The History of the German Section of the Theosophical Society 1902-1913

GA 250 — 21 May 1907, Berlin

34. The Theosophical Congress in Munich

Report by Rudolf Steiner in Lucifer-Gnosis no. 34/1907

It was the task of the German Section of the Theosophical Society to organize this year's congress of the “Federation of European Sections”. It is therefore more fitting that here, from within the circle of the organizers, there is less talk of what has been achieved and more of what has been intended and striven for. For the organizers know only too well how little of what was achieved has been achieved, and how much has been achieved that could not be achieved on such an occasion. Therefore, the following should only be understood as a description of the underlying ideas.

Munich was chosen as the venue: the time was the days of Pentecost, May 18, 19, 20 and 21. The questions that the organizers asked themselves in their preparations were: How can the task of the Theosophical movement be expressed within the current spiritual life through such a congress? How can it give a picture of the ideals and aims of the theosophical work? Since the event is naturally limited by the circumstances, it can only provide a limited answer to these questions. It now seems particularly important that the comprehensive character of the theosophical movement be emphasized on such occasions. First of all, the focus of this movement is the cultivation of a worldview based on knowledge of the supernatural. And at such a congress, people come together who, in the spirit of such a worldview, work across all national borders and other human differences on spiritual ideals that are common to all of humanity. Mutual inspiration in the best sense will be the most beautiful fruit of such events. In addition, it will be shown how the theosophical work should really be integrated into the whole of life in our time. For the spiritual foundation of this movement cannot be called upon to express itself only in thoughts and ideas, in theories and so on; rather, as a content of the soul that has emerged in our time, it can have a fertilizing effect on all branches of human activity. Theosophy can only be grasped in the right sense if we set it the ideal of inspiring not only the imagination and the human soul, but the human being as a whole. If we wish to interpret its mission in this sense, we may recall how, for example, the world view of the corresponding time found expression in the buildings and sculptures (e.g. the Sphinx) of the Egyptians. The ideas of the Egyptian worldview were not only thought by the souls; they were made visible in the environment of the human eye. And think of how everything that is known of Greek sculpture and drama is the worldview of the Greek soul, shaped in stone and depicted in poetry. Consider how in medieval painting Christian ideas and feelings were revealed to the eye, how in the Gothic period Christian devotion took form and shape. A true harmony of the soul can only be experienced where the human senses are reflected in form, shape and color and so on as an environment, which the soul knows as its most valuable thoughts, feelings and impulses. Out of such thoughts arises the intention to give a picture of theosophical striving in the external form of the event at a congress. The room in which the meeting takes place can reflect the theosophical feeling and thinking around the visitor. According to our circumstances, we could not do more than sketch out what might be considered an ideal in this regard. We had decorated the assembly hall in such a way that a fresh, stimulating red formed the basic color of all the walls. This color was intended to express the basic mood of the celebration in an external view. It is obvious that some people will object to the use of “red” for this purpose. These objections are justified as long as one relies on an esoteric judgment and experience. They are well known to the esotericist, who nevertheless, in accordance with all occult symbolism, must use the color red for the purpose in question. For him, it is not a matter of what the part of his being feels that is devoted to the immediate sensual environment; but what the higher self experiences in the spiritual realm while the external environment is physically seen in red. And that is the exact opposite of what the ordinary sensation of “red” says. Esoteric knowledge says: “If you want to attune yourself in your innermost being as the gods were attuned when they gave the world the green plant cover, then learn to endure ‘red’ in your surroundings as they had to.” This indicates a reference to the higher human nature in relation to “red” that the genuine [esotericist] has in mind when he presents the two opposing entities of the creative world ground in the occult symbolism in such a way that, downward, the green as a sign of the earthly, upward the “red” as a sign of the heavenly (elohistic) creative powers. Much more could be said about the reasons for opposing this color, and much could be said in refutation of these arguments. However, it may suffice here to make this brief comment: this color was chosen in accordance with occultism.

