The Rudolf Steiner Archive

by Marie Steiner to
the First German Edition of 1944

THE WORK that now began, without the interruption of even a single day, was at first devoted to medical knowledge; its scientific aspect had to be filled full of genuine spiritual forces; the esoteric work for which the younger doctors were so intensely striving had to be deepened, so that the loving will and the healing will that requires so much selflessness in the practice of caring for the sick could be unfolded.

On 2 January 1924 the third of the lectures to doctors was given. [Note 81] And also on 2 January the course of eight lectures [Note 82] to younger doctors and medical students began; it continued till 9 January.

The evening lectures brought contemplations of the destinies of inner spiritual life between the ninth and the end of the twelfth century. Rosicrucianism and Modern Initiation is the title of the cycle running from 4 to 13 January. [Note 83] In the final lecture we are led from the principle of Rosicrucian initiation up to the mystery of modern initiation and the beginning of the Age of Michael. A lecture given to members on 18 January [Note 84] is of particular importance. It gives a concise account of the coming into being of the Anthroposophical Society, from its beginnings, through the war years and right up to the completion of the building in Dornach. In opposition to the institutions being founded chiefly in Stuttgart, and to the work of scientists who join the Society in considerable numbers, there arises the will to destroy it held by a well-organized coalition of opponents. The gauntlet is thrown down when the Goetheanum is burnt to the ground, and finally we come, in view of the newly created world situation to the new founding of the Society as the General Anthroposophical Society.

The question now demanding an answer of us is: How can Anthroposophy be represented before the world? That lecture of 18 January culminates in this question. It also gives us a greater understanding of the coming inauguration of the Classes. And in order to provide a firm basis for the spiritual schooling to be striven for, nine lectures give new aspects of a deeper penetration into the nature of Anthroposophy, made possible only by the work of many years, under the modest title of Anthroposophy—an Introduction. [Note 85]

At the same time in Das Goetheanum began the series of what came to be called Dr Steiner's Letters to Members. In these he endeavoured to awaken and strengthen people's sense of responsibility for the forming of the life of the Society and of what went on in the different branches. They have recently been republished in the little book Life, Nature, and Cultivation of Anthroposophy. [Note 86] From this foundation Dr Steiner goes on to what he describes as the special fields of the different Sections at the Goetheanum. In the first few essays, under the title ‘The School of Spiritual Science’, he turns first to the promotion of the medical work with which he was at that time particularly concerned. Then he goes on to the tasks of the young people who search with such yearning for a spiritual view of the world. The perennial conflict between the generations, particularly strong at the time, is thoroughly examined. Youthful impetuosity, now emerging to the full rather exuberantly and immaturely amid the strife within the Society, is given an orderly field of work in the newly to be founded Section ‘for the Spiritual Striving of Youth’. There follow other brief discussions.

Since a new edition of these essays has been long awaited, this seemed the appropriate moment to bring it out as a continuation of the proceedings of the Christmas Foundation Conference. So the next private publication under the title of The Constitution of the School of Spiritual Science [Note 87] will contain in the main those essays as well as Dr Steiner's lectures of 18 and 30 January and an address given on 3 February. They treat of questions of dividing up the School into Sections and of the special significance of belonging to the Class.

It is natural that different points of view exist among the members about their own relation to the Anthroposophical Society. A person may enter the Society with the idea that he will find in it what he is seeking out of the inmost needs of his soul. In his search and in the finding of what the Society can give him, such a member will then see the meaning of his membership. I have already indicated that no objection can properly be made to this point of view.

From the very essence of Anthroposophy, it cannot be for the Society to bring together a circle of human beings, and impose upon them when they enter it obligations which they did not recognise before, but are expected to take on simply on account of the Society. If we are to speak of obligations in the proper sense, it can only be of those of the Society towards its members.

This truth (it should indeed go without saying) involves another which is not always rightly understood, nay, is sometimes not even considered.

As soon as a member begins to be active in any way in the Society and for it, he takes upon himself a great responsibility, a very solemn sphere of duty. Those who do not intend to be thus active should not be disturbed in the quiet spheres of their work; but if a member undertakes any activity in the Society, he must thenceforth make the concerns of the Society his own, and this he must on no account forget.

It is natural for one who wishes to be a quiet member to say, for example, ‘I cannot concern myself with the statements of opponents about the Society’. But this is changed the moment he goes outside the sphere of silent participation. Then at once it becomes his duty to pay attention to the opponents and to defend all that is worthy of defence in Anthroposophy and the Anthroposophical Society.

It was bad for the Society that this most necessary fact was not always observed. Members have the fullest right to expect that the Society will give them in the first place what it promises to give. It must surely seem strange to them to be called upon at once to undertake the same obligations as those who hold out these promises.

If, then, we speak of the duties of members to the Society, we can only be referring to those members who desire to be active. This question must not of course be confused with that of the duties which belong to man as such. Anthroposophy does indeed speak of duties. But these will always be of a purely human character; they will only extend the horizons of human responsibility in a way that results from insight into the spiritual world. When Anthroposophy speaks in this way, it can never mean obligations that apply only in the Anthroposophical Society. It will mean duties arising out of human nature rightly understood.

