# A New Experience of Christ

## GA 69c — 11 March 1913, Munich

### XII. Raphael in the Light of Spiritual Science

Dear attendees! The theme of this evening's lecture was not chosen with the intention of linking the observations of spiritual science to a well-known historical phenomenon – as it is done in many other fields – and thus to have the opportunity to speak about spiritual science with regard to a well-known phenomenon. Rather, this theme has arisen from the fact that, in the light of spiritual observation of our time, certain aspects of the artistic phenomenon of Raphael can indeed present themselves to the modern spiritual researcher, and these aspects virtually demand a spiritual-scientific way of looking at things, especially in the case of this subject. This can happen to you, as it has to me, when you observe a phenomenon such as that which can be observed in the literary and artistic activity of Herman Grimm. Herman Grimm, the brilliant art historian, is known to have written a “Life of Michelangelo,” which, however much it may be outdated in details today, makes a great impression on every receptive soul through the breadth of its points of view and the coherence of its approach.

Herman Grimm then also made an attempt – he himself characterizes it only as an attempt – to write a 'Life of Raphael'. With this 'Life of Raphael', Herman Grimm has now experienced something quite peculiar, and what happened to him, so to speak, will be able to make a great impression on those who, through an ever-deepening immersion in Herman Grimm's way of presenting and looking at things, recognizes that, despite some justified criticism that can be made of him, he has precisely what one can call a sense of shared experience with his observed subject in all its particulars, a struggle to gain the insights and opinions to which he advances. Well, he made the attempt – in the 1860s – to write about the life of Raphael; and at the end of his life, he admits that the attempt was not enough for him and that he repeatedly started to approach this task in a different way. We have an interesting fragment from Grimm's estate, “Raphael as a World Power,” in which he once again approached this task shortly before his death and in which he confesses that nothing he has written before can satisfy him. He died while working on the final version of his views on Raphael. But it is still interesting to observe how such an important mind repeatedly approaches this task, how he undertakes the matter again in the twilight of his life and how he struggles to understand Raphael. You can see that from the fragment.

His struggle to understand Raphael is particularly interesting, because he describes the world-famous painting 'The Marriage of the Virgin', which is in Milan, in an attempt to understand it. He needs a significant, longer introduction, and this longer introduction is actually a piece of world history. It is a reflection on the nature and essence of Roman culture, a reflection on the impact of the Christ impulse on this Roman culture, a reflection on the further development of this Christ impulse within European spiritual culture, and then follows a further reflection on the renewed impact of Greek culture on the Roman spiritual culture of Raphael's time. And in this, Herman Grimm maintains that it is necessary to consider all this in order to understand this painting by Raphael, 'The Marriage of the Virgin', because what is expressed in this painting appears to him so comprehensive, so arising out of the entire development of the human spirit, so that everything that has been felt, thought and seen within the European spiritual life since the impact of the Christ impulse until the creation of this picture appears to him as mysteriously embedded in Raphael's creation. The title of this Raphael fragment, as given by Herman Grimm, was also derived from feelings that arise from such an opinion. It means – one might be tempted to find it strange – “Raphael as world power”, because Herman Grimm actually feels inclined to place Raphael in all the causes, effects, and connections of all modern spiritual life in order to understand him. Anyone who has an intuitive sense of how certain all-embracing ideas arise in a human soul when contemplating any object or any entity will be able to understand what took place in Herman Grimm's soul when he wrote the words in this, his last Raphael fragment:

> Raphael is a citizen of world history. Like one of the four rivers, he is, who, according to the beliefs of the ancient world, came from paradise.

There may be many scholarly discussions about the significance of Raphael, but one would like to say: Compared to all of them, it seems to be something tremendously significant that a contemplative human soul has been moved to make such statements about this spirit.