On the walls (on both sides and at the back wall) were placed the so-called seven apocalyptic seals in a size appropriate for the room. They represent certain experiences of the astral world in pictures. There is a story behind them. At first, some viewers may mistake such pictorial representations for ordinary symbols. But they are much more than that. Anyone who simply wants to interpret what is depicted in them symbolically with the mind has not penetrated the spirit of the matter. One should experience the content of these seven pictures with one's whole soul, with one's undivided mind; one should shape it inwardly in one's soul in terms of form, color and content, so that it lives inwardly in the imagination. For this content corresponds to very specific astral experiences of the clairvoyant. What the clairvoyant wants to express in such images is not at all an arbitrary symbol, or even a straw-thin allegory, but something that is best illustrated by way of comparison. Take a person who is illuminated in a room by a light in such a way that his shadow is visible on a wall. The shadow is in some respects similar to the person casting the shadow. But it is a two-dimensional image of a three-dimensional being. Just as the shadow relates to the person, so what is depicted in the apocalyptic seals relates to certain experiences of the clairvoyant in the astral world. The seals are, of course, in a figurative sense, silhouettes of astral processes. Therefore, they are not arbitrary representations of an individual, but anyone who is familiar with the corresponding supersensible processes will find their silhouettes in the physical world. Such things cannot be invented in their essential content, but are taken from the existing teachings of the secret scientists. A student of these matters may have noticed that some of our seals correspond with what he finds in this or that work, but others do not. The reason for this is that some of the imaginations of occult science have already been communicated in books; but the most important part – and the true part – may only now, in our time, be made public. And part of the theosophical work must consist in handing over to the public some of the material which has hitherto been kept strictly secret by the appointed custodians. This is demanded by the development of the spiritual life of our time by the exponents of occult science.

It is the development of humanity, the expression of which in the astral world must form one of the most essential foundations of occult knowledge, which is expressed in these seven seals. The Christian esotericist will recognize them in a certain way in the descriptions of the “Revelation of St. John”. But the form they presented in our festival hall corresponds to the secret-scientific spiritual current that has been the dominant one in the West since the fourteenth century. The mysteries of existence, as they are reflected in these images, represent ancient wisdom; the clairvoyants of the various epochs of humanity see them from different points of view. Therefore, according to the necessary developmental needs of the times, the forms change somewhat. In the “Revelation of St. John” it is “set in signs” what is to happen “in brief”. Those who know how to read a secret-scientific form of expression properly know that this means nothing other than a reference to the secret-scientific signs for certain imaginations that can be experienced in the astral world and that are related to the nature of man as it reveals itself in time. And the Rosicrucian Seals also represent the same. Only very sketchily, with a few words, shall the infinitely rich content of the seals be interpreted. Basically everything - even the seemingly most insignificant - in these pictures means something important. The first seal represents man's entire evolution in the most general way. In the “Revelation of St. John” this is indicated with the words: “And being turned, I saw seven golden candlesticks; and in the midst of the seven candlesticks one like unto the Son of Man, clothed with a garment down to the foot, and girt about upon his chest with a golden girdle. His head and hair were white like wool, as white as snow, and his eyes were like a flame of fire. His feet were like brass glowing in a furnace, and his voice was like the rushing of many waters. And he had seven stars in his right hand; and out of his mouth came a sharp, two-edged sword; and his face shone like the bright sun.” In general terms, such words point to the most comprehensive secrets of human development. If one wanted to present in detail what each of the deeply significant words contains, one would have to write a thick volume. Our seal depicts such things. Among the physical organs and forms of expression of the human being, some represent, in their present form, the downward stages of development of earlier forms, and have thus already passed their peak. Others, however, represent the initial stages of development and are, as it were, the rudiments of what they are to become in the future. The esotericist must know these secrets of development. The organ of speech represents an organ that will be much higher and more perfect in the future than it is at present. By pronouncing this, one touches on a great secret of existence, which is often also called the “mystery of the creative word”. This gives a hint of the future state of the human speech organ, which will become a spiritual organ of production (procreation) when the human being is spiritualized. In myths and religions, this spiritual production is indicated by the appropriate image of a “sword” coming out of the mouth. In this way, every line and every point in the picture signifies something that is connected with the secret of human development. The fact that such pictures are made does not merely arise from a need for a sensualization of the supersensible processes, but it corresponds to the fact that living into these pictures - if they are the right ones - really means an arousal of forces that lie dormant in the human soul, and through the awakening of which the representations of the supersensible world emerge. It is not right for the supersensible worlds to be described only in schematic terms in theosophy; the true path is to awaken the imagination to the images presented in these seals. (If the occultist does not have such images at hand, he should verbally describe the higher worlds in appropriate images.) - The second seal, with the appropriate accessories, represents one of the first stages of development of humanity on earth. In its primeval times, humanity on earth had not yet developed what is called the individual soul. What was still present at that time, and what is still found in animals today, is the group soul. Anyone who can follow the old human group souls on the astral plane through imaginative clairvoyance will find the four types of group soul represented in the four apocalyptic animals of the second seal: the lion, the bull, the eagle and the man. This touches on the truth of what is often so dryly allegorized in the interpretation of the four animals. The third seal represents the secrets of the so-called harmony of the spheres. Man experiences these secrets in the interval between death and a new birth (in the “spirit land” or what is called “Devachan” in the usual theosophical literature). However, the account is not given as it is experienced in the “spirit realm” itself, but rather as the events of this realm are reflected in the astral world. It must be noted that all seven seals are experiences of the astral world; however, the other worlds can be seen in their reflections in the astral. The angels blowing trumpets in the picture represent the original spiritual beings of the world phenomena; the book with the seven seals indicates that the mysteries of existence are “unsealed” in the experiences illustrated in this picture. The “four horsemen of the Apocalypse” represent the stages of human development through long earth cycles. The fourth seal represents, among other things, two pillars, one rising from the sea and the other from the earth. These pillars hint at the secret of the role played by red (oxygen-rich) blood and blue-red (carbon-rich) blood in human development, and how this blood changes in line with human development from distant primeval times to distant future times. The letters on these pillars point to this developmental secret in a way known only to the initiated. (Old interpretations of the two letters given in public writings or in certain societies remain only a superficial, exoteric interpretation.) The book in the cloud points to a future state of man in which all his knowledge will be internalized. In the Book of Revelation we find the significant words: “And I took a little book out of the angel's hand, and ate it up...”

