations. That is a strict law. The occultist may not fight when he sees that other occultists have correct starting-points and are striving rightly, even if he finds their formulation clumsy. The fact that various occultists formulate what they have to say in different ways may depend upon the various starting-points, and according to how they consider it necessary to bring this or that from the higher worlds.

It is different when it becomes evident that other movements are not on the same level, when they simply set to work with more elementary conditions and then assert that this is the final truth. Not to recognise a higher standpoint is wrong. If someone were to say that Christ — whose nature we have tried for years in our spiritual movement to render more and more plain — can incarnate more than once upon the earth in a fleshly body — upon what would this assertion rest? From what you have heard and will still hear you will clearly understand that there is a Being Who works in such a way that He could sojourn but once in a physical body for three years, and cannot come again and again in a physical body. This is a truth which has always been emphasised by Rosicrucianism; and it was also clearly shown in the Mysteries. One who does not know this may arrive at an incorrect formulation from a knowledge which does not extend so far into these regions; incorrect because it uses the name Christ.

On the other hand it is possible to say: Why does the other speak differently? He speaks differently because he is not thinking at all of what we have here called Christ. He designates someone else as Christ, of whom perhaps might be said what he says, but it is not the one who is spoken of in this movement, because it is the unconditional necessity of our age — as the requirements of the Masters of Wisdom and Harmony of Feeling — that we should speak of this high Being whom we call Christ. And when we read the Gospels we may recognise and identify Him with the One who for 2,000 years has been thus described. This is an historical right, not an absolute one, of course! Although the knowledge of Him has been very imperfect for 2,000 years, He has been thus described, and we do the same for historical reasons. On this account this name ought not to be used for other beings. This is something which has always been emphasised and which today can really be quite easily understood by anyone.

It is, however, interesting to notice how difficult for some to understand this matter clearly, but those who from the very beginning have no particular inclination to enter into more detailed explanations will have felt it uncomfortable that we do not by any means make the matter concerning Christ so easy. This one could see again in Karlsruhe (when the preceding course of lectures on the subject of ‘Jesus to Christ’ was given). What was said there was only possible because of everything else which had preceded it. Thus at the present time it is not yet very easy to arrive at the Christ principle, but it is a necessity which is laid upon us by the leaders of the spiritual movement.

It is very remarkable that there has been a certain difficulty in introducing the special investigations of Rosicrucianism into the theosophical movement, and even the position of this movement is very misunderstood here; exactly in how far does this movement merit the name of a Rosicrucian movement? But I shall never say: “My Rosicrucian friends!” You may gather from this that it was never correct to consider what belongs to Rosicrucianism as something exclusive. If someone outside our movement were to say that we were Rosicrucians, that would not only be a misunderstanding, but it would be a somewhat defamatory designation for our movement. This always reminds me of a man in the market place who once said that so and so was a phlegmatic, and a woman said, “Oh, is that what he was? But I know he is a butcher!” It is somewhat similar when in order to distinguish us someone calls us Rosicrucians. This has no meaning. Rosicrucianism has flowed into our movement, it is assimilated and to a certain extent practised. How difficult it is to let this current flow in you may see in the remarkable fate of the personality to whom all we in this movement look up with great respect: Helena Petrovna Blavatsky. If you follow her development from Isis Unveiled to The Secret Doctrine you will see that a great amount of Rosicrucian knowledge has streamed into Isis Unveiled. For reasons which cannot now be discovered she then swerved to one side in The Secret Doctrine, which did not further develop what could have been carried further, but on the contrary took a side path. But how strongly these Rosicrucian principles acted we may see in the third volume of The Secret Doctrine. There one finds the greatest truths next to really impossible things. One who is able to discriminate may connect this with what is being revealed today.

Thus it has come about that Helena Petrovna Blavatsky has very clearly said that it must never be thought that Christ Who is to come again will reappear in a fleshly body, but that the coming Christ must only be understood as an event which a person experiences through a connection with the spiritual world. We take the same ground that she did in this respect, when in a clearer way than was possible to her, we work out what she commenced. When she turns with such severity against the idea that Christ could incarnate again in the flesh it is not easy when the reproach is made against our movement that her most important knowledge, which sometimes is not well formulated, is violated. There is continuity, and there is no need to make this breach with the original starting-point, by coming into conflict with what concerns the coming of Christ. Although we always set what is true in place of what is false, in many things we may go back to the original statements of Helena Petrovna Blavatsky. And we may know that in the form in which she now lives she wished that the continuity should be developed, which should not be an adhesion to the formulas but a working in the spirit which existed at that time. It was not a spirit of standing still, and least of all a spirit of retrogression! We work in the best way when we bring out that which was still closed to Helena Petrovna Blavatsky. The doors have opened in quite a different way, especially since 1899.

Without taking into account anything that has gone before, we try to penetrate into the meaning and importance of the Christ Principle. This leads us naturally to join on to the occult investigations which have been made with special care in Rosicrucian circles since the l3th century.

But those who have heard my various courses and lectures will know that we are not now teaching the Rosicrucianism of the 13th century. We are Rosicrucians of the 20th century! It is our task to join on to the principles which Rosicrucianism possessed, to utilise them in theosophical progress. We cannot do otherwise than recognise that what has thus been found is something higher in every way than anything else in the world with respect to the Christ Principle. We must, however, admit that on account of the energy with which this principle has been worked out the teachings regarding Karma and Reincarnation passed into the background. Therefore we are dealing not with the spirit of an historical epoch, nor with the spirit of Rosicrucianism, but with the Spirit of Truth. It is quite indifferent to us where one faith or another appears, we have to deal with the Spirit of Truth, and on this account all division into categories and forms must always give rise to misunderstandings in our movement; we desire only to serve the Truth, as was described with respect to our small festival. We wish to represent not what this or that age has said, but what comes directly from the spiritual world. That which can be recognised by the human intellect is our concern; in accordance with this we shall lead our movement further, and with respect to all other creeds we may call ourselves theosophists, according to the motto of our movement: No religion is higher than Truth. In this respect we take the most theosophic ground.

For this reason we surround ourselves not with a building modelled according to Rosicrucian pattern but with one that is planned for a particular object. For example, the size of the space is the external condition for this. Perhaps we should have been quite unable to add one thing or another if the space had been larger or smaller. No scheme is of any value, but we have to wait for what comes to us as a gift from spiritual worlds. In other words, our whole effort is to understand something that sounds so simple: To open our hearts to the spiritual world which is always around us, to understand words such as those which Christ said: “I am with you always, even to the end of the world.” If someone were to examine the work we have done in past years he will not be able to say that we present Christianity in a way it was thought in the early centuries. We desire to acquire the spirit which wishes to come close to Christ as He is today; and only when we have recognised that this Christ is a living One we shall illuminate what took place in former times.

In the same way we consider Buddha as a living One, who follows his principle that Buddha does not return any more in the flesh. If someone were to affirm this, we should have to reply that he understands nothing about Buddhism, for one who has risen from Bodhisattva to Buddha does not return. For Buddha lives, and he works in our movement and illuminates what he accomplished 2,500 years ago by what he does today.

Just as only he may speak of Buddha who knows him, so also only he who knows Christ may speak about Him. Therefore if someone says that a very important being will come in a fleshly body, that may be correct, but he has nothing to do with Christ. The fact is that if a person enters deeply into the nature of Christ he comes to understand that the other is making a mistake; it can never be the reverse. This brings difficulties, but it must be borne in mind — especially by one who has occasion to practise theosophical principles in the true sense — that one should exercise tolerance even towards error. But to exercise tolerance means, not to acknowledge error but to deal with it with love, otherwise it would be a sin against the Holy Spirit. We must exercise tolerance precisely because in regard to Christ we represent the Rosicrucian principle.

We can wait until opposition comes, exactly concerning Christ. If you understand this word, the principle of the most real search for truth and on the other hand real tolerance, you will be able to answer for yourselves the question: In what sense are we Theosophists and in what sense are we Rosicrucians?

• 1. The Branch-House in Stuttgart; the first building specially erected and designed for anthroposophical work; opened by Rudolf Steiner in October, 1911.
• 2. Special Building for Anthroposophy at Stuttgart from an Occult Point of View, Stuttgart, 15 October 1911
• 3. The Way of Initiation is an early version of the first half of the book entitled Knowledge of the Higher Worlds and Its Attainment. The book Initiation and Its Results corresponds to the second half of Knowledge of the Higher Worlds and Its Attainment.
• 4. Course of lectures From Jesus to Christ, GA 131
• 5. See description of the Temple of the Holy Grail in The Younger Titurel by Albrecht von Scharfenberg, about 1270 AD.
• 6. This lecture was given prior to the exclusion of the German Section from the Theosophical Society. Since then Dr. Steiner’s movement has continued as the Anthroposophical Society.

following a lecture by painter Arild von Rosenkrantz

It was requested that I add something to the interesting remarks of Baron Rosenkrantz about art and its future task, and that I also give a picture of the Goetheanum as it will look in the future.

I would like to answer these questions only with a few suggestions, suggestions that relate more to the elaboration of an artistic impulse or artistic impulses in the future — although I do not mean that these artistic impulses can be undertaken arbitrarily or deliberately by any human beings; but to a certain extent one sees them in what is currently being prepared, in the direction that art in particular will have to take in the near future. I mean this in the following way.

On the one hand, we see the old impulses of human work and human civilization persisting in all areas, in the fields of science and artistic creation, and in the realm of religious feeling. But on the other hand, we also see how, in a great number of people, in more people than one would usually think, vague undercurrents prevail, longings for something. These longings one would like to fathom in the field of anthroposophical work; one would like to get to the bottom of them, so to speak. And it seems to me that in fact a large part of what anthroposophy wants to assert itself as in the present day actually meets such vague, more or less unconscious longings of numerous people in the present.

And precisely because in the past three to four centuries, intellectuality has basically flooded everything, because intellectuality has taken deeper root in human souls than one might think, that is why people today find it so difficult to bridge the gap between an indefinite longing and that which can give this indefinite longing a revelation in earthly work. We see this when we look at spiritual science itself.

During my lectures here, I have often had to mention how this spiritual science must be extracted from research into the supersensible worlds through imagination, inspiration and intuition, but how, when this research presents its results, ordinary common sense can approach these research results with complete understanding. And it is actually only the clinging to old prejudices when one does not find enough strength in the soul to approach the results of spiritual science without prejudice.

What people today so often object to about the results of spiritual science actually stems from an undefined fear deep within the soul. Basically, people are afraid of the results of spiritual science. Everything that the last few centuries have brought forth in human civilization so completely contradicts spiritual science that it appears as something completely unknown to most people. One always fears the unknown; but one does not want to admit this fear to oneself, and so one dresses this fear up in so-called logical refutations, in logical criticism.

Those who can see through things will recognize everywhere how the logic of the opponents of spiritual science is basically nothing more than an excuse of the soul for the fear that one has of it.

And so it is in the artistic field. One hears it said extraordinarily often: Yes, spiritual science wants to ascend to the higher worlds through ideas, through scientific discoveries; but science suppresses free artistic creation. Those who really want to create artistically must, so it is said, be free of all ideas, of all knowledge; they must create out of pure imagination. And there are very many poets, painters, musicians, in fact artists in all fields, who now have the very fear that if they approach spiritual science too much, their imagination will dry up; that they will then no longer be able to let their imagination unfold freely, but would in a sense only reproduce through colors and sounds what occurs in spiritual science.

Yes, you see, my dear attendees: there were indeed many struggles at the old Goetheanum. It is true that those who do not have a profound artistic impulse come to a kind of outer symbolism, outer allegory, out of a certain misunderstanding of this school of thought. I can readily admit that there have been an extraordinary number of anthroposophists and theosophists who have sought the artistic in ideas that are then painted, or for that matter sometimes even composed, and the like. When you entered such an anthroposophical or theosophical space and saw these symbolic and allegorical, straw-like images, you could despair! All artistic feeling had been driven out! I can say that there were certainly well-meaning friends who, when the old, burnt Goetheanum was being rebuilt, began to want to add all kinds of symbols. But I always resisted this in the strongest possible way! With this Goetheanum, everything had to be created out of a truly artistic form. Every line, every form had to be created in such a way that the matter was viewed purely from an inner artistic perspective.

Therefore, the forms of the Goetheanum were not really to be interpreted, but basically only to be looked at. When friends or other external visitors came to the Goetheanum, they always wanted to be shown around, and they then asked to be accompanied by this or that person and for explanations of how the columns are designed, the capitals are designed, the architraves are designed – how things are painted. They should be given the inner meaning everywhere.

When I myself led friends, I usually said as an introduction: What I am about to say to friends or visitors is extremely unpleasant to me. And I have never been more possessed with such antipathy towards what I myself say than when I had to explain these forms of the Goetheanum; for they were not there to be explained, to be grasped in concepts, but to be looked at, to be grasped artistically, aesthetically!

And why was this so? This can best be illustrated by the human being itself. You see, you can study the human being — study it according to what science has produced as such science over the last three to four centuries. But you can only get so far, only as far as the physical organism. At the moment one wants to go higher in the higher links of human nature, one cannot do so without letting the world enter into an artistic understanding of the human being, because the world itself creates artistically where it creates spiritually. So that no one can understand the human being who cannot let the scientific pass into the artistic in his own inner vision.

Modern science then comes along and says: Yes, the one to whom it happens that he passes from science into artistry, he strays from the path of logic, from the observations of logic that must be present in science. He is no longer a scientist.

One can continue to declaim for a long time, my dear audience, but when nature does not create as one declaims, when nature at a certain point no longer begins to be so naturalistically logical, but rather to be artistic itself, then only he who becomes artistic in the last moment can approach nature.

And so it is precisely with true anthroposophy. It does not want to and cannot, because that does not correspond to its essence. It does not want to be something merely alive and ideal, but at a certain moment, what is vividly and scientifically expressed in ideas, passes directly into the artistic and the creative. And that is why every time one only begins to describe the human etheric body, even the description, which for my sake is still similar to the currently used science, will immediately turn into artistic expression, into artistic visualization.

And as soon as one comprehends this intensively, one will find everywhere that anthroposophy, that truly spiritual science is not something alien to art or even hostile to art, but that it will lead precisely into a truly artistic future.

This was truly demonstrated in practice in the old Goetheanum. The old Goetheanum had such a ground plan that if you drew a center line, the axis was symmetrical on both sides; but then there was no further symmetry, except for the left-right symmetry.

