Architecture, Sculpture and Painting of the First Goetheanum

GA 288 — 5 April 1920, Dornach

IV. The Symbolism of the Building at Dornach II

I would like to start by talking about the principle of development, which I already hinted at yesterday. I said: If we follow the metamorphosis of forces within a developmental series, we first come from the simple into the complicated. So I want to draw a simple [it is drawn]; then a next more complicated one would perhaps be this; then we would come to a third, to a fourth, which would be like this (Fig. 105). Now we might have four stages of development of the same thing.

Now the next one could be somewhat more complicated than the previous form. We would then perhaps get this [fifth] form. But this would not come out, instead this other form will develop. What I have drawn with the thick line, that would then perhaps be visible on the outside. And if it were a real form in nature, one would then progress from this to this form. And yet it is only in the etheric that development continues in such a way that the more complicated forms, which I have indicated with the dots, emerge, while the physical, the externally visible, that which reveals itself again, perhaps simplifies itself again.

The next forms would then perhaps be such that the ethereal forms would be these [sixth]. But it is not this ethereal form that comes to the fore, but rather what remains visible on the outside is this [the thick line], which in turn is a simplification, an essential simplification, so that if you just consider physical development, you go from a stage of 1-2-3-4 in complication, then in simplification. This is also really the principle of development in nature.

For example, we can see how, let us say, the eyes of certain lower animal beings – considered physically and externally – are more complicated than the human eye. Certain lower animals have blood vessel-like organs, a “sword-shaped process” and a “fan” in their eyes. These are also disappearing, and the human eye is relatively simpler in its outward form, but the etheric body has a more complicated form. We can only grasp the principle of evolution correctly if we present it in this way. The principle of development is correctly captured in the evolution of the columns, capitals, architraves and bases that you were shown yesterday.

If you want to understand our building, you also have to bear in mind that the entire treatment is appropriately designed for the new architectural style in terms of character. It is the case, for example, that even the artistic treatment of the wall is different from the way walls were treated in earlier architectural styles: the wall was always conceived as the boundary of the space that one wanted to close off. Here at the Goetheanum, the wall is conceived in such a way that it actually overcomes itself. This is physically achieved in our windows. Our windows, in so far as they are the main windows of the auditorium, are etched out of single-colored glass panes. It is then the case that the artistic works are actually only created by the sunlight shining through. So the processing of the window panes is a preparation, and the whole impression is created by the interrelationship between what has been worked on the pane and the sunlight shining through. In the windows, in particular, what has otherwise been striven for in the entire building has been physically achieved, whether through the design of the columns, the carving on the walls, or the painting: the wall virtually dissolves. So that when you look at the wall, you don't have the feeling that the space is closed off, but that you have the feeling that you are being led out into the cosmos through the wall. With the windows, you must have this feeling physically, because you lead directly, I would say, to the effect of light on the outside, purely through the physical design of the panes; but with the other wall designs, this has also been attempted artistically.

This will give you an idea of how a new stylization of building forms has been striven for here, down to the last detail, how the formal language of our building is to be a new one, so to speak. It is understandable that philistinism cannot immediately comprehend this new design language, my dear friends. Now, it is important that we first show you some of what has been achieved with painting. First of all, I will show you the painting of the small dome, because I only have pictures of it here for now.

Let us look at what our revered friends actually saw. By visualizing this now in non-colored images, we must immediately point out that the essential thing about the painting of the small dome is not the motifs, but the bringing out of the motifs from the colors. There lies, I might say, the very beginning of what painting of the future will have to bring. Man will indeed have to understand more and more that in the details of nature, in essence, there is always something essential. For example, when you immerse yourself in a color, or in a color combination, it is not just this color combination that is present, but the color itself is something alive, something that works out of itself, and it is possible to educate oneself, for example, to live with the color blue. You will then get the feeling that the blue color gives you the impression of the designed, the moving, that which moves or is formed in space. So if you approach it in a creative way, you will get something that you draw out of the blue. The red or yellow gives you the impression that it wants to reveal itself, come towards you, talk to you. While the blue glides past you, the red gives you the impression that it comes towards you.