The sun in the picture points to a cosmic process that will take place at the same time as the marked future stage of humanity; the earth will enter into a completely different relationship with the sun than it currently does in the cosmos. And everything is depicted in the picture so that all the arrangements of the parts, all the details and so on, correspond exactly to specific real processes. The fifth seal represents the further development of man in the future in a cosmos in which the conditions just indicated will have occurred. The future human being, who will have a different relationship to the sun than the present one, is represented by the “woman who gives birth to the sun”; and the power that he will then have over certain forces of the world, which today express themselves in his lower nature, is represented by the “sun woman” standing on the beast with the seven heads and ten horns. The woman has the moon under her feet: this points to a later cosmic relationship between the sun, earth and moon. The sixth seal represents the evolved human being with even greater power over the lower forces of the universe. The way the image expresses this is reminiscent of Christian esotericism: Michael holds the dragon bound. Finally, the seventh seal is that of the “Mystery of the Grail”, as it was in the esoteric current beginning in the fourteenth century. In the picture there is a cube, representing the world of space, from which the world serpent arises from all sides of the cube, insofar as it represents the higher forces living out in the lower: From the mouth of the snake comes the world line (as a spiral), the symbol of the purified and refined world forces; and from this arises the “holy grail,” which is confronted by the “dove.” All of this points - and quite appropriately - to the mystery of the creation of the world, of which the earthly one is a lower reflection. The deepest mysteries lie in the lines and figures and so on of this seal. Between each two seals a column was inserted. These seven columns could not be executed in plastic form; they had to be painted as a substitute. But they are definitely intended as real architectural forms and correspond to the “seven pillars” of the “true Rosicrucian temple”. (Of course, the arrangement in Munich does not quite correspond to that in the “Rosicrucian Temple of Initiation”, because there each such column is duplicated, so that when one walks from the back wall towards the front, one passes through fourteen columns, two of which are always facing each other. This is only a hint for those who know the true facts; for us, only a general idea of the meaning of this column secret should be awakened). The capitals of these columns represent the planetary development of our solar system. Our Earth is, after all, the fourth embodiment in a planetary developmental system, and in the ways it is configured it points to three future embodiments. (More exact details about this can be found in the articles in this journal headed 'From the Akasha Chronicle'. The seven successive embodiments of the Earth are referred to as the Saturn, Sun, Moon, Earth, Jupiter, Venus and Vulcan states. In the representations commonly used in esoteric studies, the Vulcan state is omitted as being too far in the future, and for reasons that would take us too far afield to discuss here, the Earth's development is divided into a Martian and a Mercury state. (These reasons can also be found in the essays on the “Akasha Chronicle”. These seven embodiments of the earth: Saturn, Sun, Moon, Mars, Mercury, Jupiter and Venus are now expressed in esotericism by seven column capitals. The inner life of each of these states of development is depicted in the forms of these capitals. Here, too, the intention is that one should not delve into the forms of the capitals intellectually, but entirely through the feelings, in a truly artistic experience and in the imagination. For every line, every curve, everything about these forms is such that when you immerse yourself in them, you awaken dormant powers in your soul; and these powers lead to ideas about the great mysteries of the world that underlie the cosmic and related human development of the earth. Anyone who might criticize the design of such columns should consider that the Corinthian and Ionic columns, for example, also emerged from the embodiment of the secrets of existence, and that such facts are only unknown to the materialistic way of thinking of our time. From the way the motives of world development are expressed in these column capitals, one can gauge how esotericism is to have a fruitful effect on art. The ancient columns, too, are born out of esotericism. And the architecture of the future will have to present to people what the esoteric worldview of Theosophy can give as a hint today.