If you let something like this sink in, so to speak purely from the intellectual life of our time, which in Herman Grimm is not yet strongly influenced by what we today call [in our circles] spiritual science, you have to recognize the urge to a deeper contemplation of Raphael – the urge to look at him in such a way that what he has created for the intellectual eye grows out of the continuous stream of human development. And indeed, to anyone who delves into Raphael's soul with an open mind, it appears – especially in view of a certain kind of isolation from everything around him – as a kind of revelation, because, try as one might, one cannot succeed in immediately in the environment in which Raphael lived, as reasons for explaining how it comes about that this extraordinary phenomenon enters into the spiritual path of humanity and presents to humanity precisely that which has had such a profound and powerful effect on the individual devoted spirits. I would like to note from the outset that, naturally, it is not possible to go into details in the course of this lecture, because individual pictures can only be fruitfully discussed if one is able to show reproductions. [Rather, the aim is to use such presuppositions, as they have just been given and which arise from our present spiritual life, to lead in a very natural way to a consideration of Raphael from the point of view of spiritual science.]

In a sense, Raphael seems comprehensible to us only if we take him as a very young child, somehow out of his environment. He was born, as is well known, in Urbino in 1483. The first impressions of his soul come from the palace building of Urbino, which was an extraordinary event for that time and through which the soul of the very young Raphael was able to absorb what was expressed not only in architectural forms, but also in all artistic decoration and the work associated with this palace building. These were impressions that can be said to be capable of shaping the soul through themselves. But then we see Raphael transferred to Perugia, and when we look at life in Perugia at the time when Raphael was an apprentice painter there, the peculiar, isolated nature of Raphael's soul immediately becomes apparent to us. We see, when we follow life in Perugia, how it is filled with events that are in part repulsive to our modern consciousness. Strife between the individual classes rages among the passionate people of Perugia, and there is no doubt that Raphael was able to see there what was taking place in the way of stirring hatred and antagonism in human nature.

If we start from there and take a look at what Raphael's art gave in its serenity, which already meets us in the “Marriage of the Virgin”, created in the twenty-first year of his life, then we find that it is justified to say: this Raphael appears to us as a personality as if he were only externally present in this whole life of touched it with the hem of his garment, and actually only looked at it in reference to something which I would not describe in the abstract, but rather in the concrete, by directing the thoughts to a historian of the time, who quite vividly describes a scene that took place in Perugia in the nineties of the fifteenth century. There we really become witnesses, through the vividness of the description, of how the leader of an exiled family from the neighborhood invades Perugia; we are told how this leader of an exiled family, Astorre Baglione, enters the city on horseback and acts like a Saint George, but at the same time slaughters everything that comes his way. We feel from the description of the chronicler Matarazzo how something grand, powerful, but uncomfortably cruel lay in the scene. When we let Raphael's painting, “Saint George,” take effect on us in its entire composition, it seems as if Raphael had known this scene from reality, but as if all of the cruel background of reality had not existed for his eyes, as if he had lifted the flower from this cruel background and elevated it to a creation of pure spiritual beauty and greatness. It is precisely in the way in which it enters into the whole way of creating Raphael, the way in which it flows into his soul, that one sees how peculiarly isolated this soul is from its surroundings, and how these surroundings only touch it, but how he can only produce what he takes from them from his own soul. Thus this soul appears [to the observer] as a revelation, as something that is placed in this environment and cannot be explained from within it. When we take a look at the pictures of Raphael's teacher in Perugia, the Perugino, we see how, despite the greatness of the Perugino, these pictures show us that something is being presented to us in the individual holy persons of the Christian view that is a reproduction of what a person can absorb when Christianity lives all around him. We see the individual figures of Christian legend juxtaposed as only someone who, though a great painter, only knows things from the outside can do. As these paintings appear to us, we feel the path from Christian tradition, from what was alive in the Christianity of the time, to Perugino's canvas everywhere. Then we follow the creations of his student Raphael. There the matter appears different to us: we look at a soul that brings everything that the other, Perugino, presents to life from within. Everywhere we see Raphael's soul itself, a spirit that has not absorbed Christianity as it lived in its environment at the time, but we see a spirit to which all the origins of Christian impulses are linked. It is perhaps no exaggeration to use the following expression: it is as if Christianity itself conjured up its soul on a canvas painted by Raphael.

