The Rudolf Steiner Archive

Today, before going into any further explanations concerning questions of method, I should like to add something more to what I said yesterday about the teachers' conferences. We attach the greatest importance to our relationship with the parents of our Waldorf School children and in order to ensure complete harmony and agreement we arrange Parents' Evenings fairly frequently, which are attended by parents of children living in the neighbourhood. At these meetings the intentions, methods and the various arrangements of the school are discussed—naturally in a more or less general way—and, in so far as this is possible in such gatherings, the parents have the opportunity of expressing their wishes and these are given a sympathetic hearing. In this way the opportunity is provided actually to work out what we should seek to achieve in our education and moreover to do this in the whole social milieu out of which such aims have in truth their origin. The teachers hear the ideas of the parents in regard to the education of their children; and the parents hear—it is our practice always to speak with the utmost sincerity and candour—about what is taking place in the school, what our thoughts are about the education and future of the children and why it is that we think it necessary to have schools which further a free approach to education. In short, by this means the mutual understanding between teachers and parents is not only of an abstract and intellectual nature, but a continuous human contact is brought about. We feel this contact to be very important, for we have nothing else to depend upon. In a state school, everything is strictly defined. There one knows with absolute certainty the aims which the teacher must bear in mind; he knows for instance, that at 9 years of age a child must have reached a certain standard, and so on. Everything is planned with exactitude.

With us everything depends on the free individuality of each single teacher. In so far as I may be considered the director of the school, nothing is given in the way of rules and regulations. Actually there is no school director in the usual sense, but each teacher reigns supreme. Instead of a school director or headmaster we have the teachers' conferences, in which there is a common study and a common striving towards further progress. There is therefore a spirit, a concrete spirit living among the college of teachers which works freely, which is not tyrannical, which does not issue statements, rules or programmes, but has the will continually to progress, continually to make better and better arrangements, in meeting the teaching requirements. Today our teachers cannot know at all what will be good in the Waldorf School in 5 years time for in these 5 years they will have learned a great deal and out of the knowledge they will have to judge anew what is good and what is not good. This is also the reason why what associations for educational reform decide to be valuable is a matter of complete indifference in the Waldorf School. Educational matters cannot be thought out intellectually, they can only arise out of teaching experience. And it is this working out of experience which is the concern of the college of teachers. But just because we are in this situation, just because we live in a state of flux in regard to what we ourselves actually want, we need a different kind of support than is given to an ordinary school by the educational authorities, who ordain what should be done. We need the support of that social element in which the children are growing up. We need the inner support of the parents in connection with all the questions which continually crop up when the child comes to school; for he comes to school from his parents' home.

Now if the aim is to achieve an individual and harmonious relationship, the teacher is concerned with the welfare of the child possibly even more than the parents themselves to whom he looks for support. If he does not merely let the parents come and then proceed to give them information which they can make nothing much of, but if, after a parents' evening, he shows a further interest by visiting the parents in their home, then in receiving a child of school age, about 7 years old, into his class, he has taken on very much more than he thinks. He has the father, the mother and other people from the child's environment; they are standing shadowlike in the background. He has almost as much to do with them as with the child himself, especially where physiological-pathological matters are concerned. The teacher must take all this into account and work it out for himself; he must look at the situation as a whole in order really to understand the child, and above all to become clear in his own mind what he should do in regard to the child's environment. By building this bridge between himself and the parents, as he sees them in their home, a kind of support will be brought about, a support which is social in its nature and is at the same time both free and living.

To visit the parents in their home is necessary in order to foster in the parents a concern that nothing should occur which might damage the natural feeling a child must have for the authority of the teacher. A lot of work must be done between the college of teachers and the parent-body by means of an understanding imbued with feeling, with qualities of soul. Moreover the parent too, by getting to know the teachers, getting to know them pretty thoroughly, must break themselves of the tendency to be jealous of them, for indeed most parents are jealous of their children's teachers. They feel as if the teachers want to take the child away from them; but as soon as this feeling is present there is an end to what can be achieved educationally with the child. Such things, can, however, be put right if the teacher understands how to win the true support of the parents. This is what I wished to add to my previous remarks on the purpose of the teachers' conferences.

Now there is something else to be considered. We must learn to understand those moments in a child's life which are significant moments of transition. I have already referred to one such moment when the teaching, which up to this time has been imaginative and pictorial must pass over, for instance, into teaching the child about the nature of the plants. This point of time lies between the 9th and 10th year. It shows itself in the child as an inner restlessness; he asks all kinds of questions. What he asks has usually no great importance in so far as the content is concerned; but the fact that the questions are asked, that the child feels impelled to ask questions, this is undoubtedly of great significance.

The kind of relationship we establish with the child just at this time has great importance for the whole of his life. For what is it that indwells the soul of the child? It is something that can be observed in every child who is not pathological. Up to this age a child who has not been ruined by external influences accepts the authority of the teacher quite naturally; a healthy child who has not been ruined by being talked into all kinds of nonsensical ideas also has a healthy respect for every grown-up person. He looks up to such a person, taking him as an authority quite simply and as a matter of course. Just think back to your own childhood; realise what it means, particularly for the quite young child, to be able to say to himself; You may do what he does or what she does for they are good and worthy people. The child really requires nothing else than to place himself under an authority

In a certain sense this feeling is somewhat shaken between the 9th and 10th year; it is shaken simply in the course of the development of human nature itself. It is important to be able to perceive this clearly. At this time human nature experiences something quite special, which does not however rise up into the child's consciousness, but lives in indefinite sensations and feelings. The child is unable to give it expression, but it is there. What does the child now say to himself unconsciously? Earlier he said out of his instinctive feelings: If my teacher says something is good, then it is good; if he says something is bad, it is bad; if he says something is right, it is right; if he says it is wrong, it is wrong. If something gives my teacher pleasure and he says it pleases him, then it is beautiful; if he says something is ugly and it does not please him, then it is ugly. It is quite a matter of course for the young child to look upon his teacher as his model. But now, between the 9th and 10th year this inner certainty is somewhat shaken. The child begins to ask himself in his life of feeling: Where does he or she get it all from? Who is the teacher's authority? Where is this authority? At this moment the child begins to feel an inner urge to break through the visible human being, who until now has been for him a god, to that which stands behind him as super-sensible or invisible God, or Divine Being. Now the teacher, facing the child, must contrive in some simple way to confirm this feeling in him. He must approach the child in such a way that he feels: Behind my teacher there is something super-sensible which gives him support. He does not speak in an arbitrary way; he is a messenger from the Divine.

One must make the child aware of this. But how? Least of all by preaching. One can only give a hint in words, one will achieve nothing whatever by a pedantic approach. But if one comes up to the child and perhaps says something to him which as far as content goes has no special importance, if one says a few words which perhaps are quite unimportant but which are spoken in such a tone of voice that he sees: He or she has a heart, this heart itself believes in what is standing behind,—then something can be achieved. We must make the child aware of this standing within the universe, but we must make him aware of it in the right way. Even if he cannot yet take in abstract, rationalistic ideas, he already has enough understanding to come and ask a question: Oh, I would so much like to know .... Children of this age often come with such questions. If we now say to him: Just think, what I am able to give you I receive from the sun; if the sun were not there I should not be able to give you anything at all in life; if the divine power of the moon were not there to preserve for us while we sleep what we receive from the sun I should not be able to give you anything either. In so far as its content is concerned we have not said anything of particular importance. If however we say it with such warmth that the child perceives that we love the sun and the moon, then we can lead him beyond the stage at which he asks these questions and in the majority of cases this holds good for the whole of life. One must know that these critical moments occur in the child's life. Then quite of itself the feeling will arise: Up to this time when telling stories about the fir tree and the oak, about the buttercup and dandelion, or about the sunflower and the violet, I have spoken in fairytale fashion about Nature and in this way I have led the child into a spiritual world; but now the time has come when I can begin to tell stories taken from the Gospels. If we begin to do this earlier, or try to teach him anything in the nature of a catechism we destroy something in the child, but if we begin now, when he is trying to break through towards the spiritual world, we do something which the child demands with his whole being.

Now where is that book to be found in which the teacher can read what teaching is? The children themselves are this book. We should not learn to teach out of any other book than the one lying open before us and consisting of the children themselves; but in order to read in this book we need the widest possible interest in each individual child and nothing must divert us from this. Here the teacher may well experience difficulties and these must be consciously overcome.

Let us assume that the teacher has children of his own. In this case he is faced with a more direct and more difficult task than if he had no children. He must therefore be all the more conscious just in this respect and above all he must not hold the opinion that all children should be like his own. He must not think this even subconsciously. He must ask himself whether it is not the case that people who have children are subconsciously of the opinion that all children should be like theirs.

We see therefore that what the teacher has perforce to admit touches on the most intimate threads of the life of soul. And unless he penetrates to these intimate subconscious threads he will not find complete access to the children, while at the same time winning their full confidence. Children suffer great, nay untold damage if they come to believe that other children are the teacher's favourites. This must be avoided at all costs. It is, not so easily avoided as people usually think, but it can be avoided if the teacher is imbued with all those principles which can result from an anthroposophical knowledge of man. Then such a matter finds its own solution.

There is something which calls for special attention in connection with the theme I have chosen for this course of lectures, something which is connected with the significance of education for the whole world and for humanity. It lies in the very nature of human existence that the teacher, who has so much to do with children and who as a rule has so little opportunity of living outside his sphere of activity, needs some support from the outer world, needs necessarily to look out into this world. Why is it that teachers so easily become dried up? It happens because they have continually to stoop to the level of the child. We certainly have no reason to make fun of the teacher if, limited to the usual conceptual approach to teaching, he becomes dried up. We should nevertheless perceive where the danger lies, and the anthroposophical teacher is in a position to be specially aware of this. For if the average teacher's comprehension of history gradually becomes that of a school textbook—and this may well happen in the course of a few years' teaching—where should he look for another kind of comprehension, for ideas in keeping with what is truly human? How can the situation be amended? The time remaining to the teacher after his school week is usually spent trying to recover from fatigue, and often only parish pump politics plays a part in forming his attitude towards questions of world importance. Thus the soul life of such a teacher does not turn outwards and enter into the kind of understanding which is necessary for a human being between say, the ages of 30 and 40. Furthermore he does not keep fit and well if he thinks that the best way to recuperate in leisure hours is to play cards or do something else which is in no way connected with the life of the spirit.

The situation of a teacher who is an anthroposophist, whose life is permeated with anthroposophy, is very different. His perspective of the world is continually widening; his sphere of vision extends ever further and further. It is very easy to show how these things affect each other—It is indicated by the fact that the most enthusiastic anthroposophist, if, for instance, he becomes a teacher of history, immediately tends to carry anthroposophy into his conception of history and so falls into the error of wanting to teach not history, but anthroposophy. This is also something one must try to avoid. It will be completely avoided if such a teacher, having on the one hand his children and on the other hand anthroposophy, feels the need of building a bridge between the school and the homes of the parents. Even though anthroposophy is knowledge as applied to man, understanding as applied to man, there are nevertheless necessities in life which must be observed. How do people often think today, influenced as they are by current ideas in regard to educational reform or even by revolutionary ideas in this field? I will not at this moment enter into what is said in socialist circles, but will confine myself to what is thought by those belonging to the prosperous middle classes. There the view is held that people should get out of the town and settle in the country in order that many children may be educated right away from the town. Only so, it is felt, can they develop naturally. And so on, and so on. But how does such a thought fit into a more comprehensive conception of the world? It really amounts to an admission of one's own helplessness. For the point is not to think out some way in which a number of children may be educated quite apart from the world, according to one's own intellectual, abstract ideas, but rather to discover how children may be helped to grow into true human beings within the social milieu which is their environment. One must muster one's strength and not take children away from the social milieu in which they are living. It is essential to have this courage. It is something which is connected with the world significance of education.

But then there must be a deep conviction that the world must find its way into the school. The world must continue to exist within the school, albeit in a childlike way. If therefore we would stand on the ground of a healthy education we should not think out all kinds of occupational activity intended only for children. For instance all kinds of things are devised for children to do. They must learn to plait; they must carry out all kinds of rather meaningless activities which have absolutely nothing to do with life, merely to keep them busy. Such methods can never serve any good purpose in the child's development. On the contrary, all play activity at school must be a direct imitation of life. Everything must proceed out of life, nothing should be thought out. Hence, in spite of the good intentions lying behind them, those things which have been introduced into the education of little children by Froebel or others are not directly related to the real development of the children. They are thought out, they belong to our rationalistic age. Nothing that is merely thought out should form part of a school's activity.

Above all there must be a secret feeling that life must hold sway everywhere in education. In this connection one can have quite remarkable experiences. I have told you already that the child who has reached the stage of changing his teeth should have the path of learning made smooth for him by means of painting or drawing. Writing—a form of drawing which has become abstract—should be developed out of a kind of painting-drawing or drawing-painting. But in doing this it should be borne in mind that the child is very sensitive to aesthetic impressions. A little artist is hidden somewhere inside him, and it is just here that quite interesting discoveries can be made. A really good teacher may be put in charge of a class, someone who is ready to carry out the things I have been explaining, someone who is full of enthusiasm and who says: One must simply do away with all the earlier methods of education and begin to educate in this new way! So now he starts off with this business of painting-drawing or drawing-painting. The pots of paint and the paint brushes are ready and the children take up their brushes. At this point one can have the following experience. The teacher simply has no idea of the difference between a colour that shines and one that does not shine. He has already become too old. In this respect one can have the strangest experiences. I once had the opportunity of telling an excellent chemist about our efforts to produce radiant, shining colours for the paintings in the Goetheanum and how we were experimenting with colours made out of plants. Thereupon he said: But today we are already able to do much better—today we actually have the means whereby we can produce colours which are iridescent and begin to shimmer when it is dark. This chemist understood not a word of what I had been saying; he immediately thought in terms of chemistry. Grown-up people often have no sense for a shining colour. Children still have this sense. Everything goes wonderfully with very few words if one is able to read out of the nature of childhood what the child still possesses. The teacher's guidance must however be understanding and artistic in its approach, then the child will find his way easily into everything his teacher wishes to bring to him.

All this can however only be brought about if we feel deeply that school is a place for young life; but at the same time we must realise what is suitable for adult life. Here we must cultivate a sensitivity as to what can and what cannot be done. Please let no one take offence at what I am about to say. Last year in the framework of a conference on anthroposophical education the following took place. There was the wish to show to a public audience what has such an important part to play in our education: Eurythmy. This was done, but it was done in the following manner. In this particular place children gave a demonstration of what they had learned at school in their eurythmy lessons and a performance showing eurythmy as an art was only given later. Things were not arranged so that first people were given the opportunity of gaining some understanding of eurythmy, so that they might perhaps say: Ah, so that is eurythmy, that is what has been introduced into the school. It was done the other way round; the children's eurythmy demonstration was given first place, with the result that the audience was quite unconvinced and had no idea what it was all about. Just imagine that up till now there had been no art of painting: then all of a sudden an exhibition was held showing how children begin to daub with colours! Just as little was it possible for those who were outside the anthroposophical movement to see in this children's demonstration what is really intended and what actually underlies anthroposophy and eurythmy. Such a demonstration only has meaning if eurythmy is first introduced as an art; for then people can see what part it has to play in life and its significance in the world of art. Then the importance of eurythmy in education will also be recognised. Otherwise people may well say: Today all kinds of whimsical ideas are rife in the world—and eurythmy will be looked upon as just such another whimsical idea.

These are things which must lead us, not only to prepare ourselves for our work in education in the old, narrow sense, but to work with a somewhat wider outlook so that the school is not sundered from life but is an inseparable part of it. This is just as important as to think out some extremely clever method in education. Again and again I have had to lay stress on the fact that it is the attitude of mind which counts, the attitude of mind and the gift of insight. It is obvious that not everything can be equally perfect; this goes without saying. I do beg you not to take amiss what I have just said; this applies also to anthroposophists. I appreciate everything that is done, as it is here, with such willing sacrifice. But if I were not to speak in this way the following might well happen. Because wherever there is light there are also strong shadows, so wherever efforts are made to do things in a more spiritual way, there too the darkest shadows arise. Here the danger is actually not less than in the usual conventional circles, but greater. And it is particularly necessary for us, if we are to be equal to the tasks with which we shall be faced in a life which is becoming more and more complicated, to be fully awake and aware of what life is demanding of human beings. Today we no longer have those sharply defined traditions which guided an earlier humanity. We can no longer content ourselves with what our forefathers deemed right; we must bring up our children so that they may be able to form their own judgments. It is therefore imperative to break through the narrow confines of our preconceived ideas and take our stand within the all-comprehensive life and work of the world. We must no longer, as in earlier times, continue to find simple concepts by means of which we would seek to explain far-reaching questions of life. For the most part, even if there is no desire to be pedantic, the attempt is made to characterise most things with superficial definitions, much in the same way as was done in a certain Greek school of philosophy. When the question was put: what is a man?—the explanation given was as follows: A man is a living being who stands on two legs and has no feathers.—Many definitions which are given today are based on the same pattern,—But the next day, after someone had done some hard thinking as to what might lie behind these portentous words, he brought with him a plucked goose, for this was a being able to stand on two legs and having no feathers and he now asserted that this was a man. This is only an extreme case of what you find for instance in Goethe's play, “Goetz von Berlechingen,” where the little boy begins to relate what he knows about geography. When he comes to his own district he describes it according to his lesson book and then goes on to describe a man whose development has taken place in this same neighbourhood. He has however not the faintest idea that the latter is his father. Out of sheer “erudition,” based on what he has learned out of the book, he does not know his own father. Nevertheless these things do not go so far as the experience I once had in Weimar, where there are, of course, newspapers. These are produced in the way that usually happens in small places. Bits and pieces of news regarded as suitable are cut out of newspapers belonging to larger towns and inserted into the paper in question. So on one occasion, on 22nd January, we in Weimar read the following item of news: Yesterday a violent thunderstorm broke over our town. This piece of news had, however, been taken out of the Leipziger Nachrichten.

Similar things happen in life and we are continually caught in the web of their confusion. People theorise in abstract concepts. They study the theory of relativity and in so doing get the notion that it is all the same whether someone travels by car to Oosterbeek or whether Oosterbeek comes to him. If however anyone should wish to draw a conclusion based on reality he would have to say: If the car is not used it does not suffer wear and tear and the chauffeur does not get tired. Should the opposite be the case the resulting effect will likewise be opposite. If one thinks in this way then, without drawing a comparison between every line and movement, he will know out of an inner commonsense that his own being is changed when from a state of rest it is brought into movement. Bearing in mind the kind of thinking prevalent today, it is no wonder that a theory of relativity develops out of it when attention is turned to things in isolation. If however one goes back to reality it will become apparent that there is no accord between reality and what is thought out on the basis of mere relationship. Today, whether or not we are learned or clever we live perpetually outside reality; we live in a world of ideas in much the same way as the little boy in Goetz von Berlechingen, who did not know his father, in spite of having read a description of him in his geography book. We do not live in such a way as to have direct contact with reality.

But this is what we must bring into the school; we must face this direct impact of reality. We are able to do so if above all we learn to understand the true nature of man and what is intimately connected with him. It is for this reason that again and again I have to point out how easy it is for people today to assert that the child should be taught pictorially, by means of object lessons, and that nothing should be brought to him that is beyond his immediate power of comprehension. But in so doing we are drawn into really frightful trivialities. I have already mentioned the calculating machine. Now just consider the following: At the age of 8 I take something in but I do not really understand it. All I know is that it is my teacher who says it. Now I love my teacher. He is quite naturally my authority. Because he has said it I accept it with my whole heart. At the age of 15 I still do not understand it. But when I am 35 I meet with an experience in life which calls up, as though from wonderful spiritual depths, what I did not understand when I was 8 years old, but which I accepted solely on the authority of the teacher whom I loved. Because he was my authority I felt sure it must be true. Now life brings me another experience and suddenly, in a flash, I understand the earlier one. All this time it had remained hidden within me, and now life grants me the possibility of understanding it. Such an experience gives rise to a tremendous sense of obligation. And one cannot do otherwise than say: Sad indeed it is for anyone who experiences no moments in life when out of his own inner being something rises up into consciousness which he accepted long ago on the basis of authority and which he is only now able to understand. No one should be deprived of such an experience, for in later years it is the source of enthusiastic and purposeful activity in life. [Walter de la Mare has described this experience and the joy of saying: “Ah, so that was the meaning of that.”]