In this way, being with a color, but especially with many colors, can be invigorated. And all these things actually are in the work of nature. And only someone who educates himself in this immersion in the elements of nature can understand this. Therefore, it is somewhat striking when, let us say, in the current, indeed, in itself quite justified new striving for art, things come across that actually show that one has come out of imitating nature and, isn't it true, into something that one is actually striving for new artistic things in the inartistic. When we see that all manner of expressionist and futurist and so forth things are put together in any old way, or put together differently, what appears in nature in a certain way, then very often – not always, of course – there is something very unjustified in such a combination. For example, someone who forms a human eye cannot help but place the second eye in the right place if they do not merely see, but if they know how to live intimately with the creative forces of nature. This is because the eye is not something in itself, but only exists with the second eye. But one only comes to the inner essential creation of nature when one can live with the entities of nature, for example with colors.

And now, look, how could it not be possible to create from color itself? I just want to know when someone says: I am not interested in something created according to the model, but I am interested in applying the colors, I just want to know why then the form should not emerge from this pure application of the colors as the creature of the color. We have to get away from the model again. We have to get away from being tied to the naturalistic. Art has worked on that long enough. But we have to be able to develop an interest in seeing a light surface simply as a color spot and seeing a dark surface as a color spot. I would like to know how, when you simply have a light and a dark surface in an arrangement [it is drawn], how you could not feel a face turned in this direction, surrounded by hair growth here (Fig. 105).

Everything can be brought out of the color combination. Just as everything can be brought out of the treatment of the surface, of the treatment of the form in sculpture. In contrast to color, if painting wants to work with color, the line, the drawing, is actually an untruth. Because, you see, the horizon is not really and truly present as a line. That is not true at all. It is not a horizon line. What is real is the blue sky, and below it perhaps something shaped by nature, and that borders on each other. It is the contact of two colored surfaces. Whoever draws the line is lying. Whoever paints two colored surfaces, which of course must then have a border, is telling the truth. And it is with things like this that one begins to get used to the truth. Because we, wanting to be naturalistic, have lied so much artistically, that is why we also have the plight that so many lies are currently being told in the other world contexts.

Just think what, let us say, for example, the drama has achieved. Drama, at the end of the 19th century, in the culmination of materialism, began to be materialistic as well. There were people sitting in the auditorium watching dramatic performances of Arno Holz or Gerhart Hauptmann and so on, and now they didn't have something dramatic in the old Shakespearean, Schillerian or Goethean sense, where great series of events that are far apart are summarized, but a back house, a front house, or something like that, which was to be recreated in a very naturalistic way. The people should not talk about anything other than what is usually talked about in three hours. What kind of naturalism is that? It is the naturalism that, just like today's natural science, only takes into account the extra-human, which also, in the artistic, only takes into account the extra-human: can it be seen? If you wanted to be a model for a drama, you would have to remove the third wall so that everyone could see inside; then you could see what happens in three hours and recreate it from the stage.

These things are of course not taken into account at all in the age of naturalism, and one does not find the possibility of really placing the human being back into the whole natural and cosmic context. But this must also happen in art. It is understandable that art has long adhered to the model; but now the time has passed when art can adhere to the model. Art must grow together with the creative forces of nature and work out of the creative forces of nature. For what is the point of recreating nature in a naturalistic way? Whatever is created in a naturalistic way can never be achieved by nature. Every smallest achievement that is made out of something that is not there in the senses can be more significant than anything that appears to be so perfectly created in nature. If you want something realistic, you can say that you are sticking to nature itself. And in addition, in many areas naturalism was even somewhat extraordinarily frivolous. One thinks of Hauptmann's “Weavers”: the well-fed people sat down in the theater to overlook the whole series of scenes in Hauptmann's “Weavers”. This was called “social art”, bringing the misery of life into the theater, something frivolous, a frivolous cultural phenomenon. So we have to turn to the supersensible again. Today, people find it difficult to decide to enter the supersensible in art. But it will not become light in humanity if we do not decide on something like this in all areas.