The columns of the auditorium had capitals that were not all the same, but were in a progressive development, in such a way that the capital of the first column on the left and right was relatively simple. The second column had a somewhat more complicated capital. And so it went on. But the artistic creation of these capitals was such that, inwardly, in the sensation of the line, in this contemplation of the curves, everything in the form of the second capital emerged directly from the first, and the third from the second. And so one surrendered purely to the life in lines, surfaces, curves.

And so it turned out that, I might say, one was finished with the seventh column by itself. There one had a form with the lines, curves: one could not go beyond that, one had to stop there.

Now people see the seven columns and think: that is a deeply mystical number, it is based on an old formula, on something that lives on in superstition and the like. But that is not the case! If you create purely artistically, you have to stop at seven. Just as the rainbow has seven colors, the musical scale has seven notes from the prime to the octave - the octave is the repetition of the prime - so you have seven columns.

But something else becomes apparent in the course of such work: Now, the second capital has emerged from the first through metamorphosis, from the second through experienced metamorphosis, and so on, and seven have been created. Then you stand and look at it. You look at your own work and discover all kinds of things in it that you hadn't even thought of! For example, when I had the seventh pillar capital, I compared it with the first and discovered that, of course artistically manipulated, all the forms that were concave in the first were convex in the last; and all those that were convex in the first were concave in the last. So that if you turned some around, you could put the last one into the first: the seventh into the first, the sixth into the second, the fifth into the third, and the fourth remained in the middle by itself. That happened all by itself.

You see, you had the certainty that you had not read anything of human arbitrariness into things, but that you had worked from the life of the forms themselves; that you had connected yourself with the creative cosmic world itself; that you also this, that one also grasps what lives and rules in nature on another level; that what one did was not human allegorizing, but that one has, so to speak, woven oneself into nature's creation, and now creates like nature.

But this is also true artistic creation, and all the arts in the future will more or less return to this. That was the artistic creation in all great art epochs. And that is what has also shone through in all the individual examples given in Baron Rosenkrantz's excellent lecture. That is what you can see everywhere, especially where new artistic impulses emerge in the evolution of the earth. From new impulses one then receives the courage and hope that new art forms can really arise out of what can be experienced in spiritual science.

In 1887, the painter Karl Stockmeyer (1857-1930) built the “Waldhaus” on the outskirts of the village of Malsch, not far from Karlsruhe. It was run as a guest house by his wife Johanna (died July 22, 1923), from 1908/09 on mainly for friends of the movement seeking rest and recreation. Since the death of Karl Stockmeyer, the Waldhaus has become a curative education home.

The oldest Stockmeyer daughter, Hilde (1884-1910), who had found Rudolf Steiner first in 1904 (and through her in 1906/07 also her parents and siblings), founded and ran the Francis von Assisi branch at the Waldhaus until her early death. The younger daughter, Waldtraut Stockmeyer-Schöpflin-Döbelin (1888-1951), later made a significant contribution to biodynamic agriculture in Norway. Their son E.A. Karl (1886-1963) was not only a pioneer in the development of the Waldorf school movement, but was also involved in Rudolf Steiner's architectural ideas from an early stage. As a twenty-one-year-old student, he took part in the Munich Congress with his parents and siblings. Deeply impressed by the new forms of the capitals, he asked Rudolf Steiner in 1908 about the bases and the architecture belonging to the columns. On the basis of the information given to him by Rudolf Steiner, he developed the idea for a model, which he built with the help of his father in 1908/09 at the Waldhaus.

Rudolf Steiner came to Malsch three times in this context: the first time in the summer of 1908; the second time at Easter 1909 for the laying of the foundation stone of the model and the inauguration of the Francis of Assisi branch.¹ The laying of the foundation stone took place at the rising of the first spring full moon in the night from April 5 to 6, 1909. In addition to Rudolf Steiner, Marie von Sivers and the Stockmeyer family, a number of other friends of the movement were present. The address by Rudolf Steiner reproduced on the following pages was written down from memory afterwards by Hilde Stockmeyer. Rudolf Steiner dedicated an impressive obituary to her (in library no. 261 “Unsere Toten” [Our Dead]), who died just one year later. A brief description of the situation and of Rudolf Steiner's address at the laying of the foundation stone was given by the actor Max Gümbel-Seiling in his memoirs 'With Rudolf Steiner in Munich', The Hague 1945. This description precedes Hilde Stockmeyer's account of the address. Rudolf Steiner came to Malsch for the third time in October 1911, immediately before his trip to Stuttgart for the inauguration of the Stuttgart house. Stockmeyer's son and father were both also involved in the underground domed room in the Stuttgart house, which was built according to the Malsch model.

At that time, the model in Malsch could only be built and plastered by E.A. Karl Stockmeyer in the raw. It was only when he retired to Malsch in his old age and already ill that he again became active in the model building in 1956/57, together with other interested friends – in particular the architect Albert von Baravalle, Dornach, and Klara Boerner, Malsch. In 1959, the Malsch Model-making Association was founded and the small building was handed over to it for renovation, completion and further maintenance. The renovation work and the artistic design were carried out by Albert von Barayvalle and completed in 1965.

Hella Wiesberger

• 1. This lecture of April 6, 1909 can be found in Library No. 109/111 “The principle of spiritual economy in connection with questions of re-embodiment”.

The first lectures on spiritual science in Munich were given by Rudolf Steiner in November 1904 at the invitation of the two leaders of the later Munich main branch, Sophie Stinde (1853-1915) and her friend Pauline Gräfin von Kalckreuth (1856-1929). Sophie Stinde, sister of the then well-known writer Julius Stinde and a talented landscape painter herself, from that point on put all her strength into the service of Rudolf Steiner's movement; in his own words, in a truly “exemplary” way. “There is so much,” he said at her cremation ceremony, ”when the path of spiritual work is taken, which must be placed in human hands, of which one can be sure that they will carry it out in such a way that one might not even be able to carry it out oneself... And Sophie Stinde was one of those people who helped in the most vigorous way when action was needed (Ulm, November 22, 1915, in library no. 261 “Unsere Toten” [Our Dead]).

In this way, Sophie Stinde not only built up the actual Munich work, but she also became - renouncing the practice of art she loved - the main bearer of the organizational burden for the large Munich events: the Munich Congress in 19 07 - to whose art exhibition some of her landscape paintings also belonged - and the summer festival events that emerged from it, held annually from 1909 to 1913, with the premieres of Rudolf Steiner's mystery dramas. In this context, however, she was also the “first” to have the “bold” idea of tackling the realization of the central building, in accordance with Marie Steiner's statement. She created the necessary documentation to enable the project to be developed, and thus became the founder and first chairwoman of the Munich and then the Dornach building association.

When Rudolf Steiner spoke at the building site in Dornach for the first time since her death, he said that it was only through her deep artistic sense that she, who was “most intimately connected” to the building, was able to “unfold the will that then spreads and takes hold of many, the will for development that finds expression in this our building.” Sophie Stinde was among the very first to whom the idea of this building arose, and one can feel that we would hardly have found the way to this building from our Munich mystery thoughts if her strong will had not been at the starting point of the idea of this building.” And continuing, he said: ”Her place in the outer physical world will be empty in the future. But for those who have learned to understand her, the idea of exemplary, dedicated, sacrificial work within our ranks will emanate from this place. And this idea must live in particular in the rooms under the double dome, in the rooms in which Sophie Stinde's soul already worked during her earthly incarnation as her co-work. If we grasp our relationship to her in the right sense, it will be impossible to turn our gaze to our forms without feeling connected to her, who turned her gaze first and foremost to him to whom she dedicated her own work and in whom Sophie Stinde's soul will continue to work.” (Dornach, December 26, 1915, in Bibl. No. 261 ‘Our Dead.’)

The following chronicle illustrates how Rudolf Steiner, together with Marie von Sivers and the Munich friends, carefully prepared the 1907 congress over a long period of time in order to inaugurate the renewal of the mysteries in the modern Rosicrucian sense, in the spirit of harmonizing science, art and religion. The dates, however, mark only the most essential points in the context of the congress preparations. In between, Rudolf Steiner constantly traveled all over Germany to give lectures at various locations.

June 1906
The 1907 congress is to take place in Germany.

This was decided at the third congress of the Federation of European Sections in Paris on June 3-5, 1906.

June / July 1906
Marie von Sivers' initiative to combine the congress with a mystery play

Marie von Sivers had already conceived the idea of staging a mystery play at the congress while she was still in Paris, as can be seen from the letter to Schur dated July 18, 1906, quoted below: “The Sacred Drama of Eleusis” in Edouard Schure's reconstruction. Schure had just met Rudolf Steiner and Marie von Sivers in person for the first time in Paris, after Marie von Sivers had already corresponded with him for seven years. It was through him that she had become aware of Theosophy and had thus met Rudolf Steiner in Berlin in 1900. Marie von Sivers wrote the letter quoted below from Landin in Mark Brandenburg, where she was staying with Rudolf Steiner and a few other friends for a short rest. Sophie Stinde, who had been appointed secretary of the congress, and Countess Kalckreuth, who had been appointed treasurer, also came there to “discuss the affairs of the Munich Congress with Dr. Steiner and Fräulein von Sivers.” The easiest opportunity for this is there... There will be a winter full of exhausting work. Pentecost is very early next year.” (Sophie Stinde to Ludwig Kleeberg, July 5, 1906.

Marie von Sivers to Edouard Schuré, from Landin, July 18, 1906: ¹

”... If the inn near your house still exists, it would be nice to see you again and rest a little in your surroundings. Then you could talk to Dr. Steiner instead of asking him questions in writing. And we could talk about staging your mystery drama. For example, the Persephone scene with the choir of nymphs in the chapter on Plato is a very beautiful prelude to the Eleusinian mystery. We have a member in Stuttgart who is very earnest and very musical.² Perhaps Theosophy will inspire him to compose the choruses. They would deserve it..."

September 1906
The Eleusis performance is discussed again with Schuré.

Rudolf Steiner and Marie von Sivers stay with Schuré in Barr in Alsace for five days.

”... Stimulating conversations took place during the walks to the ruins of old castles, to Mont St. Odile, to the Heidenmauer. It was there that I, moving from a review of the time of the Druid mysteries to the Greeks, dared to ask Schur& the question that Dr. Steiner, as far as he was concerned, had already answered in the affirmative: whether we might dare to present his drama of Eleusis at the congress to be held in Munich next year. Schure was very pleasantly surprised...

October 1906
The time and place of the conference and its form are officially announced.

At the general assembly of the German Section in Berlin on October 21, 1906, Rudolf Steiner announced the proposal to hold the congress in Munich for “purely practical reasons,” since “only there” were the suitable forces available “for the long and demanding work.” Pentecost seemed the most appropriate time.

In answer to a question about the organization, he replied that all previous congresses should be seen as “experiments”. The task of the German Section should be to bring everything into “intimate harmony”, so that works of art, music and speech interact with the rest of the arrangements in a way that evokes a particular mood and resonates with it, striving to “evoke the ancient mysteries”, which is why the performance of a mystery play is planned.

October / November 1906
The exact congress schedule is drawn up and the necessary rooms are rented. The mystery play is to be performed by members of the society under the direction of Rudolf Steiner.

From October 27 to November 6, 1906, Rudolf Steiner gave three public lectures in Munich and a cycle of eight lectures for members of the Society. Marie von Sivers reported on it Edouard Schuré:

"We have just returned from Munich, where Dr. Steiner gave one of his cycles entitled ‘Theosophy as Illustrated by the Gospel of John’. It was magnificent. During the twelve days we were there, we also drafted the plan for the congress and rented the halls. They are to our taste – dignified, spacious, well-proportioned and free of ornamentation, so the decoration will be our responsibility. We can try to approach the idea of a temple. The stage is also large, and we will be far enough away from the audience to achieve the illusion of mystery, which is very important to us. Now we would like to ask you for permission to perform “The Sacred Drama of Eleusis”, not with actors, but by distributing the roles among members of our society. Dr. Steiner does not want any 'theater routine'; he will be our director and open up the deeper meaning of our roles for us. Since he can do everything, he will be able to do that too. He will also know how to select those who have special abilities for certain roles with a sure eye. I believe that you are not taking much of a risk, especially since the performance will not be public. Only members of the Theosophical Society will be present and the newspapers will not interfere. Only in the event of an unexpected success could one consider repeating the performance in public, provided you agree.

Now, as you said yourself, some changes would have to be made and then the finished translation given to the composer. So we have to get to work right away, because the congress is taking place at Whitsun (on May 19). Sometimes, when you take things in hand with energy and goodwill, the stars come to your aid. They inspire us and send us the good spirits. Who knows whether such an undertaking, carried out with courage and faith, might not open the door to greater successes. If you are not active yourself, you cannot expect others to take risks. Of course, you have to be prepared for a huge task. If you refuse, Dr. Steiner himself will write something in the spirit of the ancient mysteries, because we value mystery; but we would very much like yours.

It is true that Dr. Steiner wants to give me the role of Demeter, and that frightened me. I would have chosen Persephone rather than the mother of the gods. But Dr. Steiner says that this mother must have something of a nun about her and that even my mouth is particularly suitable for this role, but not for that of Persephone. I can't exactly be the one to resist; I just think that I now have the most difficult role and at the same time the one on which most depends. Above all, the scene between Zeus and Demeter would have to be changed, because it is not written for profane people, and perhaps the narration of Hecate, when she announces the will of Zeus to Demeter, would also have to be retouched a little, because in German the things are immediately much rougher.

Perhaps one could also string together individual scenes with living pictures or pantomimes, interrupted by music. In the big scenes, the choruses of the nymphs, the blessed and the mystics must alternate beautifully with the spoken word.

Of course you are overworked, I know that. But maybe the genius of the drama will take hold of you and you will succeed in combining it into a whole, which is created in individual parts.

I often return in thought to the peaceful valley of the Vosges, where we found such warm and understanding hospitality. I hope to see you and Madame Schure in Munich... If you only knew how Dr. Steiner has to work! I don't think anything like it has ever happened before...

December 1906 to February 1907
The congress program is printed and sent out.

December 8: Rudolf Steiner writes to Marie von Sivers from Stuttgart: “What about your translation of the Eleusinian Mysteries? We need to have it soon... At the beginning of January we must be able to send out the congress programs. So we will probably have to be in Munich then.