Once more, then, for the members who are active in it, the Anthroposophical Society by its very nature involves definite responsibilities, and these—for the same reason—must be taken most seriously. A member, for example, may wish to communicate to others the knowledge and perceptions of Anthroposophy. The moment his instruction extends beyond the smallest and most quiet circle, he enters into these responsibilities. He must then have a clear conception of the spiritual and intellectual position of mankind today. He must be clear in his own mind about the real task of Anthroposophy. To the very best of his ability he must keep in close contact with other active members of the Society; and it must be far from him to say, ‘I am not interested when Anthroposophy and those who represent it are placed in a false light, or even slandered by opponents’.

The Executive formed at the Christmas gathering understands its task in this sense. It will seek to realise in the Society what has here been expressed, and it can do no other than ask every member intending to be active to make himself a helper and co-operator in these matters.

Only so shall we achieve our purpose, and the Society will be equal to the promise which it holds out to all its members—and thereby to the world at large.

To take one example, it is distressing to have the following experience. It sometimes happens that the members in a certain place, who desire to be active, meet from time to time to discuss the affairs of the Society. In conversation with individuals who take part in these meetings, it will afterwards emerge that they hold certain opinions about each other, each other's activities for the Society, and the like—opinions which are not voiced at all in the meetings. A member, one will find, has no idea what those who are often associated with him think of his work.

It is essential for these matters to be guided into better channels, and this should follow from the impulse which the Christmas gathering has given. Those above all who claim and desire to be active members, should seek to understand this impulse. How often does one hear such members say: I really have the good-will but I do not know what is the right line to take. We should not hold an all too comfortable view upon this subject of ‘good-will’, but ask ourselves again and again, have we really explored all channels which the Society provides to find the right line in co-operation, on the strength of our good-will, with other members?

Translated by Steiner Online Library

[For the following meeting, Rudolf Steiner was handed a series of written questions. This “questionnaire” is available in Emil Bock's handwriting and has the following wording:]

1. The change of cult colors (especially in the non-festive half of the year) and their meaning in relation to the course of the year in its psychological relationship (cultic optics)? The colors of the altar servers' vestments, the altar cloths, the chasuble, the figures and borders of the chasuble in relation to the primary colors of the chasuble itself? Colors used in the baptismal ceremony (red and blue)?

2. The spiritual meaning of the vestments, insofar as this has not yet been hinted at. Is it possible to derive an understanding of the cult vestments from the history of human clothing in general within the history of customs (the cultic origin of all clothing in general, the difference between men's and women's clothing)? What is the meaning of the vestments worn by altar servers? In what vestment does the priest serve? When is the beret worn and why only in these cases? Form of the stole, its spiritual justification? Vestments for casualities (baptism, burial, etc.)?

3. What else can be said about the substances used in worship? Incense, oil, wine, bread, salt, ash, water, mercury, sulfur, salt (cultic alchemy)? Which substances and objects are consecrated before cultic use, on what occasion and by what words? Water, salt, ashes in the baptismal ritual in relation to the Trinity. Water is associated with the Father God, salt with the Son God, whereas we expect the opposite. Connection between the four parts of the mass and the four elements? Holy water and incense at the grave?

4. Details about cultic forms, devices and gestures. Use of a monstrance and what use? Use of wooden goblets possible (social reasons)? Why turn the left cheek in the case of a community communion? Why signs on the forehead, chin, chest of the infant? Is it possible to use incense in bowls instead of the usual censer, or can a simplified form of this be considered at least? The right and left sides of the altar in their alternation during the consecration. Which direction should the altar

face and why? 5. What is the more precise distribution of the pericopes for the gospel reading over the course of the year? Use of the Pauline letters, the Apocalypse, etc.? Can we hope for translations of individual pericopes by Dr. Steiner?

6. Parish regulations and pastoral care: What conditions must be met for the first performance of the rites in the individual cities? In front of which audience should the cult be introduced?, in public or in invited circles? Who can communicate? Only community members? Is it the duty of community members to communicate? Is it possible to exclude members of the community from communion? Is it advisable to make the ritual texts accessible to the community members? (The Credo?)

Questions about the Bible:

What can be said about textual corruption in the New Testament? How did it come about and with what intention? How can it be eliminated as a source of error? The synoptic question: literal agreement of the first three Gospels down to the smallest details and contradictions in statements about facts (the date of Jesus' death, etc.)?

Historical questions:

We would like to hear as much as possible about church history, because current research leaves us in the lurch there. In particular: How and where can the origin of the Mass from the mysteries be studied and shown exoterically in order to refute the accusation of theft? The ages of Peter, Paul and John in Schelling, etc., and Dr. Steiner's suggestion of the periods of church history after the twelve apostles (the time of Judas, etc.)? Esotericism in the Catholic Church?

Individual aspects:

Music and chorales in worship. Training of priests and important books (study plan).

Practical aspects:

Our proposal for admission requirements and disciplinary regulations. Financing. Guidelines for differentiating pastoral care according to profession, temperament and age, especially in religious education, about which we would still like to hear a lot, apart from what we can learn from Waldorf teachers. Preparation for the youth celebration for those children who have already reached the appropriate age and have so far only received confessional religious education? How long will a child participate in the youth celebration? Guidelines for pastoral psychology and pathology?

What illnesses are particularly to be expected? How can meditation be used as a remedy? The sexual question in a pastoral relationship: What is the karmic and physiological basis of homosexuality, and how can we help to overcome it?