But let us add something else. I said that between the change of teeth and puberty children should not be given moral precepts, but in the place of these care should be taken to ensure that what is good pleases them because it pleases their teacher, and what is bad displeases them because it displeases their teacher. During the second period of life everything should be built up on sympathy with the good, antipathy for the bad. Then moral feelings are implanted deeply in the soul and there is established a sense of moral well-being in experiencing what is good and a sense of moral discomfort in experiencing what is bad. Now comes the time of puberty. Just as walking is fully developed during the first 7 years, speech during the second 7 years, so during the third 7 years of life thinking comes fully into its own. It becomes independent. This only takes place with the oncoming of puberty; only then are we really capable of forming a judgment. If at this time, when we begin to form thoughts out of an inner urge, feelings have already been implanted in us in the way I have indicated, then a good foundation has been laid and we are able to form judgments. For instance: this pleases me and I am in duty bound to act in accordance with it; that displeases me and it is my duty to leave it alone. The significance of this is that duty itself grows out of pleasure and displeasure; it is not instilled into me, but grows out of pleasure and displeasure. This is the awakening of true freedom in the human soul. We experience freedom through the fact that the sense for what is moral is the deepest individual impulse of the individual human soul. If a child has been led to a sense of the moral by an authority which is self-understood, so that the moral lives for him in the world of feeling, then after puberty the conception of duty works out of his individual inner human being. This is a healthy procedure. In this way we lead the children rightly to the point at which they are able to experience what individual freedom is. Why do people not have this experience today? They do not have it because they cannot have it, because before puberty a knowledge of good and bad was instilled into them; what they should and should not do was inculcated. But moral instruction which pays no heed to a right approach by gradual stages dries up the human being, makes out of him, as it were, a skeleton of moral precepts on which the conduct of life is hung like clothes on a coat-hanger.

If everything in life is to form a harmonious whole, education must follow a quite different course from the one usually pursued. It must be understood that the child goes through one stage between birth and the change of teeth, another between the change of teeth and puberty and yet another between puberty and the age of 21. Why does the child do this or that in the years before he is 7? Because he wants to imitate. He wants to do what he sees being done in his immediate surroundings. But what he does must be connected with life, it must be led over into living activity. We can do very much to help bring this about if we accustom the child to feel gratitude for what he receives from his environment. Gratitude is the basic virtue in the child between birth and the change of teeth. If he sees that everyone who stands in some kind of relationship to him in the outer world shows gratitude for what he receives from this world; if, in confronting the outer world and wanting to imitate it, the child sees the kind of gestures that express gratitude, then a great deal is done towards establishing in him the right moral human attitude. Gratitude is what belongs to the first 7 years of life.

If gratitude has been developed in the child during this first period it will now be easy between the 7th and 14th years to develop what must be the activating impulse in everything he does. This is love. Love is the virtue belonging to the second period of life. And only after puberty does there develop out of what has been experienced with love between the change of teeth and puberty that most inward of human impulses, the impulse of duty. Then what Goethe once expressed so beautifully becomes the guiding line for life. Goethe asks: “What is duty? It is when one loves what one commands oneself.” This is the goal to which we must attain. We shall however only reach it when we are led to it by stages: Gratitude—Love—Duty.

A few days ago we saw how things arising out of an earlier epoch of life are carried over into later ones. I spoke about this in answer to a question. Now I must point out that this has its good side also; it is something that must be. Of course I do not mean that gratitude should cease with the 7th year or love with the 14th year. But here we have the very secret of life: what is developed in one epoch can be carried over into later epochs, but there will be metamorphosis, intensification, change. We should not be able to carry over the good belonging to one epoch were there not also the possibility of carrying over the bad. Education however must concern itself with this and see to it that the force inherent in the human being, enabling him to carry over something out of an earlier into a later epoch, is used to further what is good. In order to achieve this however we must make use of what I said yesterday. Let us take the case of a child in whom, owing to certain underlying pathological tendencies, there is the possibility of moral weakness in later life. We perceive that what is good does not really please him, neither does what is bad awaken his displeasure. In this respect he makes no progress. Then, because love is not able to develop in the right way between the 7th and the 14th year, we try to make use of what is inherent in human nature itself, we try to develop in the child a real sense of gratitude, to educate him so that he turns with real gratitude to the self-understood authority of the teacher. If we do this, things will improve in respect of love also. A knowledge of human nature will prevent us from setting about things in such a way that we say: This child is lacking in love for the good and antipathy for the bad; I must instil this into him! It cannot be done. But things will go of themselves if we foster gratitude in the child. It is therefore essential to know the part gratitude plays in relation to love in the course of moral development in life; we must know that gratitude is a natural development in human nature during the first years of life and that love is active in the whole human organisation as a quality of soul before it comes to physical expression at puberty. For what then makes itself felt outwardly is active between the years of 7 and 14 as the deepest principle of life and growth in man; it weaves and lives in his inmost being. Here, where it is possible to discuss these things on a fundamental basis, I may be allowed to say what is undoubtedly a fact. When a teacher has once understood the nature of an education that takes its stand on a real knowledge of man, when on the one side he is engaged on the actual practice of such an education, and when on the other side he is actively concerned in the study of the anthroposophical conception of the world, then each works reciprocally on the other. For the teacher must work in the school in such a way that he takes as a foregone conclusion the fact that love is inwardly active in the child and then comes to outer expression in sexuality.

The anthroposophical teacher also attends meetings where the world conception of anthroposophy is studied. There he hears from those who have already acquired the necessary knowledge derived from Initiation Wisdom about such things as the following: The human being consists of physical body, etheric body, astral body and ego. Between the 7th and 14th years the etheric body works mainly on the physical body; the astral body descends into the physical and etheric bodies at the time of puberty. But anyone able to penetrate deeply into these matters, anyone able to perceive more than just physical processes, whose perceptions always include spiritual processes and, when the two are separated, can perceive each separately, such a man or woman can discern how in an 11 or 12 year old boy the astral body is already sounding, chiming, as it were, with the deeper tone which will first make itself heard outwardly at puberty. And a similar process takes place in the astral body of an 11 or 12 year old girl.

These things are actual, and if they are regarded as realities they will throw light on life's problems. It is just concerning these very things that one can have quite remarkable experiences. I will not withhold such experiences. In the year 1906 I gave a number of lectures in Paris before a relatively small circle of people. I had prepared my lectures bearing these people specially in mind, taking account of the fact that in this circle there were men of letters, writers, artists and others who at this particular epoch were concerned with quite specific questions. Since then things have changed, but at that time a certain something lay behind the questions in which these people were interested. They were of the type which gets up in the morning filled with the notion: I belong to a Society which is interested in the history of literature, the history of the arts; when one belongs to such a Society one wears this sort of tie, and since the year so-and-so one no longer goes to parties in tails or dinner jacket. One is aware of this when invited to dine where these and similar topics are discussed. Then in the evening one goes to the theatre and sees plays which deal with current problems! The so-called poets then write such plays themselves. At first there is a man of deep and inward sensibility, out of whose heart these great problems arise in an upright and honourable way. First there is a Strindberg. Later on follow those who popularise Strindberg for a wider public. And so, at the time I held these Paris lectures, that particular problem was much discussed which shortly before had driven the tragic Weininger to suicide. The problem which Weininger portrays in so childlike yet noble a fashion in Geschlecht und Charakter (Sex and Character) was the problem of the day. After I had dealt with those things which were essential to an understanding of the subject I proceeded to explain that every human being has one sex in the external physical body, but bears the other sex in the etheric body. So that the woman is man in etheric body, and the man is woman. Every human being in his totality is bi-sexual; he bears the other sex within him. I can actually observe when something of this kind is said, how people begin to look out of their astral bodies, how they suddenly feel that a problem is solved for them over which they have chewed for a long time, and how a certain restlessness, but a pleasant kind of restlessness is perceptible among the audience. Where there are big problems, not merely insignificant sensations in life, but where there is real enthusiasm, even if it is sometimes close to small talk, then again one becomes aware of how a sense of relief, of being freed from a burden, emanates from those present.

So the anthroposophical teacher always looks on big problems as being something which can work on him in such a way that he remains human at every age of life; so that he does not become dried up, but remains fresh and alert and able to bring this freshness with him into the school. It is a completely different thing whether a teacher only looks into text books and imparts their content to the children, or whether he steps out of all this and, as human being pure and simple, confronts the great perspectives of the world. In this case he carries what he himself has absorbed into the atmosphere of the classroom when he enters it and gives his lesson.

From the lectures which have been given here, dealing with an art of education built upon the foundation of a knowledge of man, you formed a clear idea of what should be the relation between teacher and taught. What lives in the soul, in the whole personality of the teacher, works in hundreds of unseen ways from the educator over to the children his pupils. But it only works if the educator bears within his soul a true and penetrating knowledge of man, a knowledge which is approaching the transition leading over into spiritual experience. And today I must precede my lecture with a few remarks which may serve to clarify what is to be understood in the anthroposophical sense by spiritual experience, for just in regard to this the most erroneous ideas abound.

It is so easy to think that in the first place spiritual perception must rise above everything of a material nature. Certainly one can attain to a deeply satisfying soul experience, even though this may be coloured by egotistical feeling, when, rising above the material, one ascends into the spiritual world. We must do this also. For we can only learn to know the spiritual when we acquire this knowledge in the realm of the spirit; and anthroposophy must deal in many ways with spiritual realms and spiritual beings which have nothing to do with the physical world of the senses. And when it is a question of learning to know what is so necessary for modern man, to know about the life between death and a new birth, the actual super-sensible life of man before birth or conception and the life after death, then we must certainly rise up to body-free, super-sensible, super-physical perception. But we must of course act and work within the physical world; we must stand firmly in this world. If we are teachers, for instance, we are not called upon to teach disembodied souls. We cannot ask ourselves, if we wish to be teachers; What is our relationship to souls who have passed through death and are living in the spiritual world?—But if we wish to work as teachers between birth and death, we must ask ourselves: In what way does a soul dwell within the physical body? And indeed we must consider this, at any rate for the years after birth. It is actually a question of being able to gaze with the spirit into the material. And Anthroposophy, Spiritual Science, is in this respect largely a matter of looking into the material with the spirit.

But the opposite procedure is also right: one must penetrate with spiritual vision into the spiritual world, penetrate so far that the spiritual seems to be every bit as full of “living sap” as anything in the sense world; one must be able to speak about the spiritual as if it radiated colours, as if its tones were audible, as if it were standing before one as much “embodied” as the beings of the sense world. In anthroposophy it is first this which causes abstract philosophers such intense annoyance. They find it exceedingly annoying that the spiritual investigator describes the spiritual world and spiritual beings in such a way that it seems as if he might meet these beings at any moment, just as he might meet human beings; that he might hold out his hand to them and speak with them. He describes these spiritual beings just as though they were earthly beings; indeed his description makes them appear almost as if they were earthly beings. In other words, he portrays the spiritual in pictures comprehensible to the senses. He does this in full consciousness, because for him the spiritual is an absolute reality. There is some truth in it, too, because a real knowledge of the whole world leads to the point at which one can “give one's hand” to spiritual beings, one can meet them and converse with them. That strikes the philosopher, who is only willing to conceive the spiritual world by means of abstract concepts, as being paradoxical, to say the least of it; nevertheless such a description is necessary. On the other hand it is also necessary to look right through a human being, so that the material part of him vanishes completely, and he stands there purely as a spirit. When however a non-anthroposophist wishes to look upon a man as spirit, then this man is not only a ghost, but something much less than a ghost. He is a sort of coat-hanger on which are hung all kinds of concepts which serve to activate mental pictures and so on. In comparison a ghost is quite respectably solid, but a human being as described by such a philosopher is really indecently naked in regard to the spirit. In anthroposophy physical man is contemplated by means of purely spiritual perception, but nevertheless he still has brains, liver, lungs and so on; he is a concrete human being; he has everything that is found in him when the corpse is dissected. Everything that is spiritual in its nature works right down into the physical. The physical is observed spiritually, but nevertheless man possesses a physical body. He can even “blow his nose” in a spiritual sense; spiritual reality goes as far as this. Only by becoming aware that in contemplating the physical it can become completely spiritual, and in contemplating the spiritual it can be brought down again so that it becomes almost physical, only by this awareness can the two be brought together. The physical human being can be contemplated in a condition of health and illness; but the ponderable material vanishes, it becomes spiritual. And the spiritual can be contemplated as it is between death and a new birth and, pictorially speaking, it becomes physical. Thus the two are brought together.

Man learns to penetrate into the real human being through the fact that there are these two possibilities, the possibility of beholding the spiritual by means of sense-perceptible pictures and the possibility of beholding spiritual entities in the world of the senses. If therefore the question arises: How may spiritual vision be understood in its real and true sense?—the answer must be: One must learn to see all that appertains to the senses in a spiritual way, and one must look at the spiritual in a way that is akin to the senses. This seems paradoxical, but it is so. And only after entering into what I have just said and realising its truth, can one reach the point of looking at the child in the right way.

I will give you an example. A child in my class becomes paler and paler. I see this increasing pallor. It shows itself in the physical life of the child, but we gain nothing by going to the doctor and getting him to prescribe something that will bring back the child's colour; for, should we do so, the following may well be the result: The child grows pale and this is observed, so the school doctor comes and prescribes something which is intended to restore the lost colour. Now even if the doctor has acted perfectly correctly and has prescribed a quite good remedy, which he must do in such cases, nevertheless something rather strange will be observed in the child who is now “cured.” Indeed in a sense he is cured, and anyone in a position of seniority to the doctor, who might be called upon to write a testimonial for the authorities, could well say that the doctor had cured the child—later, however, it is noticeable at school that the child who has been cured in this way is no longer able to take things in properly; he has become fidgety and restless and has lost all power of attention. Whereas previously he used to sit in his place, pale and somewhat indolent, he now begins to pommel his neighbour; and whereas previously he had clipped his pen gently into the inkwell, he now sticks it in with so much force that the ink spurts up and bespatters his exercise book. The doctor did his duty but the result was the reverse of beneficial, for it sometimes happens that people who have been “cured” suffer later on from extraordinary after-effects.

Again, in such a case it is important to recognise what actually lies at the root of the trouble. If the teacher is able to penetrate into the soul-spiritual cause of what finds its outer physical expression in a growing pallor, he will become aware of the following. The power of memory which works in the soul-spiritual is nothing else than the transformed, metamorphosed force of growth; and to develop the forces of growth and nourishment is just the same, albeit on a different level, as it is, on a higher level, to cultivate the memory, the power of recollection. It is the same force, but in a different stage of metamorphosis. Pictured systematically we can say: During the first years of a child's life both these forces are merged into one another, they have not yet separated; later on memory separates from this state of fusion and becomes a power in itself, and the same holds good for the power of growth and nourishment. The small child still needs the forces which later develop memory in order that he may digest milk and the stomach be able to carry out its functions; this is why he cannot remember anything. Later, when the power of memory is no longer the servant of the stomach, when the stomach makes fewer demands on it and only retains a minimum of these forces, then part of the forces of growth are transformed into a quality of soul, into memory, the power of recollection. Possibly the other children in the class are more robust, the division between the power of memory and of growth may be better balanced, and so, perhaps, the teacher pays less heed to a child who in this respect has little to fall back on. If this is the case it may easily happen that his power of memory is overburdened, too much being demanded of this emancipated faculty. The child grows pale and the teacher must needs say to himself: “I have put too much strain on your memory; that is why you have grown so pale.” It is very noticeable that when such a child is relieved of this burden he gets his colour back again. But the teacher must understand that the growing pale is connected with what he has done himself in the first place, by overburdening the child with what has to be remembered. It is very important to be able to look right into physical symptoms and to realise that if a child grows too pale it is because his memory has been overburdened.

But I may have another child in the class who from time to time becomes strikingly red in the face and this also may be a cause for concern. If this occurs, if a hectic red flush makes its appearance, it is very easy to recognise certain accompanying conditions in the child's soul-life; for in the strangest way, at times when one would least expect it, such children fall into a passion of anger, they become over-emotional. Naturally there can be the same procedure as before: A rush of blood to the head—something must be prescribed for it. Of course, in such cases too, the doctor does his duty. But it is important to know something else, namely, that this child, in contrast to the other, has been neglected in respect of his faculty of memory. Too many of these forces have gone down into the forces of his growth and nourishment. In this case one must try to make greater demands on the child's power of memory. If this is done such symptoms will disappear.

Only when we take into our ken the physical and the spiritual as united do we learn to recognise many things in the school which are in need of readjustment. We train ourselves to recognise this interconnection of physical and spiritual when we look at what lies between them as part of the whole human organisation, namely, the temperaments. The children come to school and they have the four temperaments, varied of course with all kinds of transitions and mixtures: the melancholic, the phlegmatic, the sanguine and the choleric. In our Waldorf education great value is laid on being able to enter into and understand the child according to his temperament. The actual seating of the children in the classroom is arranged on this basis. We try for instance to discover which are the choleric children; these we place together, so that it is possible for the teacher to know: There in that corner I have the children who tend to be choleric. In another, the phlegmatic children are seated, somewhere in the middle are the sanguines and again somewhere else, grouped together are the melancholies. This method of grouping has great advantages. Experience shows that after a while the phlegmatics become so bored with sitting together that, as a means of getting rid of this boredom, they begin to rub it off on one another. On the other hand the cholerics pommel one another so much that quite soon this too becomes very much better. It is the same with the fidgety ways of the sanguines, and the melancholies also see what it is like when others are absorbed in melancholy. Thus to handle the children in such a way that one sees how “like reacts favourably on like” is very good even from an external point of view, quite apart from the fact that by doing so the teacher has the possibility of surveying the whole class, for this is much easier when children of similar temperament are seated together.

Now however we come to the essential point. The teacher must enter so deeply into the nature of the human being that he is able to deal in a truly practical way with the choleric, the sanguine, the melancholic temperament. There will naturally be cases where it is necessary to build the bridge of which I have already spoken, the bridge between school and home, and this must be done in a friendly and tactful way. Let us suppose that I have a melancholic child in the class, with whom I can do scarcely anything. I am unable to enter into his difficulties in the right way. He broods and is withdrawn, is occupied with himself and pays no heed to what is going on in the class. If one applies an education that is not founded on a knowledge of man one may think that everything possible should be done to attract his attention and draw him out of himself. As a rule however such a procedure will make things still worse; the child broods more than ever. All these means of effecting a cure, thought out in such an amateurish way, help but little. What helps most in such a case is the spontaneous love which the teacher feels for the child, for then he is aware of sympathy, and this stirs and moves what is more subconscious in him. We may be sure that anything in the way of exhortation is not only wasted effort, but is actually harmful, for the child becomes more melancholic than before. But in class it helps greatly if one tries to enter into the melancholy, tries to discover the direction to which it tends, and then shows interest in the child's attitude of mind, becoming in a certain way, by what one does oneself, melancholic with the melancholic child. As a teacher one must bear within oneself all four temperaments in harmonious, balanced activity. And this balance, which is in direct contradiction to the child's melancholy, if it is continued and is always present in one's relationship to the child, is perceived by him. He sees what kind of man his teacher is by what underlies his words. And in this way, creeping in behind the mask of melancholy, which the teacher accepts, there is implanted in the child his teacher's loving sympathy. This can be of great help in the class.

But now we will go further, for we must know that every manifestation of melancholy in a human being is connected with some irregularity in the function of the liver. This may seem unlikely to the physicist, but it is nevertheless a fact that every kind of melancholy, especially if it goes so far in a child as to become pathological, is due to some irregularity of this kind. In such a case I shall turn to the parents of the child and say: “It would be good to put more sugar in his food than you usually do.” He needs sweet things, for sugar helps to normalise the function of the liver. And by giving the mother this advice: “Give the child more sugar”—I shall get school and home working together, in order to lift this melancholy out of the pathological condition into which it has sunk and so create the possibility of finding the right constitutional treatment.

Or I may have a sanguine child, a child who goes from one impression to another; who always wants what comes next, almost before he has got hold of what precedes it; who makes a strong start, showing great interest in everything, but whose interest soon fades out. He is not dark as a rule, but fair. I am now faced with the problem of how to deal with him at school. In everything I do I shall try to be more sanguine than the child. I shall change the impressions I make on him extremely quickly, so that he is not left hurrying from one impression to another at his own sweet will, but must come with me at my pace. This is quite another story. He soon has enough of it and finally gives up. But between what I myself do in bringing impressions to the child in this very sanguine way, and what he does himself in hurrying from one thing to another in accordance with his temperament, there is gradually established in him, as a kind of natural reaction, a more harmonious condition. So I can treat the child in this way. I can present him with rapidly changing impressions, always thinking out something new, so that he sees, as it were, first black, then white, and must continually hurry from one thing to another. I now get in touch with the mother and I will certainly hear from her that the child has an inordinate love of sugar. Perhaps he is given a great many sweets or somehow manages to get hold of them, or maybe the family as such is very fond of sweet dishes.

If this is not so, then his mother's milk was too sweet, it contained too much sugar. So I explain this to the mother and advise her to put the child on a diet for a time and reduce the amount of sugar she gives him. In this way, by arranging with the parents for a diet with little sugar, co-operation is brought about between home and school. The reduction of sugar will gradually help to overcome the abnormality which, in the case of this child also, is caused by irregularity in the activity of the liver in respect of the secretion of gall. There is a very slight, barely noticeable irregularity in the secretion of gall. Here too I shall recognise the help given me by the parents.

So we must know as a matter of actual fact where, so to speak, the physical stands within the spiritual, where it is one with the Spiritual.