December 11th and 12th: Rudolf Steiner gives lectures in Munich.

December 20, 1906 and January 4, 1907: Rudolf Steiner and Marie von Sivers make a private stopover in Munich on a short vacation to Venice.

January 13: Marie von Sivers writes to Edouard Schuré:

”... I understand your horror at the thought of our undertaking. I share your fear, only I have the impression that there is a necessity here. It is as if it had to happen. For us, it is a sword of Damocles hanging over the Congress, because we have now linked it in an organic way with a mystery play, and all the coincidences and potential misfortunes that threaten this performance also threaten our Congress. But we have to stick our necks out and take on the burden, without, however, losing sight of the stars. The composer has not yet said his last word, but the idea inspires him. He is now in the process of reading the work. It is Mr. Stavenhagen in Munich...

January 21: Letter from Rudolf Steiner to Marie von Sivers in Erlangen regarding the congress program.³

”... I am sending you the congress program. I have now finished it in a state that can be sent to the printer... Please have it printed immediately and exactly according to the manuscript...

I escaped for a few hours here in Erlangen today. I couldn't get off anywhere on the way from Karlsruhe to Nuremberg, and if I had been in Nuremberg this morning, you probably wouldn't have received this urgent congress matter either. Because wherever it is, the people are always there.

Please give the printer a copy of the Congress Program from last year so that he doesn't make an impossible size. And impress upon him that he should really make the text in two columns – facing each other – German-English, as it is in the manuscript.

Key passages from the program text:

The intention of the congress program is to express a unified theosophical idea. Since the theosophical worldview represents an ideal of the 'future, it is self-evident that such an idea cannot be fully expressed in the present. But perhaps it can be achieved through the organization and distribution of what is to be presented that in the whole of the congress the Theosophical guiding principles: concentration and clarity of ideas, and in particular the Theosophical mood: calm and inner composure, are expressed.

The content of the events should include: lectures in the field of the Theosophical world view, artistic performances, purely social gatherings.

The artistic performances should be chosen from the fields of visual, musical and poetic art in such a way that the individual pieces combine with the Theosophical world view to form a harmonious whole. Therefore, an attempt should also be made in one of the events to present a mystery in a dramatic way.

Essays and lectures

These will, in accordance with the practice of the congresses to date, cover:

1. All matters relating to brotherhood and the great goals of society.

2. Religion, mysticism, philosophy and science.

Including:
a) comparative religious studies,
b) mythology,
c) folklore,
d) art history,
e) historical, etc.

3. administration, propaganda, etc.

4. occultism.

The papers should be in the hands of the Secretary of the Congress by April 10. They can be written in any of the languages of the federated sections.

The visual arts

The intention is to link everything that is to be presented in this field with the entire event to create a harmonious whole. Therefore, an exhibition will not take place in a separate room, but in the spacious and pleasant congress ballroom itself. And in the choice of the works of art to be exhibited, as well as in the decorative connecting elements, a harmony is to be created that will provide a basic mood for the rest of the room. Therefore, from the fields of fine art and arts and crafts, only those achievements will be considered that fit into the framework thus defined. However, the underlying idea will be so broad that it will encompass many things.

Music

The musical performances will be in keeping with the other events and, where possible, at least in spirit, related to the Theosophical world view. They will also take place in the congress hall itself.

The Poetic Arts

These are to be emphasized through recitations and a stage presentation with a mystery play character. It is to be hoped that the efforts of the German committee will succeed in overcoming the great difficulties that this part of the program in particular will present. But it would still be desirable if, even on a modest scale, it could be shown how the Theosophical world view is able to invigorate the artistic.

The important thing about all these events is to express that 'Theosophy must not remain just a sum of theoretical views, but can be transformed into something that can be perceived by the senses and that is in keeping with the mood. In this way, it must indeed have a fertilizing effect on the rest of culture.

January 25-26, 1907: Rudolf Steiner returns to Munich for two public lectures.

February 17: Death of the founding president of the Theosophical Society, Henry Steel Olcott.

February 25: Rudolf Steiner writes to Marie von Sivers in this context:

“... However things turn out, everything will be fatal for the T. S. [Theosophical Society], but not unfavorable for the spiritual movement. Even the decline of the T. S. as such must not frighten us in any way...” (Library Assn. Nr. 262, page 106).

March 17-19: Rudolf Steiner is in Munich again and gives lectures.

April/May 1907
The rehearsal period in Munich and the design of the hall

April 6: Rudolf Steiner and Marie von Sivers arrive in Munich. In between, Rudolf Steiner travels alone to Berlin for a short time to arrange the necessary matters for the upcoming election of the new president of the T.S.¹ On April 29, he returns to Munich. During the six-week stay, work continues non-stop on the performance of the drama and the decoration of the rooms. Marie von Sivers translates the drama into prose, which Rudolf Steiner then sets to free rhythms. He distributes the roles, directs and the scenery and costumes are also made according to his specifications. He supervises the decoration of the hall, draws sketches for the planetary seals, sculpts the capitals for the planetary seals for the actual congress program, and so on.

May 18-21, 1907 (Whitsun)
The congress as an attempt to renew Western mystery

The conference, with approximately 600 participants, was opened at 10 o'clock on May 18 by Rudolf Steiner, who was serving as the president of the conference. Annie Besant, as honorary president, spoke after the various general secretaries. During the artistic evening event, Marie von Sivers recited the Ariel scene from Goethe's Faust, Part J.

On Pentecost Sunday, May 19, Rudolf Steiner will give his first congress lecture “The Initiation of the Rosicrucian” in the morning; in the afternoon at 5 p.m., the “Sacred Drama of Eleusis” will be performed, a mystery by Edouard Schur with music by Bernhard Stavenhagen.

The following overview was enclosed with the program:

Short summary of Edouard Schuré's Sacred Drama of Eleusis

Presented at the Congress of the Federation of European Sections of the Theosophical Society on May 19, 1907.

1. Prologue: Persephone is admonished by her mother Demeter not to let Eros move her to pluck the seductive Narcisse, but to weave at the veil of the world, in which the destinies of the world down to chaos are incorporated, but not yet the conscious life of men. The nymphs act as a warning element, they seek to persuade Persephone to fulfill the vow. Eros appears as a seducer. Persephone plucks the Narcisse of “desire” and can thus be stolen by Pluto.

Act 1, Scene 1. Demeter appears before Hecate, lamenting her pain and asking about her daughter's whereabouts. After she has heard that she has been abducted by Pluto, she wants to know where she can live among a free people and give herself over entirely to her grief. Hecate directs her to Eleusis, where the king has just died. In order to enter there unrecognized, she is transformed by Hecate into an old beggar woman.

2nd scene. Metanira, the widow of the deceased king of Eleusis, is surrounded by her three daughters, who are mourning their father's death; but she herself is only concerned that her son Triptolem should persuade the people to elect him as his father's successor. He does not want to obtain the crown by persuasion, but only to have it if the people choose him without influence. (Act 3.) Then Demeter enters (Act 4) in the guise of an old beggar woman. She is well received by the daughters and by Triptolemus, but sharply rejected by Metanira. Since Demeter (Act 5) speaks to Triptolemus alone, sparks become visible under her robe. She tells Triptolem about the loss of her daughter, and he promises to descend into the underworld to bring her back. Demeter recognizes his great nature and says that she wants to make him “the most divine of heroes”. She touches him, causing a light to appear. Metanira rushes up (Act 6), cursing Demeter, who then reveals herself and ordains Triptolem as the future priest of sacrifice at Eleusis. Metanira, however, is expelled from the sanctuary. She therefore curses Triptolem.

Act 2. Pluto on the throne, next to Persephone. He wants to persuade her to drink from his goblet the fruit of the pomegranate. Lamenting shadows appear before Persephone, who is tossed to and fro by her fate. They want to prevent Persephone from enjoying the fruit. A chorus of demons wants to seduce her to do so. Triptolemus appears (Act 3) with Hecate to fetch Persephone.

Act 3. Zeus laments the fate of Persephone and Triptolemus, who is now also imprisoned by Pluto. He says that only Dionysus in a new form could accomplish the work of liberation. Demeter appears. Zeus tells her that a new Dionysus must arise to liberate the damned, and that this can only come about through his, Zeus', fire combined with Demeter's light. At first, Demeter does not want to accomplish this work because she does not want the Dionysus in his new form to be torn apart again by the wild Titans. But Zeus says: this Dionysus will be stronger. Demeter sinks into sleep. From her dream, the new Dionysus is created in union with the power of Zeus. Before he appears, a “choir of invisible blessed ones” solemnly proclaims the mystery of becoming. Then Triptolemus and Pythagoras appear in a chariot drawn by fiery dragons. Persephone recognizes in Dionysus the god with whom she has always been united through longing, Dionysus in Persephone the sister to whom he belongs for all eternity. Zeus sends Triptolem as an initiated priest to Eleusis. A choir of invisible heroes speaks of the secret of initiation.

The choruses are:

Nymphs:
O Persephone! O virgin!
Heaven's chaste bride
In thy veil thou weavest
The gods' bright forms
Earth's vain delusion
Be ever far from thee!
Truth's pure radiance
Only shine for thine eye!
In the empyrean lives for you
Dionysus, the consort,
Chosen by heaven itself
Like a distant sun's chaste ray
His kiss touches you only.
From your breath he lives,
In his light you breathe —
There is no greater good
To be found in the wide universe.
Do not think of that.
Withdraw from
the vain question.

Do not search further!
Escape dangers,
threatening to humans
and also to the gods.

O divine maiden!
It is only a dream,
but it becomes a being when When guilty desire
Weaves the veil further,
Calls it into your soul.
In radiance must fade
Heaven's bliss for you,
When the promise of salvation
Sounds in vain,
Forget what Eros unchaste
May reveal to you.

Unhappy one, stop.

Beware, Petsephone,
disaster can easily
arise from magic.

Choir of invisible demons in Tartarus

Persephones Besieger,
Dem großen Pluto,
Ihm sei Ehre!
Hell rejoices
At your wedding feast.
In a thousand bonfires
Tartarus glows.
Until now,
Earth's children escaped him
In their innocence.
They were too easy
For the realm of darkness.
But now, possessed by
the goddess of the heights,
in countless numbers
we shall conquer them for ourselves.
For they will draw
the errors of their lives
and the beauty of their forms
into our realm.
This must be populated
with vain shadows,
You Stryges, Harpies
You monsters, rejoice
In the tree of lies.
Glory to Pluto!
Hell trembles with joy
And will hold
Its prey
The dark Tartarus.

Forget, forget,
You shall drink
From this chalice
And give us
The drink to
Drink the strength of life
We desire
From this chalice!
It burns in us
Hell's thirst,
It alone
Can quench it.

Choir of Shadows

You see only souls in us
Bowed down by the power of misfortune,
Wandering on this shore,
We implore

Salvation, O Queen
From you, asking you

To lead us up
Into Elysium's fields.

Do not drink, Persephone,
The red blood
In the black chalice.
And let us rise
From Hekates' darkness,
Into the Elysian realm.

Choir of the Invisible Blessed

When in the realm of dreams the spirits float
The goddess of all earthly fertility,
Then powers of creation stream through the universe,
The fervor of the gods spiritualizes the world
And people tremble to the depths of their souls.
Creation struggles out of the twilight of the senses.
New divine beings come into existence.
Men shall bow in reverence
When the holy reign of the spirits is revealed.
Forms without number stream into life
When the eye of the god sends a glance
Into the immeasurable realm of space.
Worlds germinate out of nothingness into being,
They sink out of being into nothingness,
And thus create the gods' days,
As light and darkness do for men.
But you, seed of the abyss, you souls,
Who see yourselves scattered in the realm of the dead,
The control that was previously lacking to you shall
be given into your own hands! The fiery hearth from which you once arose, was hidden from your soul until now...It will now reveal itself to you! The power of the Mother of the Gods will give life to what the Father of the Gods forms. And from the living form shall arise The new God, the strong light bearer.
And you shall receive him in your souls,
So that from his power can change,
What was mortal in you, into immortal being.

Choir of Invisible Heroes

You witnesses of deeply hidden science!
What lies at the world's deepest bottom, In the depths of the heart as a secret treasure
This sanctuary must still be closed,
Like a gem that rests in the rock.
To carry the pure ray of wisdom into the world
Is the seer's high duty,
But to betray where it lies,<
May only he who wants to lose it,

Monday, May 20: Rudolf Steiner gives his second congress lecture “Planetary Evolution and Human Evolution”.

Tuesday, May 21: Rudolf Steiner speaks about educational issues in the morning and about the hall design in the afternoon. In the evening, the congress concludes with musical performances and closing speeches.