Can special prayers be given for our pastoral care work (morning, evening, table, children's prayers)?

7. Questions about the sacraments:

Why no adult baptism (conversions of Jews)? The sacrament of marriage. Solubility of marriage, divorce? Sense of the Bible passages dealing with this topic: Genesis II, 1 Cor. 6 and 7, Romans 7, Matthew 19, 1-12?

8. Questions about the texts:

In the Credo: “To spiritually heal the sin-sickness of the body of humanity” or “to spiritually heal the body of humanity from the sin-sickness”? Breviary: Why monthly sayings as weekly sayings?

On various occasions, one of my writings has been translated into English by several people at the same time. To prevent such duplication of work, I have appointed Mr. Max Gysi, Belsize Lodge, Belsize Lane, London N.W., as my representative in England for this purpose and request that anyone intending to translate one of my works into English should communicate their intention to Mr. Gysi, who is willing to provide any information.

Dr. Rudolf Steiner

We are beginning our work!

You Seraphim, you Cherubim, you rulers of the world, you who, like lightning, take up the veils of the Cherubim through the spiritual currents, marrying them to the creative existence of the world, you high thrones, we call upon you as protectors of our actions, and you, you wisdoms, you who radiate that which exists in man before all his own existence, and you, you keepers of the eternal forces of the world, and you, you formers of our existence, you who place the form of all being into the currents of existence: We call upon you to be protectors of our actions. And you, you personalities of the spiritual stream, and you helpers, the archangeloi and the angeloi, you who are the messengers of the spiritual life of man to the earth, we call upon you all to be the protectors and guides of this our action. We call you down upon the soul of the human being whom we wish to consecrate, insofar as this is in our power. We approach this human soul, which we wish to consecrate to the work that, to the best of our knowledge, should serve the times.

We have formed this stone as a symbol of the human soul that consecrates itself to our great work. It is a symbol for us in its double twelve-foldness of the striving human soul, as a microcosm sunk into the macrocosm. Anthropos, the human being, as he derives from the entities of the divine-spiritual hierarchies. So this cornerstone is a symbol of our own soul, which we incorporate into what we have recognized as the right spiritual striving for the present. Thus we will sink this stone, which is shaped according to the world pictures of the human soul, into the realm of the elements. Within this stone, taken from the denser realm of the elements, are two rocks that best express how the forces of the macrocosm interact in the denser realm of the elements. This twelve-part structure, we will sink it as the actual sign of the human soul into the place above which will rise that which, if we understand it correctly, my dear Theosophical friends, will become a sign of our work this evening. And with this stone we want to sink that through which we commit ourselves to that which we have recognized as the right thing in our spiritual life.

This document is sunk into our stone; it bears the inscription:

In the name of the seraphim, the cherubim, the thrones, the wisdoms, the movers, the shapers, the personalities, the archai, the archangeloi, the angeloi!

Man, Anthropos, lives as a microcosm in the macrocosm, and is also depicted here as a twofold twelve-membered image, a symbol of the spiritual world. And within this symbol, the well-known saying of Rosicrucianism expresses the meaning of our striving:

Ex Deo nascimur
In Christo morimur
Per Spiritum Sanctum reviviscimus

As the formula for an oath, we will understand what is written on this stone correctly, that this cornerstone expresses that the human being who wants to seek for himself in the spirit, who wants to feel himself in the soul of the world, who senses himself in the world-I. We sink this stone into the condensed realm of the elements as a symbol of the power towards which we strive for through the 3, 5, 7, 12, laid by the John-Building Association in Dornach on the 20th day of September — 1,880 years after the Mystery of Golgotha — that is 1,913 years after the birth of Christ, when Mercury was the evening star in Libra.

As master builder:
Carl Schmid-Curtius

As members of the administrative council of the Johannesbau-Verein:
Sophie Stinde
Emil Grosheintz
Hermann Linde
Felix Peipers
Pauline Gräfin Kalckreuch
Carl Unger
Emmy Gumppenberg
Mrs. Bürgi
Mrs. Schieb
Mrs. Hirter-Weber

As the Central Council of the Anthroposophical Society:
Marie von Sivers
Dr. Carl Unger

and Dr. Steiner as the spiritual leader of the action.

This document, it is incorporated into the symbol of the human soul, and then into the denser realm of the elements.

[The document is inserted into the copper container and soldered.]

The stone, the symbol of our souls, is lowered into the condensed realm of the elements.

[Dr. Peipers and four other men place the foundation stone in the foundation stone pedestal. It is placed so that the larger dodecahedron faces east and the smaller faces west, i.e., the opposite of the building, whose larger dome faces west and the smaller faces east. Rudolf Steiner then descends into the foundation stone pit himself.]

The stone, as a symbol of our soul, has been sunk into the earth; it is a symbol of the striving for knowledge, for love, for strong action, a symbol for humanity. It shall be a symbol for our souls that we will always hear the deepest meaning of the word of the world:

Ex Deo nascimur
In Christo morimur
Per Spiritum Sanctum reviviscimus

Thus the symbol of the human soul becomes a sign of the human soul. I consecrate you as a sign of the human soul with the first blows that will be struck at this, our work of creation.

[Three, five and seven blows are struck on the small, then twelve blows on the larger dodecahedron.