In Munich, for example, an attempt has been made to sketch out an interior in the spirit of the Theosophical worldview; of course, only some of the relevant information could be provided, and even that only in general terms, and above all not in the precise order that would be most appropriate. But the aim was only to evoke a sense of what was important. The esoteric symbolism of the room in which we were meeting also included two columns at the front of the hall. What they signify can be seen from the description of the fourth seal, which also contains the two columns. They point to the mystery of blood and contain the “mystery of human development”. The color of the pillars is connected with the blood secret. One is red; the other is a deep blue-red. Esoteric science writes four deeply significant sayings on these two pillars. When the human soul immerses itself in these four sayings in meditation, then entire secrets of the world and of humanity well up from their depths. Many books would have to be written to exhaust the full meaning of these sayings, for not only is every word significant, but so is the symmetry of the words, the way they are distributed among the four sayings, the intensifications that lie within them, and much more, so that only long, patient devotion to the matter can exhaust what lies within. The four sayings of the “Pillar of Wisdom” in English are:

In pure thought you find
the self that can sustain itself. When you transform thought into image,
you experience creative wisdom. If you condense feeling into light,
you reveal the forming power. If you reify will into being,
you create in the world's being.

We tried to express the fundamental mood that we wanted to express in our “inner space” in the program book that was given to visitors. After the significance of the red color in esoteric symbolism has been discussed above, there is no need to say anything more about the red cover of this book. On this cover (in the upper left corner) there is a black cross entwined with red roses in a blue oval field; to the right of it are the letters: E. D. N. - J. C.M. - P. S. S. R. - These are the ten initial letters of the words by which true Rosicrucianism is summarized in a single sentence: “Ex deo nascimur, in Christo morimur, per spiritum sanctum reviviscimus.” The cross symbol, entwined with roses, expresses the meaning of Rosicrucianism in an esoteric way. In view of the relationship that our event has established with Rosicrucianism through such things, it seems necessary to point out serious misunderstandings that are brought to it. Here and there, people have tried to form an idea of Rosicrucianism based on historical tradition. Of those who have formed an opinion of it in this way, some at present look upon it with a certain benevolence; but most look upon it as charlatanry, enthusiasm or something of that kind, perhaps worse. It may readily be conceded that If Rosicrucianism were what it appears to be to those who know of it only from historical documents and traditions, it would certainly not be worthy of the attention of any rational man. But at the present time no one knows anything about true Rosicrucianism who has not approached it through the medium of occult science. Outside the circle of occult science there are no authentic records of it, for the name stands for the spiritual current mentioned here, which has set the tone in the Occident since the fourteenth century. Only now may we begin to communicate to the public some of the secrets of Rosicrucianism. In drawing from this source in Munich, we naturally did not want to present it as the only true source of the theosophical movement, but only as one of the paths by which spiritual knowledge can be sought. It cannot be said that we gave preferential treatment to this source, while the theosophical movement should take all forms of religion and paths to truth into equal consideration. But it can never be the task of the theosophical movement to study the diversity of religions as an end in itself; it must reach the unity of religions, their core, through their forms; and we did not want to show what Rosicrucianism is, but through Rosicrucianism we wanted to show the perspective to the one core of truth in all religions. And this is precisely the true mission of the Theosophical movement. In the program book one finds five drawings. They are the motifs of the first five of the seven capitals mentioned above, transposed into vignette form. In these five drawings, too, there is something of what is called “occult writing”. Those who immerse themselves in the line forms and figures with all their soul will inwardly perceive something of what are known as the important states for [the] realization of human development (Saturn, Sun, Moon, Mars and Mercury states).

This should describe the intentions of the conference organizers in preparing the framework within which the festivities were to take place. The venue for the event was the Tonhalle (Kaim-Säle), which seemed particularly suitable for this event.