It is possible to go into more detail and say: A child shows a rapid power of comprehension, he understands everything very easily; but when after a few days I come back to what he grasped so quickly and about which I was so pleased, it has vanished; it is no longer there. Here again I can do a good deal at school to improve matters. I shall try to put forward and explain something which demands a more concentrated attention than the child is accustomed to give. He understands things too quickly, it is not necessary for him to make enough inner effort, so that what he learns may really impress itself on him. I shall therefore give him hard nuts to crack, I shall give him something which is more difficult to grasp and demands more attention. This I can do at school. But now once more I get in touch with the child's parents and from them I may hear various things. What I am now saying will not hold good in every case, but I want to give some indication of the path to be pursued. I shall have a tactful discussion with the mother, avoiding any suspicion of riding the high horse by talking down to her and giving her instructions. From our conversation I shall find out how she caters for the family and I shall most likely discover that this particular child eats too many potatoes. The situation is a little difficult because now the mother may say, “Well, you tell me that my child eats too many potatoes; but my neighbour's little daughter eats more still and she has not the same failing, so the trouble cannot be caused by potato-eating.” Something of this kind is what the mother may say. And nevertheless it does come from eating potatoes, because the organisation of children differs, one child being able to assimilate more potato and another less. And the curious thing is this. The condition of a particular child shows that he has been getting too many potatoes; it is shown by the fact that his memory does not function as it should. Now in this case the remedy is not to be found by giving him fewer potatoes. It may even happen that this is done and there is some improvement; but after a time things are no better than before. Here the immediate reduction of the amount of potato does not bring about the required effect, but it is a question of gradually breaking a habit, of exercising the activity needed in order to break a habit. So one must say to the mother, “For the first week give the child a tiny bit less potato; for the second week a very little less still; and continue in this way, so that the child is actively engaged in accustoming himself to eating only a small amount of potato.” In this case it is a question of breaking a habit, and here one will see what a healing effect can be induced just by this means.

Now idealists, so-called, very likely reproach anthroposophy and maintain that it is materialistic. They actually do so. When for example an anthroposophist says that a child who comprehends easily but does not retain what he has learnt, should have his potato ration gradually decreased, then people say: You are an absolute materialist. Nevertheless there exists such an intimate interplay between matter and spirit that one can only work effectively when one can penetrate matter with spiritual perception and master it through spiritual knowledge. It is hardly necessary to say how greatly these things are sinned against in our present-day social life. But if a teacher is open to a world conception which reveals wide vistas he will arrive at an understanding of these things. He must only extend his outlook. For instance it will impress a teacher favourably and help him to gain an understanding of children if he learns how little sugar is consumed in Russia and how much in England. And if he proceeds to compare the Russian with the English temperament he will readily understand what an effect sugar has on temperament. It is advantageous to learn to know the world, so that this knowledge can come to our assistance in the tasks of every day. But now I will add something else. In Baden, in Germany, there is a remarkable monument erected as a memorial to Drake. I once wanted to know what was specially significant about this Drake, so I looked it up in an encyclopaedia and read: In Offenburg a monument was erected in memory of Drake because he was thought, albeit erroneously, to be the man who introduced the potato into Europe. There it stands in black and white. So a memorial was erected in honour of this man because he was considered to be the one who introduced the potato into Europe. He didn't do so, but nevertheless he has got a memorial in Offenburg.

The potato was, however, introduced into Europe in comparatively recent times. And now I am going to tell you something about which you can laugh as much as you like. Nevertheless it is the truth. It is possible to study how the faculties of intelligence in human beings are related in their development from the time when there were no potatoes to the time when they were introduced. And, as you know, the potato is made use of in alcohol-distilleries. So potatoes suddenly began to play an important part in the development of European humanity. If you compare the increasing use of the potato with the curve of the development of intelligence, you will find that in comparison with the present day people living in the pre-potato age grasped things with less detail, but what they grasped they held fast. Their nature tended to be conservative, it was deeply inward. After the introduction of the potato people became quicker in regard to intelligent mobility of comprehension, but what they took in was not retained, it did not sink in deeply. The history of the development of the intelligence runs parallel with that of potato-eating. So here again we have an example of how anthroposophy explains this materialistically. But so it is. And much might be learned about cultural history if people everywhere could only know how in man's subconsciousness the external physical seizes hold of the spiritual. This becomes apparent in the nature of his desires.

Let us now choose as an example someone who has to write a great deal. Every day he has to write articles for the newspapers, so that he is obliged “to chew his pen” in order to produce what is necessary. If one has been through this oneself one can talk about it, but one has no right just to criticise others unless one speaks out of personal experience. While cogitating and biting one's pen one feels the need of coffee, for drinking coffee helps cohesion of thought. Thoughts become more logical when one drinks coffee than if one refrains from doing so. A journalist must needs enjoy coffee, for if he does not drink it his work takes more out of him. Now, as a contrast, let us take a diplomat. Call to mind what a diplomat had to acquire before the world war. He had to learn to use his legs in a special, approved manner; in the social circles in which he moved he had to learn to glide rather than set his foot down firmly as plainer folk do. He had also to be able to have thoughts which are somewhat fleeting and fluid. If a diplomat has a logical mind he will quite certainly fail in his profession and be unsuccessful in his efforts to help the nations solve their dilemmas. When diplomats are together—well, then one does not say they are having their coffee but they are having tea—for at such times there is the need to drink one cup of tea after another, so that the interchange of thought does not proceed in logical sequence, but springs as far as possible from one idea to the next. This is why diplomats love to drink tea; tea releases one thought from the next, it makes thinking fluid and fleeting, it destroys logic. So we may say: Writers are lovers of coffee, diplomats lovers of tea, in both cases out of a perfectly right instinct.

If we know this, we shall not look upon it as an infringement of human freedom. For obviously logic is not a product of coffee, it is only an unconscious, subconscious help towards it. The soul therefore remains free.

It is just when we are bearing the child especially in mind that it is necessary to look into relationships such as these, about which we get some idea when we can say: Tea is the drink for diplomats, coffee the drink for writers, and so on. Then we are also able gradually to gain an insight into the effects produced by the potato. The potato makes great demands on the digestion; moreover very small, almost homeopathic doses come from the digestive organs and rise up into the brain. This homeopathic dose is nevertheless very potent, it stimulates the forces of abstract intelligence. At this point I may perhaps be allowed to divulge something further. If we examine the substance of the potato through the microscope we obtain the well-known form of carbohydrates, and if we observe the astral body of someone who has eaten a large portion of potatoes we notice that in the region of the brain, about 3 centimetres behind the forehead, the potato substance begins to be active here also and to form the same eccentric circles. The movements of the astral body take on a similarity with the substance of the potato and the potato-eater becomes exceptionally intelligent. He bubbles over with intelligence, but this does not last, it is quite transient. Must one then not admit, provided one concedes that man possesses spirit and soul, that it is not altogether foolish and fantastic to speak of the spirit and to speak of it in images taken from the world of sense? Those who want always to speak of the spirit in abstract terms present us with nothing of a truly spiritual nature. It is otherwise with those who are able to bring the spirit down to earth in sense-perceptible pictures. Such a man can say that in the case of someone bubbling over with intelligence potato-substance takes on form in the brain, but does so in the spiritual sense. In this way we learn to recognise subtle and delicate differentiations and transitions. We discover that tea as regards its effects on logic makes a cleavage between thoughts, but it does not stimulate thinking. In saying that diplomats have a predilection for tea one does not imply that they can produce thoughts. On the other hand potatoes do stimulate thoughts. Swift as lightning they shoot thoughts upwards, only to let them vanish away again. But, accompanying this swift up-surging of thoughts, which can also take place in children, there goes a parallel process, an undermining of the digestive system. We shall be able to see in children whose digestive system is upset in this way, so that they complain of constipation, that all kinds of useless yet clever thoughts shoot up into their heads, thoughts which they certainly lose again but which nevertheless have been there.

I mention these things in detail so that you may see how the soul-spiritual and the physical must be looked upon as a whole, as a unity, and how in the course of human development a state of things must again be brought about which is able to hold together the most varied streams of culture. At the present time we are living in an epoch in which they are completely sundered from one another. This becomes clear to us however when we are able to look somewhat more deeply into the history of the evolution of mankind.

Today we separate religion, art and science from one another. And the guardians of religion, do all in their power to preserve religion from being encroached upon in any way by science. They maintain that religion is a matter of faith, and science belongs elsewhere. Science has its base where nothing is based on faith, where everything is founded on knowledge. But if one is to succeed in separating them in this way, the spiritual is cut off from science and the world is cut off from religion, with the result that religion becomes abstract and science devoid of spirit. Art is completely emancipated. In our time there are people, who, when one would like to tell them something about the super-sensible, assume an air of clever superiority and regard one as superstitious: “Poor fellow! We know all that is sheer nonsense!”—But then a Björnson or someone else writes something or other in which such things play a part; something of the kind is introduced into art and thereupon everybody runs after it and enjoys in art what was rejected in the form of knowledge. Superstition sometimes appears in strange guise. I once had an acquaintance—such actual examples should most certainly be brought into the art of education, an art which can only be learned from life—I once had an acquaintance who was a dramatist. On one occasion I met him in the street; he was running extraordinarily quickly, perspiring as he went. It was 3 minutes to 8 o'clock in the evening. I asked him where he was going at such a pace. He was, however, in a great hurry and only said that he must rush to catch the post, for the post office closed at 8 o'clock. I did not detain him, but psychologically I was interested to know the reason for his haste so I waited until he returned. He came back after a while in a great heat, and then he was more communicative. I wanted to know why he was in such a hurry to catch the post, and he said, “Oh, I have just sent off my play.” Previously he had always said that this play was not yet finished, and he said the same again now; “It is true that it is still unfinished, but I wanted particularly to get it off today, so that the director may receive it tomorrow. I have just written him a letter to this effect asking him to let me have it back. For you see, if a play is sent off before the end of the month it may be chosen for a performance; there is no chance otherwise!”—Now this dramatist was an extremely enlightened, intelligent man. Nevertheless he believed that if a play was despatched on a definite day it would be accepted, even if, owing to being unfinished, it had to be returned. From this incident you can see how things which people are apt to despise creep into some hole and corner, out of which they raise their heads at the very next opportunity.

This is especially the case with a child. We believe we have managed to rid him of something, but straightaway there it is again somewhere else. We must learn to look out for this. We must open our hearts when making a study of man, so that a true art of education may be based on an understanding and knowledge of the human being. Only by going into details shall we be able to fathom all these things.

Today then, as I was saying, religion, art and science are spoken about as though they were entirely unrelated. This was not so in long past ages of human evolution. Then they were a complete unity. At that time there existed Mystery Centres which were also centres for education and culture, centres dedicated at one and the same time to the cultivation of religion, art and science. For then what was imparted as knowledge consisted of pictures, representations and mental images of the spiritual world. These were received in such an intuitive and comprehensive way that they were transformed into external sense-perceptible symbols and thereby became the basis of cultic ceremonial. Science was embodied in such cults, as was art also; for what was taken from the sphere of knowledge and given external form must perforce be beautiful. Thus in those times a divine truth, a moral goodness and a sense-perceptible beauty existed in the Mystery Centres, as a unity comprised of religion, art and science. It was only later that this unity split up and became science, religion and art, each existing by and for itself. In our time this separation has reached its culminating point. Things which are essentially united have in the course of cultural development become divided. The nature of man is however such, that for him it is a necessity to experience the three in their “oneness” and not regard them as separate. He can only experience in unity religious science, scientific religion and artistic ideality, otherwise he is inwardly torn asunder. For this reason wherever this division, this differentiation, has reached its highest pitch it has become imperative to find once more the connection between these three spheres. And we shall see how in our teaching we can bring art, religion and science to the child in a unified form. We shall see how the child responds in a living way to this bringing together of religion, art and science, for it is in harmony with his own inner nature. I have therefore had again and again to point out in no uncertain terms that we must strive to educate the child out of a knowledge that he is in truth a being with aesthetic potentialities; and we should neglect no opportunity of demonstrating how in the very first years of life the child experiences religion naturally and instinctively.

All these things, the harmonious coming together of religion, art and science must be grasped in the right way and their value recognised in those teaching methods about which we have still to speak.

You will have seen that in anthroposophical education great value is laid on what lies in the consciousness of the teacher; there must live in his consciousness a knowledge of man that is whole, that is complete in itself. Now, as various examples have already shown you, the conception of the world which is usual today is ill-adapted to penetrating deeply into the human being. The following explanation will make my meaning clear. In studying man, we have to distinguish between his constituent parts: firstly his physical body, his physical organisation, then the finer ether or life-body which contains the formative forces, the forces which live in growth and in the processes of nourishment, and which, in the early years of childhood, are transmuted into the forces of memory. Then we have to add everything that the plant does not yet possess, although it, too, has growth and nourishment, and even to some extent lives in memory, in so far as it always retains and repeats its form. The next member of his being man has in common with the animal; it is the sentient body, the astral body, the bearer of sensation. Added to this we have the ego-organisation. These four members we have to distinguish from one another, and in so far as we do this we shall gain a true insight into the being of man and into human evolution.

To begin with man receives his first physical body, if I may so express myself, out of the forces of heredity. This is prepared for him by his father and mother. In the course of the first 7 years of life this physical body is cast off, but during this time it serves as a model from which the etheric body can build up the second body. Today people make the things confronting them so frightfully simple. If a ten-year-old child has a nose like his father's they say it is inherited. But it is not so simple as this, for as a matter of fact the nose is only inherited up to the time of the change of teeth. For if the ether body is so strong that it rejects the model of the inherited nose, then in the course of the first seven years its shape will change. If on the other hand the ether body is weak, it will not be able to free itself from the model and at the age of 10 the shape of the nose will still be the same. Looked at from an external point of view it seems as though the concept of heredity might still have the same significance in the second 7 year period as it had in the first 7 years. In such cases people are wont to say: “Truth must be simple.” In reality things are very complicated. Concepts formed today are mostly the result of a love of ease rather than the urgent desire for truth. It is therefore of real importance that we learn to look with understanding at this body of formative forces, this etheric body, which gradually in the course of the first 7 years creates the second physical body, that in its turn also lasts for 7 years. The etheric body is therefore a creator of form, a sculptor. And just as a true sculptor requires no model, but works independently, while a bad sculptor makes everything according to the model, so in the first life period, and working towards the second period, the ether body, or body of formative forces, fashions the second physical body of the human being. Our present day intellectuality enables us to acquire knowledge of the physical body; it serves this purpose admirably, and anyone lacking intellect cannot acquire such knowledge. But our university studies can take us no further than this. For the ether body cannot be comprehended by means of the intellect, but rather by pictorial, intuitive perception. It would be immensely important if the teacher could learn to understand the ether body. You cannot say: We surely cannot expect all our teachers to develop clairvoyance and so be able to describe the ether body!—But let the teacher practise the art of sculpture instead of studying the things which are so often studied in University courses. Anyone who really works at sculpture and enters into its formative nature will learn to experience the inner structure of forms, and indeed of just those forms with which the human body of formative forces is also working. Anyone who has a healthy sense of form will experience the plastic, sculptural element only in the animal and human kingdoms, not in the plant kingdom. Just imagine a sculptor who wanted to portray plants by means of sculpture! Out of sheer anger one would feel like knocking him down! The plant consists of the physical body and the ether body; with these it is complete. The animal on the other hand envelops the ether body with the astral body and this is still more the case with man. This is why we can learn to comprehend the human etheric body when, as sculptors, we work our way into the inner structure of the forms of Nature. This, too, is why modelling should take a foremost place in the curriculum of a training college, for it provides the means whereby the teacher may learn to understand the body of formative forces. The following may well be taken as a fundamental principle: A teacher who has never studied modelling really understands nothing about the development of the child. An art of education based on the knowledge of man must inevitably induce a sense of apprehension because it draws attention to such things as these and makes corresponding demands. But it can also induce apprehension because it seems as though one must become frightfully critical, rejecting everything that is common practice.

Just as the ether body works at freeing itself in order to become independent at the time of the change of teeth, so does the astral body work in order to become independent at puberty. The ether body is a sculptor, the astral body a musician. Its structure is of the very essence of music. What proceeds from the astral body of man and is projected into form is purely musical in its nature. Anyone able to grasp this knows that in order to understand the human being a further stage of training must develop receptivity towards an inner musical conception of the world. Those who are unmusical understand nothing whatever about the formation of the astral body in man, for it is fashioned out of music. If therefore we study old epochs of culture which were still built up out of inner musical intuition, if we enter into such oriental epochs of culture in which even language was imbued with music, then we shall find a musical conception of the world entering even into the forms of architecture. Later on, in Greece, it became otherwise, and now, especially in the West, it has become very different, for we have entered an age when emphasis is laid on the mechanical and mathematical. In the Goetheanum at Dornach an attempt was made to go back again in this respect. Musicians have sensed the music underlying the forms of the Goetheanum. But generally speaking there is little understanding for such things today.

It is therefore necessary that we should gain in this way a concrete understanding of the human being and reach the point at which we are able to grasp the fact that man's physiological and anatomical form is a musical creation in so far as it stems from the astral body. Think how intimately a musical element is connected with the processes of breathing and the circulation of the blood. Man is a musical instrument in respect of his breathing and blood circulation. And if you take the relationship between the breathing and the circulation of the blood: 18 breaths in a minute, 72 pulse beats in a minute, you get a ratio of 4:1. Of course this varies individually in many ways, but by and large you find that man has an inner musical structure. The ratio 4:1 is the expression of something which, in itself an inner rhythmical relationship, nevertheless impinges on and affects the whole organisation in which man lives and experiences his own being, In olden times the scansion of verses was so regulated that the line was regulated by the breath and the metrical foot by the circulation.

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Dactyl, Dactyl, Caesura, Dactyl, Dactyl. Four in one, the line expressive of the man.

But what man expresses in language is expressed still earlier in his form. Whoever understands the human being from a musical aspect knows that sound, actual tones, are working within him. At man's back, just where the shoulder blades meet and from there are carried further into the whole human being, forming and shaping him, are those human forms which are constituted out of the prime or key-note. Then there is a correspondence in the form of the upper arm with the second, and in the lower arm with the third. And because there is a major and minor third—not a major and minor second—we have one bone in the upper arm, but two in the lower arm, the radius and the ulna; and these correspond to the major and minor third. We are formed according to the notes of the scale, the musical intervals He hidden within us. And those who only study man in an external way do not know that the human form is constituted out of musical tones. Coming to the hand, we have the fourth and fifth, and then, in the experience of free movement, we go right out of ourselves; then, as it were, we take hold of outer Nature. This is the reason for the particular feeling we have with the sixth and seventh, a feeling enhanced by experiencing the movements of eurythmy. You must bear in mind that the use of the third made its appearance comparatively late in the development of music. The experience of the third is an inward one; with the third man comes into an inner relationship with himself, whereas at the time when man lived in the seventh he experienced most fully the going outwards into the world beyond himself. The experience of giving oneself up to the outer world lives especially strongly in the seventh.

And just as man experiences the inherent nature of music, so the forms of his body are shaped out of music itself. Therefore if the teacher wishes to be a good music teacher he will make a point of taking singing with the children from the very beginning of their school life. This must be done; he must understand as an actual fact that singing induces emancipation; for the astral body has previously sung and has brought forth the forms of the human body. Between the change of teeth and puberty, the astral body frees itself, becomes emancipated. And out of the very essence of music emerges that which forms man and makes him an independent being. No wonder then that the music teacher who understands these things, who knows that man is permeated through and through with music, will quite naturally allow this knowledge to enrich the singing lesson and his teaching of instrumental music. This is why we try not only to introduce singing as early as possible into the education of the child, but also to let those children with sufficient aptitude learn to play a musical instrument, so that they have the possibility of actually learning to grasp and enter into the musical element which lives in their human form, as it emancipates and frees itself.

But all these things will be approached in the right way if only the teacher has the right feeling and attitude towards them. It is important to understand clearly that every training college should in fact be so constituted that its curriculum should run parallel with medical studies at a university. The first approach should lead to the intellectual understanding which can be gained from a study of the corpse; this should lead further to an artistic understanding of form, and it can only be acquired when, side by side with the study of physical anatomy, the student practises modelling. This again should lead to a musical understanding. For a true knowledge of man is not attained unless there is added to the earlier medical studies a comprehension of the part music plays in the world. During his college training the student teacher should acquire an understanding of music, not in a purely external way, but inwardly, so that he is able by means of this inner perception to see music everywhere. Music is truly everywhere in the world; one only has to find it. If however we wish to obtain an understanding of the ego-organisation it is essential to master and make one's own the inner nature and structure of some language.