And then we follow him further as he arrives in Florence in 1504 and in Rome in 1508. In Florence, he arrives at a time when the momentous wave of spiritual renewal, I might say, had just passed over Florence, which is linked to the name of Savonarola. We encounter an atmosphere that is tired of [these struggles] - the drama of Savonarola has taken place, and many of its repercussions are still present. It is interesting to juxtapose these two figures: Savonarola and Raphael. Both present the impulses of Christianity to their contemporaries [in their own way]; they present them in such a way that we perceive the fire of an inner enthusiasm everywhere, but [in Savonarola's case] also an enormous fanaticism that leads to the impossibility of living out the impulses in the face of one's contemporaries. When we look at Savonarola, it is as if a person were standing before us who, in all phases of his soul, in the best that his soul can feel and sense, was seized by the greatness and power of Christianity, a person who now radiates what has had a very elementary and direct effect on his soul, and who then stands up for what has become so great in his soul itself. And now to Raphael: He presents himself in very strange contrast to a figure like Savonarola. We see, when we look at Raphael's paintings, that Christian impulses are expressed in a, one might say, superhuman greatness. We see these Christian impulses brought to soulful life in many details. We really see Christianity shining through in these paintings. But at the same time, we feel and sense that a soul that had only just been directly touched by the Christianity in the world around it could not have attained the same calmness, naturalness, and serenity as Raphael's soul.

While with Savonarola one has the feeling everywhere that his soul is only appropriating the greatness of Christianity during his lifetime, with Raphael one has the feeling that his soul is already born as if it were entering the world with the — with such impulses that, by passing from early childhood into the whole human being, take hold of the whole human being and, through this development, can reach heights that these ideas and forms never reach in a human being when they first appear in an elementary, direct way. And if we are not pedantic, if we have a certain feeling for the real life of a human soul, we will no longer be able to doubt that a soul like Raphael's soul, as a soul, as a spiritual being, brings with it from the supersensible worlds from the outset everything that could never live itself out if it had to first flow through the whole of personal education and development. Of course, such things cannot be proven in one evening; the supersensible truths cannot be proven - as I discussed the day before yesterday - in the same way as the external truths of natural science; but they can be proven nonetheless, because they show themselves in their effects. One must first find the way to recognize from the effects what is present as the cause behind them. Then we follow Raphael back to Rome, where he encounters an atmosphere that is strangely related to Christianity. Pope Julius II becomes his patron. Raphael paints the greatest pictures on his behalf, which many people believe are among the greatest pictures in human painting; they capture the human soul and spirit in the very depths. And he paints them in such a way that the entire spirit of Christianity lives in them, and lives in them in a completely natural way. He paints – it could not be any different – to the satisfaction of the Pope. But what kind of Pope was this Julius? He was a Pope who, according to today's somewhat different concepts, perhaps cannot really be called a Christian at all. Machiavelli, who was not particularly moral, said that he was a devilish character, a man who was primarily concerned with power and external position – with fame, perhaps not for himself personally, but for the greatness and power of the church. He was a personality who was not choosy about the means he used to achieve his ends, who was not at all Christian when it came to acquiring power, fame and greatness. That is Raphael's patron. And in other respects, too, if we consider the Rome of Raphael's time, it stands in quite a remarkable contrast to him. But it is precisely from this contrast that something as powerful as what is presented to our eyes even today in the two pictures “The School of Athens” and “Disputa” arises, even though these pictures have often been painted over. In them, a magnificent pictorial representation of the course of human development presents itself to us, a pictorial representation that is steeped in the spirit of Christian impulses.