The description of the proceedings of the congress must be preceded by the expression of the deepest satisfaction felt by all the participants at the presence of Mrs. Besant. The much-admired woman had just returned to Europe after spending two years in her field of activity in India; and Munich was the first place where the European members were able to greet her again and hear her powerful speech. The German committee of the Congress had invited Mrs. Besant to preside over the honorary committee; and so the esteemed leader gave the assembly its consecration and lent it the mood that her whole being communicates to all those around her and to whom the magic of her words reaches.

The visit to the congress was a thoroughly satisfying one. We had the great pleasure of welcoming many members of the other European sections, as well as those of the Indian section. The members of the German section were present in large numbers. The British section was officially represented by its General Secretary, Miss Spink; the French section by its General Secretary, Dr. Th. Pascal; the Dutch section by its General Secretary, Mr. Fricke; the Italian section by its General Secretary, Prof. Dr. Penzig; the Scandinavian section by its General Secretary, A. Knös; and the Hungarian section by its General Secretary, D. Nagy.

The opening of the congress took place on May 18 at 10 o'clock in the morning. It began with a musical introduction. Emanuel Nowotny played the Toccata in F major by Johann Sebastian Bach on the organ. - Thereupon the Secretary General of the German Section had to greet the participants on behalf of the German committee. He greeted Mrs. Besant and emphasized the importance of the fact that the Munich Congress was honored by her visit. After welcoming the representatives of the other sections and the German visitors, the speaker expressed words of love, appreciation and thanks for the founder-president H. S. Olcott, who died in February. The extensive mission of the Theosophical movement in the spiritual life of the present day was also pointed out in this opening address, and the necessity emphasized that the cultivation of spiritual life must form the basis of the Theosophical work. After that, the representatives of the European sections and the other fields of work spoke: from England (Mr. Wedgwood), from France (Dr. “Th. Pascal), from the Netherlands (Mr. Fricke), from Italy (Prof. Penzig), from Scandinavia (Mr. A. Knös ), Hungary (Mr. D. Nagy), Bohemia (Mr. Bedrnicek), Russia (Miss Kamensky, Mrs. Forsch, Miss N. v. Gernet), Bulgaria, Belgium (and others).

As at previous congresses, each speaker spoke in their national language.

Mrs. Besant then took the floor to greet the German section and emphasize the nature of the Theosophical movement, as well as to point out in a few forceful sentences the spiritual life and its fundamental importance for society.

The Saturday afternoon was devoted to lectures and talks by Mr. Alan Leo, Dr. Th. Pascal, Michael Bauer, Mr. James Wedgwood and Miss Kamensky. Mr. Alan Leo read his paper on “Astrology and Personal Fate”. The esoteric nature of astrology was discussed and free will was clearly explained in relation to predetermined fate, showing the way in which planetary forces influence human life. Dr. Th. Pascal presented the results of his long inner research in the theosophical field in a thoughtful essay. It was stimulating to follow the subtle arguments of intimate trains of thought. Michael Bauer spoke about the relationship between nature and man. This very meritorious leader of our Nuremberg branch showed in his warm-hearted and spirited way how the inner essence of nature and man's own inner being are interlinked in their depths. Mr. Wedgwood read his paper on “The Value of the Theosophical Society.” He explained how the study of occultism elevates man to an awareness of his higher destiny by giving him a knowledge of his place in the world process. It depends on the perspectives that occultism gives to the human soul. (No summary of the contents of the individual lectures and papers will be given here, as these will appear in detail in the “Congress Yearbook”. Miss Kamensky read her fascinating paper on “Theosophy in Russia” that same afternoon. Her brief but meaningful remarks showed how many Theosophical ideas are to be found in Russian literary and intellectual life. The work was a prime example of how to seek out those seeds in a nation's intellectual life that only require spiritual light in order to grow into Theosophy in the right way.

The first day of the conference ended with an evening of artistic performances. Johann Sebastian Bach's “Prelude and Fugue in B minor”, performed by Emanuel Nowotny on the organ, opened the evening. After that, Marie von Sivers recited the monologue from the beginning of the second part of Goethe's Faust, “Des Lebens Pulse schlagen frisch lebendig...”, as an example of a poem written for esoteric reasons. The two members, Ms. Alice von Sonklar and Ms. Toni Völker, performed Robert Schumann's “Pictures from the East” on the piano, which seem very suitable for promoting a mystical mood. Miss Gertrud Garmatter then sang two songs by Schubert, “An die Musik” and “Die schöne Müllerin”, in her charmingly sensitive way, and Miss Toni Völker concluded the evening with her beautiful artistic performance on the piano: “Pastorale and Capriccio” by Scarlatti.