Because the small cupola room is painted, the motifs are only the novellistic, not even the truly pictorial, artistic. But you have seen the thing itself, and so you might remember, especially in the pictures that I can show here, what you saw. It is perhaps even interesting to note how what is on the dome wall there cannot be reproduced if you only have the motif. But the motif itself, if you have it, must show that there is something incomplete about it. A motif that only appears in black and white is simply not satisfactory, because you have to be able to say what is missing. There must be something missing, because what is actually supposed to be depicted is areas of color, not black and white, and not lines, while what will appear to us is the novellistic element, the thought, which basically does not belong at all.

What you see here is what meets you from the small dome when you enter it. A child, emerging from the indeterminate material forms, flying towards the medieval figure, which has been captured by capturing a kind of Faust figure. It should be captured in a certain sense, the initiation of the Middle Ages. After humanity had gone through the most diverse forms of initiation, this initiation of the Middle Ages came about with all its tragedy.

It is indeed the case that, according to the spiritual conditions of this stage of human development, the human being cannot rise to an understanding of the living unless the realization of death stands beside it. To see through the connection between life and death is what leads, ultimately, from the Middle Ages to our own day, and through it to true knowledge.

In the next picture you see here that which lies further to the east: this medieval initiate himself, who comes to his realization out of reflection, out of turning away from the world. But precisely if we want to experience this turning away from the world, we must experience it by acquiring an understanding of the forces of death that are out there in the whole world. And these forces of death are intimately related to our powers of consciousness. The same thing that confronts us in the human skeleton, that, my dear friends, that is the external image of death, at the same time expresses in external physical form what lives in our nervous system when we experience the reflective consciousness of modern times.

The consciousness of the early Middle Ages and especially the ancient consciousness were such that they did not depend on the human being dying in every moment of their waking lives in order to think. But in return, human beings were filled with images and imaginations in their consciousness, even if they were atavistic. Intellectualism has only developed since the middle of the 15th century. It has developed because our head organs have assumed a formation that, when it takes hold of the whole person, continually leads to death. A battle between life and death is constantly taking place in the human being. The head wants to die. This is prevented by the life forces that continually surge up from the rest of the organization.

This dying of the head, to which we owe our intellectual consciousness, is what should also be expressed through all the colors and everything that has been brought out of the color in this form. This is the only place where the letter, the written word, appears within our entire structure, and rightly so, because it is only in this time that the I, the I-thought of humanity, has become so abstract that it can be pointed to with letters. The I-thought will only be able to be borne more and more by the fact that this I is indeed filled with the Christ. That is why medieval mysticism had the task of developing the Pauline word through a whole series of sermons and reflections such as those of Johannes Tauler and Meister Eckhart. It is fixed for all eternity within the medieval language, which developed in the German-speaking areas after the modern era, that the I: written out, the initials of Christ Jesus: ICH;

For the reasons I have just explained, you see Death beneath the Faust figure; this Death comes from forces that work from the center of the Earth towards us and combine only with the Mercury forces that work from the cosmos towards the Earth. The sight of the Faust-like figure with Death below him would be unbearable if the counter-image were not created in his perception, in the child flying towards Faust and the ego.

The next picture shows us the Greek personality as she lives under the initiation, a more feminine figure, since in fact the Greek initiation spoke more to the feminine. In general, in Greek high culture, the content of the initiation had to be gained by the initiate acquiring what female figures, who to a certain extent intervened in the flow that comes to man from the cosmos, what could be gained from such female figures: The Pythian priestesses in Greece are intimately connected with the whole structure of the Greek initiation. So that then such things appear as these heads, for example, which are worked purely from form.

This already invites us not to ask in the abstract sense: What does something like this mean? This question is an unartistic one when posed in abstract form. At this point, one must look at what color is there and how, according to the principle that I have just explained here, the shapes themselves emerge from the experience of the colors. Everything that belongs to this figure has actually come about in the end through the perception of the colors.