So you see, we understand the physical body with the intellect, the etheric body through an understanding of form, the astral body through an understanding of music; while the ego, on the other hand, can only be grasped by means of a deep and penetrating understanding of language. It is just here, however, that we are particularly badly off today, for there is a great deal we do not know. Let us take an example from the German language. In German something is described that rests quietly on our body, is round and has eyes and nose in front. It is called in German Kopf, in Italian testa. We take a dictionary and find that the translation of Kopf is testa. But that is purely external and superficial. It is not even true. The following is true. Out of a feeling for the vowels and consonants contained in the word Kopf, for instance, I experience the o quite definitely as a form which I could draw: it is, as eurythmists know, the rounded form which in front is developed into nose and mouth. We find in this combination of sounds, if we will only let ourselves experience it, everything that is given in the form of the head. So, if we wish to express this form, we make use of larynx and lungs and pronounce the sounds approximating to K-o-pf. But now we can say: In the head there is something which enables one person to speak to another. There is a means of communication. We can impart to another person the content of something which we wish to make known—a will or testament for instance.—If you want to describe the head, not in relation to its round form, but as that which imparts information, which defines clearly what one wishes to communicate, then language out of its own nature gives you the means of doing so. Then you say testa. You give a name to that which imparts something when you say testa; you give a name to the rounded form when you say Kopf. If the Italian wanted to describe roundness, he too would say Kopf; and likewise, if the German wanted to express communication, he would say testa. But both the Italian and the German have become accustomed to expressing in language something different, for it is not possible to express totally different things in a single word. Therefore we do not say exactly the same thing when we speak the word testa or Kopf. The languages are different because their words express different things.

Now let us try to enter into the way in which a member of a particular nation lives with the language of his folk-soul. The German way of living in his language is a way of plastic formation. German language is really the language of sculptural contemplation. That has come about in German because in the whole evolution of speech German is a further continuation of the Greek element up into Central Europe. If you study Italian and the Romance languages in general you find the whole configuration is such that they are developed out of the motor function of the soul. They are not contemplative. Italian has formed itself out of an internal dancing, an internal singing, out of the soul's participation in the whole organism of the body. From this we see how the ego stands within the substance of the Folk-Soul; through making a study of the inner connections, the inner make-up of language, we learn to know how the ego works.

This is why it is necessary for the teacher to acquire not only a feeling for music, but an inner feeling for language—taking as a starting point the fact that in the more modern languages we have only retained soul experiences, experiences of feeling, in the interjections. For instance, when in German we say “etsch!”—it is as though someone had slipped and fallen and we want to express this, together with the amusement it has caused. In the interjections we still have something in language which is felt. In other respects language has become abstract, it hovers above things, no longer lives in them. It must, however, again become living and real. We must learn to wrestle with language, we must feel our ego going right through the sounds. Then we shall feel that it is something different whether we say Kopf and thereby have the feeling that we should like to draw the form of the head straight away, or whether we say testa and immediately have the feeling that we want to dance. It is just this feeling one's way into the activities of life which must be developed quite specially in the teacher.

If therefore the teacher can accustom himself to regarding the physical and the soul-spiritual together—for they are indeed one, as I have repeatedly impressed upon you—and if he succeeds in doing this ever more and more, he will not be tempted to enter into abstractions and intellectualities, but he will have the will to keep his teaching and educational practice between the change of teeth and puberty within the sphere of the pictorial. There is nothing more distasteful, when one is accustomed to think pictorially about real things, than to have someone coming and talking intellectually in a roundabout way. This is a frightfully unpleasant experience. For example, one is accustomed to seeing something in life as it actually takes place, one only has the wish to describe it as it is, one is living completely in the picture of it; then somebody comes along with whom one would like to come to an understanding, but he forms his judgment purely on the basis of intellect and immediately begins with: It was beautiful, or ugly, or magnificent or wonderful—all these things are one or the other—and one feels in one's soul as if one's hair were being torn out by the roots. It is especially bad when one would really like to know what the other man has experienced and he simply does not describe it. For instance, I may have made the acquaintance of someone who raises his knee very high when he walks—but this man starts immediately with: “He walks well” or “he has a good carriage.” But in saying this he tells us nothing about the other man, only about his own ego. But we do not want to know this; we want an objective description. Today people find this very difficult. Hence they do not describe the things, but the effect the things make upon them, as “beautiful” or “ugly.” This gradually enters even into the formation of language. Instead of describing the physiognomy of a face, one says: “He looked awful”—or something of the kind.

These are things which should enter into the deepest part of a teachers' training, to get rid of oneself and to come to grips with reality. If one succeeds in doing this, one will also be able to establish a relationship with the child. The child feels just as I described, that his hair is being pulled out by the roots if the teacher does not get to the point, but speaks about his own feelings; whereas, if he will only keep to what is concrete and real and describe this, the child will enter into it all immediately. It is therefore of great importance for the teacher that he does not overdo—his thinking. I always feel it to be a great difficulty with the teachers of the Waldorf School if they think too much, whereas it gives me real satisfaction when they develop the faculty of observing even the smallest things, and so discovering their special characteristics. If someone were to say to me: “This morning I saw a lady who was wearing a violet dress; it was cut in such and such a fashion and her shoes had high heels” and so on—I should like it better than if someone were to come and say: Man consists of physical body, etheric body, astral body and ego,—for the one proves that he stands firmly in life, that he has developed his etheric body, the other that he knows with his intellect that there is an etheric body etc. But this does not amount to much.

I must express myself drastically in this way so that we learn to recognise what is of the greatest importance in the teacher's training; not that he learns to spin out his thoughts about many things, but that he learns to observe life. That he is then able to make use of such observation in life is something that goes without saying. Everything is ruined, however, if he racks his brains over how he should make use of it. This is why anyone who wishes to describe something arising out of Spiritual Science should make very strong efforts to avoid using ordinary abstract concepts, for by so doing he gets right away from what he really wants to say. And especially it is the case that the impression made on anyone who tries to grasp things in a characteristic way will be such that he learns to describe things in the round, not with sharp edges. Here is a drastic example. To me it is unpleasant to say in certain circumstances: “There stands a pale man.” That hurts. On the other hand the sentence begins to breathe and have reality if I say: There stands a man who is pale,—in other words, if I do not give a description in stiff, ordinary concepts, but characterise with ideas that enclose it. And one will find that children have much more inner understanding for things when they are expressed in relative form, than they have for bare nouns qualified by adjectives. Children prefer a gentle way of handling things. When I say to them: “There stands a pale man”—it is just as if I was hitting at something with a hammer; but if I say: “There stands a man who is pale”—it is like a stroking movement of my hand. Children find it much more possible to adapt themselves to the world if things are presented in this second form rather than by hitting at them. A certain fineness of feeling must be developed in order to make oneself a sculptor in the use of language in order to put it to the service of the art of education. It also lies in the sphere of education as an art if one strives to gain a sufficient mastery of language to enable one to articulate clearly in the classroom and to know when teaching how to emphasise what is important and to pass lightly over the unimportant.

We lay great value on just these kind of things, and again and again in the teachers' conferences attention is drawn to the imponderable in teaching. For if one really studies a class, one notices all sorts of things which can be of immense help. For instance, suppose one has a class of 28 boys and girls and one wants to give these children something which they can make their own, something which will enrich their inner life. It may perhaps be a little poem, or even a great poem. You try to teach this poem to the class. Now you will observe the following: If you let them all recite in chorus, or even a third or half of the class, each child will speak and be able to say it; but if you then test one or other of the pupils in order to see if he can say it alone you will find that he cannot. It is not that you have overlooked him and failed to see that he was silent, for he can speak it perfectly well in chorus with the others. The fact is that a group spirit pervades and activates the class and one can make use of this. So if one really works with the whole class, regarding the children as a chorus, it seems at first that this calls up in them a quicker power of comprehension. One day, however, I had to point out the shadow side of this procedure and so I will now entrust you with a secret. It is this. There are also shadow sides in the Waldorf School! Gradually one finds one's way and discovers that handling the class as a chorus and allowing the children to speak together goes quite well; but if this is overdone, if one works only with the class, without taking the individual child into account, the result will be that in the end no child by himself will know anything.

We must consider the shadow side of all those things and be clear as to how far we can go, for instance, in handling the class as a chorus and to what extent it is necessary to take the individual child separately. Here theories do not help. To say that it is good to treat the class as a chorus, or to maintain that things should be done in this or the other way is never any use, because in the complexities of life what can be done in one way can also, given other conditions, be done in another way. The worst that can happen in educational science—which indeed is art rather than science—the worst that can happen is that directions are given which have an abstract character and are based on definitions. Educational instructions should consist solely in this, that the teacher is so guided that he enters with understanding into the development of this or that human being, and by means of the most convincing examples is led to a knowledge of man.

Method follows of itself when we proceed in this way. As an example let us consider method in the teaching of history. To want to teach history to a child before the 9th or 10th year is a quite futile endeavour, for the course of history is a closed book to the child before this age. It is only with the 9th or 10th year—you can observe this for yourselves—that he begins to be interested in individual human beings. If you portray Caesar, or Achilles, Hector, Agamemnon or Alcibiades simply as personalities, allowing what belongs to history to appear only as a background, if you paint the whole picture in this way the child will show the greatest interest in it. It will be evident that he is eager to know more about this sort of thing. He will feel the urge to enter further into the lives of these historical personalities if you describe them in this way. Comprehensive pictures of personalities complete in themselves; or comprehensive pictures of how a meal-time looked in a particular century, and in some other century; describe plastically, pictorially, how people used to eat before forks were invented, how they were accustomed to eat in Ancient Rome; describe plastically, pictorially, how a Greek walked, conscious of each step, aware of the form of his leg, feeling this form; then describe how the people of the Old Testament, the Hebrew people walked, having no feeling for form, but slouching along, letting their arms loose; call up feelings for these quite separate and distinct things which can be expressed in pictures; this will give you the right approach to the teaching of history between the 10th and 12th years.

At this latter age we can take a further step and proceed to historical relationships, for it is only now that the child becomes able to understand such concepts as cause and effect. Only now can history be presented as something that is connected, that has cohesion. Everything that lives in history must, however, be worked out in such a way as to show its gradual development. We come to the concept of growth, of becoming. Call up before you the following picture. We are now living in the year 1924 [The date of the lectures.]. Charles the Great lived from 760 until 814, so if the year 800 be taken as the approximate date, we find he lived 1120 years before us. If we imagine ourselves now living in the world as a child and growing up, we can reckon that in the course of a century we can have: son or daughter, father or mother, grandfather and perhaps even a great-grandfather, that is to say 3 or 4 generations following one after the other in the course of a hundred years. We can show these 3 or 4 generations by getting someone to stand up and represent the son or daughter. The father or mother will stand behind, resting their hands on the shoulders of the one in front; the grandfather will place his hands on the shoulders of the father, and the great-grandfather his hands on the shoulders of the grandfather. If you imagine placing son, father and grandfather one behind the other in this way, as people belonging to the present age, and behind them the course of the generations in a further ten centuries, you will get all told 11 times 3 or 4 generations, let us say 44 generations. If therefore you were to place 44 people one behind the other, each with his hands on the shoulders of the one in front the first can be a man of the present day and the last can be Charles the Great. In this way you can change the time relationships in history, which are so difficult to realise, into relationships which are purely spatial. You can picture it also in this way: Here you have one man who is speaking to another; the latter turns round and speaks to the one behind, who in turn does the same thing, and so it goes on until you come right back to the time when Peter spoke to Christ. In doing this you get the whole development of the Christian Church in the conversation between the people standing one behind the other. The whole apostolic succession is placed visually before you.

It really amounts to this. One should seize every opportunity of making use of what is pictorial and tangible. This is all the more necessary because in this way one learns to enter into reality, thereby learning also to form everything in accordance with what is real. It is actually quite arbitrary if I place 3 beans before the child, then add another 3 beans and yet another 3 or maybe 4, and then proceed to teach addition: 3 plus 3 plus 4 equals 10. This is somewhat arbitrary. But it is quite another thing if I have a small pile of beans and do not know to begin with how many there are. This accords with the reality of things in the world. Now I divide the pile. This the child understands immediately. I give one part to one child, another part to a second child and a third part to a third child. So you see, I divide the pile, first showing the child how many beans there are altogether. I begin with the sum and proceed to the parts. I can let the child count the beans because that is just a repetitive process, 1, 2, 3 and so on, up to 12. But now I divide them into 4, into 4 more and still another 4. If I begin with the sum and proceed to the addenda the child will take it in quite easily. It is in accordance with reality. The other way is abstract, one just puts things together, one is intellectualistic. It is also more real if I get the child to the point when he must answer the following question: If I have 12 apples and somebody takes them, goes away and only brings 7 back, how many has he lost? Here one starts with the minuend and goes from the remainder to the subtrahend; one does not subtract, but goes from the remainder, that is to say, from what remains as the result of a living process, to what has been taken away.

Thus one's efforts are not everywhere directed towards abstractions, but find their outlet in reality; they are linked with life, they strive after life. This reacts on the child and makes him bright and lively, whereas for the most part the teaching of arithmetic has a very deadening effect. The children remain somewhat dead and apathetic, and the inevitable result of this is the calculating machine. The very fact that we have the calculating machine is a proof of how difficult it is to make the teaching of arithmetic perceptually evident. We must however not only do this, but we must learn to read from life itself.

It can be said with truth that what our schools are able to accomplish forms part of the whole culture and development of civilisation. It does so either in a more direct way, in which case it is easy to see how a civilisation comes to expression in its art of education, or it lies unnoticed within it. To be sure, civilisation is always an image of what is done in the schools, only very often this is not observed. We shall be able to characterise this by taking our own epoch as an example, but first we will begin with oriental culture.

We really have very little intimate knowledge about the older oriental culture and what still remains of it. Oriental culture has absolutely no intellectual element; it proceeds directly out of the whole human being, that is the human being in his Oriental form, and it seeks to unite man with man. Only with difficulty does it rise beyond the principle of authority. The forms it takes arise, more out of love, in the way of nature. In the whole nexus of the oriental world we cannot speak of a separated teacher and a separated pupil, as in our case. There you do not have the teacher and educator, but you have the Dada. The Dada shows the way: through his personality he represents what the growing human being should absorb. The Dada is the one who shows everything, who teaches absolutely nothing. In oriental culture to teach would have no sense. Herbart, a very famous European educationalist, whose views on educational questions were widely accepted in Central Europe, once expressed himself as follows: I cannot think of an education without teaching. With him everything centred on how one taught. The Oriental would have said: I cannot think of an education based on teaching, because in education, everything which should come to fruition in the pupil is contained in living demonstration and example. This holds good right up to the relationship between the Initiate, the Guru, and the Chela, the Disciple. The latter is not taught, he learns by example.

By entering more deeply into such things, what follows will be more easily understood. All Waldorf School education is directed towards the whole human being. Our purpose is not to separate spiritual and physical education, but when we educate the body—because we do this out of fundamental spiritual principles, which are nevertheless extremely practical—our education reaches even into illnesses with all their ramifications. Our aim is to let the spirit work actively in the body; so that in the Waldorf School physical education is not neglected, but is developed out of the knowledge that the human being is soul and spirit. In every way our education contains all that is required for the training of the body.

Further, one must learn to understand what was understood by the Greeks. Greek education was based on gymnastics. The teacher was a gymnast, that is to say, he knew the significance of human movement. In the earlier Greek epoch it would have been more or less incomprehensible to the Greek if one had spoken to him about the necessity of introducing children to logical thinking. For the Greek knew what was brought about when children were taught health-giving gymnastics—in a somewhat milder way in the case of the Athenians, in a harder, more arduous way in the case of the Spartans. For him it was perfectly clear: “If I know how to use my fingers when taking hold of something, so that I do it in a deft, and not in a clumsy way, the movement goes up into the whole organism and in the agile use of my limbs I learn to think clearly. I also learn to speak well when I carry out gymnastic movements rightly.” Everything belonging to the so-called training of spirit and soul in man, everything tending towards abstraction, is developed in a quite unnatural way if it is done by means of direct instruction. Schooling of this kind should grow out of the way in which one learns to move the body. This is why our civilisation has become so abstract. Today there are men who cannot sew on a torn-off trouser button. With us in the Waldorf School boys and girls sit together and the boys get thoroughly enthusiastic over knitting and crochet; and in doing this they learn how to manipulate their thoughts. It is not surprising that a man, however well trained in logical thinking is nevertheless unable to think clearly, if he does not know how to knit. In this connection we in our time may observe how much more mobile the thought world of women is. One has only to study what has followed the admittance of women to the university in order to see how much more mobile the soul-spiritual is in women than in men, who have become stiff and abstract through an activity which leads away from reality. This is to be observed in its worst form in the business world. When one observes how a business man conducts his affairs it is enough to drive one up the wall.

These are things which must once again be understood. I must know that however much I draw on the board, children will learn to distinguish the difference between acute and obtuse angles much better, they will learn to understand the world much better, if we let them practise holding a pencil between the big and next toe, making tolerable and well-formed angles and letters—in other words, when what is spiritual in man streams out of the whole body—than by any amount of intellectual, conceptual explanation. In Greek culture care was taken that a child should learn how to move, how to bear heat and cold, how to adapt himself to the physical world, because there was a feeling that the soul-spiritual develops rightly out of a rightly developed physical body. The Greek, educated as a gymnast, took hold of and mastered the whole man, and the outer faculties were allowed to develop out of this mastery. We today, with our abstract science, are aware of a very important truth, but we know it as an abstraction. When we have children who learn to write easily with the right hand we know today that in man this is connected with the centre of speech situated in the left half of the brain. We observe the connection between movements of the hand and speaking. If we go further we can in the same way learn through physiology to know the connection between movement and thinking. Today therefore we already know, albeit in a somewhat abstract way, how thinking and speaking arise out of man's faculty of movement; but the Greek knew this in a most comprehensive sense. So the gymnast said: Man will learn to think in a co-ordinated way if he learns to walk and jump well, if he learns to throw the discus skilfully. And when he learns to throw the discus beyond the mark he will also comprehend the underlying logic of the story of “Achilles and the Tortoise;” he will learn to grasp all the remarkable forms of logic, which the Greeks enumerated. In this way he will learn to stand firm in reality. Today we usually think somewhat as follows: Here we have a lawyer, there a client; the lawyer knows things which the client does not know. In Greece, however, because it was quite usual to throw the discus beyond the mark, the Greek understood the following: Assuming that a learned lawyer has a pupil whom he instructs in legal matters, and this pupil is so well taught that he must inevitably win every law-suit, what may ensue? In the event of a law-suit involving both pupil and teacher the position would be this: The pupil would inevitably win and inevitably lose! As you know, the case is then left hanging in the air! Thus thinking and speaking developed out of an education based on gymnastics: both were drawn out of the whole human being.

Now let us pass on to the Roman civilisation. There the whole man receded into the background, although something of him still remained in the pose of the Roman. Greek movement was still living, pristine and natural. A Roman in his toga looked very different from a Greek; he also moved differently, for with him movement had become pose. In the place of movement education was directed towards only a part of the human being; it was based on speech, on beautiful speaking. This was still a great deal, for in speech the whole upper part of the body is engaged right down into the diaphragm and the bowels. A very considerable part of man is engaged when he learns to speak beautifully. Every effort was made in education to approach the human being, to make something of the human being. This still remained when culture passed over into mediaeval times. In Greece the most important educator was the gymnast, who worked on the whole man; in the civilisation of Rome the most important educator was the rhetorician. In Greece all culture and world-perspective was based on the beautiful human being, conceived in his entirety. One cannot understand a Greek poem, or a Greek statue if one does not know that the Greek's whole world-perspective was centralised in the concept of man in movement. When one looks at a Greek statue and sees the movement of the mouth, one is led to ask: What is the relationship between this movement and the position of the foot, and so on? It is altogether different when we come to consider Roman Art and culture. There the rhetorician takes the place of the gymnast; there the entire cultural life is centred in oratory. The whole of education is directed towards the training of public speakers, the development of beautifully formed speech, the acquisition of eloquence, and this continues right on into the Middle Ages, when education still worked on man himself. You will see that this is so, if you ask yourselves the following: What was the substance of education in the Middle Ages, to what end and purpose were people educated? There were for instance the Seven Liberal Arts: Grammar, Rhetoric, Dialectic, Arithmetic, Geometry, Astronomy or Astrology, and Music. To take one example: Arithmetic was not practised as it is today, but was taught in order to develop the faculty of working with and entering into the nature of forms and numbers. The study of music enabled the pupil to gain a deeper experience of the whole of life. And astronomy: this helped him to develop the capacity for cosmic thinking. In all these studies the approach was made to man himself. The so-called exact sciences of today played a negligible part in education. That the pupil should understand something of science was held to be of little value. It was considered much more important that he should move and speak well and be able to think and calculate. That he should acquire some sort of ready-made truth was of lesser importance. Hence all culture, the perspective of civilisation developed along lines which produced men able to play a part in public life and affairs and willing to devote themselves to this. Pride was felt in men able to hold their own as public orators, men who were thoroughly representative human beings.

The stream of culture which carried this into later times, in some measure, indeed, right into the present, is the Jesuitical schooling, which, from its first establishment and on into the 18th century, had as its main purpose the training, one might almost say the drilling of human beings, so that they became characters possessing great will-power and as such could be placed into life. From the beginning this was the aim of Jesuitical culture. And it was only in the course of the 19th century, in order not to remain too much behind others, that the Jesuits introduced the exact sciences into their teaching. By these methods the Jesuits developed strong, energetic characters so that today, even if one is an opponent of Jesuitism, one finds oneself obliged to say: If only human beings could be trained to work with such consciousness of purpose for the good, as the Jesuits have trained them to work for the decadence of mankind!