On Sunday, May 19, the morning session was opened by the atmospheric Trio in E-flat major by Johannes Brahms (1st movement), played by Miss Johanna Fritsch (violin), Marika v. Gumppenberg (piano) and Mr. Tuckermann (French horn). Mrs. Besant then gave her momentous lecture: “The Place of Phenomena in the Theosophical Society”. She explained the role phenomena played in the early days of the Theosophical Society through H. P. Blavatsky, and how important they were in a time of doubt about higher worlds. She emphasized how the observation of phenomena related to higher worlds can never be dangerous if approached with the same spirit of research that is applied to observations in the physical world. She emphasized how little good it would do for the Theosophical Society if, for fear of the danger posed by psychic powers, it abandoned the pursuit of the goal of “studying those forces in the world and in man that are not accessible to sensory observation” to other societies.

It would be quite impossible to convey the manifold content of this lecture within the framework of a short report. Therefore, as with all earlier and later lectures of the congress, reference must be made to the “Yearbook” of the “Federation of European Sections”, which will appear following this lecture.

The second lecture of the morning was Dr. Rudolf Steiner's lecture on “The Initiation of the Rosicrucian”, in which the method of attaining knowledge of supersensible worlds in the sense of esotericism, which has set the tone in the West since the 14th century, is discussed and at the same time the necessity of these methods for the present period of human development is shown.

On Sunday afternoon (5 p.m.), Edouard Schuré's “Sacred Drama of Eleusis” was performed. The German organizers considered this performance to be an especially important part of the congress. It impressively demonstrated how theosophical ideas and sentiments can be expressed in true, high art. Edouard Schuré is the great French artist and writer who, through his works in so many directions, communicates the theosophical spirit to our contemporaries. Schuré's works “Les Grands Initiés” (“The Great Initiates”) and “Sanctuaires d'Orient” (“The Sanctuaries of the Orient”) are completely theosophical in the noblest sense of the word. And Schuré's theosophical way of looking at things is fully transformed into a vital creative power when he works as an artist. Within him lives that relationship between imagination and fantasy on which the basic secret of all high art is based. Edouard Schuré's truly mystical drama “The Children of Lucifer” is a shining example of how a world view striving towards the heights of knowledge can be fully realized in artistic form. Only a mind of this kind could have undertaken what Schuré did, to resurrect the “sacred drama” of Eleusis in the mind and eye of the modern man. This drama leads us to the door of that ancient time, where knowledge, religion and art still lived in one, where imagination was the faithful witness of truth and the sacred guide to piety; and where the reflection of imagination fell on this imagination in a transfiguring and revealing way. In Edouard Schur there lives a modern artistic soul, in which the light of that mysterious time shines, and so he was able to recreate what the priestly sages showed the audience in the “Drama at Eleusis” in Greece's distant past: the deep mystery of the world, which is reflected in the meaningful events of Eros' seduction of Persephone and her abduction by Pluto; of the pain of Demeter and the advice she to go to Eleusis, to seek advice from the “Goddess of Transformations”, Hekate; of Triptolem's initiation by Demeter as a priest in Eleusis; of Triptolem's daring journey into Pluto's realm to free Persephones; and of the emergence of a “new Dionysos”, who arises from Zeus' fire and the light of Demeter through the sacrifice of Triptolem. The congress organizers attempted to present the drama, which was inspired by Schuré, to the visitors in German. This was made possible by the dedicated work of a number of our members and by the beautiful, loving support of Bernhard Stavenhagen, who created a wonderful musical accompaniment to the Schuré drama. Stavenhagen preceded each of the four acts with a musical introduction that atmospherically prepared the audience for the dramatic action. With true congeniality, this important composer has immersed himself in the basic motifs of the mystery and rendered them musically. This musical performance was received with great enthusiasm by the participants of the congress. The willingness of the members of the German Section to work on this performance can be gauged from the fact that all the roles were played by members. Miss Fräulein v. Sivers played Demeter, Miss Sprengel played Persephone, Miss Garmatter played Eros, Mrs. v. Vacano played Hekate, Mr. Stahl played Pluto; we were delighted to have the collaboration of our member, the excellent actor Mr. Jürgas, who created an impressive figure in the role of Triptolemus; Baroness v. Gumppenberg, Dr. Peipers as Zeus, and Miss Wollisch as Dionysus. These are only the main roles; the choruses that are part of the plot were also composed of members. Special recognition must be given to our esteemed member, Mr. Linde, who took on the laborious task of creating the decorations.