If we look at the one painting, the so-called “School of Athens” – it is not my view that this designation is justified, but it is the easiest way to communicate – and let it take effect on us, we see, perhaps without being fully lived in Raphael's consciousness, that it represents what the human soul can recognize when it turns its gaze to the external, sensual reality and makes use of the intellect that is tied to the human brain, to the human personality. This is presented to us in a wonderful way in all its details. If we turn our gaze to the right group in the picture, we see how all kinds of things are determined and calculated astronomically, and then we feel: not only the usual calculations are being done, but great events in world history are being deduced from the movement of the stars – science is being unfolded in a cosmic sense. And if we then turn our gaze to the left, we see in the expressions of [the figures] connecting the right with the left, how what is read on the right from the star constellations is written down on the left, and if we could really get the books in front of our eyes, we could see how the secrets of the world are written on the left, which are then determined by sensory observation [on the right]. We see this, but Raphael need not have been aware of it; the tradition of the time lay in this, as in the deep mystery that constitutes the essence of [the rise of Christianity over Greece]. And whether we take the view of those who see Plato and Aristotle in the central figures, or whether we see an evangelist on the left-hand side, in both cases what is being discussed is perfectly understandable.

Then we turn to the other side of the “Camera della Segnatura” and find that magic has been poured over the whole picture, illustrating how the development has progressed from the contemplation of the sensual world by the human spirit to a deepening into the supernatural, the invisible. This immersion of the human soul in the supernatural reigns and weaves in the picture of the so-called “Disputa”. The symbolic arrangement of the stars, in connection with the scenes below, must show that something significant has happened in the course of human development, in that man has become inwardly focused through the impact of the Christian impulse on the spiritual development of humanity, which on the one hand signifies a deepening of the human soul, and on the other hand, through this inward deepening, leads to the realization, to the intuition of supersensible worlds. These can only be reached when the human soul educates itself and thereby acquires those powers through which it can sense or see the worlds that lie behind the [sensory] worlds.

It is not my intention to explain such images pedantically, for example by means of theories, but one must use words that are not just comments on images, but that are intended to suggest what one feels naturally. Otherwise, it could be as unappealing as the comments in travel guides, and one would not be interested at all in what the individual figures mean, but what is interesting is ] the artistic, the sensation that moves through the soul, and we are not placed directly on the horizon of human spiritual development by abstract reflection, not by abstract reason, but by sensation. We feel the impulse that lives and moves through the history of human development. And again, If we now disregard these images and look into Raphael's soul, we have to say that she lived in the midst of an environment that showed nothing of the intimacy and soulfulness that lies in these images, and [despite this] Raphael managed to conjure up the innermost impulses and the innermost forces of Christianity in the course of world history into these images.

This is the case with many of the other works we see, and if we then go on to what can still make the deepest impression on the viewer today, when we go on to that which is the culmination of Raphael's to the “Sistine Madonna”, if one lets this remarkable picture in Dresden take effect on oneself, then one comes to a very special understanding of this so self-evident Raphael soul, then one comes to the active spiritual Christ impulse. If, on the other hand, one stands purely intuitively before this “Sistine Madonna”, then one has the impression that something lifts one above the ordinary human. That is the first impression, but it is one that becomes ever stronger and more powerful; it lifts one up above ordinary human feeling. One becomes a participant in another world through one's soul, and if one then asks oneself, “Why is that so?” perhaps it is best to let the feelings of spiritual science enlighten one. How can these feelings of spiritual science arise?

Let us turn our gaze away from the point of view of spiritual science and look at the whole development of humanity. This puts us on the ground of a serious, comprehensive theory of development, but one that is very different from the materialistic one, which is today considered by so many to be an absolute gospel. This theory does follow phenomena back to a certain origin - tracing them back to these origins is justified for sensory perception. One arrives at material origins that show very simple forms and that, through slow perfection and development, have resulted in today's point of view. This theory of evolution is particularly proud of the fact that it understands man as a being that gradually rises from other beginnings of primitive living beings, to his present size, as he appears to us today as a physical human being. Some materialists see this as the very essence of the human being. Spiritual science also takes us back into the past, but when we turn our spiritual gaze back using methods described the day before yesterday, we do not arrive at other material life forms from which humans are thought to have developed, but we ultimately arrive at a spiritual beginning of development. We arrive at origins that are purely spiritual. And on the one hand we see matter itself emerging from the spirit, and on the other hand we see the spiritual developing into later spiritual forms in accordance with its original spiritual purpose.