May/June 1907

Marie von Sivers reports to Edouard Schuré on the performance of his mystery

A vivid impression of the performance and the work problems is conveyed by what Marie von Sivers reported to Edouard Schuré, who had not come to Munich himself:

"Munich, May 26, 1907. This is the first day on which I have had a few quiet hours in my room; soon people will be flocking in, but I will try to give you, if not an aperçu, then at least a few scraps of information. My long silence before the congress was most painful to me. I did not dare to ask you to come, because if the event had failed, you would have experienced embarrassing moments and undertaken a long journey with hardships to receive unpleasant impressions. And then, until the last moment, we really did not know if we would make it. The obstacles were very great. You have to bear in mind that the actors came from different cities and were only able to come together very late. One of two ladies whom we regarded as our stars and who promised to be excellent in the roles of Persephone and Hecate had to leave to care for a sister-in-law in Brussels who had suddenly gone mad. ; the other became mentally ill herself, and for a week we had her here without being able to send her to her mother, from whom she inherited the illness and from whom she was tormented throughout her life. Finally, she had to be taken to a mental hospital; it was truly a catastrophe. So the chances of the performance being a success had become very slim. After much hesitation, we decided to try a very poor young girl who has an extremely difficult life and seems quite hopeless in moments of despondency because she lacks energy. She then sits down, puts her hands in her lap and says, “I can't do it to myself.” Fortunately, she could “offer” herself the role of Persephone. That had been the question. Then the spark that had once lain dormant in her was ignited, and she became happier every day. Her voice, which was initially very weak and always slid down into her chest, grew stronger every day; but it was only in the last week that we could be sure that she would be understood. Even now, this young girl is still completely transfigured and she still has the airs and graces of a princess. These days will have been the most beautiful of her life. On the whole, the rehearsals were a source of delight and harmony for many. We always had quite a number of listeners who could never get enough and who liked the play so much that they would have liked to hear it every day. The nymphs and the phantoms were very eager, but gave us a lot to do. All these people had never acted before. Except for Triptolem, who is a professional actor but a member of the company, and me, who used to perform in amateur theaters, none of our people had ever seen the limelight. Enthusiasm replaced everything. Metanira was disappointing. The one who was supposed to play this role had to take on the role of Hecate, and the new actress, a very clever lady, showed no understanding of the stage at all. The role of Triptolemus had initially been entrusted to a young man who really wanted to act, a very pleasant fellow who looked like an ephebe, but so bleak in his gestures and so incapable of any kind of upturn in his speech that for a while we thought we would have to give up on the whole thing because of him, until the actor who was originally supposed to play Pluto arrived and replaced him with some success. Dionysos was a delightful young girl, half Italian, half Polish, who was the last to arrive and initially spoke with an accent that made us jump. She was nice, but extremely clumsy, and the final apotheosis was in danger of falling through because of her. So we had to work with her intensively every day and teach her the essence of German pronunciation. As a result, my voice, already exhausted by a cough and constant speaking during rehearsals, was in such a state that during the last week I was completely hoarse and feared that I would not be able to speak at the performance, especially since I had no opportunity to take care of myself and withdraw from all my other obligations. Apart from my duties as secretary of the German Section and of the Congress Bureau, we had to organize, just for this performance: two painting studios (for the scenery), a tailor's studio (even the costumes were all made by our members according to Dr. Steiner's specifications), and finally two further studios where our painters worked on the decoration of the hall (of the later Temple, based on drawings by Dr. Steiner). There was a flurry of activity like an anthill – feverish haste everywhere, because people only plunged into the big expenses when they were really sure – more or less – that they could play.“

”May 28. Mr. Stavenhagen (who, by the way, is not Dutch) only finished his music three days before the performance and he didn't even make it to the planned final chorus. The music was beautiful, though; I don't know what the foreigners thought of it, but the Germans thought it was “like the harmony of the spheres”. And the acting company also thought it was very beautiful: dignified, strong and ethereal – thoroughly religious.

I believe that it was beneficial for the poetry not to be mixed with music. The beautiful preludes created a mood of religious contemplation; then the word alone prevailed and the idea could emerge all the more clearly.

The Germans were truly enthusiastic; they did not make banal compliments, but they were deeply moved by the drama itself and urgently requested a repeat performance; however, this was not possible. The foreigners were more critical and reserved, but as you yourself suspected, a large number of them came with hostile feelings, determined to resist the progressive spirit, to treat with irony what went beyond their understanding, and to reject anything they considered unorthodox. But it was strange to observe how gradually their resistance diminished, and some were finally moved. The Blechs and Mr. Pascal ³ will certainly never give up their reserved attitude, but the latter is at the end of his , and the Blechs are extremely narrow-minded; I also think that it has made a strange impression on them that we emphasize the importance of your work so strongly, while they have probably passed it by through their English education. Their feelings are therefore very mixed.

You were right to recognize Dr. Steiner's hand in the translation. I don't know why Mr. Sauerwein ⁴ told you that it was mine. Incidentally, I don't know Mr. Sauerwein and have never seen him. Mr. Steiner spoke to me about him as a theosophist whom he once met in Vienna, who was at the congress on the day of the performance and who is known to you. Since he went to Paris, he asked him to greet you from us. Perhaps Mr. Sauerwein saw the two works that I translated on the book table and concluded that I am also the translator of The Sacred Drama.

I did the prose translation and only here, over the last month, has Mr. Steiner set to work to bring it into rhythms. With what difficulties! He was constantly interrupted, constantly called upon. He would leave, come back for five minutes, continue his poetic work, and then leave again, called by someone else. He worked in all the arts and crafts, and instructed everyone: painters, sculptors, musicians, carpenters, upholsterers, actors, seamstresses, theater workers, electricians. If he had had the necessary materials and workers at his disposal, he would have achieved something fabulous in a short time: the temple of the future. As it was, he could only sketch out ideas, but they will have a fertilizing effect.

With all of this, the final scenes of the drama could only be completed in a moment that already seemed highly critical to me. I had faith that they would make it, but I didn't want to rely on it; it would have been foolhardy. It would have pleased and frightened me at the same time if you had written that you were coming, but I didn't dare encourage you to do so. One does not want to challenge the protecting spirits, but only cautiously ask for their help. What has amazed me most is that I have found my voice again for the performance – as calmly and confidently as if it had never been tormented by coughing and exhausted by tiredness."

"Kassel-Wilhelmshöhe, June 17, 1907. I... deeply regret not having sent you these sheets written in Munich, which I believed I would still be able to supplement in full detail. But every day brought something unexpected. For the cycle by Dr. Steiner in Munich, ⁵ About two hundred people had stayed, who simply blew us away. It was very difficult to leave. During the last days, we had ten people waiting to be received at nine o'clock in the evening. If we take the morning train, as in this case, we pack our bags between two and six o'clock in the morning without going to bed. Mr. Steiner then went directly from the train to a public lecture in Leipzig, and another followed the next day... On the morning of June 15, we had to take the train to Kassel, where a two-week cycle is now taking place....

^{6With the title “Theosophy and Rosicrucianism”, contained in Library No. 100 “Human Evolution and Christ Consciousness”.}

The Munich Congress as the starting point for the separation from the Theosophical Society

Rudolf Steiner's esoteric and artistic design of the Munich Congress also had a strong impact on social history. From the point of view of social life, it meant a large-scale attempt by Rudolf Steiner to place the Western-Christian-Rosicrucian esotericism, which he had advocated from the very beginning, in the international context of the 'Theosophical Society'. However, as he describes in his 'Autobiography' (see page 33 of this volume), this was rejected by the non-German Theosophists. This 'inner attitude' was the 'real' reason why the Anthroposophical Society could not continue as 'a part' of the Theosophical Society.

Due to the decline of the Theosophical Society, which Rudolf Steiner had already foreseen at the time, he had a long conversation with the new president, Annie Besant, during the congress, with Marie von Sivers as interpreter. Marie von Sivers later reported that in this conversation Rudolf Steiner had tried to point out to Annie Besant “in a warmly respectful but deeply insistent way” many things in this context and at the same time explain to her that from now on he was obliged to base his “own esoteric work, independently of hers, entirely on the soil of Western Christian mysticism”. She listened to this in silence.⁷ Rudolf Steiner himself once commented on this conversation to the effect that “Annie Besant said in Munich in 1907, in front of a witness [Marie von Sivers] who is always willing to testify to it, that she was not competent in relation to Christianity. And so, at that time, she ceded the movement to me, so to speak, insofar as Christianity was to be incorporated.” ⁸

Annie Besant wrote to the German Theosophist Wilhelm Huebbe-Schleiden on June 7, 1907, shortly after her return from Munich to London, in the context of this conversation: ⁹ “Dear Dr. Hübbe-Schleiden, Dr. Steiner's occult training is very different from ours. He does not know the Eastern way and therefore cannot teach it. He teaches the Christian Rosicrucian way, which is a help for some people, but it is different from ours. He has his own school and is also responsible for it. I consider him a very good teacher in his own direction and a man with real insights. He and I work in perfect friendship and harmony, but in different directions. Always your Annie Besant.” In reality, this ‘friendship and harmony’ was by no means as ‘perfect’ as Annie Besant expressed it in this letter. In the course of the following years, this became more and more apparent, until in 1912/13 the German Section of the Theosophical Society transformed itself into the independent Anthroposophical Society.

H.W.

• 1. Marie von Sivers and Edouard Schuré corresponded with each other in French. Translation by Robert Friedenthal.
• 2. Adolf Arenson, who did not write the music for the Eleusinian drama, but did write the music for Rudolf Steiner's four mystery dramas from 1910 to 1913.
• 3. This congress program must have been sent out soon afterwards. For the conference itself, Rudolf Steiner designed a different “programme booklet that was given to the visitors.” Pages 193-201 and Plate I of this booklet are reproduced in facsimile.
• 1. Immediately before the Munich Congress, H.S. Olcott's successor was elected. Annie Besant was elected.
• 3. Prominent French Theosophists.
• 4. Jules Sauerwein, who translated, among other works, “Secret Science”.
• 5. 22 May to 6 June 1907, announced in the Congress Program as “A Course on Theosophy according to the method of the Rose-Cross», printed under the title «The Theosophy of the Rose-Cross», Library No. 99.
• 7. Marie Steiner, Foreword to “Study Material from the Meetings of the Circle of Thirty, Stuttgart 1922/23”, private reproduction . Dornach 1947.
• 8. Rudolf Steiner, Address Berlin December 14, 1911, intended for Bibl.-Nr. 251; also contained in excerpts in “Aus dem Leben von Marie Steiner-von Sivers, Biographische Beiträge und eine Bibliographie” by Hella Wiesberger, Domach 1956.
• 9. The original letter in English is reproduced in facsimile in Emil Bock, “Rudolf Steiner, Studien zu seinem Lebensgang und Lebenswerk”, Stuttgart 1961.

Author Unknown

Sunday, October 15, 1911, was an event of historic significance for our entire Theosophical life! For Stuttgart, it brought the fulfillment of a long-held desire, a desire that more or less lies dormant in the heart of every sensitive Theosophist, and which Dr. Steiner expressed in the words: “To be surrounded by a home, by a space that is ours.”

In the Swabian region, on a piece of land that seems predestined by its occult traditions, the great work of building a Theosophical house in a suitable location has been quietly unfolding with the help of tireless, dedicated forces! And just nine months after Dr. Steiner laid the foundation stone, what had only just come to life in the creative spirit of the builder had already grown into a wonderfully harmonious reality in the physical world, a reality that could not be better described than with the words: “Theosophy transformed into artistic skill!” All those of our members who had rushed here from near and far as guests of the Stuttgart Lodge, mostly taking the special train from Karlsruhe, and who now, on the morning of October 15, saw the sun-drenched, stately building greeting them, were well aware that they were privileged to experience something very special and uniquely meaningful here! A reverent awe must have passed through the soul of each person present, aware that a truly theosophical deed had been done here, that – to quote Dr. Steiner again – 'a temple had been built for the spirit we serve'.

And the whole interior of this solemn temple, designed with so much loving understanding, appeared to the beholder more beautiful and unified than could have been expected! If one may say so, there is a yardstick for the effectiveness of everything that is shaped into reality from artistic feeling; it is the yardstick that triggers the instinctive feeling: it cannot be any different than it is! Nothing that our eye sees here looks like calculated sensationalism, nothing looks like deliberate intention. Everything is rather suited to create the right mood and true soul-searching, which must be associated with such a building, which serves theosophical work. The mystically subdued colors of the lamps had to shine down from the walls, or the clear daylight had to stream down on the assembled humanity from triangular framed oval windows! Everywhere one saw the symbolic triangular form repeated in the outer lines, even of the chairs, and integrated into the sublime stylistics of the whole. As the only decoration on the walls, one saw the two, deeply occult Stockmeyer paintings, impressively presenting the victory of the spirit over matter. Those who then raised their eyes to the ceiling saw the same spread out over the room like a tall, glowing tent roof, pouring out around the edge into a well-known occult drop motif.

Equal rights for all – this principle also seemed to be reflected in the wise use of the large, elongated room: from the seats in the hall as well as from the galleries, everyone could see the lectern rising at the far end of the hall, freely and unhindered. The red roses of the cross, blooming in the light of the electric flames, had an infinitely atmospheric effect; behind the lectern, however, there was, hidden by a very artistically designed altar-like structure, a magnificent harmonium with an organ-like sound, whose solemn tones filled the entire room at the beginning of the inauguration, like a mystical harmony of the high emotional experience: “One in All!”

With hearts full of gratitude, everyone present must have felt that something was truly blossoming, something akin to spring, in this new Theosophical home, and that a gifted artistic hand had truly and in the most sacred sense served the Masters of Wisdom here! Dr. Steiner's inaugural address allowed the assembled audience to feel all this once again in their innermost souls, and to the great joy of all the Theosophical members, we are now in a position to print the transcript of this speech, kindly provided by Dr. Unger, in the Mitteilungen, along with a protocol of the rest of the opening ceremony. The other two lectures by Dr. Steiner, which were also given in Stuttgart on October 15th in the evening on: “The Occult Aspects of the Stuttgart Building” and on October 16th at noon on the “In what sense are we Theosophists and in what sense are we Rosicrucians?” These two lectures should also appear in print in the near future, as they are likely to be of great interest to the general public!

There is still much to be said about the beautiful Theosophical Home in Stuttgart and its various rooms, so well suited to their purposes, such as the Board Room, which is decorated entirely in red, and the cozy library room, which invites you to linger. Some of the guests were also kindly allowed to take a look at the beautiful and ideally located apartment of Mr. and Mrs. Kinkel, which is located on the upper floor. Mrs. Kinkel, who has tirelessly fought for years for the realization of the Stuttgart building, was now able to experience the joyful satisfaction of moving into the building itself, with the happy hope of being able to welcome Dr. Steiner to her own rooms more often.

At the end of this report, after the warm and enviously-free festive joy shared by all Theosophists has faded away, we would like to draw your attention to an equally powerful and convincing speech given by Fräulein vor Sivers before the start of the third lecture. In this speech, Miss von Sivers emphasized with particular emphasis that we must greet with joyful satisfaction the founding of a Theosophical Home, such as Stuttgart now has, which arose from the most beautiful impulses and was made possible by generous donations. ; but that we must never lose sight of the great exemplary goal that is linked for us with the construction of an initially quite exceptional, spiritual-scientific place of care in Munich, despite the special interests of individual lodges. We must rather learn to understand better and better that the realization of such a university of theosophical spiritual striving, which does not want to limit its rays to a small radius but, due to Munich's favorable location, wants to extend them to the outermost periphery of its effectiveness, that such a university has become a vital necessity for us. To this wonderful fountain of spiritual-scientific revelations, which has been flowing into our souls for years now, bringing us ever more powerful insights into the nature and destiny of man and at the same time appearing crystallized in the form of a new spiritual art. This must now be the overriding goal of our theosophical endeavors! — Not the founding of theosophical homes in individual places should be our concern at the moment, but the purposeful erection of a lookout post that, looking far into the distance, can give our spiritual perspective the right can give the right center position to our spiritual perspective alone, which ignites a beacon for all those who, from near and far, follow their deep, unquenchable longing to satisfy their spiritual hunger at this unique source. This Munich building, with its design, will become a model for us, also in the sense of theosophical homesteads to be built later, just as the Munich Mystery Dramas have already brought this model into the field of art. We should all therefore consider it our most important and immediate task to support this work of cultural history with all our strength, so that its fulfillment is not postponed for too long and thereby seriously endangered! May we be guided in our deepest intentions by the same feeling that Goethe once felt in his soul when a favorite wish was fulfilled, and which he put into words:

What high thanks are due to be said
Who has freshly brought us to the work,
Who has made an end to all weeping, all lamenting

Has made an end!