This trend in the development of man first makes its appearance in the Roman civilisation, when out of the gymnast there emerges the rhetorician. We see therefore, in a civilisation which has as its foundation a rhetorical education, what tremendous value is laid on everything in life which can assume world significance in the sphere of rhetoric. Now try to look back on the whole life of the Middle Ages. Everything reveals the fact that life is regarded from the point of view of speech, of rhetorical speech, and this enters into such things as how one should behave, how one man should greet another and so on. All this is not taken for granted, but practised according to a conception of beauty, just as in rhetoric a manner of speaking which conforms to a conception of beauty gives aesthetic pleasure. Here you see arising everywhere the world-significance of a rhetorical education; while the world-significance of the Greek education lies in that which comes to expression in human movement.

And now with the 16th century we come to more modern times, although in point of fact some preparation for it may already be seen in the 15th century. Once again something that still represented much in the human being, in this case the rhetorical, is pushed into the background. Just as the rhetorical had pushed back gymnastic training, so now there is a further step, the rhetorical is pushed back and there is a still greater limitation, an ever increasing striving after intellectuality. Just as the Roman educator was the rhetorician, so is our educator the doctor, the professor. If the gymnast was still a complete human being, if the rhetorician, when he appeared in public, wished at least to be a representative human being, so our professor has ceased to be a human being at all. He denies the human being and lives more and more in sheer abstractions; all he is now is a skeleton of civilisation. Therefore, in more modern times at any rate, the professor adopts the fashion of dressing like a man of the world; he no longer cares to wear cap and gown in the lecture room, but dresses in such a way that it is not apparent immediately that he is merely a skeleton of civilisation. Ever since the 16th century our entire education has been focused on the professor. And those who educate in the sense of this view of what is of importance in the world no longer take with them into the schools any understanding of human development and human training, but they impart knowledge to the child. The child is expected to absorb knowledge; his true development is ignored, but he is expected to know something; he is expected to acquire learning. Certainly those in favour of reform in education complain loudly about this academic attitude, but they cannot get away from it. Anyone who is fully aware of these things and has a clear picture in his mind of how a Greek child was educated; anyone who then turns his attention to what happens in a modern school where, even though gymnastics are taught, the development and training of the human being is completely overlooked and scraps of knowledge taken from the sciences are given to the youngest children, must perforce say: It is not only that teachers become skeletons of civilisation, are such already, or if not, regard it as their ideal to become so in one way or another, or at any rate to look upon it as an essential requirement—it is not only that the teachers are like this, but these little children look as if they were small professors. And should one wish to express what constitutes the difference between a Greek child and a modern child, one might well say: A Greek child was a human being, a modern child all too easily becomes a small professor.

This is the great change that has taken place in the world as far as the shaping and development of culture is concerned. We no longer look at the human being himself, but only at what can be presented to him in the way of knowledge, what he should know and bear as knowledge within him. Western civilisation has developed downwards to the point at which the gymnast has descended to the rhetorician and the rhetorician to the professor. The upward direction must be found again. The most important words for modern education at the present time are these: The professor must be superseded. We must turn our attention once more to the whole man. Now consider how this comes to expression in the world-wide significance of education. Not long ago, in Middle Europe, there was a university which had a professor of eloquence. If we go back to the first half of the 19th century we find such professors of eloquence, of rhetorical speech, in many places of learning; it was all that remained of the old rhetoric. Now at the university I have in mind there was a really significant personality who held the post of professor of eloquence. But he would never have had anyone to listen to him if he had been this only, for no one any longer felt the faintest inclination to listen to eloquence. He gave lectures only on Greek archaeology. In the University Register he was entered as “Professor of Eloquence,” but actually one could hear only his lectures on Greek archaeology. He had to teach something leading to the acquisition of knowledge, not to the acquiring of a capacity. And indeed this has become the ideal of modern teaching. It leads out into a life in which people know a tremendous amount. Already it hardly seems to be an earthly world any more, where people know so enormously much. They have so much knowledge and so little ability, for that function is lacking which leads from knowledge to ability. For instance, someone is studying for the medical profession, and the time comes for his final examinations. He is now told, quite officially, that as yet he can do nothing, but must now go through years of practical training. But it is absurd that students during their first years are not taught in such a way as to be able to do something from the very beginning. What is the purpose of a child knowing what an addition sum is—if he can only add? What is the purpose of a child knowing what a town is—if he only knows what the town looks like? Wherever we are, the whole point is that we enter into life. And the professor leads away from life, not into it.

The following example can also show us the world-wide significance of education. It was still very apparent in Greece when people came to the Olympic Games. There they could see what it was on which the Greeks laid such value; there they knew that only the gymnast could be a teacher in the schools. It was still similar in the time of the rhetorician. And with us? There are certain people who would like to resuscitate the Olympic Games. This is nothing but a whimsical idea, for in present-day humanity there is no longer any need for them. It is a mere piece of external imitation and nothing is to be gained by it. What penetrates right through the man of today is neither centred in his speech, nor in his studied bearing and gestures, but is something centred in his thoughts. And so it has come about that science now has a positively demonic significance for the world. The cause of this demonic world-wide significance lies in the fact that people believed that things thought out intellectually could further the development of culture. Life was to be shaped and moulded according to theories. This holds good, for instance, in modern Socialism, the whole tenor of which is to fashion life in accordance with such concepts. It was in this way that Marxism came into the world: a few, ready-made uncoordinated concepts, such as “surplus value” and so on—on these life was to be judged and ordered. Nobody then saw the connections and consequences. But a survey of the totality is absolutely necessary. Let us go to a place in the more westerly part of Middle Europe. Some decades ago a philosopher was teaching there who no longer had anything from life, for he had turned everything into the form of concepts. He believed that life could be formed conceptually. This belief he put forward in his lectures. He had a preference for Russian pupils, of whom he had many, and his philosophy found its practical realisation in Bolshevism. He himself remained an ordinary, upright, middle-class citizen; at that time he had not the faintest inkling of what he was doing in sowing the seed of his philosophy. There grew out of it, nevertheless, the remarkable plant that has blossomed in Bolshevism. The seed of Bolshevism was first sown in the universities of the West; it was sown in the thoughts, in the abstract, intellectualistic education given to the rising generation. Just as someone who knows nothing about plants has no idea what will sprout from a seed, so the people had no idea of what was to grow out of the seed they had planted. They only saw the consequences when the seed began to grow. This is because man no longer understands the great inter-relationship of life.

The world-significance of modern intellectualistic education is that it leads right away from life. We see this if we simply consider quite external things. Before the world war we had books. Well, as you know, one masters the content of these books for just so long as one is reading or making notes on them. Otherwise they remain in the library, which is the coffin of the spiritual life. And only when somebody is perhaps obliged to produce a thesis, does he have to take out the books. This happens in a quite external way, and the person concerned is glad when their content only enters into his head and does not penetrate any further into his being. This is the case everywhere.

But now let us look into life. We have the economic life, the life of rights, and the spiritual life. This all goes on, but we do not think any more about it. We do not think any more at all about inner realities, we think in terms of bank-books. What is still contained in banking of real concern to our economic life—or even to our spiritual life, when, for example, the accounts of schools are prepared? These contain the abstract figures on the balance sheet. And what have these figures brought about in life? They have brought it about that man is no longer personally bound up with what he does. Gradually a point is reached at which it is all one to him whether he is a corn merchant or an outfitter; for trousers mean as much to him as anything else. Now he only calculates what profits are brought in by the business; he only looks at the abstract figures, with an eye for what is likely to prove more lucrative. The bank has taken the place of a living economic life. One draws money from the bank, but apart from this, leaves banking to its economic abstractions. Everything has been changed into abstract externalities, with the result that one is no longer humanly involved in things. When the bank was founded, it was still closely bound up with human beings, because people were still accustomed to standing within the living work of existence, as was the case in earlier times. This was still so in the first half of the 19th century. Then the director of a bank still impressed into it a personal character; he was still actively engaged in it with his will, he still lived with it as a personality. In this connection I should like to relate a little story which describes how the banker Rothschild behaved when a representative of the king of France came to arrange for a State credit. At the time of the ambassador's arrival Rothschild was having a consultation with a dealer in leather. The ambassador, whose visit was concerned with making arrangements for this credit, was duly announced. Rothschild, whose business with the dealer in leather was not yet finished, sent a message, asking him to wait. The minister could not understand how an ambassador from the king of France could possibly be kept waiting and he desired to be announced once more. To this Rothschild said: I am now engaged in business concerning leather, not with state affairs. The minister was now so furious that he burst open the door into Rothschild's room, saying: “I am the ambassador of the king of France!” Rothschild replied: “Please, take a chair.” The ambassador, believing that he had not heard rightly, repeated: “I am the ambassador of the king of France.”—for he could not conceive that anyone in his position could be offered a chair. Whereupon Rothschild replied: “Take two chairs.”

So we see how the personality at that time still made itself felt, for it is there. Is it still there today? It is there in exceptional cases, when, for example, someone breaks through public officialdom. Otherwise, where once there was the personality, there is now the joint-stock company. Man no longer stands as a personality in the centre of things. If one asks: What is a joint-stock company?—the answer may well be: A Society consisting of people who are rich today and poor tomorrow. For things take quite another course today than they did formerly; today they pile up, tomorrow they are again dissolved; human beings are thrown hither and thither in this fluctuating state of affairs, and money does business on its own. So it happens today that a man is glad when he comes into a situation where he can amass a certain amount of money. He then buys a car; later on he buys a second one. Things proceed in this way until his situation changes and now money is scarce. He perforce sells one of the cars and soon after the other one also. This points to the fact that man is no longer himself in control of economic and business life. He has been thrown out of the objective course of business life. I put this forward for the first time in 1908 in Nuremberg, but people did not understand much about it. It was the same in the spring of 1914 in Vienna when I said: Everything is heading towards a great world catastrophe because human beings are now outside the real and concrete and are growing ever more and more into the abstract, and it is clear that the abstract must inevitably lead into chaos. Yet people would not understand it.

Now what must be borne in mind above all else, if one has a heart for education, is that we must free ourselves from the abstract and again work our way into the concrete, realising that everything turns on man himself. Hence emphasis should not be laid too strongly on the necessity for the teacher to have a thorough knowledge of Geography and History, of English or French, but rather that he should understand man, and should build up his teaching and education on the basis of a true knowledge of the human being. Then, if need be, let him sit down and look out in the encyclopaedia the material he requires for his teaching; for if a man does this, but as an educator stands firmly on the ground of a real understanding and knowledge of man, he will nevertheless be a better teacher than one who has an excellent degree, but is totally lacking in true knowledge of the human being.

Then we come to the world-significance of the art of education; then we know that what happens in the school is reflected in the culture of the outer world. This could easily be seen in the case of the Greeks. The gymnast was to be seen everywhere in public life. When the Greek, no matter what he was like in other respects, stood confronting the Agora, it was apparent that he had been educated as a gymnast. In the case of the Romans, what lived in a man's schooling came less into external form.

With us, however, what lives in the school finds its expression only through the fact that life escapes us more and more, that we grow out of life, no longer grow into it; that our account books have their own life to a degree of which we have scarcely an inkling, a life so remote that we no longer have any power over it. It takes its own course; it leads an abstract existence, based only on figures.

And let us look at human beings who are highly educated. At most we recognise them because they wear glasses (or perhaps they don't) on their attenuated little organ. Our present day education has world significance only through the fact that it is gradually undermining the significance of the world.

We must bring the world, the real world into the school once more. The teacher must stand within this world, he must have a living interest in everything existing in the world. Only when the teacher is a man or woman of the world, can the world be brought in a living way into the school. And the world must live in the school. Even if to begin with this happens playfully, then in an aesthetic way, thus finding its expression step by step, it is nevertheless imperative that the world lives in the school. Therefore today it is much more important to draw attention to this approach of mind and heart in our newer education than ever and again to be thinking out new methods. Many of the old methods still in use are good. And what I wanted to say to you is most certainly not intended to put the excellent exponents of education of the 19th century in the shade. I appreciate them fully; indeed I see in the teachers of the 19th-century men of genius and great capacity, but they were the children of the intellectualistic epoch; they used their capacity to work towards the intellectualising of our age. People today have no idea of the extent to which they are intellectualised. Here we touch precisely on the world significance of a new education. It lies in the fact that we free ourselves from this intellectuality. Then the different branches of human life will grow together again. Then people will understand what it once meant when education was looked upon as a means of healing, and this healing was connected with the world significance of the human being. There was a time when the idea, the picture of man was thus: when he was born into earthly existence he actually stood one stage below the human, and he had to be educated, had to be healed in order to rise and become a true man. Education was a healing, was of itself a part of medical practice and hygiene. Today everything is separated. The teacher is placed side by side with the school doctor, externally separated. But this doesn't work. To place the teacher side by side with the school doctor is much as if one looked for tailors who made the left side of a coat, and for others who made the right side, without having any idea who was to sew the two separated parts together. And in the same way, if one takes the measurements of the teacher who is quite unschooled in medicine—the right side of the coat—and then takes the measurements of the doctor, who is quite unschooled in education—the left side of the coat—who is going to sew them together nobody knows! Action must therefore be taken. We must rid ourselves of the “left” tailor and the “right” tailor and replace them once again with the tailor able to make the whole coat. Impossible situations often only become apparent when life has been narrowed down to its uttermost limit, not where life should be springing up and bubbling over.

This is why it is so difficult for us to gain an understanding of what is meant by the Waldorf School. A sectarian striving away from life is the reverse of what is intended. On the contrary, there is the most intensive striving to enter into life.

In such a short course of lectures it is clearly only possible to give a short survey of all that is involved. This I have attempted to do and I hope that it may have proved stimulating. In the final lecture I shall bring the whole course to a conclusion.

As I am now coming to the concluding words of this course of lectures on education, I should like first of all to take the opportunity of expressing the deep satisfaction I feel that our friends in Holland, who have set themselves the task of fostering the anthroposophical conception of the world, had the will to arrange this course. Such an enterprise always involves an immense amount of hard work for the organisers. And we ourselves, just because we have very many things to arrange in Dornach, know best of all what goes on behind the scenes on such occasions, all the work that has to be done and how much effort and energy are called for. It is therefore obvious that, before leaving Holland, I should express my very warmest thanks to those who have worked together in order to bring about this whole conference. An educational course has taken place and in my closing words I may perhaps be allowed to say something about the part played by the art of education within the whole sphere of the anthroposophical movement.

An educational art has grown up within the anthroposophical movement, not, so to speak, as something which has found its way into the movement through some abstract intention, but it has arisen with a certain necessity out of the movement itself. Up to now few activities have grown out of the anthroposophical movement so naturally and inevitably as this art of education. In the same way, simply as a matter of course, eurythmy has grown out of the anthroposophical movement through Frau Dr. Steiner, medicine through Frau Dr. Wegman; and educational art, as with the other two, has, I may venture to say, arisen likewise in accordance with destiny, with karma. For the anthroposophical movement as such is, without any doubt, the expression of something which corresponds to human striving through the very fact that humanity has arisen on the earth.

We need only look back into those ancient times in the evolution of humanity when Mystery Centres were to be found here and there, in which religion, art and science were cultivated out of experiences of the spirit, and we become aware how in those old, sacred centres human beings have had, as it were, intercourse with beings of the super-sensible world in order to carry spiritual life into external, physical life. We can pursue our way further into the historical development of humanity and we shall discover ever and again the urge to add what is super-sensible to what man perceives with his senses. Such are the perspectives which open up when we penetrate into the historical evolution of humanity and see that what lives in anthroposophy today is ceaseless human striving. As anthroposophy however it lives out of the longings, out of the endeavours of human souls living at the present time. And the following may in truth be said: At the turning point of the 19th to the 20th century it has become possible, if one only has the will, to receive revelations from the spiritual world which will once again deepen the whole world-conception of mankind.

These revelations from the spiritual world, which today must take on a different manifestation from the old Mystery Truths, must accord with modern scientific knowledge. They form the content of anthroposophy. And whoever makes them his own knows also that out of the conditions of our present age many, many more people would come to anthroposophy were it not for the tremendous amount of prejudice, of pre-conceived feelings and ideas, which put obstacles in their path. But these are things which must be overcome. Out of the small circle of anthroposophists must grow an ever larger one. And if we call to mind everything which is living and working in this circle we may perhaps—without in any way wishing to declare that anthroposophy is itself a religious movement—we may perhaps allow a deeply moving picture to rise up before us.

Call to mind the Mystery of Golgotha. Only a hundred years after the Mystery of Golgotha, the most brilliant Roman writer, Tacitus, writes about Christ as if he were someone almost unknown, who had met his death over in Asia. At that time therefore, in the height of Roman civilisation, of Roman spiritual and cultural life, where people were living in the traditions of the previous several thousand years, even there nothing was known of Christ. And it is possible to paint a word-picture of a significant fact: There above is the Roman civilisation—in the arenas, in brilliant performances, in everything that takes place in Roman social life, in the life of the state. Below, underground, are those regions known as the catacombs. There many people gather together, gather by the graves of those who, like themselves, were believers in the Mystery of Golgotha. These people must keep everything secret. What goes on under the earth only comes to the surface on those occasions when, in the arena, a Christian is smeared with pitch and burned as an entertainment for those who are civilised citizens. Thus we have two worlds: above, the life of Roman civilisation, based on old, resplendent traditions; below, what is developing in secret under the earth. Let us take the brilliant writer of this epoch. He was able to write what amounts to no more than a brief reference in his notes to the coming into being of Christianity, while his writing table in Rome may well have stood over one of the catacombs without his knowing anything whatsoever about what was taking place beneath him.

Let us take several hundred years later. What earlier had spread over the world in such a spectacular way has now disappeared; the Christian civilisation has risen to the surface of the earth and Christianity is beginning to expand in Europe where previously there had been the Roman culture. Keeping such a picture in view one sees how things actually proceed in the evolution of humanity. And often, when contemplating the present time, one is inclined to say: To be sure, anthroposophists today do not bury themselves under the earth; that is no longer customary, or they would have to do it; externally they find themselves in surroundings as beautiful as those we have here; but now ask yourselves whether those from outside, who regard ordinary, normal civilisation as their own, know more about what is taking place here than the Romans knew about what was taking place in the catacombs. One can no longer speak so precisely; the situation has passed over into a more intellectual sphere, but it remains the same. And when in thought one looks forward a few hundred years, one may at any rate indulge in the courageous hope that the picture will change. Of course, those who know as little about anthroposophy today as the Romans knew about Christianity find all this very fantastic; but no one can work actively in the world who is unable to look courageously at the path opening out before him. And anthroposophists would fain look with the same courage at the way which lies ahead. This is why such pictures rise up in the mind's eye.

From time to time we must certainly turn our attention to all the opinions about anthroposophy which are held today. Gradually it has come about that scarcely a week goes by without the appearance of some sort of antagonistic book dealing with anthroposophy. The opponents take anthroposophy very seriously. They refute it every week or so, not indeed so much from different standpoints, for they are not very inventive, but they nevertheless refute it. It is quite interesting to observe how anthroposophy is dealt with when approached in this way. One discovers that very learned people, or people who should have a sense of responsibility, write books on some subject or other and introduce what they have read about anthroposophy. Very often they have not read a single book whose author is an anthroposophist, but they gather their information solely from the works of opponents.

Let us take an example. There was once a Gnosis, of which scarcely anything exists except the Pistis-Sophia, a writing which does not contain very much and is moreover extremely difficult to understand. All those who write about the Gnosis today—for at the present time this realm is very much in the forefront—know little about it, but nevertheless regard themselves as its exponents. They believe that they are giving some explanation of the Gnosis when they say it originated out of Greek culture. I must often think of how it would be if everything related to anthroposophy went the same way; if, as many people often wish, all anthroposophical writings were to be burnt; then anthroposophy would be known as the Gnosis is known today. It is interesting that today many people say that anthroposophy is a warmed-up Gnosis. They do not know anthroposophy because they do not wish to know it, and they do not know the Gnosis because no external document dealing with it exists. Nevertheless this is how people talk. It is a negative example, but it can notwithstanding point in a definite direction. It can certainly only point to this: Courage and strength will be needed if anthroposophy is not to go the same way as the Gnosis, but is to develop so as to unfold its intrinsic reality. When one looks such things in the face, a feeling of deep satisfaction arises when one sees all the various undertakings which come about, of which this conference is an example; for such things taken together should ensure that anthroposophy will work powerfully into the future. In this educational course anthroposophy has, as it were, only peeped in through little windows. Much however has been indicated which may serve to show how anthroposophy goes hand in hand with reality, how it penetrates right into practical life. Just because everything real is permeated with spirit, one can only recognise and understand reality when one has an eye for the spirit. Of course it was not possible to speak here about anthroposophy as such. On the other hand it was perfectly possible to speak about a sphere of activity in which anthroposophy can work fruitfully: I mean the sphere of education.

In the case of eurythmy for instance it was destiny itself that spoke. Today, looking at things from outside, it might well be imagined that at a certain moment someone was struck with a sudden thought: We must have a eurythmy. This was not so, but at that time there was a family whose father had died.