The stone has thus become a sign from the symbol. And now we want to entrust it to the realm of condensed elements, the earth, into which our soul has been sunk in order to develop that which is the earth's mission in the evolution of humanity. The stone from the sign becomes veiled when we entrust it to the earth. The human soul ascends three times to the three secrets of existence: at first they are symbols, then signs, when the soul reads the eternal word of the world. But the deepest depths of the secrets of the world are brought to life and united with the soul when this soul from the realm of the hierarchies is able to give itself the covering. Thus be veiled! A veiled one shall become from the symbol and the sign, so that you may be a firm cornerstone of our striving, our seeking, as we have recognized it to be right in the evolution of humanity. Thus we want to make the stone, which is the sign of our soul, the veiled one.

[Architect Schmid-Curtius and engineer Englert then cover the stone, on which Marie von Sivers has placed a bouquet of roses - 12 red and one white rose - with soil. Then Dr. Steiner hands the cross-folded hands of those present at the laying of the foundation stone, Dr. Peipers, Dr. Grosheintz, Miss von Sivers, architect Schmid and engineer Englert. Everyone leaves the foundation pit and Rudolf Steiner returns to his place on the axis of the foundation stone, where he began his address.]

My dear sisters and brothers!

Let us understand each other correctly on this festive evening. Let us understand each other to the effect that this act, in a certain sense, signifies a vow for our soul. Our striving has brought it about that we are allowed to erect this symbol of spiritual life of modern times here in this place, from which we look far out in the four elementary directions of the compass rose. Let us understand that today, by feeling our souls united with what we have symbolically sunk into the earth, we are committing ourselves to this spiritual evolutionary current of humanity that we have recognized as right. Let us try, my dear sisters and brothers, to make this vow of the soul: that we want to look away at this moment from all the pettiness of life, from all that connects us, must necessarily connect us as human beings with the life of everyday life. Let us try to awaken in us at this moment the thought of the connection of the human soul with the striving in the turn of time. Let us try to remember for a moment that, in doing what we have committed ourselves to doing today, we must bear in mind that we have to look out into the far reaches of time to see how the mission, of which this building is to become the emblem, will fit into the great mission of humanity on our planet Earth. Not in pride and arrogance, but in humility, devotion and willingness to make sacrifices, we try to reach up with our souls to the great plans, the great goals of human activity on earth. Let us try to put ourselves in the position in which we should and must actually be if we understand this moment correctly.

Let us try to remember how the great message and tidings of the eternal gospel of divine spiritual life once took time to evolve on Earth, when the divine spirits themselves were still the great teachers of humanity. Let us try, my dear sisters and brothers, to transport ourselves back to those divine times on earth, of which a last yearning, a very last memory still arises in us, when we hear about the eternal ideas and the eternal shell of the world in ancient Greece, for example, with the last tones of mystery wisdom and at the same time with the first philosophical tones of the great Plato. And let us try to comprehend what Luciferic and Ahrimanic influences have taken hold of our evolution on earth since then. Let us try to realize how the connection of the human soul with the divine existence of the world, with volition, with feeling and with divine spiritual cognition has been lost. Let us try at this moment to feel, deep down in our souls, what human souls feel out there, in the countries of the east, west and south, who we can recognize as the best and who cannot go beyond what we can express with the words: an indefinite, inadequate yearning and hope for the spirit. Look around you, my dear sisters and brothers, and see how this indefinite yearning, this indefinite hope for the spirit, prevails in humanity today. Feel and listen, here at the foundation stone of our emblem, how in humanity's indefinite yearning and hope for the spirit, the cry for the answer can be heard, for that answer that can be given where spiritual science prevails with its gospel of the spirit. Try to write into your souls the greatness of the moment we are going through this evening. If we can hear humanity's yearning for the spirit and want to build the structure from which the message of the spirit is to be proclaimed more and more and more – if we feel this in the life of the everyday world, then we understand each other correctly this evening. Then we know - not in arrogance and not in overestimation of our striving, but in humility, in devotion and willingness to sacrifice, we know - that we must be in our striving the continuers of that spiritual work that was triggered in the Occident in the course of a progressive human development, but which, through the necessary counter-current of the Ahrimanic forces, must ultimately lead to humanity standing at a point where souls would wither and become desolate if the yearning for the spirit were not heard. Let us feel, my dear sisters and brothers, these fears! This is how it must be if we are to continue to fight in that great spiritual battle, which is a battle glowing with the fire of love; in that great spiritual battle, which we are allowed to continue, which was fought by our ancestors when they distracted the Ahrimanic onslaught of the Moors.

We are now, guided by karma, at the place through which important spiritual currents have passed: Tonight, let us feel the seriousness of the situation within us. Once upon a time, humanity had reached the end of its striving for personality. Since the old heirloom of the divine ladder of the original beginning of earth evolution had withered in the abundance of this earth personality, the world word appeared over there in Asia:

In the beginning was the word.
And the word was with God.
And a god was the word.

And the Word appeared to the human soul and spoke to the human soul: Fill the evolution of the earth with the meaning of the earth. Now the Word Itself has merged with the earth aura and is absorbed by the spiritual aura of the earth.