The morning of Monday was introduced by the recitation of Goethe's poems “Song of the Spirits over the Waters” and “Prometheus”, by Richard Jürgas, whom the participants now got to know as an excellent reciter, just as they had been introduced to his acting skills the night before. Then the participants had the great joy of hearing the second lecture by Mrs. Besant, in which she spoke about the relationship of the Masters to the Theosophical Society. Drawing from her rich spiritual experience, she described the relationship of great individuals to spiritual progress and the way such individuals participate in the progress of the Theosophical Society. It is also impossible to give a brief overview of the wide-ranging content of this lecture in just a few words. Here too, we must refer you to the publication of the Yearbook. After this lecture, our member Frau Hempel delighted the participants with an excellent display of her vocal art. This was followed by a lecture by Dr. Carl Ungers, who spoke very interestingly about working methods in the theosophical branches and explained the relationship of the non-clairvoyant theosophist to the messages of the clairvoyants, showing how the writing “Theosophy” by Dr. Rudolf Steiner can provide a basis for shaping this relationship in the right way. Later that morning, Mrs. Elise Wolfram gave her lecture on the occult basis of the Siegfried saga. She showed subtly and vividly how the deeper spiritual development of Europe is expressed in the myth, how Germanic and even older mystery wisdom took shape in Siegfried. The lecturer's subtle interpretations were well suited to allowing the audience to enter into the mysterious life of part of the Nibelungen saga.

In the afternoon, Mrs. v. Gumppenberg read Mr. Arvid Knös's essay, “Absolute and Relative Truths”; then Dr. Rudolf Steiner gave his lecture, “Planetary Development and Human Development”. He described the development of the earth through three of its present forms, and then pointed to the connection between the development of the earth and that of man. He also showed how one could know something about the future of development.

The evening was again devoted to purely artistic performances. The Sonata in G minor by L. van Beethoven was performed by Chr. Döbereiner (cello) and Elfriede Schunk (piano). Afterwards, Gertrud Garmatter's excellent vocal performance could be heard again (two songs: “Weylas Gesang” by Hugo Wolf and “Frühlingslaube” by Franz Schubert). This was followed by solos for viola da gamba with piano, firstly “Adagio” by Handel and secondly “Aria con variazione” composed by A. Kühnel in 1695. Both pieces were performed by Chr. Döbereiner (viola da gamba) and Miss Elfriede Schunk (piano). A brilliant performance on the piano by the Italian member Mr. Kirby concluded the evening.

On Tuesday morning, the program began with: “Adagio from the Violin Concerto” by Max Bruch, op. 26, performed by Johanna Fritsch and Pauline Frieß. After that, Mr. Richard Jürgas recited some poems full of intimate feeling and mystical moods by our dear member Mia Holm. The rest of the morning was taken up with a free discussion on the topic: The necessity of cultivating occultism within society. Mr. Jules Ägoston from Budapest, Bernhard Hubo, Ludwig Deinhard, Dr. [Carl] Unger, Michael Bauer, D. Nagy, Mr. Wedgwood, Miss Severs and Mrs. Elise Wolfram took part in the discussion. The discussion was introduced by Jules Ägoston, who emphasized the necessity of maintaining the spiritualist experiment; following on from this, Bernhard Hubo developed a contrary point of view based on his many years of experience; Ludwig Deinhard discussed the necessity of acquainting theosophical circles with scientific experiments to penetrate the deeper foundations of the soul. It is impossible to report here on the rich and varied addresses of the above-mentioned speakers. Nor is it possible to do so with regard to the stimulating points of view that Mr. Nerei from Budapest gave in the afternoon during the discussion on “educational issues”. Following these points of view, Dr. Rudolf Steiner also spoke about education. — Mrs. Douglas-[Sheild] spoke about the relationship between “Theosophy and Christianity”.

The closing act of the congress took place on Tuesday at nine o'clock in the evening. It began with the spirited and heartfelt Adagio in D major by our dear member and head of the Stuttgart lodge I: Adolf Arenson, which was performed by Mr. Arenson himself (piano), Dr. Carl Unger (cello) and Johanna Fritsch (violin). This was followed by: “Tröstung” by Felix Mendelssohn-Bartholdy, performed by Hilde Stockmeyer, “Ave verum” by Mozart performed by Gertrud Garmatter, the recitation of a poem by Mrs. Ripper, solos for violin by J. S. Bach, by Johanna Fritsch and Pauline Frieß, and variations on the chorale “Sei gegrüßet, Jesu gütig>, for organ by J. S. Bach, by Emanuel Nowotny. The Congress then drew to a close with short closing addresses by the representatives of the individual sections: Mr. Wallace spoke for the British section, Mlle Aimée Blech (representing Dr. Pascal, who had to leave earlier due to his state of health) for the French section, Mr. Fricke for the Dutch section, and Prof. Dr. Penzig for the Italian section. Mrs. Besant then addressed some deeply moving words to the participants, and finally Dr. Rudolf Steiner gave the closing address, in which he thanked the participants, especially those from foreign sections, for coming, and also expressed his warmest thanks to all those whose dedicated work had made the congress possible.