The next picture: you have a larger area to see here, here is the flying child seen earlier; here the small dome connects to the large dome; then this figure of the medieval initiator, and here is death. And here is the figure you just saw, above it the inspiring figure, an Apollo-like figure. Unfortunately, the picture is very imperfect. And at the top there is still the higher inspirer.

In these pictures, there is always what is initiated as a personality. Above it, there is the figure that sinks the imaginations into the personality to be initiated, and above it, there is the figure of a higher hierarchical order that sinks the inspirations into it. So here you have the inspiring figure, which is above the Faust-like figure.

The next picture is unfortunately very unclear. This is the inspiring figure that is above the Greek initiator. If you imagine the one you saw earlier, with the three heads on the shoulder, then this is the figure above it, the one who lets the imaginations flow into the lower figure, and above that the inspirer of the heads of the inspirer. Here is the head of the inspirer, and below that would be this Athena-like figure, who inspires and is inspired and imagined.

And here you have the two figures. The figure at the bottom is that which sends the imaginations down into the Egyptian initiates, and the other figure is that which allows the inspirations to flow into them. And as we move forward, we come to the representation of Egyptian initiation.

So the next picture is the Egyptian initiates; above him are the two figures that have just been seen here.

And so we come to the older Persian-Germanic initiation. This Persian-Germanic initiation is still effective in our time, but it has, as it were, something enclosed within it, the medieval initiation mentioned earlier, that is, the one characterized in the first figure. The medieval initiation is, as it were, shorter, and this one encompasses the whole long period. What matters in it is that the duality in the world - the bright, Luciferic, the dark, Ahrimanic - be seen through in its entire effect on the world. Here you have on the one hand the dark, Ahrimanic: the small head is in fact Ahriman, the other is his shadow, which he carries with him. On the other side: the Lucifer figure. You can see how this is developed in the sculptural group – you have all seen the group. So you can see how the contrast between the head of Ahriman and the head of Lucifer confronts you. And in the painting, one could also clearly express this mutual relationship between Ahriman and Lucifer.

If you see, for example, how the forward thrust of Lucifer's forehead virtually takes away Ahriman's foreheads, or how Ahriman's foreheads are hardened towards the back, then you see the interplay as it is the organizing force of nature. This then goes down. You see how a kind of centaur shape corresponds to Ahriman – a kind of centaur shape also corresponds to Lucifer – that they are connected to each other, want to be apart and cannot, complement each other in the colors, and below that the Persian-Germanic initiate, who carries the child floating on his hand, pointing out how the future and the hope for the future must be taken up in man by seeing through dualism.

The next image: Ahriman is alone with his shadow. The Ahrimanic is therefore everything in man that works in one direction in man. The human being is so essentially that man constantly strives to keep the balance between the Ahrimanic and the Luciferic in him. The Ahrimanic is everything in us that, if we take the matter spiritually, inwardly, strives in us for the sober, prosaic, materialistic, for the philistine, for the bourgeois, for the tantric. That is the Ahrimanic, that which hardens man, that which solidifies man within himself, which prevents him from opening up to the world, which makes him absorbed in his egoism. It is that which draws man to the earth, physiologically speaking, it is that which works in man and by which he would actually be continually exposed to the danger of succumbing to hardening, to sclerosis, to ossification, if it were not for the reciprocal, the Luciferic. He would be constantly in danger of becoming diabetic, for example, or of developing terrible gouty lumps. That is the Ahrimanic. Ahriman suffers greatly from constant gouty lumps, from constant rheumatism, etc. There are things that are physiologically connected with the soul-like philistinism, materialism, bourgeois conformity, and so on, as I characterized it earlier.

This is the Luciferian figure, the complete opposite image. It is the other side of man, that which continually causes man, in his soul, to stray into the mystical and the fantastic, continually causes him, as it were, to be a being that wants to get beyond the human head. All enthusiasm in man is that which is striven for by the forces that are, as such, Luciferian in man.