There were a number of children and the mother was concerned about their welfare. She was anxious that something worth while should develop out of them. The anthroposophical movement was still small. The question was put to me: What might develop out of the children? It was in connection with this question that the first steps were taken to come to something in the nature of eurythmy. To begin with the attempt was confined to the very narrowest limits. So it was out of these circumstances that the first indications for eurythmy were given. Destiny had spoken. Its manifestation was made possible through the fact that there was an anthroposophy and that someone standing on anthroposophical ground was seeking her life's career. And soon after—it did not take so very long—the first pupils who had learned eurythmy themselves became teachers and were able to carry eurythmy out into the world. So, with the help of Frau Dr. Steiner, who took it under her wing, eurythmy has become what it is today. In such a case one may well feel convinced that eurythmy has not been sought: eurythmy has sought anthroposophy.

Now let us take medicine. Frau Dr. Wegman has been a member of the Anthroposophical Society ever since there was a Society. Her first attempts to heal out of an artistic perception gave her the predisposition to work medically within the Anthroposophical Movement. As a whole-hearted anthroposophist she devoted herself to medicine. So here too medicine has grown out of the being of anthroposophy and today exists firmly within it because its growth has come about through one particular personality.

And further. When the waves of the world war had subsided, people's thoughts turned in all possible directions: Now at last something really great must happen: now, because human beings have experienced so much suffering, they must find the courage to achieve something great; there must be a complete change of heart. Immense ideals were the order of the day. Authors of all kinds, who otherwise would have written on quite other subjects, wrote about “The Future of the State” or “The Future of the Social Order” and so on. Everywhere thoughts were turned towards what could now come about out of man himself. On anthroposophical soil many such things sprang up and faded away. Only in the realm of education there was very little to show up to this time. My little book, The Education of the Child from the Aspect of Spiritual Science, which appeared more or less at the beginning of the Anthroposophical Movement, was already there and it contained all kinds of indications which could be developed into a whole system of education. It was however not regarded as anything special, nothing more than a booklet that might help mothers to bring up their children. I was constantly asked: Should this child be dressed in blue, or that one in red? Should this child be given a yellow bed-cover or that child a red one? I was also asked what one or another child should eat, and so on. This was an admirable striving in an educational direction but it did not amount to very much.

Then in Stuttgart, out of all these confused ideals, there emerged Emil Molt's idea to found a school for the children of the workers at the Waldorf-Astoria cigarette factory. And Emil Molt, who is present today, had the notion to hand the direction of the school over to me. That was a foregone conclusion. Destiny could not have it otherwise. The school was founded with 150 children drawn from the Waldorf-Astoria factory. It was provided with teachers drawn from the Anthroposophical Movement. The law pertaining to schools in Württemberg made it possible to choose as teachers men and women who were regarded as suitable. The only condition made was that those who were to become teachers should be able to give some proof in a general way that they were well-fitted for their task. All this happened before the great “freeing of humanity” through the Weimar National Assembly From that time onwards we should no longer have been able to set about things so freely. As it was, we could make a beginning, and it will be possible at least for a few years to maintain the lower classes also.¹

Well, then anthroposophy took over the school, or one might equally well say, the school took over anthroposophy. And in a few years the school grew in such a way that children were entered coming from very different backgrounds and belonging to all classes of life. All kinds of people wanted their children to attend Waldorf School, anthroposophists and non-anthroposophists. Very strange opinions were held. Naturally enough parents are fondest of their own children and of course want to send them to an excellent school. To give one example, we have had the following experience. There are many opponents whose opposition is based on scientific grounds; and they know that anthroposophy is so much foolish, unscientific rubbish. Nevertheless they send their children to the Waldorf School. They even discover that the Waldorf School suits their children admirably. Recently two such people visited the Waldorf School and said—But this Waldorf School is really good, we notice this in our children; but what a pity that it is based on “Theosophy.” Now the Waldorf School would not be there at all if anthroposophy were not there. So, you see, the judgment of many people amounts to this: It is as if one would say: That is an excellent dancer; the only pity is that he must stand on two legs. Such is the logic of opponents. One cannot do otherwise than say that the Waldorf School is good, for nothing whatever in this school is planned in order to make it a school with a definite “world-conception.” In regard to religious instruction, the Catholic children are taught by a Catholic priest, the evangelical children by an evangelical clergyman; and only because in Germany there are a great many non-churchmen who belong to no religious community, are we obliged to arrange for a free religion lesson. Otherwise these children would have had no religious teaching at all. I have great difficulty in finding teachers for these free religion lessons, for they are over-full. There is no inducement whatever to persuade the children to come, for we only want to be a modern school. All we want is to have practical and fundamental principles for the instruction and education. We have no wish to introduce anthroposophy into the school, for we are no sect; what we are concerned with is universally human. We cannot however prevent children from leaving the evangelical and Catholic religion lessons and coming to the free religion lesson. It is not our fault, but they come. And so we have ever and again to see to it that this free religion lesson is continued.

The Waldorf School is growing, step by step. It now has about 800 children and between 40 and 50 teachers. Its growth is well in hand—not so its finances. The financial situation is very precarious. Less than six weeks ago there was no means of knowing whether the financial position would allow the Waldorf School to exist beyond 15th June. Here we have an example which shows clearly how difficult it is today for an undertaking to hold its own in the face of the terrible state of economic affairs in Central Europe, even though it has proved beyond any manner of doubt the spiritual justification for its existence. Again and again, every month, we experience the utmost anxiety as to how we are to make the existence of the Waldorf School economically possible. Destiny allows us to work, but in such a way that the Sword of Damocles—financial need—is always hanging over our heads. As a matter of principle we must continue to work, as if the Waldorf School were established for eternity. This certainly demands a very pronounced devotion on the part of the teaching staff, who work with inner intensity without any chance of knowing whether in three months time they will be unemployed.

Nevertheless anthroposophical education has grown out of the Anthroposophical Society. What has been least sought for is what prospers best. In other words, what the gods have given, not what men have made, is most blessed with good fortune. It is quite comprehensible that the art of education is something which perforce lies especially close to the hearts of anthroposophists. For what is really the most inwardly beautiful thing in the world? Surely it is the growing, developing human being. To see this human being from the spiritual worlds enter into the physical world through birth to observe how what lives in him, what he has carried down in definite form is gradually becoming more and more defined in his features and movements, to behold in the right way divine forces, divine manifestations working through the human form into the physical world—all this has something about it which in the deepest sense we may call religious. No wonder therefore that, wherever there is the striving towards the purest, truest, most intimate humanity, such a striving as exists as the very foundation of anything anthroposophical, one contemplates the riddle of the growing human being with sacred, religious fervour and brings towards it all the work of which one is capable.

That is something which, arising out of the deepest impulses of the soul, calls forth within the anthroposophical movement enthusiasm for the art of education. So one may truly say: The art of education stands within the anthroposophical movement as a creation which can be nurtured in no other way than with love. It is so nurtured. It is indeed nurtured with the most devoted love. And so many venture to say further that the Waldorf School is taken to the heart of all who know it, and what thrives there, thrives in a way that must be looked upon as an inner necessity. In this connection I should like to mention two facts.

Not so very long ago a conference of the Anthroposophical Society was held in Stuttgart. During this conference the most varied wishes were put forward coming from very different sides. Proposals were made as to what might be done in one or other sphere of work. And just as today other people in the world are very clever, so naturally anthroposophists are clever too; they frequently participate in the cleverness of the world. Thus it came about that a number of suggestions were interpolated into the conference. One in particular was very interesting. It was put forward by pupils who were in the top class of the Waldorf School and it was a real appeal to the Anthroposophical Society. The appeal was signed by all the pupils of the 12th Class and had more or less the following content: We are now being educated in the Waldorf School in a genuine, human way; we dread having to enter an ordinary university or college. Could not the Anthroposophical Society also create an anthroposophical university? For we should like to enter a university in which our education could be as natural and human as it is now in the Waldorf School.—The suggestion thrown into the meeting stirred the idealism of the members and as a result the decision was actually taken to found an anthroposophical university. A considerable sum of money was collected, but then, in the time of inflation, millions of marks melted away into pfennigs. Nevertheless there were people who believed that it might be possible to do something of the kind and to do it before the Anthroposophical Society had become strong enough to form and give out judgments. Well, we might certainly be able to train doctors, theologians and so on, but what would they be able to do after their training? They would receive no recognition. In spite of this, what was felt by these childlike hearts provides an interesting testimony to the inner necessity of such education. It was by no means unnatural that such a suggestion was put forward. But, to continue the story, when our pupils entered the top class for the first time we were obliged to take the following measures. We had been able to give the young people only what constituted a living culture, but now they had to find access to the dead culture essential to the Abitur examination.² We had therefore to plan the time-table for the top class in such a way that our pupils could take the Abitur. This cut right across our own curriculum and in our teachers' meetings we found it extraordinarily difficult to reconcile ourselves to putting the examination work as the focal point of the curriculum during the final year of this class. Nevertheless we did this. I had a far from easy time when I visited the class, for on the one hand the pupils were yawning because they had to learn what they must know later for the examination, and on the other hand their teachers often wanted to fit in other things which were not necessary for the examination but which the pupils wanted to know. They had always to be reminded: But you must not say that at the examination. This was a real difficulty. And then came the examination. The results were passable. However, in the college of teachers and in the teachers' meetings we were—pardon the expression—thoroughly fed up. We said: We have already established the Waldorf School; and now, when we should crown our work during the last school year, we are unable to carry out our intentions and do what the school requires of us. And so, there and then, in spite of everything, we resolved to carry through the curriculum strictly to the end of the final school year, to the end of the 12th class, and moreover to suggest to the parents and pupils that we should add yet another year, so that the examination could be taken then. The pupils accepted this with the greatest willingness for they saw it as a way out which would ensure the realisation of the intentions of the Waldorf School. We experienced no opposition whatever. There was only one request which was that Waldorf School teachers should undertake the coaching for the examination.

You see how difficult it is actually to establish within present day so-called reality something originating purely out of a knowledge of man. Only those who live in a world of fantasy could fail to see that one has perforce to deal with things as they are, and that this gives rise to immense difficulties. And so we have on the one hand the art of education within the anthroposophical movement, something which is loved quite as a matter of course. On the other hand we have to recognise that the anthroposophical movement as it exists in the social order of today is confronted with formidable difficulties when it endeavours to bring about, precisely in the beloved sphere of education, those things of which it perceives the deep inner necessity. We must look reality in the face in a living way. Do not think that it would occur to me for a single moment to ridicule those who out of inner conviction are inclined to say: Well, really, things are not so bad; too much is made of it all, for other schools get on quite all right. No, that is not the point! I know very well how much work and effort and even spirit are to be found in the schools of today. I fully recognise this. But unfortunately human beings today do not look ahead in their thinking. They do not see the threads connecting education, as it has become in the last few centuries, with what is approaching us with all the violence of a storm, threatening to ravage and lay waste our social life. Anthroposophy knows what are the conditions essential to the development of culture in the future; this alone compels us to work out such methods as you will find in our education. Our concern is to provide humanity with the possibility of progress, to save it from retrogression.

I have described on the one hand how the art of education stands within the anthroposophical movement, but how, on the other hand, through the fact that this art of education is centred in the anthroposophical movement, that movement is itself faced with great difficulties in the public life of today.

When therefore it so happens that to an ever increasing extent a larger circle of people, as has been the case here, come together who are desirous of hearing what anthroposophy has to say on the subject of education, one is thankful to the genius of our time that it is possible to speak about what lies so closely to one's heart. In this particular course of lectures I was only able to give a stimulus, to make certain suggestions. But when one comes down to rock bottom, not all that much has been achieved; for our anthroposophical education rests on actual teaching practice. It only lives when it is carried out; for it intends nothing more nor less than life itself. In actual fact it cannot truly be described, it must be experienced. This is why when one tries to stimulate interest in what must necessarily be led over into life, one has to make use of every possible art of speech in order to show how in the anthroposophical art of education we have the will to work out of the fullness of life. Maybe I have succeeded but ill in this course, but I have tried. And so you see how our education has grown out of anthroposophy in accordance with destiny.

Many people are still living in anthroposophy in such a way that they want to have it only as a world conception for heart and soul, and they look askance at anthroposophy when it widens its sphere of activity to include art, medicine, education and so on. But it cannot be otherwise, for anthroposophy demands life. It must work out of life and it must work into life. And if these lectures on the art of education have succeeded in showing to some small extent that anthroposophy is in no way sectarian or woven out of fantasy, but is something which is intended to stand before the world with the cool reasonableness of mathematics (albeit, as soon as one enters into the spiritual, mathematical coolness engenders enthusiasm, for enthusiasm is a word that is connected with spirit [The German words for enthusiasm and spirit are Geist and Begeisterung.] and one cannot help becoming enthusiastic, even if one is quite cool in the mathematical sense, when one has to speak and act out of the spirit)—even if anthroposophy is still looked upon today as an absurd fantasy, it will gradually be borne in on people that it is based on absolutely real foundations and strives in the widest sense of the words to embody and practise life. And possibly this can be demonstrated best of all today in the sphere of education.

If it has been possible to give some of those who have been present here a few stimulating ideas, then I am content. And our work together will have its best result if all those who have been a little stirred, a little stimulated, find in their common striving a way to continue in the practice of life what these lectures were intended to inspire.

• 1. It was then possible that a State law might prevent children from entering the school before the fifth class.
• 2. The German matriculation.

The year 1924 in which these lectures were given was the last of Rudolf Steiner's active life as a lecturer and was indeed cut short by illness at the end of September. But during those nine months he gave an almost unbelievable variety of lectures, including courses on Life after Death, on Karmic relations, on Truth and Error in Spiritual Investigation, on Christian Festivals, on Eurythmy in its two aspects as interpreter of both Speech and Music, on Speech and Drama, on Medicine (for Doctors) on Theology (for Priests) and on Agriculture (for Farmers). Many of these were given in Dornach in the so-called “Carpenter's Shop” where work had been done for the first Goetheanum and close to which the new Goetheanum was rising from the ashes of the old. Others, however, were given in places as far apart as Stuttgart, Berne, Prague, Koberwitz, Paris, Arnheim, Torquay and London.

In addition to the great variety of subjects listed above were five courses on Education, given in five different places, of which that here printed was the penultimate, the last being the course for English teachers in Torquay, published under the title The Kingdom of Childhood.

When Steiner was in Torquay for this last course, he remarked to the teachers for whom he gave it that the English do not like long names and titles. The full German title of the lectures in this volume is The Educational Value of the Knowledge of Man and the Cultural Value of Education. Prompted, as it may be said, by Rudolf Steiner himself the Translator and Publishers have ventured to give them the shorter title of Human Values in Education. For this is their constantly recurring theme. We make educational programmes and systems but in making them we constantly forget the human spiritual and cultural values by which the child, the teacher and civilisation itself can only truly live. In Steiner's view it is man who gives significance to the world: and the lectures contain the terrible indictment that “the world significance of modern education is that it is gradually undermining the significance of the world.” The lectures show the way to restoring to man the significance of the world and to the world the significance of man.

A.C.H.

It affords me the deepest satisfaction to find that here in England you are ready to consider founding a school on Anthroposophical lines.¹ This may truly signify a momentous and incisive event in the history of Education. In pronouncing such words as these one may well be accused of lack of humility, but there really is something very special underlying all that is to come about for the Art of Education as based on Anthroposophy. And I am overjoyed that an impulse has arisen to form the first beginnings of a College of Teachers, teachers who from the depths of their hearts do indeed recognise the very special quality of what we call Anthroposophical Education. It is no fanatical idea of reform that prompts us to speak of a renewal in educational life, but we are urged to do so out of our whole feeling and experience of how mankind is evolving in civilisation and cultural life.

In speaking thus we are fully aware of the immense amount that has been done for education by distinguished persons in the course of the nineteenth century, and especially in the last few decades. But although all this was undertaken with the very best intentions and every possible method has been tried, we are bound to state that a real knowledge of the human being was lacking. These ideas about education arose at a time when no real knowledge of man was possible owing to the materialism that prevailed in all departments of life and indeed had done so since the fifteenth century. When, therefore, people expounded their ideas on educational reform they were building on sand or on something even less stable; rules of education were laid down based on all sorts of emotions and opinions as to what life ought to be. It was impossible to know man in his wholeness and to ask the question: How can we bring to revelation in a man what lies, god-given, within his nature after he has descended from pre-earthly life into earthly life? This is the kind of question which can be raised in an abstract way, but which can only be answered concretely on the basis of a true knowledge of man in body, soul and spirit.

Now this is how the matter stands for present-day humanity. The knowledge of the body is highly developed. By means of Biology, Physiology and Anatomy we have acquired a very advanced knowledge of the human body; but as soon as we wish to acquire a knowledge of the soul, we, with our present-day views, are confronted with a complete impasse, for everything relating to the soul is merely a name, a word. For even with regard to such things as thinking, feeling and willing we find no reality in the ordinary Psychology of today. We still use the words thinking, feeling and willing, but there is no conception of what takes place in the soul in reference to these things. What the so-called psychologists have to say about thinking, feeling and willing is in reality mere dilettantism. It is just as though a physiologist were to speak in a general way of the human lungs or liver, making no distinction between the liver of a child and that of an old person. In the science of the body we are very far advanced. No physiologist would fail to note the difference between the lungs of a child and the lungs of an old man, or indeed between the hair of a child and the hair of an old man. He will note all these differences. But thinking, feeling and willing are mere words which are uttered without conveying any sense of reality. For instance it is not known that willing, as it appears in the soul, is young, while thinking is old; that in fact thinking is willing grown old, and willing is a youthful thinking in the soul. Thus everything pertaining to the soul contains youthfulness and old age, existing in man simultaneously.

Naturally, even in the soul of a young child we have the old thinking and the young willing together at the same time. There they are contemporaneous, and indeed these things are realities. But today no one knows how to speak of these realities of the soul in the same way as he can of the realities of the body, so that as teachers of children we are quite helpless. Suppose you were a physician and yet were unable to distinguish between a child and an old man! You would of course feel helpless. But as there is no science of the soul the teacher is unable to speak about the human soul as the modern physician can of the human body. And as for the spirit, there is no such thing! One cannot speak of it, there are no longer even any words for it. There is but the single word “spirit,” and that does not convey much. There are no other words in which to describe it.

In our present-day life we cannot therefore venture to speak of a knowledge of Man. Here one may easily feel that all is not well with our education; certain things must be improved upon. Yes, but how can we improve matters, if we know nothing at all of Man? Therefore all the ideas for the improvement of education may be inspired by the best will in the world, but they possess no knowledge of Man.

This can even be noticed in our own circles. For it is Anthroposophy which at the present time can help men to acquire this knowledge of man. I am not saying this from any sectarian or fanatical standpoint but it is so that he who seeks knowledge of man must find it in Anthroposophy. It is obvious that knowledge of the human being must be the basis for a teacher's work; that being so, he must acquire this knowledge for himself, and the natural thing will be that he acquires it through Anthroposophy. If, therefore, we are asked what the basis of a new method of education should be, our answer is: Anthroposophy must be that basis. But how many people there are, even in our own circles, who try to disclaim Anthroposophy as much as possible, and to propagate an education without letting it be known that Anthroposophy is at the back of it.

There is an old German proverb which says: Please wash me but don't make me wet! Many projects are undertaken in this spirit but we must above all both speak and think truthfully. So if anyone asks you how to become a good teacher you must say to him: Make Anthroposophy your foundation. You must not deny Anthroposophy, for it is only by this means that you can acquire your knowledge of Man.

We have no knowledge of Man in our present cultural life. We have theories, but no living insight, either into the world, life or men. A true insight will lead to a true practice in life, but we have no such practical life today. Do you know who are the most unpractical people at the present time? It is not the scientists, for although they are clumsy and ignorant of life, these faults can be clearly seen in them. But in those who are the worst theorists and who are the least practical in life these things are not observed. These are the so-called practical persons, the commercial and industrial men and bankers, the men who rule the practical affairs of life with theoretical thoughts. A bank today is entirely composed of thoughts arising from theories. There is nothing practical in A; but people do not notice this, for they say: It must be so, that is the way practical people work. So they adapt themselves to it, and no one notices the harm that is really being done in life because it is all worked in so unpractical a way. The “practical life” of today is absolutely unpractical in all its forms.

This will only be noticed when an ever increasing number of destructive elements enter our civilisation and break it up. If this goes on the World War will have been nothing but a first step, an introduction. In reality the World War arose out of this unpractical thinking, but that was only an introduction. The point now at stake is that people should not remain asleep any longer, more particularly in the domain of teaching and education. Our task is to introduce an education which concerns itself with the whole man, body, soul and spirit; and these three principles should be known and recognised.

Now in so short a course as that to be given here, we can only speak of the most important aspects of body, soul and spirit, in such a way as will give a direction to education and teaching. That is what we shall do. But the first requirement, as will be seen from the start, is that my hearers shall really endeavour to direct their observation, even externally, to the whole man.

How are the basic principles of education composed in these days? The child is observed, and then we are told, the child is like this or like that, and must learn something. Then one thinks how best to teach so that the child can learn such and such a thing quickly. But what is a child, in reality? A child remains a child for at most twelve years, or possibly longer, but that is not the point. The point is that he must always be thought of as becoming an older human being some day. Life as a whole is a unity, and we must not only consider the child but the whole of life; we must look at the whole human being.