Four times the world word has been proclaimed through the centuries, which will soon have been two millennia. Thus the world light has shone into the evolution of the earth. Deeper and deeper sank and had to sink Ahriman. We feel surrounded by human souls in which the cry of longing for the spirit resounds. But, my dear sisters and brothers, do we not feel how these human souls must remain with this general yearning, because the dark Ahriman spreads chaos over the aspired spiritual knowledge of the worlds of the higher hierarchies. Feel that the possibility exists in our time to add to the fourfold proclaimed spiritual word that other, which I can only represent in symbols.

From the East it came – the light and the word of the proclamation. From the East it went to the West, proclaimed fourfold in the four Gospels, waiting for the mirror to come from the West, which would add knowledge to what is still proclamation in the fourfold spoken word of the world. It goes deep to our hearts and souls when we hear about that Sermon on the Mount, which was spoken when the times of the maturing of the human personality were fulfilled, when the old light of the spirit had faded and the new spiritual light had appeared. The new spiritual light has appeared! But since it had appeared, it went through the centuries of human evolution from the East to the West, waiting for the understanding of the words that once sounded in the Sermon on the Mount into human hearts. From the depths of our world evolution sounds that eternal prayer that was spoken as the proclamation of the World Word when the Mystery of Golgotha was fulfilled. And the ancient prayer resounded deeply, which was to proclaim to the microcosm in the deepest soul, from the innermost part of the human heart, the secret of existence. It was to resound in what was proclaimed to us as the Lord's Prayer when it sounded from the east to the west. But this cosmic word, which descended into the microcosm at that time, waited to resonate with the fifth gospel. Human souls had to mature in order to understand what was to echo from the West as the most ancient, because the macrocosmic gospel, like an echo of the gospel of the East. If we show understanding for the present moment, then we will also understand that a fifth gospel can be added to the four. So let the words that express the secrets of the macrocosm resound this evening, in addition to the secrets of the microcosm. The first of the fifth gospel to be heard here is the ancient macrocosmic world prayer, which is connected with the moon and Jupiter, just as the four gospels are connected with the earth:

AUM, Amen!
The evils prevail,
Witnesses of dissolving egoity,
The guilt of selfhood incurred by others,
Experienced in the daily bread,
In which heaven's will does not prevail,
Since man has separated himself from your kingdom
And forgot your name,
You fathers in the heavens.

The Lord's Prayer was given as a gift: given to mankind. The microcosmic Lord's Prayer, proclaimed from East to West, is now echoed by the ancient macrocosmic prayer. Thus it resounds again, when it is rightly understood by human souls, sounding out into the world and being returned with the words that have been shaped from the macrocosm. Let us take with us the macrocosmic Lord's Prayer, feeling that we are beginning to gain an understanding of the Gospel of Knowledge: the fifth gospel. Let us carry home into our soul with earnestness and dignity our will from this important moment. Let us carry home the certainty that all wisdom sought by the human soul - if the seeking is a genuine one - is a countercurrent to cosmic wisdom; and that all human love rooted in selfless love of the soul is fruitful from the love prevailing in the evolution of mankind.

Throughout all the ages of the earth and in all human souls there is at work, arising from the strong human will that is imbued with the meaning of the earth, a strengthening through the cosmic power that humanity is invoking for itself today, looking vaguely towards a spirit that it hopes for but does not want to recognize, because an unconscious fear has been cast into the human soul Ahriman wherever the spirit is spoken of today. Let us feel this, my sisters and brothers, in this moment. Feel this, and you will be able to prepare yourselves for your spiritual work and reveal yourselves as spiritual light, “thought-powerfully even then, when, through fully awakened spiritual vision, the dark Ahriman, dimming wisdom, wants to spread the darkness of chaos.”

Fill your souls, my sisters and brothers, with the longing for true spiritual knowledge, for true human love, for strong will. And try to stir up in you that spirit that can trust the language of the word of the world, which echoes to us from the far reaches of the world and from the widths of space, entering into our souls. That is what he who has grasped the meaning of existence must truly feel this evening: human souls are at a turning point in their striving. Feel in humility, not in arrogance, in devotion and willingness to sacrifice, not in arrogance of your self, what is to become of the symbol for which we have laid the foundation stone today. Feel the significance of the realization that we are to become through the fact that we can know: In our time, the cover of spiritual beings must be pierced in the vastness of space, when spiritual beings come to speak to us about the meaning of existence. Everywhere in the surrounding area, human souls will have to take on the meaning of existence. Hearken how in the various spiritual places, where spiritual science, religion and art are spoken of and acted upon, hear how the powers of striving in the souls become more and more barren, feel that you are to learn to fertilize these souls, these powers of striving in the soul, out of the spiritual imaginations, the inspirations and intuitions. Feel what he will find who will truly hear the sound of creative spirituality.

Those who will learn to understand the meaning of the Lord's Prayer in the light of the Fifth Gospel will be able to recognize this meaning thoroughly in our new era. When we learn to understand the meaning of these words, we will seek to absorb the seeds that must flourish if earthly evolution is not to wither, if it is to continue to bear fruit and flourish, so that the earth may achieve the goal set for it from the beginning through human will.