Now there are two ways in which these contradictions can be present in human nature: One is that man strives to achieve a kind of equilibrium, that is, to facilitate everything that strives within him towards the philistine, the bourgeois, by also developing imagination, by also being able to devote himself to the world, and by also understanding how to bring the artistic into the purely abstract. That is to say, it is possible for a person to achieve such a balance of these two opposing currents that the person becomes one through the two harmoniously blending into each other and becoming one. 81. Angelic Figure 82. Russian Culture 83. Centaur and Angel 84. East Cupola, view toward the southeast 85. Lucifer. 86. Ahriman 87. Middle motif, head of the Representative of Man

But the other is also possible, that the two extremes continue to work in man, so that man does not find a balance in which they flow into one another, but that the two things are active in him. For example, you can meet mystical enthusiasts who ascend to the highest theosophical, symbolic regions, always wanting to rise above their heads, but in ordinary life they are philistines. Loving everything philistine, pedantic, materialistic, tough and so on - yes, tough! - goes quite well with mystical enthusiasm in a person. This, so to speak, obscures the balance deep within the unconscious. There, what is actually a twofold nature comes out in dualism. So in some ways, these two sides can also be present in a person, revealing themselves. One is not a philistine just because one is a dreamer. One can very well be a philistine and a dreamer at the same time. Figure 13 (Fig. 80):

There you see the one who is inspired by the insights of the interaction of the dark and the light world, who must connect what is indicated by the child's hovering.

Here you see that which is already there in a certain way as an initiation principle, but which will only have its task in the future: the way in which the secrets of the upper world can be received in Slavic countries today, a kind of Russian figure that has its own shadow beside it, as so often the Russian invisibly carries its own shadow with it, always has its shadow beside it. What is inspired from above, we will then see more clearly. A centaur figure, something that is already humanly shaped or already superhumanly shaped. There is no need to decide this question, but rather to think in terms of form. In between, as a counter-image, the angelic form. Just as we have Ahriman and Lucifer in the present culture, the Germanic-Persian one, so here, where we go a little further, we have the human form, stuck in the animal, and a superhuman form as its opposite.

You see here above the figure still reminiscent of the animal, so to speak the animal transported into the world of the stars, the animal having become ethereal, which contains within itself the forces of initiation for this future time, when these forces on the other side – these forces, which are more of an Ahrimanic nature – are held in the balance by the superhuman, by the angelic, which approaches this figure from the other side.

Here you have the angelic form together with the animal form, but it is something that is ethereally animal and ethereally superhuman. It is the interaction of the mysteries that work in one form or another that will bring about the initiation for the coming age.

The next picture: Here you have once more, so that you can see more of it, the initiating and the initiated. Thus, an attempt has been made to put together in the dome that which leads to the knowledge of the supersensible from the most diverse human conditions - Egyptian, Greek, medieval, past, future - and from the most diverse temporal conditions. And all of this is worked out of color to such an extent that one can have the impression that the wall is destroying itself, destroying itself with something that actually has no end in the soul, that enters into the spiritual; so that the wall, through its artistic design, cancels itself out.

Here you see the Luciferian figure as it is in the central figure; here is Christ. You will remember that you saw it over there in the building: it is in particular red color, worked out of red and yellow. I wanted to distinguish it from the other colors; so that the whole – if one may say so – the Luciferian experience – is a red-yellow experience, from the burning, phosphorous color, from the hot color, everything that leads people to want to rise above their own heads.

Everything that is otherwise in the dome and in the building in general is as if synthesized in this eastern group, in this Christ-like figure in the center, Lucifer above it, Ahriman below it, which is then completed in the rock group below. The whole mystery of man is there as a mystery: Christ, Lucifer, man, Ahriman, and thus there is a continuation of the building idea, which was found in its various metamorphoses from ancient Greek, Gothic times to our own. The Greek temple, as a dwelling for a god, had only one meaning in that it enclosed the god. One cannot imagine its forms of construction other than as the dwelling of the god. The medieval Gothic cathedral only has a purpose if the community is in it, otherwise it is abandoned. Its walling indicates that it only has a purpose if the community is in it. Inside, there should be that which leads man to self-knowledge, which presents man to himself, what man is: a being that has to seek the Hypomochlion between the Luciferic and the Ahrimanic.