If we look at the human being himself, at the whole human being, at the spiritual and soul aspects within the human being, and trace the development back, we come to an ancient and distant past in which the human being already appears; he is already present before the other beings that surround him today in the three kingdoms of nature have come into being. These prove to be a kind of descending side currents, so to speak, flowing away from the great line of development: man is the original, he is there first, but as a spiritual being, and as he develops further, he repels the other kingdoms of nature from his undercurrent, as it were. We can choose an image for this development. Let us assume that we have a liquid in a glass, mixed with something that can maintain itself purely. The finer part of the liquid remains at the top, the coarser part settles at the bottom. So we have the fine part at the top and the solid part at the bottom.

In spiritual science, we return to the origin in which man exists as a spiritual-soul being; he develops in his spiritual life into purer forms, which lie precisely in his later mission and which [compared to] the original form signify a finer development of his soul nature. In order for this abstract soul to emerge purely, he must separate the other natural kingdoms: These are there, as it were, to provide the basis for man's higher development. If we allow this thought to take effect in us, not in its conceptual form but as a feeling, if we transform it into feeling, then, when we turn our gaze to all that surrounds us in the physical realm of nature, we have the present us; but if we turn our gaze to what emerges from the human soul, we perceive something that we cannot understand - if we merely let our gaze wander over the external earthly nature and do not direct it upwards to something supermundane. We feel that the present humanity could only come into being within its earthly mission because it is the result of something that comes to us from other spheres, which is a higher humanity that has, as it were, descended to fill the earth with the present nature kingdoms. We feel that human nature tells us of its origin in spiritual heights. We feel how humanity is elevated when we, in our feelings, rise to what spiritual science can speak of.

If you disregard all theory and now stir within yourself the feeling that can arise when we sense the human being in his supersensible approach to his sensual mission, then we have - one must compare the feelings - the same feeling as when we visualize Raphael's “Madonna Sixtina”, in which we also encounter the image of Isis with Horus. And anyone who can really get into the unearthly origin of man can have similar feelings when he sees the “Sistine Madonna” floating in from the etheric spheres with the child Jesus, the exalted humanity, and when he can see the clouds as the foundation, the etheric foundation from which comes that which is the true, spiritual, supermaterial origin of man. It must be said, however, that such considerations need not have been present in Raphael's soul, but we have repeatedly emphasized that this human soul had a twofold nature, that something was going on in the upper regions of consciousness that the [lower] human did not need to know about, but which was no less real; and the impulses, the impulses of feeling and emotion, which worked as just described, alone make it possible to understand how precisely this image could have arisen from Raphael's soul.

I have tried to make all these observations for the reason that I would like to make understandable what appears to me to be in harmony with spiritual science in Raphael: we have before us in his soul, isolated from its surroundings, something that is predetermined from the outset, that is called to realize the spiritual impulses in their Christian nuances in a pictorial way. In the “Sistine Madonna,” Raphael rises in a certain way to a super-Christian point of view, to the point of view that goes beyond the historical, beyond the traditional Christian, in that he feels and artistically represents the spiritual-cosmic origin of the human being. Seen in this light, the soul of Raphael does not allow itself to be equated with that of another soul, such as that of Savonarola.

With Savonarola, we can show, so to speak, at every point in his development, how he connects with Christian ideas, how everything becomes and gushes forth; with Raphael, it seems self-evident that the Christian view is already given to him at his birth. We feel that the Christian impulses are connected with Raphael, but we do not feel anything else: we do not feel that which is connected with the soul of Raphael and which it particularly needed from its surroundings, and that was Greek culture. This Greek element is embedded in the spiritual development of humanity in a very special way. I have often pointed out that we spiritual scientists have to look at human development in such a way that, as we go further and further back into ancient times, we find human souls with different states of consciousness than they have today; everything is in development – the human soul especially! and when spiritual science is recognized in its true value, people will see how one-sided it is to look at evolution in a purely materialistic way, going back to human forms in which the soul would develop its consciousness in a more animal state. If you go back in spiritual science, you will find a completely different state of development, and today you may already be able to find truth in what spiritual research has to say about older states of the human soul from older spiritual products, myths and legends.