So feel this evening that wisdom and the meaning of the new knowledge, the new love and the new strong power must come to life in human souls. The souls that will work in the flowering and fruiting of future earth evolutions will have to understand what we want to incorporate into our souls for the first time today: the macrocosmically resounding voice of the ancient eternal prayer:

AUM, Amen!
The evils prevail,
Witnesses of the dissolution of the ego,
Selfhood guilt incurred by others,
Experienced in our daily bread,
In which heaven's will does not prevail,
Because man has separated himself from your kingdom
And forgot your name,
You fathers in the heavens.

So we part, taking with us in our souls the awareness of the significance of the seriousness and dignity of the act we have performed, the awareness that should remain from this evening, igniting in us the striving for knowledge of a new revelation given to humanity, for which the human soul thirsts and from which it will drink. But only when it will fearlessly gain the faith and trust in what the Science of the Spirit can proclaim, which in turn should reunite what had to go through the evolution of humanity separated for a while: religion, art and science.

Let us take this, my sisters and brothers, with us as something that we, as a commemoration of this jointly celebrated hour, do not want to forget again.

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.

During the time when the construction of our building is proceeding I think it is a very good thing for us to try to grow more and more into its meaning. We have already made a beginning with the two previous lectures and we will try as far as we can, by means of further study, really to become one with what is to be accomplished here.

In the first place I should like to remind you of what I said when we opened the house dedicated to the work of constructing the glass windows. The lecture referred to the evolution of thought and conception underlying the art of building and I will just briefly recapitulate what I was then only able to indicate.

In regard to the Greek Temple, I said that in a certain sense it formed a unity with the whole countryside—the whole countryside was one with it. The Temple stood there as the ‘dwelling place of the God.’ Nothing need be in the Greek Temple save the spiritual presence of the God and his physical image. The essence of the construction of the Temple was the fact that every man engaged in his daily pursuits on the land knew that within the region where he was carrying on his work he was not merely alone with the earth but united with the spiritual world. And the token for the fact that man, as he lived on the earth, was also united with the spiritual world, was the Temple standing there like an altar in the land.

We then saw evidence of progress in architectural thought, in that the Christian art of building separated off the edifice from the land. Everyday life and the mood of exaltation by which man raised himself to the Spirit were separated from each other. The Church of Christendom is no longer actually one with the land; it serves the Spirit, apart from the countryside, and expresses the fact that when man is to rise to the Spirit he must leave the affairs of daily life, repair for a time to a place set apart and there be united with the spirit. The Church of Christendom, therefore, could no longer be what the buildings of Greece and also of Rome were in their real being. The Church of Christendom was in itself a duality, the house of the community and the house set apart for the altar and the priesthood. Man leaves the affairs of everyday life and enters into the precincts where he feels himself gazing upwards to the Spirit which comes to him from the chancel where the altar stands.

This evolution in architectural thought naturally implies the transformation of the ancient Greek form of building (which was derived purely from static and dynamic factors, the factors of space and gravity) into the form corresponding to the conception of the community being set apart.

Passing to the Gothic Cathedral we have a still later form of architectural conception. We have the striving of the community not only to bear their own personalities into the sanctuary but also their individual work, and this is expressed in the forms of Gothic architecture. We feel as if the work performed in the environment has passed into the architectural forms and rises to the Spirit like a prayer, a folding of the hands.

I also said that a real advance in architectural conception must come to pass again in our times and that this is only possible if the nearness to the Spirit which was achieved to an ever-increasing extent from the period of the Greek conception of architecture onwards to that of Gothic building—if this nearness is gradually transformed into a complete union with the Spirit. This means that buildings which should now be dedicated to life in union with the Spirit must in their very form express inner correspondence with the Spiritual. We can indeed say—if we try not to explain the thing in abstractions but to grasp it with the whole of our feeling and soul—‘All that is embodied in our life of soul through Spiritual Science implies an actual penetration into the form that is created. The Spirit is revealed in freedom, having now descended to mankind.’ Whereas the Greek placed the Temple like an altar in the land, the future and, inasmuch as we are working from out of the future in our building, the present, are placing a true expression of the Spirit in the land as the result of what the Spirit expresses in its forms.

A speech which has a message for man of the present day will arise. But all this requires that we endeavour to understand the Spirit in its forms of expression. In order to understand the Greek Temple, we tried, last time, to grasp the purely physical qualities of space and of gravity. But the Spirit does not only work according to the laws of mechanics and dynamics; it does not only reveal itself in conditions of space and energy. The Spirit is living, hence it must be expressed in our building in a living way, a truly living way. We shall not understand this any better by interpreting the Spirit symbolically, but by beginning to feel that the forms are living, that they are organs of speech flowing from the spiritual world.

Is it possible for forms to speak from the spiritual world? It is indeed possible, in many ways. Let us take a thought that is specially near to us because on the one hand it is the expression of the highest, and on the other, in its Luciferic aspect it is submerged in the lowest—let us take the idea of the Ego, of Selfhood.

The mere utterance of the word “I” or “Self” does not as yet evoke much thought in man. Many epochs will have to run their course in human history before a fully conscious idea can arise in the soul when the word “I” or “Self” is uttered. Nevertheless, Selfhood, Ego-hood, can be felt in form, and above all when we pass from a purely mathematical conception of form to a feeling in form we can acquire a perception of Ego-hood, Selfhood, in the perfect circle. If you realise this you will readily understand what follows from it. If the true, living, sentient human being, confronting a circle, senses the feeling of Ego-hood, Selfhood, arising in his soul, or if when he sees a fragment of a circle he feels that it typifies the independent Self, he is learning to live in forms. And the characteristic of really living feeling is the capacity for living in forms. If you keep this in mind you will easily be able to pass on to other things that follow from it.