Suppose I have a pale child in the school. A pale child should be an enigma to me, a riddle to be solved. There may be several reasons for his pallor, but the following is a possible one. The child may have come to school with some colour in his cheeks, and have become pale under my treatment of him. I must admit this, and be able to judge as to why he has become pale; I may perhaps come to see that I have given this child too much to learn by heart. I may have worked his memory too hard. If I do not admit this possibility, if I am a short-sighted teacher, having the idea that a method must be carried through regardless of whether the child grows rosy or pale thereby, that the method must just be persevered with, then the child will remain pale.

If, however, I were able to observe this same child at the age of fifty, I should probably find him suffering from terrible sclerosis or arterial hardening, the cause of which will be unknown. This is the result of my having overloaded the memory of the child when he was eight or nine years old. For you see, the man of fifty and the child of eight or nine belong together, they are one and the same human being. We must know what the result will be, forty or fifty years later, of our management of the child; for life is a unity, it is all connected. It is not enough merely to know the child, we must know the human being.

Again, I take great trouble to give a class as good definitions as I can, so that the concepts shall be firmly grasped, and the child will know: this is a lion, that is a cat, and so on. But is the child to retain these concepts to the day of his death? In our present age there is no feeling for the fact that the soul too must grow! If I furnish a child with a concept that is to remain “correct” (and “correctness” is of course all that matters!), a concept which he is to retain throughout his life, that is just as though I bought him a pair of shoes when he was three years old, and each successive year had shoes made of the same size. The child will grow out of them. This however is something that people notice and it would be considered brutal to try and keep his feet small enough to go on wearing the same sized shoes! Yet this is what we are doing with the soul. We furnish the child with ideas which do not grow with him. We give him concepts which are intended to be permanent; we worry him with fixed concepts that are to remain unchanged, whereas we should be giving him concepts capable of expansion. We are constantly squeezing the soul into the ideas we give the child.

These are some of the ways in which we may begin to answer the challenge that in education we must take the whole human being into consideration, the growing, living human being, and not just an abstract idea of man.

It is only when we have the right conception of man's life as a connected whole that we come to realise how different from each other the various ages are. The child is a very different being before shedding its first teeth from what it becomes afterwards. Of course, you must not interpret this in crudely formed judgments, but if we are capable of making finer distinctions in life, we can observe that the child is quite different before and after the change of teeth.

Before the change of teeth we can still see quite clearly at work the effects of the child's habits of life before birth or conception, in its pre-earthly existence in the spiritual world. The body of the child acts almost as though it were spirit, for the spirit which has descended from the spiritual world is still fully active in a child in the first seven years of its life. You will say: A fine sort of spirit! It has become quite boisterous; for the child is rampageous, awkward and incompetent. Is all this to be attributed to the spirit belonging to his pre-earthly life? Well, my dear friends, suppose all you clever and well-brought-up people were suddenly condemned to remain always in a room having a temperature of 144° Fahrenheit? You couldn't do it! It is even harder for the spirit of the child, which has descended from the spiritual worlds, to accustom itself to earthly conditions. The spirit, suddenly transported into a completely different world, with the new experience of having a body to carry about, acts as we see the child act. Yet if you know how to observe and note how each day, each week, each month, the indefinite features of the face become more definite, the awkward movements become less clumsy and the child gradually accustoms himself to his surroundings, then you will realise that it is the spirit from the pre-earthly world which is endeavouring to make the child's body gradually more like itself. We shall understand why the child is as he is, if we observe him in this way, and we shall also understand that it is the descended spirit which is acting as we see it within the child's body.

Therefore for one who is initiated into the mysteries of the spirit there is nothing that can fill him with such wonder and delight as to observe a little child. In so doing one learns not of the earth, but of heaven; and this not only in the so-called “good children.” In their case, as a rule, the bodies have already become heavy, even in infancy. The spirit cannot properly take hold of the body; such children are quiet; they do not scream and rush about, they sit still and make no noise. The spirit is not active within them, because their bodies offer such resistance. It is very often the case that the bodies of the so-called good children offer resistance to the spirit.

In the less well-behaved children who make a great deal of healthy noise, who shout properly, and give a lot of trouble, the spirit is active, though of course in a clumsy way, for it has been transported from heaven to earth; but the spirit is active within them. It is making use of the body. We may even regard the wild screams of a child as most enthralling, simply because we thereby experience the martyrdom the spirit has to endure when it descends into a child-body.

Yes, my dear friends, it is easy to be a grown-up person—easy for the spirit, I mean, for the body has then been made ready, it no longer offers the same resistance. It is quite easy to be a full-grown person but extremely difficult to be a child. The child himself is not aware of this because his consciousness is not yet awake. It is still asleep, but if the child possessed the consciousness he had before descending to earth he would soon notice this difficulty: if the child were still living in this pre-earthly consciousness his life would be a terrible tragedy, a really terrible tragedy. For you see, the child comes down to earth; before this he has been accustomed to a spiritual substance from which he drew his spiritual life. He was accustomed to deal with that spiritual substance. He had prepared himself according to his Karma, according to the result of previous lives. He was fully contained within his own spiritual garment, as it were. Now he has to descend to earth. I should like to speak quite simply about these things, and you must excuse me if I speak of them as I would if I were describing the ordinary things of the earth. One can speak of them thus because they are so. Now when a human being is to descend, he must choose a body on the earth.

And indeed this body has been prepared throughout generations. Some father and mother had a son or a daughter, and these again a son or a daughter, and so on. Thus through heredity a body is produced which he must now occupy. He must draw into it and dwell therein; but in so doing he is suddenly faced with quite different conditions. He clothes himself in a body that has been prepared by a number of generations.

Of course, even from the spiritual world the human being can work on the body so that it may not be altogether unsuitable, yet as a rule the body received is not so very suitable after all. For the most part one does not fit at all easily into such a body. If a glove were to fit your hand as badly as the body generally fits the soul, you would discard it at once. You would never think of putting it on. But when you come down from the spiritual world needing a body, you just have to take one; and this body you retain until the change of teeth. For it is a fact that every seven or eight years our external physical substance is completely changed, at least in the essentials though not in all respects. Our first teeth for instance are changed, the second set remain. This is not the case with all the members of the human organism; some parts, even more important than the teeth, undergo change every seven years as long as a man is on the earth. If the teeth were to behave in the same way as these we should have new teeth at seven, fourteen, and again at twenty-one years of age, and so on, and there would be no dentists in the world.

Thus certain hard organs remain, but the softer ones are constantly being renewed. In the first seven years of our life we have a body which is given to us by outer nature, by our parents and so on; it is a model. The soul occupies the same relation to this body as an artist to a model which he has to copy. We have been gradually shaping the second body out of the first body up to the change of teeth. It takes seven years to complete the process. This second body which we ourselves have fashioned on the model given us by our parents only appears at the end of the first seven years of life, and all that external science says today about heredity and so forth is mere dilettantism compared to the reality. In reality we receive at birth a model body which is there with us for seven years, although during the very first years of life it begins to die out and fall away. The process continues, until at the change of teeth we have our second body.

Now there are weak individualities who are weakly when they descend to earth; these form their second body in which they live after the change of teeth, as an exact model of the first. People say that they take after their parents by inheritance, but this is not true. They make their own second body according to the inherited model. It is only during the first seven years of our life that our body is really inherited, but naturally we are all weak individualities and we copy a great deal. There are, however, also strong individualities descending to earth, and they too inherit a good deal in the first seven years. That one can see in the teeth. Their first teeth are still soft and subject to heredity, but when children have good strong second teeth that can crack things easily, then they are strong individualities, developing in the proper way. There are children who at ten years of age are just like children of four—mere imitators. Others are quite different, the strong individuality stirs within them. The model is used, but afterwards they form an individual body for themselves.

Such things must be noted. All talk of heredity will not lead you far unless you realise how matters stand. Heredity, in the sense in which it is spoken of by science, only applies to the first seven years of man. After that age, whatever he inherits he inherits of his own free will, we might say; he imitates the model, but in reality the inherited part is thrown off with the first body at the change of teeth.

The soul nature which came down from the spiritual world is very strong in us, and it is clumsy at first because it has to become accustomed to external nature. Yet in reality everything about a child, even the worst naughtiness, is very fascinating. Of course we must follow the conventions to some extent and not allow all naughtiness to pass unreproved; but we can see better in children than anywhere else how the spirit of man is tormented by the demons of degeneracy which are there in the world. The child has to enter a world into which he so often does not fit. If we were conscious of this process, we should see what a terribly tragic thing it is. When one knows something of Initiation, and is able to see consciously what lays hold of this body in the child, it really is terrible to see how he must find his way into all the complications of bones and ligaments which he has to form. It really is a tragic sight. The child himself knows nothing of this, and that is a good thing, for the Guardian of the Threshold protects him from any such knowledge.

But the teacher should know of it. He must look on with the deepest reverence, knowing that here a being whose nature is of God and the spirit has descended to earth. The essential thing is that we should know this, that we should fill our hearts with this knowledge, and from this starting point undertake our work as educators.

There are great differences between the manner of man which one is in the spiritual-soul life before descending to earth, and that which one has to become here below. The teacher should be able to judge of this because he has before him the child in whom are the after-effects of the spiritual world. Now there is one thing which the child has difficulty in acquiring, because the soul had nothing of this in the spiritual life.

On earth man is very little able to direct his attention to the inner part of his body; that is only done by the natural scientists and the physicians. They know exactly what goes on inside man within the limits of his skin, but you will find that most people do not even know exactly where their heart is! They generally point to the wrong place, and if in the course of his social life today it were required of a man to explain the difference between the lobes of the right and left lungs, or to describe the duodenum, very curious answers would be given. Now before he comes down into earthly life a man takes but little interest in the external world, but he takes so much the more interest in what he may call his spiritual inner being. In the life between death and a new birth man's interests are almost entirely centred on his inner spiritual life. He builds up his Karma in accordance with experiences from previous earth-lives and this he develops according to his inner life of spirit. This interest which he takes in it is very far removed from any earthly quality, very far removed from that longing for knowledge which, in its one-sided form, may be called inquisitiveness. A longing for knowledge, curiosity, a passionate desire for knowledge of the external life was not ours before our birth or descent to earth; we did not know it at all. That is why the young child has it only in so slight a degree.

What he does experience, on the other hand, is to live right in and with his environment. Before descending to earth we live entirely in the outer world. The whole world is then our inner being and there exist no such distinctions as outer and inner world. Therefore we are not curious about what is external, for that is all within us. We have no curiosity about it, we bear it within us, and it is an obvious and natural thing which we experience.

So in the first seven years of life a child learns to walk, to speak and to think, out of the same manner of living which he had before descending to earth. If you lay stress on arousing curiosity in a child with regard to some particular word, you will find that you thereby entirely drive out the wish he had to learn that same word. If you count on a longing for knowledge or curiosity you drive out of the child just what he ought to have. You must not reckon on a child's curiosity, but rather on something else, namely that the child becomes merged into you as it were, and you really live in the child. All that the child enjoys must live and be as though it were his own inner nature. You must make the same impression on the child as his own arm makes on him. You must, so to say, be only the continuation of his own body. Then later, when the child has passed through the change of teeth and gradually enters the period between the seventh and fourteenth years, you must observe how little by little curiosity and a longing for knowledge begin to show themselves; you must be tactful and careful, and pay attention to the way in which curiosity gradually stirs into being within him.

The small child is still but a clumsy little creature, who does not ask questions, and one can only make an impression upon him by being something oneself. He questions his environment as little as a sack of flour. But just as a sack of flour will retain any impressions you make upon it (especially if it is well ground), so too does the little child retain all his impressions, not because he is curious, but because you yourself are really one with him and make impressions on him as you would do with your fingers on a sack of flour.

It is only at the change of teeth that the situation alters. You must now notice the way the child begins to ask questions. “What is that? What do the stars see with? Why are the stars in the sky? Why have you a crooked nose, grandmother?” The child now asks all these questions; he begins to be curious about the things around him. You must have a delicate perception and note the gradual beginnings of curiosity and attention which appear with the second teeth. These are the years in which these qualities appear and you must be ready to meet them. You must allow the child's inner nature to decide what you ought to be doing with him; I mean, you must take the keenest interest in what is awakening with the change of teeth.

A very great deal is awakening then. The child is curious, but not with an intellectual curiosity for as yet it has no reasoning powers; and anyone who appeals to the intellect of a child of seven is quite on the wrong lines; but it has fantasy and this it is with which we must deal. It is really a question of developing the concept of a kind of “milk of the soul” For you see, after birth the child must be given bodily milk. This constitutes its food and every other necessary substance is contained in the milk that the child consumes. And when he comes to school at the age of the changing of the teeth it is again milk that you must give him, but now, milk for the soul. That is to say, your teaching must not be made up of isolated units, but all That the child receives must be a unity; when he has gone through the change of teeth he must have “soul milk.” If he is taught to read and write as two separate things it is just as though his milk were to be separated chemically into two different parts, and you gave him one part at one time and the other at another. Reading and writing must form a unity. You must bring this idea of “soul milk” into being for your work with the children when they first come to school.

This can only come about if, after the change of teeth, the children's education is directed artistically. The artistic element must be in it all. Tomorrow I will describe more fully how to develop writing out of painting and thus give it an artistic form, and how you must then lead this over artistically to the teaching of reading, and how this artistic treatment of reading and writing must be connected, again by artistic means, with the first simple beginnings of Arithmetic. All this must thus form a unity. Such things as these must be gradually developed as “soul milk” which we need for the child when he comes to school.

And when he reaches the age of puberty he will require “spiritual milk.” This is extremely difficult to give to present-day humanity, for we have no spirit left in our materialistic age. It will be a difficult task to create “spiritual milk,” but if we cannot succeed in creating it we shall have to leave our boys and girls to themselves at the so-called hobbledehoy stage, for there is no “spiritual milk” in our present age.

I just wanted to say these things by way of introduction and to give you a certain direction of thought; tomorrow we will continue these considerations and go more into details.

• 1. “The New School,” Streatham Hill, London, S.W.16, was opened in January 1925. In 1935 the name was changed to “Michael Hall.” In 1945 the school was moved to Kidbrooke Park, Forest Row, Sussex.

I pointed out yesterday how the child's development undergoes a radical change with the loss of his first teeth. For in truth, what we call heredity or inherited characteristics are only directly active during the first epoch of life. It is however the case that during the first seven years a second life organism is gradually built up in the physical body, which is fashioned after the model of the inherited organism. This second organism is, we may say, completed at the changing of the teeth. If the individual who comes down out of the spiritual pre-earthly world is weak, then this second life organism is similar to the inherited one. If the individual is strong, then we see how in the period between the change of teeth and puberty, from seven years till about fourteen, a kind of victory is gradually accomplished over the inherited characteristics. Children become quite different and they even change in their outward bodily form.

It is specially interesting to follow the qualities of soul which now reveal themselves in this second life epoch. In the first epoch, before the change of teeth, we may describe the child as being wholly “sense-organ.” You must take this quite literally: wholly sense-organ.

Take for example the human eye or ear. What is the characteristic of such a sense-organ? The characteristic thing is that the sense-organ is acutely sensitive to the impressions of the outer world. And if you observe the eye you can certainly see what kind of process takes place. The child during the first seven years is really completely and wholly an eye. Now consider only this thought: in the eye a picture is formed, an inverted picture, of every external object. This is what ordinary Physics teaches everyone. That which is outside in the world is to be found within the eye as a picture. Physics stops here, but this picture-forming process is really only the beginning of what one should know concerning the eye; it is the most external physical fact.

But if the physicist would look upon this picture with a finer sense of observation, then he would see that it determines the course of the circulation of the blood in the choroid. The whole choroid is conditioned in its blood circulation by the nature of this picture within the eye. The whole eye adjusts itself according to these things. These are the finer processes that are not taken into consideration by our ordinary Physics. But the child during the first seven years is really an eye. If something takes place in the child's environment, let us say, to take an extreme example, a fit of temper when someone becomes furiously angry, then the whole child will have a picture within him of this outburst of rage. The etheric body makes a picture of it. From it something passes over into the entire circulation of the blood and the metabolic system, something which is related to this outburst of anger.

This is so in the first seven years, and according to this the organism adjusts itself. Naturally these are not crude happenings, they are delicate processes. But if a child grows up in the proximity of an angry father or a hot-tempered teacher, then the vascular system, the blood vessels, will follow the line of the anger. The results of this implanted tendency in the early years will then remain through the whole of the rest of life.

These are the things that matter most for the young child. What you say to him, what you teach him, does not yet make any impression, except in so far as he imitates what you say in his own speech. But it is what you are that matters; if you are good this goodness will appear in your gestures, and if you are evil or bad-tempered this also will appear in your gestures—in short, everything that you do yourself passes over into the child and pursues its way within him. This is the essential point. The child is wholly sense-organ, and reacts to all the impressions aroused in him by the people around him. Therefore the essential thing is not to imagine that the child can learn what is good or bad, that he can learn this or that, but to know that everything that is done in his presence is transformed in his childish organism into spirit, soul and body. Health for the whole of life depends on how one conducts oneself in the presence of the child. The inclinations which he develops depend on how one behaves in his presence.

But all the things that we are usually advised to do with Kindergarten children are quite worthless. The things which are introduced as Kindergarten education are usually extraordinarily “clever.” One is, I might say, quite fascinated by the cleverness of what has been thought out for Kindergartens in the course of the nineteenth century. The children certainly learn a great deal there, they almost learn to read. They are supplied with letters of the alphabet which they have to fit into cut out letters and such like. It all looks very clever and one can easily be tempted io believe that it really is something suitable for children, but it is of no use at all. It really has no value whatsoever, and the whole soul of the child is spoilt by it. Even down into the body, right down into physical health, the child is ruined. Through such Kindergarten methods weaklings in body and soul are bred for later life.¹

On the other hand, if we were simply to have the children there in the Kindergarten and so conduct ourselves that they could imitate us, if we were to do all kinds of things that the children could copy out of their own inner impulse of soul, as they have been accustomed to do in the pre-earthly existence, then indeed the children would become like ourselves, but it is for us to see that we are worthy of this imitation. This is what you must pay attention to during the first seven years of life and not what you express outwardly in words as a moral idea.

If you make a surly face so that the child gets the impression you are a grumpy person, this harms him for the rest of his life. This is why it is so important, especially for little children, that as a teacher one should enter very thoroughly into the observation of a human being and human life. What kind of school plan you make is neither here nor there; what matters is what sort of a person you are. In our day it is easy enough to think out a curriculum, because everyone in our age is now so clever. I am not saying this ironically; in our day people really are clever. Whenever a few people get together and decide that this or that must be done in education, something clever always comes out of it. I have never known a stupid educational programme; they are always very clever. But it is not a question of having programmes of this kind. What matters is that we should have people in the school who can work in the way I have indicated. We must develop this way of thinking, for an immense amount depends upon it, especially for that age or life epoch of the child in which he is really entirely sense-organ.

Now when the change of teeth is complete the child is no longer a sense-organ in the same degree as previously. This already diminishes between the third and fourth year, but before then the child has quite special peculiarities of which one generally knows nothing whatever. When you eat something sweet or sour you perceive it on the tongue and palate, but when the child drinks milk he feels the taste of milk through his whole body for he is also an organ of sense with regard to taste. He tastes with his whole body; there are many remarkable instances of this.

Children take their cue from the grown-ups and therefore at fifteen, sixteen or twenty they are, nowadays, already blasé and have lost their freshness, but there are still children to be found who in their early years are wholly sense-organ, though life is not easy for such. I knew for example a small boy who on being given something to eat that he knew he would enjoy, approached the delectable object not only with those organs with which one generally approaches food, but he steered towards it with his hands and feet; he was in fact wholly an organ of taste. The remarkable thing is that in his ninth or tenth year he became a splendid Eurythmist and developed a great understanding for Eurythmy. So what he began by “paddling” up to his food as a little child was developed further in his will organs at a later age.

I do not say these things jokingly but in order to give you examples of how to observe. You very rarely hear people relating such things as these, but they are happening every moment. People fail to perceive these characteristic phenomena of life and only think out how to educate the young instead of observing life itself.

Life is interesting in every detail, from morning till evening; the smallest things are interesting. Notice, for instance, how two people take a pear from a fruit bowl. No two people take the pear in the same way; it is always different. The whole character of a person is expressed in the way he takes the pear from the fruit dish and puts it on his plate, or straight into his mouth as the case may be.

If people would only cultivate more power of observation of this kind, the terrible things would not develop in schools which one unfortunately so often sees today. One scarcely sees a child now who holds his pen or pencil correctly. Most children hold them wrongly, and this is because we do not know how to observe properly. This is a very difficult thing to do, and it is not easy in the Waldorf School either. One frequently enters a class where drastic changes are needed in the way the children hold their pencils or pens. You must never forget that the human being is a whole, and as such he must acquire dexterity in all directions. Therefore what the teacher needs is observation of life down to the minutest details.

And if you are specially desirous of having formulated axioms, then take this as the first principle of a real art of education. You must be able to observe life in all its manifestations.