A study of two of the most significant pictures in the world can help us to see the way in which the Theosophist should make his life's ideal into the very content of his soul. By means of these two pictures Raphael was able, in an age of great artistic development, to give utterance to the impressions and feelings which passed through his soul concerning the evolution of mankind through many centuries. The picture called “The School of Athens” (so-called in Baedeker, but it would be better if this name were allowed to disappear), and the picture called the “Disputa”—what do these, pictures represent when we study them in order to discover the great thoughts that underlie them, as well as the artistic impression they make upon us?

I have had the opportunity of seeing these pictures several times; as you know, they are in Rome, at the Vatican, in the famous Raphael Room ... You can always see people standing there with their guide-books and reading: This is Socrates, that is Plato, that other is Aristotle, and so on. They are immensely pleased when Baedeker enables them to discover whom this or the other figure represents, whether this one here is a bishop or an early Father of the Church, whether another is Paul or Peter or Moses … But how little has all this to do with the artistic value of the pictures! I should like to suggest by rather a grotesque supposition how one can approach such pictures in an artistic way. In this case the artistic and theosophical methods of approach are one and the same.

We know that there are inhabitants of Mars, although they are of course very different in appearance from the inhabitants of Earth. For us however they are very real beings. To be sure, we do not interest ourselves in that wild idea of some modern visionaries as to whether it might not be possible to draw the theorem of Pythagoras in lines of electric light over a great tract of Siberia and in this way set up communication with the inhabitants of Mars. We will leave such dreaming to the materialistic visionaries of our day. Anyone who takes his stand on the ground of reality knows that the inhabitants of Mars are of quite a different nature from those of Earth. But now let us suppose that one of these Mars inhabitants were to descend to Earth and let us imagine that he visited the Vatican picture-galleries and saw there these two pictures by Raphael. We could not expect that he should at once study the whole history of Greek philosophy and the whole spiritual development of the Middle Ages, in order that we might be able to converse with him in our own way. For it would, you know, seem quite ridiculous to him if we were to begin explaining, “Here is Augustine, there is Ambrose,” and so on. If he could speak an earthly language at all, he would probably reply, “I do not know these gentlemen!” We have a general acquaintance with them, having assimilated certain ideas about them—whether right or wrong need not concern us now. The artistic impression produced upon one by these pictures is not altered in the least because the beholder happens to be an inhabitant of Mars, who knows nothing of Mr. Aristotle or Mr. Plato or Mr. Socrates; for the artistic impression depends solely and entirely upon what confronts us in the picture, and makes itself best felt when we pay no attention at all to anything but what speaks from the picture itself. The inhabitant of Mars would therefore really be the best observer from a purely artistic point of view.

Let us try to enter into the feelings of such a one on his first descent to Earth, who has not been given a handbook of Greek and Mediaeval philosophy. He would say to himself: “I see figures, human figures, in these pictures—but I see no figures like them among the men of to-day.” For indeed it is hardly likely that among the people standing there with him and looking at the pictures he should recognise any as being persons of like dignity and importance.

He would however become aware in the pictures of something that must have grown out of the life of Earth itself. He would read in them that the inhabitants of Earth desire to say something which is not connected with any particular moment of time, but with the whole of Earth. He could contemplate the one picture and say “Here I see very remarkable forms,—two figures in the centre, and on their right and left other figures. I notice a certain expression—the uplifted hand of the one, the hand of the other pointing to the ground,”—and so on. (He would see all this without having any knowledge of Plato or Aristotle.) “There are also persons doing something or other in various parts of the picture. And around all these human beings is nothing but quite simple architectural forms. It can however also be seen that in the hearts and souls of these people something is living. That can quite clearly be noticed!”

Now suppose the inhabitant of Mars turns his attention to the other picture. It has quite a different appearance. There he sees, down below, a world which looks much the same as our external world to-day. Up above, he finds a scene that could only be represented by bringing together things which do not belong together in the external world. For there we behold human forms among the clouds—and yet in such a way as to recall something quite real and true. And higher up still, above this interweaving of the forms of clouds and men, figures are to be seen on a golden background which have little left to remind one of the human form. What would the visitor from Mars say,—who knows nothing of the spiritual life of Earth, and only judges the pictures by what they themselves tell him?

He would be compelled to say: “These men have the Earth around them; but there are times when they feel the need to express a world the physical eyes do not see, a world completely remote from the senses, and which they can only represent by clouds and human forms interwoven together, and by forms on a golden background that bear no resemblance to man. There must therefore be something by means of which these men are able to raise themselves; they must have inner forces, stronger than all, they meet with in the world of sense. That other world must have come into some relation with them.” And he would ask himself the question: “How did these men come into touch with that other world?”

He would then see the wonderful group which we call “God the Father,” “God the Son,” and “The Dove” as the expression of the Spirit; and, below, an Altar, and upon it the Host, the symbol of the Lord's Supper. Since the evolution of Mars is not yet so far advanced as the evolution of Earth, there is nothing on Mars like what we have on Earth in the two thousand years' tradition of Christianity. The visitor from Mars would accordingly not know what this picture represents. But from the relation of the groups on the right and left to the central group he could see that through the power of the symbol something is being given to the souls which opens to them the higher worlds.

Our visitor would then examine the pictures more closely and discover that in the first picture there are all manner of figures, but among them in particular two female figures, one on the right hand and one on the left. And remarkable figures they are! As one looks at them it is evident that they differ totally in their expression and even in their dress. Let us study them a little.

Looking at the one on the left (we are standing in front of the so-called “School of Athens”), we see in the whole expression something indicative of the Earthly kingdom of sense here below, and of what the senses directly give us. Male figures stand all around; and one dimly feels that what dwells in the heads of these men belongs to the world of sense. What presents itself to us in the female figure? Her expression conveys to us that which is living in the heads and souls of the men, until we come to her white garment, the garment of innocence, showing us that the force which comes from the mere working of the things of sense has not yet been active in her. We understand the countenances of the men when we understand what this female figure expresses.

And now let us pass to the other female figure on the right-hand side of the same picture. She is quite different, and already begins to notice what the men are doing. Whereas the left-hand figure indicates only the physical environment, the right-hand figure is following what the men have done, her gaze follows what the human spirit has brought forth. Even if we know nothing of Greek Philosophy, we can quite clearly see that there is an advance from the left to the right side of the picture. On the right hand we see what the men have made of their environment. (It really goes much further; it is expressed also in the colour.)

Now these two women appear also in the other picture, which is called the “Disputa.” Here again we see the figure first on the left, where people are standing, contemplating with rapture the symbol in the centre. We are looking into early times when the Christian religion was still entirely a religion of feeling, when Wisdom itself was still nothing but feeling. On every countenance we can see a kind of enthusiasm for Christianity, and all hearts are filled with warm feeling. This is reflected too in the female figure. And now when we pass to the other side of the picture we see again a progress. Here we have the Christian philosophers who have brought their knowledge to bear on the whole content of the Christian Wisdom.

There is St. Augustine dictating, and the woman writing it down. We could really reconstruct a great part of the history of man from the whole way in which Raphael has worked out this motif, with his great knowledge and understanding and his wonderful artistic powers. All that is living in the souls of the men is brought to expression in this woman figure, which we find four times repeated in the pictures.

The above is no more than a first rough sketch for a consideration of these pictures. The two paintings have to be studied together one after the other. They are an expression of what happened from the pre-Christian age down to the later part of the Middle Ages, and they express it in artistic form. Just imagine how great and mighty must have been the impression made upon a really sensitive soul who saw these pictures, first one and then the other, and said to himself:—“I am myself inter woven into this onward path of Wisdom, which mankind follows in the course of evolution; I am part of it, I belong to the march of events as it is shown in these pictures.” For the man who understood the sense of evolution in those days really felt this. He looked back to the pre-Christian age when men were surrounded only by the world of sense, just as the architecture surrounds the people in the picture; and he beheld too a time when through the entrance of Christ Jesus into human evolution the spiritual was revealed to mankind. He felt that he belonged to all this; he felt how his own existence takes part in the life of thousands and thousands of years. What lived in men's souls was borne along the flow of fantasy and streamed into the hand of the painter, who painted these pictures in order that men should meet in the outer world that which dwells in the inner world. For the Theosophist these pictures can he an earnest call and summons to inscribe the great ideal into his soul.

Let us look with the eye of the spirit at the “Disputa.” In the centre we see “God the Father,” then “God the Son” or Christ, and below, the Dove or the Holy Spirit. And now let us recall many other pictures that are to be found in various galleries. Whenever you have opportunity to visit picture galleries, you will find pictures of this kind, created out of good and great traditions. You will often meet with the following motif,—Christ coming forth from a figure like a bird, Christ being born as it were from a winged being. For the whole mystery of Christ, His whole descent from the higher worlds was formerly felt as a kind of breaking loose from a nature which had itself been born as a higher world,—higher even in the spatial sense. Hence the descent out of a birdlike form. Christ born from the bird,—let us hold the motif before our soul, and with that study the “Disputa.”

Here we find another “bird-being,”—the. Dove of the Spirit. The Dove of the Spirit, what a great riddle that is among all the Christian symbols! Much, very much is contained within it. The painters of the future will have to paint what comes to birth from out of this Dove of the Spirit. This Dove of the Spirit is a transitory symbol; something else will take its place in the Trinity. The day will come when from the Dove of the Spirit will be born, as it were, the human soul that is liberated by the wisdom of Theosophy. Every human soul that has the will to receive the spirit of Theosophy will be born again at a higher stage—spiritually, in a new form. This Dove of the Spirit will break its form, and from it will come forth the human soul which will have for its life-blood the spiritual conception of the world which meets us to-day in its first form as Theosophy. Other figures, new figures, will be around the symbol. And these liberated ones will show in their countenances what is living in their souls,—how through the events of the spiritual world as they reveal themselves to one who can rise above the world of sense, the soul is set free, and how then these liberated souls can each confront every other with real brotherly love.

And so it seems to me good that we should sometimes have these pictures before us, inasmuch as they are at the same time a prophetic foreshadowing of a third picture, A pre-Christian conception of the world is expressed in the first picture; the second expresses what has come about through Christ in the world of form; and what will come about through the Spirit, which has been sent by Christ and will divest itself of its coverings, will be expressed in the third picture that can stand before the soul of every Theosophist as a great and mighty ideal. This picture cannot be painted yet, for the models are not yet here; but in our own souls the two pictures must already be finding their completion in the third …

A thought that may often arise in connection with this building is that of our responsibility to the sacrifices which friends have made for its sake. Those who know how great these sacrifices have been, will realise that the only fit response is a strong sense of responsibility, for the goal at which we must aim is the actual fulfilment of the hopes resting in this building. Anyone who has seen even a single detail—not to speak of the whole structure, for no conception of that is possible yet—will realise that this building represents many deviations from other architectural styles that have hitherto arisen in the evolution of humanity and have been justified in the jugdment of man. An undertaking like this can of course only be justified if the goal is in some measure attained. In comparison to what might be, we shall only be able to achieve a small, perhaps insignificant beginning. Yet, may be, this small beginning will reveal the lines along which a spiritual transformation of artistic style must come about in the wider future of humanity. We must realise that when the building is once there, all kind of objections will be made, especially by so-called ‘experts,’ that it is not convincing, perhaps even dilettante. This will not disconcert us, for it lies in the nature of things that ‘expert’ opinion is least of all right when anything claiming to be new is placed before the world. We shall not, however, be depressed by derogatory criticism that may be levelled at our idea of artistic creation, if we realise, as a compensation for our sense of responsibility, that in our age, the origin of the Arts and of their particular forms and motifs is greatly misunderstood by technical experts. And then, gradually, we shall understand that all we are striving to attain in this building stands much closer to primordial forces of artistic endeavour which are revealed when the eye of the Spirit is directed to the origin of the Arts, than do the conceptions of art claiming to be authoritative at the present time. There is now little understanding of what was once implied by the phrase “true artistic conception.” It need not therefore astonish us if a building like ours, which strives to be in harmony with primordial Will and in accordance with the origin of the arts, is not well or kindly received by those who adhere to the direction and tendency of the present age.

In order to bring home these thoughts to you, I should like to start to-day by considering a well-known motif in art—that of the so-called acanthus leaf—showing the sense in which our aims are in harmony with the artistic endeavours of humanity as expressed in the origin of this acanthus leaf as a decorative motif. Now because our endeavours are separated by many hundreds, nay even thousands of years, from the first appearance of this acanthus motif, they must naturally take a very different form from anything that existed in the days when, for instance, the acanthus leaf was introduced into the Corinthian capital.

If I may be permitted a brief personal reference here, let me say that my own student days in Vienna were passed during the time when the buildings which have given that city its present stamp, were completed—the Parliament Buildings, the Town Hall, the Votivkirche and the Burgtheatre. The famous architects of these buildings were still living: Hanson who revived Greek architecture, Schmidt who elaborated Gothic styles with great originality, Ferstel who built the Votivkirche. It is perhaps not known to you that the Burgtheatre in Vienna was built according to the designs of an artist who in the seventies and eighties of the last century was the leading influence in artistic appreciation and development of form in architecture and sculpture. The Burgtheatre was built according to the designs of the great Architect, Gottfried Semper.

At the Grammar School I myself had as a teacher a gifted admirer and disciple of Gottfried Semper, in the person of Josef Baier, so that I was able to live, as it were, in the whole conception of the world of architectural, sculptural and decorative form as inaugurated by the great Semper.