The first circle I have drawn here has an unbroken line (1).

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This line however can be varied so that it shows these wavy projections (2).

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But we can go further. Let us picture to ourselves a less simple variation (4). The form moves in one direction and becomes action. If we live in this form we have the feeling that it advances, that it moves. In the forms themselves we find the quality of movement. I have here made a simple sketch of something that will appear in a complicated form in the building, but you will find that there is an absolute correspondence. Passing from the entrance at the West and thence towards the smaller structure (at the East) you will find that all the forms in the interior will evoke the feeling that the whole structure is proceeding from the West onwards to the East. This is expressed in the forms. At the West you will feel in thought that you are within a vehicle that is bearing you to the East. The very essence and meaning of these relief variations is that they do not merely appear as dead, dynamic or mechanical forms; we seem to enter a vehicle that bears us onwards. In a spiritual sense we shall not “rest” in our building; we shall be led onwards.

From this you will realise that the basic character of the forms here is quite different from the forms of the three stages of architectural thought which I have described. Up to our time architectural thought has been concerned with the qualities of lifeless, mechanical rest. Now, however architectural thought becomes the thought of speech, of inner movement, of that which draws us along with it. This is what is new in the whole conception, and the basic form must of course correspond to it. In what way does the basic form correspond to it? Now I have said that the most intimate of all impressions is that of the Self, the Ego, as expressed in the circle or sphere. Why is this? It is because the simple circle or sphere is of all forms the most easily perceptible. It is an absolutely simple matter to recognise a circle. All that is necessary is the most trivial thought that everything is equidistant from the central point. As soon as we picture to ourselves points standing at an equal distance from this centre, we have the sphere, or circle. It is the very easiest process that can be carried out in thought. As form, then, the circle is the simplest of all entities. This is also in accordance with external reality, for the Selfhood in every being, from the simplest cell to the complex human being, is the simplest of all impressions, just like the circle or sphere. Behind all this there is something much deeper and I want you now to follow me in a thought that will lead those who really understand it, to great profundities.

Now the form of an ellipse is more complex than that of the circle. I will draw the form of an ordinary ellipse. It need not be exact but merely have the general character of an ellipse. The simplicity of the thought is no longer there when we pass to the ellipse. Although the ellipse is still spherical, we have no longer the nature of equality as in the case of the circle. Here I must ask those who have studied geometry—although for politeness sake we will assume that you all know a little of geometry though you may have forgotten some of it—to try to understand the following ideas. There is also order and regularity in the ellipse. Just as the circle is related to one point, the ellipse is related to two.

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In the case of the circle there is no such feeling of satisfaction, for the circle is so immediately obvious. The ellipse causes us greater joy because there we have to be inwardly active. The more one is inwardly active, the greater joy one has. What is often so difficult to realise is that man, in his inner being, craves for activity. If he wants to be lazy this is merely an affair of his conscious life. The astral body is not only wiser, but also more industrious and would like always to be active.

Now there is another line consisting, of course, always of two portions. Those who have studied geometry will know that the hyperbola consists of two symmetrical curves.

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Man is thus a mathematician in the substrata of his consciousness and by means of subconscious calculation we create for ourselves regularity of form. We add and subtract, but we can also multiply. Here again we have two points. Multiplying the one by the other we again get a line that looks somewhat like the ellipse but is not the same. This line contains an inner process of multiplication.

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This line has something mysterious about it. The circle is a simple entity, the ellipse already more complicated, the hyperbola still more so, for I do not think that the ordinary person sees only one single line in the two curves. The ordinary intellect believes there are two curves. The ordinary intellect believes there are two lines, but in reality this is not so. The other line is mysterious for another reason, for according to what is produced by multiplication the line is changed into this curious form. It is the curve of multiplication, the curve of Cassini, the lemniscate which plays so important a rôle in occult investigations. The line can develop in such a way that it assumes these forms. There are two lines, you see, but in the inner sense there is really one line, and when we feel it as one line in the astral world we know that this form (o-o) is only a specialisation of this form ( ∞ ). But now think—this form ( ∞ ) disappears into the fourth dimension—then appears again and enters the physical world. It is an unity because it ever and again disappears into the fourth dimension. This multiplication process has really three different forms.

We have therefore a line of addition, a line of subtraction, a line of multiplication. Someone may say that there must then be a line of division, the fourth method of calculation.

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We add and get the ellipse.
We subtract and get the hyperbola.
We multiply and get the curves of Cassini, the Lemniscate.
We divide and get the circle.

Now we have something very remarkable indeed. When we really try to penetrate into the depths of nature they appear before the soul in all their wonder. The circle appears to be an utterly simple entity but it is, nevertheless, full of mystery. The circle can also be understood by taking two points and dividing, and inasmuch as the same result is arrived at, we get the circle. The circle is thus something very remarkable. It is the simplest of all entities and yet it is the product of an occult process of division that is brought into consciousness. It is just the same in the case of the self of man: the ordinary self is the simple entity and the higher self the mysterious entity resting in the depths of being—a self that can only be found when we transcend its limits and pay heed to the world with which it is connected. The circle is the same whether we say that it is the simplest of all forms or that the product of division from two points is always the same. Just as we have the same circle, so we have within ourselves a duality: something that belongs to everyday life and is readily perceptible, and something that we only grasp when we go out to the whole universe, conceiving of this entity as the most complicated product of the great cosmic struggle where Ahriman and Lucifer carry out the division and where our own higher self has to maintain itself as the quotient if it is ever to come to expression.