We are coming to understand that in primeval times, human souls were endowed with an original clairvoyance, a dream-like clairvoyance. What we today call our clear sensory perception, our sharply defined intellectual concepts, our self-awareness, was not present in the human soul in primeval times. For this to come about, the original clairvoyance had to fade away, to be subdued. This state cannot be compared to ordinary dreaming today, but rather to a dream-like life, which is organized in images in the manner of dream images, but which are nevertheless images of spiritual realities. In primeval times, the human soul was endowed with such a dream-like clairvoyance. This clairvoyance diminished, and now we stand in development where the old clairvoyance had to fade away in order to develop self-awareness and sharply contoured concepts of the mind.

When something is to develop to perfection, other things must recede. This law of balance governs all of nature, so that when we ascend to full self-awareness – in the distant future, humanity will once again associate a certain clairvoyance with it – we have, as it were, a descending line of human development from the original clairvoyance and now an ascent of sorts through [the development of] self-awareness, intellectual concepts and external scientific observation to clairvoyance. And what do we feel in the middle? We feel the Greek element – this Greek element, which is so remarkable precisely because on the one hand it signifies the conclusion of the ancient dream-like consciousness of clairvoyance and on the other hand the beginning of the consciousness of external objects. Therefore, we see this Greekness with its very special characteristics, which consist in the fact that the Greek experienced the spiritual much more directly, but not in the way that man in prehistoric times experienced it, seeing it, so to speak, externally, but in the way that the Greek felt his own personality interwoven with all external existence. He still felt himself in the cosmos, standing inside the outer world, and felt the laws that weave and live through the outer world in his own being.

It may seem hypothetical, but anyone who engages in spiritual science will find what I am saying to be true: when the Greeks created their sculptures, which have only come down to us in an imperfect form, they did not need models in our sense. When they depicted anything, especially the human form, they did not depict it in imitation of the external model, but from inner consciousness. He knew what forces are at work in space, and his consciousness of these forces was formed in such a way that he had an awareness of the inner forces from the form of space. And so he imprinted what he saw inwardly in the external material as a form from the inside out. Just as prehistoric man felt that images of space arose and was so connected in his soul to the entire cosmos that these images reflected reality, so the Greek was connected to the laws of the world, which he felt permeated the body. He created what he experienced, and in turn he created this in a sculptural work. If he wanted to depict Zeus, then he knew how Zeus's physiognomy was connected to those experiences that express themselves in external forms. He created what he experienced inwardly in the external material. We can look at Greek culture in this way; it is still a worldview in which a feeling is bound to an immediate human consciousness.

It is difficult to imagine a greater contrast than that between the genuine Greek and his relationship to nature and to the whole of existence, and a personality who, in essence, is separated from the impact of the Christ Impulse on humanity by only three or four hundred years, a personality such as, say, St. Augustine. Read any work by this Father of the Christian Church, who was also a great philosopher, and try to compare what Augustine gives through his innermost experience of the soul, through his inner feeling for the nature of the human soul, with everything that was given in Greece, be it philosophically or poetically. In the Greek spirit, we feel how it cannot detach itself from the external, how it is one with the external world, perceiving the course of the external world flowing into itself and experiencing itself as belonging to the external world. In Augustine, we see the gaze directed inward to the inner, soul world. This makes this inner creation appear in a form that is unthinkable for any creation of ancient Greece. It could not internalize itself because its greatness was still connected with the consciousness of the outside world. It was an enormous impact on the whole spiritual development of mankind, and one does not need to be on the ground of positive Christianity to see this enormous impact. One could even go so far as to say, paradoxically, that even someone who had never heard of Christ, when considering the Greeks and Augustine in their peculiarity, would have to say to themselves: something has happened in the ongoing development that has turned the external into the internal; and this internalization is the fundamental impulse of Christianity, growing out of the external and growing into the internal.