Now, in spite of all the genius that was at work, here was something that well-nigh drove one to despair in the whole atmosphere of the current conceptions of the historical development of art, on the one side, and of the way to artistic creation on the other. Gottfried Semper was undoubtedly a highly gifted being, but in those days the usual conception of man and the universe was an outcome of the materialistic interpretation of Darwin, and the doctrine of evolution was also apparent in the current ideas of art. Again and again this materialistic element crept into the conceptions of art. It was, above all, considered necessary to possess a knowledge of the technique of weaving and interlacing. Architectural forms were derived in the first place from the way in which substances were woven together, or fences constructed so that the single canes might interpenetrate and hold together. In short, people were saturated with the principle that decoration and ornamentation were forms of external technique. This subject of course might be further elaborated, but I only want to indicate the general tendency which was asserting itself at that time—namely, the tendency to lead everything artistic back to external technique. The standpoint had really become one of ultilitarianism and the artistic element was considered to be an outcome of the use to which things were put. All treatises on the subject of art, and especially on decoration, invariably made mention of the special idiosyncrasies of the different technical experts. This of course was a stream running parallel to the great flood of materialistic conceptions that swept over the 19th century, chief among them being the materialistic conception of art. The extent to which materialism asserted itself in all spheres of life during the second half of the 19th century was enough to drive one to despair. Indeed I still remember how many sleepless nights I had at that time over the Corinthian capital. Now the main feature, the principal decoration of the Corinthian capital—although in the days of which I am speaking it was almost forbidden to speak of such a thing as ‘decoration’—is the acanthus leaf. What could be more obvious than to infer that the acanthus leaf, on the Corinthian capital was simply the result of a naturalistic imitation of the leaf of the common acanthus plant? Now anyone with true artistic feelings finds it very difficult to conceive that a beginning was somewhere made by man taking a leaf of a weed, an acanthus leaf, working it out plastically and adding it to the Corinthian column. Let us think for a moment of the form of the acanthus leaf.

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The basis of all artistic creation is a consciousness that comes to a standstill before the portals of the historical evolution of humanity as depicted by external documents. A certain consciousness that was once active in man, a remnant of the old clairvoyance, belonged to the fourth Post-Atlantean period, the Graeco-Roman. Although Egyptian culture belongs to the third Post-Atlantean epoch, all that was expressed in Egyptian art belongs to the fourth epoch. In the fourth epoch this consciousness gave rise to such intense inner feeling in men that they perceived how the movement, bearing and gestures of the human being, nay even the human form itself, develop outwards into the physical and etheric. You will understand me if you realise that in those times, when there was a true conception of artistic aim, the mere sight of a flower or a tendril was of much less importance than the feeling: ‘I have to carry something heavy; I bend my back and generate with my own form the forces which make me, as a human being, able to bear the weight.’ Men felt within themselves what they must bring to expression in their own postures. This was the sense in which they made movements when it was a question of taking hold of something or of carrying something in the hand. They were conscious of a sense of carrying, of weight, where it was necessary to spread the hands and finger outwards. Then there arose the lines and forms which passed over into artistic creation. It is as though one felt in humanity itself how man can indeed go beyond what he sees with his eyes and perceives with his other senses:—he can go beyond it when he enters into and adapts himself to a larger whole. Even in this case of a larger whole, when a man no longer merely lets himself go as he walks along, but is obliged to adapt himself to the carrying of a load—already here he enters into the organism of the whole universe.

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I have drawn it diagrammatically, from the side view: a number of men are walking one behind the other. They form the procession which then passes round inside the circle; others are sitting in the circle looking on.

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If you think of these two figures in alternation, you have the earth-motif and the sun-motif that were always carried by the people who formed the procession. This was one thing that in olden times was presented in circling procession. The people sat around in a circle and the actors passed around in a procession. Some of them carried emblems representing man's connection with the sun; and they alternated: earth-sun, sun-earth and so on:

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Man sensed this cosmic power: earth-sun, and then he began to think how he could portray it. The best medium for purposes of art proved to be a plant or tree whose forms runs upwards to a point from a wider base. This was alternated with palms. Plants having a form like a wide bud were alternated with palms. Palms represented' the sun forces; bud-forms running upwards to a point, the earth forces.

Feeling his place in the cosmos, man created certain forms, merely using the plants as a means of expression. He used plants instead of having to invent some other device. Artistic creation was the result of a living experience of cosmic connections; this is in accordance with the evolution of the creative urge in man and the process is no mere imitation of outer phenomena of nature. The artistic representation of the elements of outer nature only entered into art later on. When men no longer realised that palms were used to express the sun forces, they began to think that the ancients simply imitated the palm in their designs. This was never the case; the ancients used the leaves of palms because they were typifying the sun forces. Thus has all true artistic creation arisen, from a ‘superabundance’ of forces in the being of man—forces which cannot find expression in external life, which strive to do so through man's consciousness of his connection with the universe as a whole. Now all contemplation and thought both in the spheres of natural science and art, have been misled and confused by a certain idea which it will be very difficult to displace. It is the idea that complexity has arisen from simplicity. Now this is not the case. The construction of the human eye, for instance, is much more simple than that of many of the lower animals. The course of evolution is often from the complex to the simple; it often happens that the most intricate interlacing finally resolves itself into the straight line. In many instances, simplification is the later stage, and man will not acquire the true conception of evolution unless he realises this.

Now all that was presented to the spectators in those ancient times, when it was always a question of portraying living cosmic forces, was later on simplified into the decoration, the lines of which expressed man's living experience when he presented these things.

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This alternation of Sun-motif, Earth-motif, presented itself to the artistic feeling of mankind as a decorative motif in the truest sense. Later on man no longer realised that he must see in this decorative motif a reproduction that had passed into the subconscious realm, of a very ancient dance motif, a ceremonial dance. This was preserved in the palmette motif. Now it is interesting to consider

the following:—On the decorations of certain Doric columns one often finds a very interesting motif which I will sketch thus.

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In Greece, that wonderful land where the fourth Post-Atlantean period was expressed in all its fulness, there was a union of what came over from Asia with all that I have now described and which, as an after-image is there, on Doric columns together with the truly dynamic-architectonic principle of weight-bearing. This union came about because it was in Greece that the Ego was fully realised within the human body, and therefore this motif could find expression in Greek culture.

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Now you need only imagine what is merely indicated in the Ionic pillars, the middle portion, developing downwards to the perfect volute and you have the Corinthian column.

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The essential forms of art can no more arise from an imitation of nature than music can be created by an imitation of nature. Even in the so-called imitative arts, the thing that is imitated is fundamentally secondary, an accessory as it were. Naturalism is absolutely contrary to true artistic feeling. If we find that people think our forms here are grotesque we shall be able to comfort ourselves with the knowledge that this kind of artistic conception sees in the acanthus motive nothing but a naturalistic imitation. The acanthus motif, as we have seen, was created purely from the spirit and only in its late development came to bear a remote resemblance to the acanthus leaf. Artistic understanding in future ages will simply be unable to understand this attitude of mind which in our time influences not only the art experts who are supposed to understand their subject, but all artistic creation as well. The materialistic attitude of mind in Darwinism also confronts us in artistic creation, in that there is a greater and greater tendency to make art into a mere imitation of nature. My discovery of these connections in regard to the acanthus leaf has really been a source of joy to me, for it proves circumstantially that the primordial forms of art have also sprung from the human soul and not from imitation of external phenomena.

I was only able really to penetrate to the essence of art after I had myself moulded the forms of our building here. When one moulds forms from out of the very well-springs of human evolution, one feels how artistic creation has arisen in mankind. It was a strange piece of karma that during the time when I was deeply occupied with following up a certain artistic intuition (this was after the forms for the buildings had already been made)—an intuition that had arisen during the General Congress in Berlin—it happened that I began to investigate what I had created in these forms, in order to get a deeper understanding. One can only think afterwards about artistic forms; if one “understands” them first and then carries them out, they will have no value. If one creates from concepts and ideas nothing of value will ensue, and the very thing that I perceived so clearly in connection with the acanthus leaf, and have shown to be erroneous, is an indication of the inner connections of the art in our building.

I came upon a remarkable example which is purely the result of clairvoyant investigation. At one point I discovered a curious point of contact with Rigl, a fellow-countryman of mine. It is a curious name, not very aristocratic, but typically Austrian. This man Rigl did not achieve anything of great importance but while he was Curator of an Architectural Museum in Vienna he had an intuitive perception of the fact that these architectural decorations had not arisen in the way described by “Semperism” at the end of the 19th century. Rigl hit upon certain thoughts which are really in line with the metamorphosis of the palmette motif into that of the acanthus leaf. Quite recently, therefore, I have discovered a perfect connection between the results of occult investigation, and external research which has also hit upon this development of the so-called acanthus motif from the palmette. ‘Palmette’ is of course merely a name; what is really there in the palmette is the Sun-motif. In the first place, of course, one feels in despair about an idea like that of Rigl. He simply could not realise whence the palmette motif had originated and that it was connected with forces working and moving in man. Rigl remonstrates with the learned art critics who have brought Semper's ideas into everything and are for the most part mere naturalists, but in spite of this he did not get very far. He says that in regard to the acanthus leaf the learned art critics are still feeding upon the old anecdote quoted by Vitruvius. (It cannot be said that they are all feeding upon it, but it is true that they constantly quote it.) Rigl, however, only mentions this anecdote briefly; he does not think it worth while to go into all the details because it is too well known. What he leaves out is very characteristic. He says that Callimachos had seen a basket surrounded by acanthus leaves and that then the idea of the Corinthian column came to him. Rigl, too, leaves something out and this very thing shows that the typical conceptions of our age must despair of ever having real knowledge in this sphere. He leaves out the most important factor in the whole anecdote, which is that what Callimachos saw was over the grave of a Corinthian girl. That is the important thing, for it implies no less than that Vitruvius, although he wisely holds his tongue about it, intends to indicate that Callimachos was clairvoyant and saw, over a girl's grave, the Sun-motif struggling with the Earth-motif, and above this the girl herself, hovering in her etheric body. Here indeed is a significant indication of how the motifs of Sun and Earth came to be used on the capitals of columns. If we are able to see clairvoyantly what is actually present in the etheric world above the grave of a girl who had died, we realise that the palmette motif has arisen out of this, growing, as it were, around the etheric body that is rising like the sun. It seems as though men have never really understood the later Roman statues of Pytri-Clitia for they are nothing else than a clairvoyant impression that can be received over the graves of certain people; in these statues, the head of an extraordinarily spiritual, though not virginal Roman woman, seems to grow upwards as if from a flower chalice. Some time, my dear friends, we shall understand what really underlies the anecdote quoted by Vitruvius, but not until we grow out of the unfortunate habit which makes us perpetually ask, ‘What is the meaning of this or that?’ and is always looking for symbolic interpretations such as, ‘this signifies the physical body, that the etheric body, this or that the astral body.’ When this habit is eliminated from our Movement we shall really come to understand what underlies artistic form—that is to say, we shall either have direct perception of true spiritual movement, or of the corresponding etheric phenomenon.

It is actually the case that in clairvoyant vision the acanthus leaf can be seen, in its true form, above a grave.

If you will consider all these things; my dear friends, you will realise how important it is to understand the forms in the interior of our building, the forms that should adorn it, and to know the artistic principle from which they have arisen. On previous occasions I used a somewhat trivial comparison, but it is only a question of understanding the analogy. Although it is trivial, it does, nevertheless, convey what it is intended to convey. When we are trying to understand what will be placed in the interior of the building in these two different sized spaces, we may with advantage think of the principle of the mould in which German cakes are baked.

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It would have been my wish—only it was not to be—that we should have had no such surfaces as these (pointing to an architrave). They will only be right—when something is taken away from them. This roundness here must be eliminated. It would have been better if from the very beginning we had worked with the graver's chisel for then there would have been no protuberance but only a surface. What we must do is to feel from the models how the interior decoration is the plastic vesture for the Spiritual Science that is given its in the building. Just as the interior decoration has the quality of being ‘in-carved,’ so the outer decoration will seem as though it is ‘laid on.’ The interior decoration must always have the character of being in-carved. One can feel this in the model, for the essential thing is a true inner feeling for form in space. It is this that leaves one unsatisfied even in such writings as those of a man like Hildebrandt. He has a certain idea of the workings of form but what he lacks is the inner feeling of form—the inner feeling that makes one live wholly within the form. He simply says that the eye should feel at home when it looks at form. In our building we must learn to experience the forms inwardly, so that, holding the chisel in a particular way, we learn to love the surface we are creating—the surface that is coming into being under the mallet. I, for my part, must admit that I always feel as if I could in some way caress such a surface. We must grow to love it, so that we live in it with inner feeling and not think of it as something that is merely there for the eye to look at.

Just recently someone told me after a lecture that a certain very clever man had accused us of straining after ‘externalities,’ as instanced by the fact that different kinds of wood have been used for the columns in the interior. This shows how little our work has been understood. Such a thing is considered to be a dreadful externality. This very intelligent man, you see, simply cannot realise that the columns must be of different woods. The real reason why he cannot understand, is that he has not paused to consider what answer he would have to make if he were asked: ‘Why must there be different strings on a violin? Would it not be possible simply to stretch four A strings instead?’ The use of different woods is a reality in just the same sense. We could no more use only one kind of wood than we could have only A strings on a violin. Real inner necessities are bound up with this. One can never do more than mention a few details in these matters. The whole conception of our building and what must be expressed in it, is based upon deep wisdom, but a wisdom that is at the same time very intimate. Of course there will be forms which are nowhere to be found in the outer physical world. If anything bears an apparent resemblance to a form in the animal or human body, this is simply due to the fact that higher Spirits who work in nature, create according to these forces; nature is expressing the same things as we are expressing in our building. It is not a question of an imitation of nature, but of the expression of what is there as pure etheric form. It is as though a man were to ask himself: ‘What idea must I have of my own being when I look away from the outer sense-world, and try to find an environment that will express my inner being in forms?’ I am sure that everyone will be struck by the plastic forms on the capitals and in the rest of the interior. Not a single one of these forms is without its own raison d'étre. Suppose anyone is carving the column just here (pointing to an architrave motif). At another place he will carve more lightly or deeper down into the wood. It would be nonsense to demand symmetry. There must be living progression, not symmetry. The columns and architraves in the interior are a necessary consequence of the two circular buildings with the two incomplete domes. And I cannot express this any more precisely than by saying that if the radius of the small dome were at all larger or smaller in proportion to the large dome, each of these forms would have to be quite different, just as the little finger of a dwarf is different from that of a giant. It was not only the differences in dimension, but the differences in the forms that called forth the overwhelming feeling of responsibility while we were erecting the building; down to the smallest detail it could not be other than it is. Each single part of a living organism has to exist within and in accordance with the whole living organism. It would be nonsense to say: I want to change the nose and put a different organ in the place where the nose now is.' It is a matter of actual fact that the big toe, and the small toe as well, would have to be different if the nose were different. Just as nobody in his senses would wish to re-model the nose, so it is impossible that the form here should be other than it is. If this form were different, the whole building would have to be different, for the whole is conceived in living, organic form. The advance we must make is this: all that was, in the early days of art, a kind of instinctive perception of a human posture transformed into artistic form must now enter with consciousness into the feeling life of man. In this way we shall have, in our interior decorations, etheric forms that are true and living, and we shall feel them to be the true expression of all that is to live in our building. It simply cannot be otherwise.