In the next picture, you can see below it the Ahrimanic, which is struck by the rays of fire emanating from the arm of the Representative of Humanity - the Christ Jesus. The Ahrimanic is also held fast by the forces of the earth. It is everything that pushes the human being towards the earth, the heaviness of the earth in the human being, just as the Luciferic is that through which the human being wants to move away from the world. The Ahrimanic: the inward brokenness, the inward heavy suffering. The Luciferic: that which leads the human being to stupefaction, to illusion, to hallucination. Here with Ahriman, everything bony, everything hardening. In Lucifer, everything feverish, pleurisy-like, etc., everything that, if developed one-sidedly by the human being, would cause the human being to burn inwardly through his joy and lust and greed and desire. The Ahrimanic: that which freezes within in pain and therefore endures infinite pain when the rays of fire come over its coldness.

The next picture: the head of the Representative of Man, as I believe it can be fully captured in spiritual science. The usual image that one has of Christ - it was actually only in the sixth century that the bearded Christ emerged - the history of Christ portraits is extremely interesting. The Christ portraits emerged from lively discussions about whether Christ was beautiful or ugly. Of course, these discussions took place at a time when there was no longer a living image of Christ. Then the urge to capture Christ in pictures arose at a time when people could no longer depict beauty in the old Greek sense. We have to try to see Christ spiritually. And as far as I believe I can advocate the matter, it is – precisely by transforming the whole into the spiritual, which can only be seen in what has been preserved in the Akasha Chronicle – the figure of the one who really walked in Palestine at the beginning of our era. But this should not be taken as if there were a portrait study, but it can be felt that the representative of humanity is also connected with history in this way. Everything must follow from the artistic intuition itself.

Now I still have a few figures in the next picture: you see the middle group here. Here the Russian initiation, above it the angel, the centaur; then this Golgotha Way, the threefold path, to Christ, to the two thieves or robbers. Here the Ahriman figure, struck by the rays of fire, then the Christ figure, above it Lucifer. Here again the other side: the angel, the centaur figure, thus the initiating one. Below that, in turn, would be the two initiators that belong together.

Here you see the five-part leaf that I mentioned yesterday. Then you see the Germanic-Persian initiation, the Luciferic-Ahrimanic one, and then the Egyptian initiation. But this is already very unclear in this picture. You can still see the Egyptian initiate. An attempt has been made to photograph the object in a variety of ways. It is of course true that photography can only give the motif in the most diverse ways, which is basically not what it is all about.

I would also like to mention that our building, the double-domed structure, is covered with Norwegian slate. Once, when I was on a lecture tour that took me from Kristiania to Bergen, I looked out of the window of the railway carriage and noticed the beautiful Voss slate from the Voss slate quarries. During that journey, I had the idea that it would be a good idea to use this Voss slate to cover our building – an idea that could then be realized. Those who look at the roofs of our building, as they shine, especially under certain effects of the sun in their grayish-blue, will see that this idea was indeed a justified one, to ship this Norwegian slate to the south just enough to cover this building. It does indeed reflect the sun's rays wonderfully, and the rays of light in turn.

Of course, I can only give a brief description of what was attempted in this building. If you combine what I have been able to discuss, because there are pictures, with what you will see in the future, along with many other things, in general and in detail, you will get an idea of how this building should become a hieroglyph, an immediate revelation in the forms and colors of that which lies in the entire anthroposophically oriented world view. It should be presented as a great hieroglyph to the present day. And something would really be done for our time and for the near future if this building could ever be completed. It has been started with a certain devotion to the cause, started at that time especially from those areas that are now confined to world life, that can no longer really contribute because they are completely impoverished in relation to the rest of the world. Events have brought it about that precisely these regions have become impoverished in the face of world events, which first gave rise to this idea of building, and it would actually be good if so much un-chauvinistic, pure humanity could arise in the world that this building could now really be completed on the part of those regions that have suffered less from the horrors of recent years. It should actually be completed.