One can never learn enough in this direction. Look at the children from behind, for instance. Some walk by planting the whole foot on the ground, others trip along on their toes, and there can be every kind of differentiation between these two extremes. Yes indeed, to educate a child one must know quite precisely how he walks. For the child who treads on his heels shows in this one small characteristic of his physical body that he was very firmly planted in life in his former incarnation, that he was interested in everything in his former earth life. In such a case you must draw as much as possible out of the child himself, for there are many things hidden away in such children who walk strongly on their heels. On the other hand the children who trip along, who scarcely use their heels in walking, have gone through their former earth life in a superficial way. You will not be able to get much out of these children, but when you are with them you must make a point of doing a great many things yourself that they can copy.

In this kind of way you should experience the changing of the teeth through careful observation. The fact that the child was previously wholly sense-organ now enables him to develop above all the gift of fantasy and symbolism. And one muss reckon with this even in play. Our materialistic age sins terribly against it. Take for example the so-called beautiful dolls that are so often given to children nowadays. They have such beautifully formed faces, wonderfully painted cheeks, and even eyes with which they can go to sleep when laid down, real hair and goodness knows what all! But with this the fantasy of the child is killed, for it leaves nothing to his imagination and the child can take no great pleasure in it. But if you make a doll out of a serviette or a handkerchief with two ink spots for eyes, a dab of ink for a mouth, and some sort of arms, then the child can add a great deal to it with his imagination.

It is particularly good for a child when he can add as much as possible to his playthings with his own fantasy, when he can develop a symbolising activity. Children should have as few things as possible that are well finished and complete and what people call “beautiful.” For the beauty of such a doll that I have described above with real hair and so on, is only a conventional beauty. In truth it is horribly ugly because it is so inartistic.

Never forget that in the period round about the change of teeth the child passes over into the age of imagination and fantasy. It is not the intellect but fantasy which fills his life at this age. You as teachers must also be able to develop this life of fantasy, for those who bear a true knowledge of the human being in their souls are able to do this. It is indeed so that a true knowledge of man loosens and releases the inner life of soul and brings a smile to the face. Sour and grumpy faces come only from lack of knowledge. Certainly one can have a diseased organ which leaves traces of illness on the face; this does not matter, for the child takes no account of these things, but if the inner nature of a person is filled with a living knowledge of what man is, this will be expressed in his face, and this it is that can make him a really good teacher.

And so between the change of teeth and puberty you must educate out of the very essence of imagination. For the quality that makes a child under seven so wholly into a sense-organ now becomes more inward; it enters the soul life. The sense-organs do not think; they perceive pictures, or rather they form pictures from the external objects. And even when the child's sense experiences have already a quality of soul, it is not a thought that emerges but an image, albeit a soul image, an imaginative picture. Therefore in your teaching you must work in pictures, in images.

Now we can work least of all in pictures if we are teaching the child something that is really quite foreign to him. For example, the calligraphy of today is quite foreign to the child whether in the written or printed letters. He has no relation whatever to this thing which is called an “A.” Why should he have a relation to an “A”? Why should he be interested in an “L”? These are quite foreign to him, this “A,” this “L.” Nevertheless when the child comes to school we take him into the classroom and start to teach him these things. The result is that he feels no contact with what he has to do. And if we teach him this before the change of teeth and set him to stick letters into cut-out holes, for example, then we are giving him things that lie right outside his nature and to which he has not the slightest relationship.

But what he does possess is an artistic sense, a faculty for creating imaginative pictures. It is to this that we must appeal, to this we must turn. We should avoid a direct approach to the conventional letters of the alphabet which are used in the writing and printing of civilised man. Rather should we lead the children, in a vivid and imaginative way, through the various stages which man himself has passed through in the history of civilisation.

In former times there was picture writing; that is to say, people painted something on the page which reminded them of the object. We do not need to study the history of civilisation, but we can show the child the meaning and spirit of what man wanted to express in picture writing. Then he will feel at home in his lessons.

For example: Let us take the word “Mund”—English “mouth.” Get the child to draw a mouth, or rather paint it. Let him put on dabs of red colour and then tell him to pronounce the word; you can say to him: don't pronounce the whole word but begin only with M; and now we can form the M out of the upper lip (see drawing). If you follow this

process you can get your M out of the mouth which we first painted.

This is how writing really originated, only today it is difficult to recognise from the words themselves that the letters were once pictures, because the words have all been subject to change in the course of the evolution of speech. Originally each sound had its own image and each picture could have but one meaning.

You do not need to go back to these original characters, but you can invent ways and means of your own. The teacher must be inventive, he must create out of the spirit of the thing. Let us take the word “fish.” Let the child draw or paint some kind of fish. Let him say the beginning of the word: “F,” and you can gradually get the F out of the picture (see drawing).

And thus, if you are inventive, you can find in point of fact, pictures for all the consonants. They can be worked out from a kind of painting-drawing, or drawing-painting. This is more awkward to deal with than the methods of today. For it is of course essential that after the children have been doing

this painting for an hour or two you have to clear it all away. But this just has to be so, there is nothing else to be done.

From this you can see how the letters can be developed out of pictures and the pictures again directly out of life. This is the way you must do it. On no account should you teach reading first, but proceeding from your drawing-painting and painting-drawing, you allow the letters to arise out of these, and then you can pass over to reading.

If you look around you will find plenty of objects which you can use to develop the consonants in this way. All the consonants can be developed from the initial letters of the words describing these objects.

It is not so easy for the vowels. But perhaps for the vowels the following is possible. Suppose you say to the child: “Look at the beautiful sun! You must really admire it; stand like this so that you can look up and admire the glorious sun.” The child stands, looks up and then expresses its wonder thus: Ah! Then you paint this gesture and you actually have the Hebrew A, the sound Ah, the sound of wonder. Now you only need to make it smaller and gradually turn it into the letter A (see drawing).

And so if you bring before the child something of an inner soul quality and above all what is expressed in Eurythmy, letting him take up this position or that, then you can develop the vowels also in the way I have mentioned. Eurythmy will

be of very great help to you because the sounds are already formed in the Eurythmy gestures and movements. Think for instance of an O. One embraces something lovingly. Out of this one can obtain the 0 (see drawing). You can really get the vowels from the gesture, the movement.

Thus you must work out of observation and imagination, and the children will then come to know the sounds and the letters from the things themselves. You must start from the picture. The letter, as we know it today in its finished form, has a history behind it. It is something that has been simplified from a picture, but the kind of magical signs of the printed letters of the present day no longer tell us what the picture was like.

When the Europeans, these “better men,” went to America at the time when the “savages,” the Indians, were still there,—even in the middle of the nineteenth century such things happened—they showed these savages printed writing and the Indians ran away from it because they thought the letters were little devils. And they said: The Pale-faces, as the Indians called the Europeans, communicate with each other by means of little devils, little demons.

But this is just what letters are for children. They mean nothing to them. The child feels something demonic in the letters, and rightly so. They have already become a means of magic because they are merely signs.

You must begin with the picture. That is not a magic sign but something real and you must work from this.

People will object that the children then learn to read and write too late. This is only said because it is not known today how harmful it is when the children learn to read and write too soon. It is a very bad thing to be able to write early. Reading and Writing as we have them today are really not suited to the human being till a later age, in the eleventh or twelfth year, and the more one is blessed with not being able to read and write well before this age, the better it is for the later years of life. A child who cannot write properly at thirteen or fourteen (I can speak out of my own experience because I could not do it at that age) is not so hindered for later spiritual development as one who early, at seven or eight years, can already read and write perfectly. These are things which the teacher must notice.

Naturally one will not be able to proceed as one really should today because the children have to pass from your Independent School into public life. But a very great deal can be done nevertheless when one knows these things. It is a question of knowledge. And your knowledge must show you, above all, that it is quite wrong to teach reading before writing, for in writing, especially if it is developed from the painting-drawing, drawing-painting, that I have spoken of, the whole human being is active. The fingers take part, the position of the body, the whole man is engaged. In reading only the head is occupied and anything which only occupies a part of the organism and leaves the remaining parts impassive should be taught as late as possible. The most important thing is first to bring the whole being into movement, and later on the single parts.

Naturally if you want to work in this way you cannot expect to be given instructions for all the little details, but only an indication of the path to be followed. Therefore just in this method of education which arises out of Anthroposophy you can build on nothing else but absolute freedom, though this freedom must include the free creative fancy of the teacher and educator.

In the Waldorf School we have been blessed with what I might call a very questionable success. We began with one hundred and thirty to one hundred and forty pupils; but these pupils came from the industrial works of Emil Molt, so they were at that time to a certain extent “compulsory” children though we had some children from anthroposophical families besides.² In the short time of its existence the Waldorf School has grown so big that we have now more than eight hundred children and between forty and fifty teachers. This is a doubtful success because gradually it becomes impossible to keep a clear view of the whole. From the arrangements of the Waldorf School which I shall describe to you, you will soon see how difficult it is to survey the whole; though I shall later indicate certain ways of making this possible. We have had to form parallel classes; in the case of the fifth and sixth there are three parallel classes: A, B and C. These classes are still overfull and have more children than the other classes in the school.

There is therefore a teacher in Class A, another in Class B. Just imagine how this would work out in a “proper” educational establishment of today. You come into Class I A, where you find a particular educational drill going on which is considered the best. Now you go into Class I B. It could equally well be called ‘A,’ only that different children are sitting there, for in both classes exactly the same thing goes on, because the “right method” is used. This is of course all most cleverly thought out: what is intellectual has but one meaning and it cannot be otherwise.

With us in the Waldorf School you find no such thing. You go into the first Class A. There you see a teacher, man or woman, who is teaching writing. The teacher lets the children make all kinds of forms, let us say with string. They then go on to painting the forms and gradually letters arise. A second teacher likes to do it differently. If you go into Class B you find that this teacher is letting the children “dance” the forms round the room, in order that they may experience the forms of the letters in their own bodies. Then she carries over these forms also into the letters themselves. You would never find uniformity of teaching in Classes A, B and C. The same things are taught but in completely different ways, for a free creative fancy holds sway in the class. There are no prescribed rules for teaching in the Waldorf School, but only one unifying spirit that pervades the whole. It is very important that you should realise this. The teacher is autonomous. Within this one unifying spirit he can do entirely what he thinks right. You will say: Yes, but if everyone can do as he likes, then the whole school will fall into a chaotic condition. For in Class V A, there could be goodness knows what kind of hocus-pocus going on, and in V B, you might find them playing chess. But that is exactly what does not happen in the Waldorf School, for though there is freedom everywhere you will find in each class the spirit which is in accordance with the age of the children.

If you read the Seminar Course, you will see that you are allowed the greatest liberty, and yet the teaching in each class is what is right for that age³ The strange thing is that no teacher has ever opposed this. They all quite voluntarily accept this principle of a unifying spirit in the work. No one opposes it or wants to have any special arrangements made for himself. On the contrary, the wish is often expressed by the teachers to have as many discussions as possible in their meetings about what should be done in the various classes.

Why does no teacher object to the curriculum? The school has been going for several years. Why do you think that all the teachers approve of the curriculum? They do not find it at all unreasonable. They find it in its very freedom excellent because it is bound up with real true human knowledge.

And just in such things as creating one's teaching matter out of fantasy it can be seen that freedom must prevail in the school. Indeed it does. Each of our teachers has the feeling that it is not only a question of what he himself thinks out and discovers out of his own fantasy, but when I sit with my Waldorf teachers in their meetings, or when I go into the classes, I get more and more the impression that when once the teachers are in their classrooms they actually forget that a plan of teaching has previously been drawn up. In the moment of teaching every teacher imagines that he himself is creating the plan of work. This is the feeling I have when I go into the classes.

Such is the result when real human knowledge lies at the basis of the work. I have to tell you these details even though you might think they were said out of vanity; indeed they are not said out of vanity but that you may know how it is and then go and do likewise; this will show you how what grows out of a true knowledge of man can really enter into the child.

It is on fantasy then, on imagination, that our teaching and education is to be built. You must be quite clear that before the ninth or tenth year the child does not know how to differentiate himself as an ego from his surroundings. Out of a certain instinct the child has long been accustomed to speak of himself as “P,” but in truth he really feels himself within the whole world. He feels that the whole world is connected with himself. But people have the most fantastic ideas about this. They say of primitive races that their feeling for the world is “animism,” that is, they treat lifeless objects as though they were “ensouled,” and that to understand a child you must imagine that he does the same as these primitive peoples. When he knocks against a hard object he hits it because he endows it with a quality of soul.

But that is not at all true. In reality, the child does not “ensoul” the object, but he does not yet distinguish between the living and the lifeless. He considers everything as a unity, and himself also as making up a unity with his surroundings. Not until the age of nine or ten does the child really learn to distinguish himself from his environment. This is something you must take into consideration in the strictest sense if you wish to give your teaching a proper basis.

Therefore it is important to speak of everything that is around the child, plants, animals and even stones, in such a way that all these things talk to each other, that they act among themselves like human beings, that they tell each other things, that they love and hate each other. You must learn to use anthropomorphism in the most inventive ways and speak of all the plants and animals as though they were human. You must not “ensoul” them out of a kind of theory but simply treat them in the way which a child can grasp when he is not yet able to distinguish between the lifeless and the living. For as yet the child has no reason to think that the stone has no soul, whereas the dog has a soul. The first difference he notices is that the dog moves. But he does not ascribe the movement to the fact that he has a soul. One can indeed treat all things that feel and live as if they were people, thinking, feeling and speaking to one another, as if they were persons with sympathy and antipathy for each other. Therefore everything that one brings to a child at this age must be given in the form of fairy tales, legends and stories in which everything is endowed with feeling. The child receives the very best foundation for his soul life when in this way we nourish his instinctive soul qualities of fancy. This must be borne in mind.

If you fill the child with all kinds of intellectual teaching during this age (and this will be the case if we do not transform into pictures everything that we teach him) then later he will have to suffer the effects in his blood vessels and in his circulation. We must consider the child in body, soul and spirit as an absolute unity. This must be said over and over again.

For this task the teacher must have an artistic feeling in his soul, he must be of an artistic disposition. For what works from teacher to child is not only what one thinks out or what one can convey in ideas, but, if I may express myself so, it is the imponderable quality in life. A very great deal passes over from teacher to child unconsciously. The teacher must be aware of this, above all when he is telling fairy tales, stories or legends full of feeling. It very often happens in our materialistic times that we notice how the teacher looks upon what he is telling as childish. He is telling something which he himself does not believe. And here Anthroposophy finds its rightful place if it is to be the guide and leader of the true knowledge of man. We become aware through Anthroposophy that we can express a thing infinitely more fully and more richly if we clothe it in pictures than if we put it into abstract ideas. A child who is naturally healthy feels the necessity to express everything in pictures and to receive everything also in picture form.

Remember how Goethe learnt to play the piano as a boy. He was shown how he had to use the first finger, the second finger, and so on; but he did not like this method, and this dry pedantic teacher of his was repugnant to him. For Father Goethe was an old Philistine, one of the old pedants of Frankfurt who naturally also engaged Philistine teachers for preference, because they are the good ones, as everyone knows. This kind of teaching was repugnant to the boy Goethe, it was too abstract. So he invented for himself the “ Deuterling” (“the little fellow who points”), not “Index finger,” that is too abstract, but “ Deuterling.”⁴

The child wants an image and he wants to think of him- self as an image too. It is just in these things that we see how the teacher needs to use his fantasy, to be artistic, for then he will meet the child with a truly “living” quality of soul. And this living quality works upon the child in an imponderable way—imponderable in the best sense.

Through Anthroposophy we ourselves learn once more to believe in the legends, fairy tales and myths, for they express a higher truth in imaginative pictures. And then our handling of these fairy tales, legends and mythical stories will once more be filled with a quality of soul. Then when we speak to the child, our very words, permeated as they will be by our own belief in the tales, will flow over to him and carry truth with them; truth will then flow from teacher to child, whereas it is so often untruth that passes between them. Untruth at once holds sway if the teacher says: the child is stupid, I am clever, the child believes in fairy tales so I have to tell them to him. It's the proper thing for him to hear them. When a teacher speaks like this then an intellectual element immediately enters into the relating of the stories.

But the child, especially in the age between the change of teeth and puberty, has a most sensitive feeling for whether the teacher is governed by his fantasy or his intellect. The intellect has a destructive and crippling effect on the child, but fantasy gives it life and impulse.

It is vital that we should make these fundamental thoughts our own. We will speak of them in greater detail during the next few days, but there is one more thing I should like to put before you in conclusion.

Something of very special importance happens to the child between his ninth and tenth year. Speaking in an abstract way we can say that he then learns to differentiate himself from his environment; he feels himself as an “I,” and the environment as something external which does not belong to this “I” of his. But this is an abstract way of expressing it. The reality is this, speaking of course in a general sense: the child of this age approaches his much-loved teacher, be he man or woman, with some problem or difficulty. In most cases he will not actually speak of what is burdening his soul, but will say something different. All the same one has to know that this really comes from the innermost depths of his soul, and the teacher must then find the right approach, the right answer. An enormous amount depends on this for the whole future life of the child concerned. For you cannot work with children of this age, as their teacher, unless you are yourself the unquestioned authority, unless, that is, the child has the feeling: this is true because you hold it to be true, this is beautiful because you find it beautiful, and therefore point it out to him, and this is good because you think it good. You must be for the child the representative of the good, the true and the beautiful. He must be drawn to truth, goodness and beauty simply because he is drawn to you yourself.

And then between the ninth and tenth year this feeling arises instinctively in his subconsciousness: I get everything from my teacher, but where does he get it from? What is behind him? The teacher need not enlarge on this because if you go into definitions and explanations it can only do harm. The important thing is to find a loving word, a word filled with warmth of heart—or rather many words, for these difficulties can go on for weeks and months—so that we can avert this danger and preserve the feeling for authority in the child. For he has now come to a crisis as regards the principle of authority. If you are equal to the situation, and can preserve your authority by the warmth of feeling with which you deal with these particular difficulties, and by meeting the child with inner warmth, sincerity and truth, then much will be gained. The child will retain his belief in the teacher's authority, and that is a good thing for his further education, but it is also essential that just at this age of life between nine and ten the child's belief in a good person should not waver. Were this to happen then the inner security which should be his guide through life will totter and sway.

This is of very great significance and must constantly be borne in mind. In the handbooks on education we find all kinds of intricate details laid down for the guidance of teachers, but it is of far greater importance to know what happens at a certain point in the child's life and how we must act with regard to it, so that through our action we may radiate light on to his whole life.

• 1. In Germany the children remain in the “Kindergarten” until their seventh year so that the above remarks apply to all school life up to this time, (including, for instance, the “Infants” Departments of State Schools in England).
• 2. In 1919 the first Rudolf Steiner School was founded by Emil Molt, Director of the Waldorf Astoria Cigarette Factory, Stuttgart. The first pupils were all children of the factory workers.
• 3. Just before the opening of the Waldorf School, in 1919, Dr. Steiner gave three simultaneous courses of lectures to the teachers two of which have been published in English under the titles ofStudy of Man and Practical Advice to Teachers.
• 4. Compare the old country names for the fingers referred to by Walter de la Mare inCome Hither p. 515, e.g. Tom Thumbkin, Bess Bumpkin, Long Linkin, Bill Wilkin and Little Dick.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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2. God, the Father

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3. Mary

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4. John

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

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

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

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5. Angels making Music

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

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6. Angels singing

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

We now come to Petrus Christus:

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

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24. Petrus Christi. The Birth of Christ

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

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

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

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26. John the Baptist and Christopher

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

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

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

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

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

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

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

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

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

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

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

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33. Meister Bertram. The Fall (Hamburg.)

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

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

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

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

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

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

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

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

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

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

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

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38. Memling. Portrait. (The Hague.)

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

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

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

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

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

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42. Gerard David. Mary and Child

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

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43. Geertgen. Holy Family. (Amsterdam.)

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

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

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45. Hieronymus Bosch. Descent from the Cross.

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

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46. Hieronymus Bosch. Christ carrying the Cross.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

And another Biblical subject by the same painter.

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

With that, we will finish for today.

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

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

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

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

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1. Three Wise Men.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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12. Correggio. Holy Night. (Dresden.)

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

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

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

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

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

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

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

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

Altdorfer was Dürer's successor in Nuremberg.

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

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

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

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

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

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

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

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

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

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

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

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

Finally we give two works by Rembrandt.

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

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

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

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

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27. Mosaic. Sant Apollinare Nuovo. Ravenna.

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

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

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

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

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

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

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

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

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

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

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

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

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35. Filippo Lippi. Adoration by the Wise Men.

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

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

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

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

End of the 15th century:

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

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

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

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

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

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

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

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

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

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

And now the same theme treated by Leonardo.

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

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

Going North again:

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

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

And finally, Rembrandt.

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

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

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51. Herrad von Lanndsberg. The Flight into Egypt.

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

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53. Correggio. Madonna della Scodella. (Parma)

The next, a little later.

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

Strigel painted also in Vienna, and died in 1528.

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

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

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

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

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

Finally, Rembrandt:

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

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