Now the other day I received two letters from a man who, ten years ago, it is true, did belong to the Anthroposophical Movement, but who since then has left it. He asked me if he could be allowed to make the windows, for he was so well qualified for the work. He was really very insistent. But when you see the windows you will understand that they could only be made by somebody who has followed our work right up to the present. Suppose I were to press my hand into a soft substance: the impress could only be that of my hand, it could not be the head of an ox for instance! It is Spiritual Science that must be impressed into the interior decoration; and Spiritual Science must let in the sunlight through the windows in a way that harmonises with its own nature. The whole building is really constructed—forgive this analogy—according to the principle of the cake mould, only of course instead of a rising cake, it is filled with Spiritual Science and all the sacred things that inspire us. This was always the case in art, and above all it was so in the days when men perceived in their dim, mystical life of feeling the alternation of the principles of earth and sun in the living dance and then portrayed the dance in the palmette motif. So it must be when it is a question of penetrating the outer sense- veil of natural and human existence and expressing in forms things that lie behind the realm of sense perception—if, that is to say, we are fortunate enough to be able to carry this building through. How inner progress is related to the symptoms of onward-flowing evolution—this is what will be expressed in the building, in the dimensional proportions, forms, designs and paintings.

I wanted to place these thoughts before you in order that you may not allow yourselves to be misled by modern conceptions of art, which have put all true understanding on one side. A good example of this is the belief that the Corinthian capital arose primarily from the sight of a little basket with acanthus leaves around it. The truth is that something springing from the very depths of human evolution has been expressed in the Corinthian capital. So also we shall feel that what surrounds us in our building is the expression of something living in the depths of human nature behind the experiences and events of the physical plane.

To-day I only wanted to speak of this particular detail in connection with our building and with a certain chapter in the history of art.

There may be opportunities during the coming weeks to speak to you of other things in connection with some of the motifs in the building. I shall seize every available opportunity to bring you nearer to what is indeed full of complexity, but yet absolutely natural and necessary, in a spiritual sense, for our building.

In our days it is not at all easy to speak about problems of art, for naturalism, the principle of imitation, really dominates the whole realm of art. So far as the artist himself is concerned, naturalism has arisen out of a very simple principle; so far as other people are concerned it seems to have arisen from something less simple. The artist, when he is learning must, of course, copy the productions of his master; he must imitate in order to learn. Man now imitates nature out of instinct—for he has made the principle of pupil into that of master and has then put the master on one side because he will brook no authority. This principle is very convenient for artists, for they do not want to get beyond an artistic reproduction of the models before them. The layman to-day understands the principle of naturalism as a matter of course. Where can he find anything to take hold of when he sees forms like those in our building? How are these forms to stimulate any thought at all? He will tear his hair and ask, with a shrug of his shoulders: ‘Whatever is this?’ And he will be lucky if he finds anything at all to take hold of, for instance, if he discovers that some detail has a slight resemblance, maybe to a nose! Although this may be negative, he is delighted that he has discovered anything at all. To-day the layman is pleased if when he finds in the different arts something that transcends the purely naturalistic element, he can say: ‘This has a resemblance to something or other.’ Art will most certainly be misunderstood if people continue to think that it is only legitimate to express things that resemble something or other in the external world. Real art does not ‘resemble’ anything at all; it is something in itself, sufficient unto itself. And again from this point of view it was despairing to find that as a result of the materialism of the second half of last century, painters (not to speak of sculptors) were asking themselves for instance: ‘How am I to get the effect of that mist in the distance?’ And then all kinds of attempts were made to reproduce nature by pure imitation. It really was enough to drive one to despair! Ingenious things were produced, it is true, but what is the value of them? It is all far better in nature herself. The artists were wasting their time in their efforts to imitate, for nature has it all in a much higher form. The answer to this problem is to be found in the Prologue to “The Portal of Initiation.” [The first of Dr. Steiner's Mystery Plays.]

Not long ago we happened to be going through the Luxemburg Gallery in Paris, and we saw a statue there. At first sight it was exceedingly difficult to make out what it was supposed to be, but by degrees it dawned on one that perhaps it was meant to represent a human figure. It was so distorted .... I will not imitate the posture, for it would be too much of a strain on the shoulders and knees! It is an absolutely hideous production, but I assure you that if it were to meet one in nature it would be much easier to understand than this “work of art.” People to-day do not realise the absurdity of giving plastic form to a motif that has been thought out, for there is, as a matter of fact, no real necessity to give it plastic form. That which is to be given plastic form must from the very beginning be there in itself and only conceived of plastically. No true sculptor will say that Rodin's productions are an expression of true plastic art. Rodin models non-plastic motifs very well, in an external sense, but true artistic feeling will always be prompted to ask if it amounts to anything, for true plastic conception is entirely lacking. All these things are connected, my dear friends. I have told you what happened in my young days, when I was about 24 or 25 years old, when I absorbed the doctrines of Semper. Already then they were enough to drive one to despair and their influence has not been got rid of yet. Therefore I ask you—and more particularly those who are working so devotedly and unselfishly at our building with all the sacrifices that their work entails—always to try to proceed from inner feeling for what this building ought to contain and to feel in life itself the forms which must arise, in order that we may free ourselves from the trammels of much so-called modern “art.” We must realise, in a new sense, that art is born from the depths of man's being. So greatly is this prone to be misunderstood in our age that people have taken the metamorphosis of of the Earth and Sun motifs to be an imitation of the acanthus leaf. If people will stop believing the anecdote quoted by Vitruvius, that Callimachos saw a basket strewn around with acanthus leaves and then used it as a motif on columns, and will listen to what he says about Callimachos having had a vision over the grave of a Corinthian girl, they will also realise that he had clairvoyant sight and they will have a better understanding of the evolution of art. They will realise that development of clairvoyance leads man to the realm lying behind the world of sense. Art is the divine child of clairvoyant vision—although it only lives as unconscious feeling in the soul. The forms that are seen by the clairvoyant eye in the higher worlds cast their shadow pictures, as it were, down to the physical plane.

When people understand all that lives in the Spirit—the Spirit which has the power to impress itself into what surrounds us here in our building, finding its expression in the outer framework around us—they will also understand the goal we have set ourselves, and see in the forms of art the impress of what has to be accomplished and proclaimed in living words in our building. It is a living word this building of ours!

Now that I have tried, scantily, it is true, to indicate something in regard to the interior we shall, before very long, be able to speak of the painting and also of the outside of the building.

Even more than on the last occasion when I spoke to you about our building am I reminded to-day of the attitude we must have to this edifice, dedicated as it is to the cause of Spiritual Science. The sacrifices of those who have befriended the cause of Anthroposophy call for a sense of great responsibility. To-day is a splendid occasion for reminding ourselves of this responsibility, for the first of our auxiliary buildings is to be given over to its own tasks. We can be reminded of this responsibility by studies that arise naturally out of the tasks before us and the goal we are striving to attain.

The immediate use to which these rooms will be put is the production of the glass windows for our building, and we cannot help being moved by the thought that our human faculties are not really mature enough as yet to accomplish the full task before us. I think it is healthy and good that all our work should be permeated by the feeling that we have not as yet grown equal to our task, for only this can enable us to accomplish the highest that lies within our power. We shall be able to create the first beginnings of an artistic vesture for Spiritual Science—to the extent to which our epoch and our means allow—if we are always pervaded by the feeling that we are, in truth, little qualified for the full task. The site on which our building stands is pervaded by an atmosphere which seems to say: “Do the very utmost of which your powers and faculties are capable, for you cannot do nearly enough in comparison with what ought to be achieved; and even when you have done your very utmost, it will not by any means suffice.”

When we look at the site of our building we should be pervaded by an indefinable feeling—a presentiment that a mighty task is hovering before us. And more particularly should this be the case to-day when we are handing over this auxiliary building to our friend Rychter and his workers, in order that they may create something that in the fairest sense may be a living member in the whole organism of our building.

Entering the room through this door, our feeling will be that we are indeed blessed, as individuals, in having the opportunity to co-operate in work like this. And when we think of the functions of the windows in the building, an atmosphere of the soul and spirit will hover around us, whispering of the deep spirituality which we pray may flow like purifying waves of healing through this room.

When the building is once ready we shall again and again be conscious of a feeling which I may perhaps express as follows: ‘How infinitely necessary it is to grow beyond everything personal, if the forms of this framework for our Spiritual Science are to have real meaning for us.’ This again is, in a certain sense, the satisfying element in our building. Our architects, engineers, and all the other workers may well derive strength from the comforting feeling that apart from all the cares and troubles which the building involves, it can itself be for us a wonderful education—an education leading us above everything personal. The building demands a great deal more than the expression of any personal element. As we set about our work, and permeate the single forms with thought and feeling, we become conscious of new tasks of which we previously had no inkling. We feel that a mystery is there around us, calling out to the highest forces of soul, heart and mind to create something that transcends personality. This building can teach us how to fulfil the tasks which arise every day. It brings home to us a feeling that can ring in such sacred tones in the soul: How infinitely greater are the potentialities of the Universe than insignificant human beings! The highest we can create must be infinitely greater if it is to prove equal to the tasks before us in the objective world.' All that can ever be enclosed within the limits of the personal self must be transcended. The building itself, and the auxiliary house we have been able to open to-day can be a means of education for us. Indeed, the more they become a means of education, the greater understanding we shall have. Already now, as we look at the incomplete building and at this house, we cannot help thinking of what our feeling should be as we enter. How often we shall feel, ‘Ah, if only all human beings could be led here!’ Do we really deserve so sacred a framework—a framework we ourselves have helped to create—if we have any desire to exclude other human beings? Shall it not rather be our dearest wish to bring all men into the building? This will certainly be our desire if we realise the mission that such buildings will have to humanity, if they find imitators and followers?

Think for a moment of many buildings erected in our times by clever architects. Some of them, although they show no signs of a new style and are not permeated with any new spirituality, are really creations of architectural genius. Yet they all have one thing in common. We may admire them from outside and think them beautiful inside, but they do not make us feel, as our building will do, that we are enclosed as if by organs of sense. The reason for this is that these other buildings are dumb—they do not speak. This is the thought that I would like to press home to you this evening.

Let us think of buildings which express all the characteristics of our times. People pass in and out without in any way growing into their architecture, forms or art. Everywhere we feel that what ought to be expressed through the forms of art has to-day to be communicated to humanity by other means. In the present age man is more and more compelled to bring about order, stability, peace and harmony by means of external laws, decrees or institutions, definitions in words. This implies no syllable or thought of criticism, for it must be so in our age. But something must be added to this—something that signifies the onward evolution of humanity in a different sense. It is probable that our building will not be able fully to attain its goal—indeed we are only aiming at a primitive beginning. Yet if human culture is able to take what is expressed in our building (in so far as we fulfil the tasks set us by the higher Spirits) and develop it; if the ideas underlying such works of art find followers—then people who allow themselves to be impressed by these works of art and who have learnt to understand their language, will never do wrong to their fellow men either in heart or intellect, because the forms of art will teach them how to love; they will learn to live in harmony and peace with their fellow beings. Peace and harmony will pour into all hearts through these forms; such buildings will be ‘Lawgivers’ and their forms will be able to achieve what external institutions can never achieve.

However much study may be given to the elimination of crime and wrong-doing from the world, true redemption, the turning of evil into good, will in future depend upon whether true art is able to pour a spiritual fluid into the hearts and souls of men. When men's hearts and souls are surrounded by the achievements of true architecture, sculpture and the like, they will cease to lie if it happens they are untruthfully inclined; they will cease to disturb the peace of their fellow men if this is their tendency. Edifices and buildings will begin to speak, and in a language of which people to-day have no sort of inkling.

Human beings are wont to gather together in Congresses to-day for the purpose of putting their affairs in order, for they imagine that what passes from mouth to ear can create peace and harmony. But peace and harmony, and man's rightful position can only be established when the Gods speak to us. When will the Gods speak to us?

Now when does a human being speak to us?—When he possesses a larynx. He would never be able to speak to us if he had no larynx. The spirits of nature have given us the larynx and we make this gift an organic part of the whole cosmos when we find the true forms of art, for they become instruments through which the Gods speak to us. We must, however, first learn how to make ourselves part of the great cosmos, and then our desire to lead all mankind through these doors will be the stronger. Out of this desire—for its fulfilment is not yet—the longing will develop to work so intensely for our spiritual movement that this aim may gradually be attained. Art is the creation of an organ through which the Gods are able to speak to mankind .... I have already spoken of many things in this connection. I have spoken of the Greek Temple and have shown how all its forms express the fact it is a dwelling place of the God. To-day I want to add something to this. If we try to understand the basic nature of the Greek art of building we shall realise that the very being and essence of the fourth Post-Atlantean epoch flowed into the Greeks' mode of perception and thence into their art of building.

What is the basis of Greek perception and feeling? It is, of course, a wide subject, but I will only speak of one aspect.

Here (see diagram) we have the wall surrounding the Greek Temple, with the horizontal structure resting upon it. When anything rises above the horizontal it is so constructed that it is upheld by its own forces which balance each other; just as when, in building, we place two beams together.

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The presupposition here is that the earth with its gravity lies beneath. And translating this feeling into words, we may say: ‘In the fourth Post-Atlantean epoch man felt that the site of the earth was a gift of the God; it was as though Divine power overflowed into the creations of art.’ Therefore, by means of the forces in the earth given to man by the Gods, it was felt that gravity could be overcome. In the Greek Temple man controls the force of gravity and thereby creates a dwelling place for the God who has given him the earth.