Portions of the ellipse and of the hyperbola and also of the curves of Cassini will be found everywhere in our building, and your astral bodies will have plenty of opportunity to make these calculations! Here I will only mention one instance: when people go into our building and stand in the gallery where the organ and the singers will stand, their souls will be able to carry out this process of multiplication. The soul may not do so consciously but it will feel this process in the depths of its being, because this is the line of the structure around the organ. This line will be found in many places in the building.

After what I have now told you about the twofold meaning of the circle you will be able to realise that when you enter the building from the West and feel yourselves surrounded by the circular structure, by the cupola above, that here is the image of the human self. But the other smaller space in the East is not at first sight so intelligible. The smaller structure will seem to be full of mystery because, although its form is also circular, it must be conceived of as the result of a process of division and it only outwardly resembles the larger space. There are two circles, but the one corresponds to the life of everyday and the other is connected with the whole cosmos. We bear within us a lower self and a higher self. Both again are one. Thus our building had to be a twofold structure. Its form expresses—not in any symbolical sense but in its very being—the dual nature of man. When the curtain in front of the stage is open we shall perceive an image of man not only as he is in everyday life, but as complete man. The forms themselves express a movement from West to East, the path of the lower to the higher Self. All that I have told you can actually be felt in the forms. The erection of a building of this kind reveals how the spiritual form of nature and the higher spiritual world can be expressed. Nobody who begins to think out all kinds of ingenious interpretations will Understand our building. It can only be understood by a living feeling of the development and being of the forms. For this reason I do not want to describe the building pictorially but to speak of the mode of its development, how spiritual being itself has become form and movement and has flowed into it. Suppose anyone were to look at the interior and begin to speculate thus: ‘Yes, two cupolas, two circular structures—lower Self, higher Self; a lower Self, a higher Self—a unity.’ This may be a neat interpretation but it would be of no more value than if it were said that Maria and Johannes Thomasius in the Mystery Plays are really one being. This is a mere speculation, for it results in an abstraction. The unity lies in the living ‘becoming.’ Naturally the living powers of becoming can bring forth both Maria and Thomasius but only as the result of a differentiation. Even in similarity the true occultist will always seek for diversity, for it would be false occultism to desire always to lead back diversity to unity. Hence the example of the circle. The circle is the simplest of all entities, where all points are equidistant from the centre—but it is also the result of division. In the circle we have something that is a unity in the outer world and complex in the spiritual world.

These are some of the remarks I desired to make. On another occasion I shall speak further on these matters. I shall now speak briefly of other things.

Man, as he enters the world, is really a highly complicated being. When he enters the world—as I have often said—he cannot at first stand upright; lie crawls, and at the very beginning of his existence he does not even crawl. Gradually he learns to control the forces which make him able to stand upright.

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The advance from Gothic architecture to that of Spiritual Science may be described as follows: Gothic architecture contains the prayer: ‘O Father of the Universe, may we be united with Thee, in Thy Spirit.’ Those who know what this prayer contains, who really understand the living development of Spiritual Science, will solve the riddle of the evolution of man. And then, when the forms of architectural thought strive to be united with the Spirit—expressing this striving in their very being—man will feel how he has been permeated with the hidden Spirit and can have around him a building which is a direct expression of the living, inner development of his being.

‘We dwell in the land, but the Spirit is among us.’ This is the Greek thought of architecture.

‘We dwell for a season in the sanctuary and the Spirit comes to us.’ This is the thought behind Christian architecture.

‘We dwell for a season in the sanctuary, but we uplift the soul by raising ourselves to the Spirit.’ This is the thought behind Gothic architecture.

‘We enter with reverence into the Spirit in order that we may become one with the Spirit poured out around us in the forms—the Spirit that moves and is active, because behind the Spirits of Form stand the Spirits of Movement.’ This is the thought behind the new architecture.

Existence thus advances through earthly evolution and it is man's task to understand the inner meaning and purport of this existence. He only advances in the wake of true evolution when he endeavours, in every epoch, to experience what the spiritual world bestows in that epoch.

Why do our souls pass through different, successive incarnations? Not in order that we may repeat the same experiences, nor that we may pass through re-birth, re-naissance, again and again, but in order that we may assimilate, ever and again, the new that pours into our souls from out the spiritual worlds. We are standing at a definite point in the evolution of humanity in the sphere of art and in many other spheres of spiritual life—at a point where the Spirit speaks clearly to us of new riddles. And just as in the time of the Renaissance man was destined primarily to orientate himself to the past in order to work his way through to the new, so it is with our own external knowledge and perception of the universe. All that has been produced by the modern age since the sixteenth century is only the preparation for a living experience of the universe in its forms and movements which now stand before us as riddles.

This, then, is all for to-day. In another lecture I will try to approach questions of a still more intimate character—questions relating to the living soul of nature in connection with colour and the art of painting.