And these thanks must be expressed to many, especially Miss Sophie Stinde, who, as secretary of the congress, has done tireless and important work; Countess Pauline Kalckreuth, who has worked tirelessly on all the preparatory work and tasks. We have these two to thank above all that we were able to pursue the intentions described above at all, and that we were able to achieve what has been achieved. Adolf Arenson took care of the musical part of the program. Our dear member Clara Rettich devoted herself selflessly to the task of painting the seven apocalyptic seals according to the occult instructions given to her; in the same way, Karl Stahl took on the task of painting the seven pillars in the perimeter of the hall. It is impossible to mention all the numerous workers individually by name. But it should not go unmentioned that dear members had set up a buffet in an adjoining room and did the necessary work, which greatly enhanced the convivial get-together, through which members were to come together.

Dr. Rudolf Steiner was authorized at his request, and indeed unanimously and out of the enthusiasm of the audience, to express the thanks of the congress to Monsieur Edouard Schure, the poet of the “Drama of Eleusis” and Bernhard Stavenhagen, the composer of the musical part.

The sculptures by our highly talented member, the sculptor Dr. Ernst Wagner, who strives for the highest artistic goals, were an excellent artistic presentation for the congress. The sculptures he provided for our exhibition were set up in the area around the main hall, and, for their inwardness, had an atmospheric background in the red wall of the hall. The following works of art were present: Portrait bust, Woman praying, Portrait bust, Relief for a sepulchral chapel, Bust, Sepulchral relief, King's child, Resolution, Sybille, Relief for a sepulchral niche, Portrait bust, Pain, Christ mask, Mask “Death”, Bronze statuette. Besides these works of art, only the interesting symbolic painting “The Great Babylon” by our member Mr. Haß, which was hung above the boardroom, and a carpet by Ms. Lehmann, which showed a fascinating utilization of mystical ideas in the applied arts, and finally a relief depicting Colonel Olcott by M. Gailland, and a sketch “H. P. Blavatsky” by Julia Wesw-Hoffmann.

The exhibition of a series of artworks and reproductions of such artworks that have a special connection to theosophical thought took place in the adjoining room. Here one could see: etchings by Hans Volkert; reproductions of two pictures by Moreau; reproductions of two pictures by Hermann Schmiechen; a statuette “The Master” by [Heyman]; a picture “Out of Deep Distress” by Stockmeyer; reproductions of various pictures by Watts; three reproductions of works by Lionardo; pictures by Kalckreuth the Elder, by Sophie Stinde (landscapes); by Haß (After the Storm, Fairy Tale. The King's Daughter, The Storm Cloud, Five Fir Tree Studies); a reproduction by the painter Knopf.

The next Federation Congress will take place in Budapest in 1909, two years hence, at the kind invitation of our Hungarian members.

The following events also took place after the congress: a public lecture by Mrs. Besant in Munich on “exertion and destiny” on 27 May; two public lectures by Dr. Rudolf Steiner in Munich on “Bible and Wisdom” on 23 and 24 May; and a “Course in Theosophy” based on the Rosicrucian method by Dr. Rudolf Steiner, which began on Wednesday, May 22 and included 14 lectures (lasting until June 8).

Photographs of the seals and pillars described above were provided by our member Mr. Kuhn, and will soon be available from Miss Marie von Sivers (Berlin W, Motzstraße 17).

It should be noted here that the first two yearbooks of the Federation (containing the communications, lectures and papers of the Amsterdam and London congresses) have been published. Those of the third (Paris) and fourth (Munich) congresses will follow shortly. The content of the books will be discussed in detail in the next issue of this journal; however, the importance of the books for every theosophist should be pointed out here, and their purchase is strongly recommended.

A group photograph of the Munich conference participants in the festival hall has been obtained by our member Otto Rietmann and can be obtained from Mr. Otto Rietmann (photographer in St. Gallen, Switzerland, Rorschacherstraße).