Neither this “dwelling-place of the God” nor the later Roman Temples can be thought of apart from the surrounding land. The land is part of the Temple itself. A Greek Temple is complete in itself even if nobody is within it, for its whole conception is that of the dwelling-place of the God; it is the sanctuary of the God. Human beings may live for miles around in the district; if nobody enters the Temple, it stands there, none the less, complete in itself—a dwelling-place of the God. In every detail we see how man expresses in the decorative forms of these dwelling- places of the Gods all that his feeling of veneration makes him feel he ought to do for the Gods. In the last lecture I tried to show you that the motif on the capitals has its origin in a dance motif—a dance that was performed as homage to the Gods of nature. And now let us pass on to the forms of the earliest Christian architecture. One thought in particular arises within us when we pass from the Greek Temple to the Church of Christendom. The Greek Temple stands within its surrounding territory, belongs to the territory. Human beings are not necessarily within the Temple; they live around it, outside it. The Temple belongs to the surrounding territory, is thought of as the altar of the land around it. The Temple hallows everything, even the trivial daily occupations of the human beings who live on the land. Service rendered to the earth becomes a divine office because the God stands or is enthroned as Lord and participates in the work on the land and in the pursuits of human beings living around the Temple. Man feels himself united with the God as he works on the land. Worship of the God is not yet separated from service to the earth. The Temple grows out of the human element, sometimes indeed out of the ‘all-too-human,’ and hallows everything around it. ‘Earth, be thou strong!’—This is the prevailing mood of the fourth Post-Atlatean epoch, when human beings are still at one with the earth which the Gods have given into their charge, when the Ego is still slumbering in a kind of dream consciousness, when man still feels himself connected with the Group-Soul of the whole of humanity. Then man grows out of this Group-Soul, becomes more and more individual, and he separates from the land, from daily life and activity, the worship he performs in his spiritual life.

In the early days of Christianity the feelings of men were no longer the same as in the Greek age. Looking into the soul of the Greek, we see him sowing his fields and working at his industrial pursuits, pervaded by this unshakable feeling: There stands the Temple with the in-dwelling God and I am near. I may be carrying out my pursuits and working on the land but all the while the God is dwelling there within the Temple. Then man grows more individual, a strong sense of Ego, of “I” arises within him, and Christendom represents the emergence of something that had been prepared through the course of long ages by the ancient Hebrew civilisation. Out of the human soul arises the need to separate off from the affairs of everyday life the worship that is offered to the God. The building is separated from the land and the Church of Christendom comes into being. The land becomes independent; the building becomes an entity independent of the territory; it is an ‘individuality’ complete in itself. The Greek Temple was still a kind of altar for the whole territory, whereas the walls of the Christian Church now form a space set apart for those who are to worship. The forms of the Churches of Christendom and also of Roman architecture gradually come to express this individual, spiritual need of man, and they can only be understood in this sense. The place of the Greek within earthly existence was such that he said to himself: ‘I can remain here with my flocks, carrying out my occupations, doing my work on the land, for the Temple stands there like an altar for the whole countryside: the God is dwelling within it.’ In Christendom, man says: ‘I must leave my work and repair to this building, for there I must seek for the Spirit.’ The service of earth and the service of heaven are separated and the Christian Church more and more assumes a form where Greek and Roman architecture would no longer be suitable. It is a form which reveals that the community belongs to the church; the church is intended to enclose the community. Then, once again set apart from the community, we find the house of the priests, of those who teach. An image of the universe comes into being; the Spirit speaks to those who seek for the spirit, in precincts where they are enclosed within walls. The whole world was felt by the Greeks and Romans in former times in the same way in which the Christians afterwards felt the precincts of the Church with its enclosing walls.

And what the Greek Temple itself had been now became the chancel. Men sought now for a distinct image of the world whereas formerly they had taken the world itself and only placed within it, visible to outer senses, the Temple as the dwelling-place of God. Gothic architecture is really only a branch of what was already being prepared. The essential feature of Gothic architecture is that the weight is taken away from the walls and placed upon the pillars. What is the origin of this whole mode of construction, where the weight rests on pillars, which are so moulded that they are able to bear it? It is based on a quite different conception from that of the Greek Temple. When we pass to the pillars of Gothic architecture which take away the weight from the walls, we are no longer concerned with the pure force of gravity. Here, man himself is working. In the Greek Temple it is as though he frees himself from the earth's gravity and having gained knowledge of it within the earthly realm, now rises above it. In that man makes use of the force of gravity, he overcomes it. In the weight-bearing Gothic pillars we are no longer concerned with the pure working of the force of gravity; in the Gothic building the art of handicraft is necessary, of higher and lower handicraft. The need for the creation of precincts which enclose the community also gives rise, in Gothic architecture, to the need for something wherein the activity of the community plays a part. In the single forms we see a continuation, as it were, of what the people have learnt. The art of the hand-workers flows into the forms, and in studying these forms we see the art of human beings who have contributed their share, who have worked together. The old Roman Churches are still edifices which enclose the God. The Gothic Church is an edifice built by the community to enclose the God but one where the people have contributed their own handicraft. They do not only enter the Churches but they themselves work at the building as a community. In Gothic architecture this labour of human beings unites itself with the Divine. The souls of men no longer receive the Divine as a matter of course; they do not only come together and listen to the word of the Spirit proceeding from the chancel, but they gather around the God in their labours. Gothic Churches are really crystallised handicraft.

We can quickly pass over what came next, for it really amounted to a revival of classic architecture. In this connection it is not necessary to speak of the Renaissance; we will speak of what the fifth Post-Atlantean epoch demands of us.

Let us consider the element of weight and support, following it to the point where it becomes crystallised handicraft in Gothic architecture.

If we penetrate this with artistic feeling we realise that here is something at rest within itself, at rest within the earthly forces. All the forces of these edifices rest within the earthly element. The Greek Temple everywhere indicates the force of gravity and its own union with the earth. In the Greek Temple we can everywhere observe some manifestation of the force of gravity. Its very forms reveal a union with the earth.

And now let us compare the basic form in our building that will confront everyone even from the outside. I will make a rough diagram of it. What is the characteristic of this motif?

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I should have to speak for a long time if I wanted to show that this is how the art of relief first assumes its real meaning, but I will only give you an indication of what I really have in mind. A certain eminent artist of modern times has spoken a great deal about the art of relief and has said some clever things. He tells us to think of two panes of glass standing parallel to each other and between them an intersected figure. We should then be looking in the direction of the arrow through the panes of glass at the figure ...

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Now there is in the world a relief which is full of meaning, only we pay no proper attention to it. There is a certain relief that has been created in accordance with the true idea—it is the earth with her plant kingdom. We must, however, pass away from the surface of the earth into cosmic space before we can study this relief. The earth is the living surface which brings forth its creatures from its own being. Our own art of relief must be based upon the conception that the wall is a living thing even as the earth brings forth her plants. This is how a true art of relief is attained. To go beyond this principle is to sin against the essence of the art of relief. When we look down upon the great relief of the earth, we see human beings and animals moving upon it, but they do not belong to the relief. They can be introduced into the relief, of course, because the arts can be developed in all directions, but this is no longer the pure essence of the art of relief.

Our building must speak through the forms in its interior, but the speech must be that of the Gods. Think for a moment of the life of human beings on the earth, that is to say, immediately on the surface of the earth. Here we need not draw directly on our teachings—we need only turn to the Paradise Legend. If man had remained in Paradise he would have looked upon the wonderful relief of the earth with her plant kingdom from outside. He himself, however, was transplanted, as it were, into this relief. He could not observe it from outside for he was taken out of Paradise. The speech of the Gods cannot ascend from the earth to men for the speech of the earth drowns the speech of the Gods.

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Nothing in this architecture is there for its own sake alone. The one form leads over into the other; or, if the forms have a threefold character, the central form is the bridge between the other two. Here we have a rough sketch of the forms of the doors and windows.

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Now all that lives in the sculptured forms is three dimensional; relief is a conquest of the second dimension, surface, which is then brought into the third dimension. This is not realised if we merely take the standpoint of an observer or spectator: for we need a living feeling of how the earth allows the plants to grow out of her being.

When I come to speak of the real nature of painting we shall understand the significance of the connection between colour and the inner element of soul in the universe. There would be no sense in painting with colours if colour were not something quite different from what physics imagines it to be. The principles of colour as the speech of the soul of nature, of the soul of the universe, will be the subject of a later lecture.

I will now indicate how our glass windows are to represent the union of the outer with the inner. They will each in themselves be of one single colour, but different colours will be used at the various positions in the building. This expresses the spiritual, musical harmony of the outer with the inner world. And the single coloured window will only express this harmony in the thicker and thinner strata of the glass. That is to say, we shall have surfaces where the glass is thicker, more solid, and surfaces where the glass is thinner. The light will shine more strongly through the thinner places in the windows; it will shine less strongly, and produce darker colours, through the places where the glass is thicker. The connection between spirit and matter will be expressed in the glass windows; but the whole interior will strive to be an organ for the speech of the Gods. The larynx makes it possible for man to speak, and in the same way the whole of our relief-moulding is an organ for the Gods who should speak to us from all sides of the universe. So that when we make an aperture for the windows in the walls which allow the Gods to speak to us, we are seeking the path to the Spirits of the cosmos. These windows are intended to signify in their coloured shadings: ‘Thus, O man, thou findest the path to the Spirit.’ We shall see how the soul is connected with the spiritual world when it sleeps during the night and is living outside the body. We shall see the way in which the soul is connected with the spiritual world between death and a new birth in the disembodied state. The windows will show us how, when man approaches the threshold, he becomes aware of the abyss; the stations on the path to the spiritual world will be revealed. They will arise as light formations from the West, revealing to us the mysteries of Initiation. We are trying to create walls, the forms of which make the wall themselves seem to pass away. The designs must express how we pierce the walls, showing us how we find the path to the spiritual worlds, or traverse these worlds unconsciously, showing us what our relation to the spiritual worlds must be.

The Greek Temple, the dwelling place of the God, and the later edifice, which was built for the community desiring to be united with their God, were building-sheaths which enclosed and shut off. Our building must not shut off anything in the universe; its walls must live, but live in accordance with truth itself. Truth flows into the beauty of our relief-moulding. If we had not been driven out of Paradise we should be conscious of the ' speaking ' relief proceeding from the earth herself in the plant forms, which grow even above the geological formations of the mountains and only allow these strata to be bare in places where it is right that they should be bare. The moment however when we find in our perceptual life the transition from the 'repose' where the Gods speak to us, from that ‘repose’ to our own activity, to what we must do in order to find the way to the Gods—in that moment we must have movement, inner movement; we must pierce the wall. We must have these windows which call to our souls to tread the path to those regions whence the words expressed by the forms of the walls have proceeded. Then each one of us will sit within the building and we shall say to ourselves: “The organs of the great Spirits themselves are round about us; it is for us to understand the language spoken though these forms.” But we must understand it in the heart and not merely be able to grasp it intellectually.

Those who begin to, explain' the meaning of these forms are on the wrong track. They stand on the same ground as those who interpret the old myths symbolically and allegorically, and imagine for instance, that they are advancing the cause of Theosophy. A man who tries to ‘interpret’ the myths and explain external forms may be clever and ingenious but he is like one who tries to look under his chin to explain the symbolism of his larynx. We understand the speech of the Gods by learning how to listen with our hearts, not by using intellectual agility and giving symbolic or allegorical meanings to myths and artistic forms. ‘Here you sit and the Spirits of the Universe are speaking to you’—this must become a living feeling within us. When this becomes a living perception of what the soul must do if it is to find the way to those regions whence the speech of the Spirits proceeds, we shall direct our gaze to where the walls are pierced by the windows; and at those places there will be revealed to us the mysteries enacted in man as he consciously or unconsciously treads the path from the physical to the spiritual.

I have tried to express the feelings of our hearts and souls to-day when this house is being given over to the charge of our friend Rychter and his colleagues for their work. May they feel, as they receive it, the sacred nature of their task and something of the holiness of which I have spoken. Up on the hill itself we are still working at the building which will reveal, to those who seek, organs through which the Gods may speak to them. But there must arise in these seekers a holy longing to find the ways and paths to the realms of the Gods. The work of Rychter and his colleagues in the rooms of this house will be taken up the hill and placed in the positions where the walls are pierced. It will move the souls of those gathered together in the building at the top of the hill and show them the path to the Spirit.

May this holy mood pervade this house; may each drilling in the glass be carried out with the feeling: ‘Here I have to mould something that will lead to the realms of the Spirits those who see it up there in the building. My creations must make the soul's perception so living that the shadings in the coloured glass will represent the channels by which the spiritual worlds are speaking through the forms in the interior.’ The difficulties may be very great, indeed there may be only partial success in many cases and in other cases total failure, but the attitude I have described will be an unfailing help.

I did not intend to-night merely to speak of matters which may help to make art more intelligible. I have spoken as I have because I pray that something of what I feel may flow from my heart to yours. I want your hearts to be livingly permeated with a feeling inwardly vibrant with the sense of the holiness of this work. We dedicate this house of labour most fitly if as we leave the doors we concentrate with all the forces of our hearts on love for the world of man and of spirit, to the end that the way to the Spirit may be found through what is accomplished here—to the Spirit whence peace and harmony can flow among men on the earth. If all our labours are made living by the Spirit, if all the work on this hill is filled with the Spirit of Love—which is at the same time the Spirit of true art—then from our building there will flow out over the earth the spirit of Peace, of Harmony, of Love. The possibility will be created for the work on this hill to find successors; many such centres of earthly and spiritual peace, harmony and love may thus spring up in the world. Let us realise the living nature of our work in this mood of peace and loving harmony, knowing that our labours flow from the Spirit of Life itself. There have been dwelling-places of the Gods, sanctuaries of the community, and there yet will be an organ of speech for the Spirit, a building which points out the way to the Spirit. The God dwelt in the Greek Temple; the spirit of the community may dwell within the Roman or Gothic edifice; but the world of the Spirit itself must speak through the building of the future. We have seen the house of earthly forces and forms arise and pass away in the course of human evolution; we have seen the house of the union of human souls arise and pass away in the spiritual evolution of the earth. It is for us to build the house of speech out of our love for true art, which is at the same time love for true spirituality and for all mankind.