However, if you look at everything that has been a motivating factor in the last five to six years, and if you see it continuing to have an effect on the winners and the defeated, if you see how nowhere does the realization dawn that a completely new situation must take hold, then there can be little hope that this edifice will ever be completed. But it is, my dear friends, a demand of the time, it is a demand of the future. It is something that should be understood quite differently than one has been inclined to understand it until now. And it would perhaps be the first sign of a manifestation of the will to heal the world if, let us say, an understanding were to awaken from the English, French, and American sides, precisely for the completion of this building. The first impulse came from Central Europe; the rest would have to come from those who were neutral in the last years or from those who were hostile to Central Europe, if there were real understanding.

But it really seems as if souls want to continue sleeping, as if most of them say to themselves: Oh, what's the point of getting involved in something new! Things will only turn out well if we go back to what was more or less the case until 1914. Many people long for that. My dear friends, that will never come back. And those who want that, and who are working to bring it about, those who cannot rise above the idea that something as new must come among us as the architectural styles of this building here are, they are working towards the downfall of humanity. Isn't it actually, I would say, heartbreaking in terms of the culture of humanity and its development, as Dr. Kolisko had to say here a few days ago, as he had to characterize, as it were, how at the turn of the 18th to the 19th century and well into the 19th century, the Goethe culture had emerged, and that this Goethe culture has completely dried up. It had already dried up in Germany by the 1880s.

Perhaps I may allow myself a subjective judgment in these matters, because I myself came to Weimar for the first time in 1889, then in 1890 to the Goethe-Schiller Archive. Yes, my dear friends, there we really were at the burial place of Goetheanism, at the real burial place of Goetheanism. And in that, there was no difference between the various nations of the world. There the German scholar, by cutting syllables, recalled Faust, together with Calvin Thomas, the American scholar, who cut syllables in the same way. People from all over the world worked there. Science had come to the point where it was far away, where it was concerned with Goethe. Truly, everywhere a cutting up of the living Goethean being, terrible, terrible!

In Austria, however, which already carried the seed of destruction within itself, which, through its state-political system, carried the seeds of destruction within itself, there were still a few isolated developers of Goetheanism, as Dr. Kolisko characterized it here in these days. Then, what once existed was finished, covered up! It is up to humanity itself whether the same fate that befell Goetheanism befalls all of European culture and its American offspring. It is hard to believe, but the question for humanity today is: Do you want something new and thus save the white race from barbarism, or do you want the same fate for the entire culture of the white race as for Goetheanism? And rising above this barbarism of the white race, what will the non-white races, namely the Negroes and similar races, bring about what is now the civilized world?¹ The question today is: How many people are able to face this problem? How many people feel how serious it is today that it is a matter of the existence or non-existence of contemporary civilization?

This building was intended to be nothing less than a living expression of this. It is the continuation of what European culture has achieved, and this continuation should live, not die! But this building does not appeal to an indeterminate fate, to which one might comfortably surrender, but rather appeals to something actively alive. If people want to save European civilization without this active life, without this impulse for salvation, without this will, without this act of freedom, then this culture will not be saved, and will meet the same fate as Goetheanism in Central Europe. Then one might establish large archives and do philology in these large archives about what once was in Europe. But we should not let it come to archives alone; we should let it come to living buildings, both physical and spiritual, which already announce their liveliness through their forms. I would like that to be read from these forms. Because this name, Goetheanum, was longed for by someone, my dear friends, as the final name for this building here, which has already experienced the difference between a mausoleum of Goetheanism and what could be a living organism for the Goethean spirit, but in its further development, now for 1920, in fifty years for 1970, etc.

That is what I wanted to say to you today, following the description of the building.