If we look at it this way and then look back at Raphael, we can say: What appears to be the basic nerve of Christianity lives in Raphael's soul as this soul passes into existence through birth. We see this in its development, if you approach the work without prejudice and do not want to read everything into this Raphael soul with a materialistic-historical sense. If we look at it impartially, it appears as if it has already brought with it, through birth, the Christian impulses that we have to describe as its very own. But now Raphael is born at that turning point of the whole spiritual development of mankind, placed in that time when that which was memory was to be reborn, reborn in a certain outer sense. And here we see a great law of development that can only be penetrated with the help of spiritual science. Usually, we imagine development as a simple succession of cause and effect. But things do not happen that way, because a close examination shows us that such a linear development is a fantasy. The real development proceeds in such a way that a certain current progresses from one point to another, and when it has arrived at a certain point, an old one is taken up again. The later connects with the earlier, which has not passed through a developmental current, but has been preserved in its original form. We have a falling back upon and a taking up of something that has remained at an original stage and that connects with something later.

Thus, in Raphael's work, we see that what, in his time, seemed to be a character of mere inwardness has once again become an external revelation. Just imagine how St. Francis of Assisi is depicted in the works of Giotto. We see how, even in painting, everything remains inward; it does not transition into form and color. We must go back to the inner event everywhere, and when we transition to the inner event in Giotto's work, the outer representation is the less interesting part. This is not the case with Raphael. Here, we never feel the need to look beyond what he reveals to us directly, beyond what is there, what stands before us in color and form; rather, in Raphael's work, everything interior has flowed into the exterior. For this, Raphael's soul, though born with the internalized impulse of Christianity, needed the assimilation of Greek culture. In Raphael, we now see how this earlier state of development is being revisited, even though it was fundamentally new to him. It is remarkable how, on the one hand, this Greek style rested in the bosom of the earth until Raphael's time, so that Raphael's contemporaries were the first to see again what came to the surface at that time [through the excavations], and how, on the other hand, Greek style was awakened again in Raphael, only now transformed into the inward, which had created Greek style in the external sculptural form. What the Greeks had achieved in the form of sculpture was not immediately suitable for Raphael; but what was incumbent on him was to bring the inner life to external expression. To do this, painting, which, unlike sculpture, can make the inner into the outer, had to adopt Greek forms again. It adopted them in particular from Raphael. It is well known to me that one could list many other names, but nowhere else does this phenomenon occur as characteristically as in Raphael. Thus, in Raphael, we see how he acquires Greek influence through the Christian impulse. If we consider his soul from this broader point of view, it appears to us as if it had brought with it all Christian impulses at birth, but not the Greek ones – these play in from the environment. From picture to picture, one can follow how Raphael, translated into painting, appropriates more and more Greek art.

Now, anyone who delves deeper into spiritual science – let it be a mere hypothesis for my sake – will see how such a hypothesis gradually offers certainty, though not in a convenient way. When we look at Raphael's soul from this perspective, we see that it already contains the Christian impulses at birth. It therefore appears as if Raphael's soul had already made a pact with these before birth. While we can see the direct impact of the Christian impulses in Savonarola [through his environment], it seems to us that Raphael's soul already contains these Christian impulses. Just as Savonarola appropriated the Christian impulses directly through the effect of his environment in his Savonarola existence, so Raphael's soul developed them in an earlier earthly existence in such a way that it could not appropriate the Greek impulses at the same time in this earlier existence. It comes from an existence in which it has appropriated the Christian impulses so that, after the soul has gone through a life between death and a new birth, these have become a matter of course for it, as we then encounter in Raphael's paintings. And what Greek culture has achieved is only acquired by this soul, which in its previous life on earth may have been “Greek-like”, in this later Raphael life. In the soul of a Raphael, we see how what we can intuitively place in an earlier life on earth and what in later lives on earth merges with what we already bring with us at birth. Whenever I have studied this, just as Herman Grimm repeatedly made a fresh start [to write about Raphael's life], the spiritual-scientific view was really drawn to this fact by itself. It is to be assumed that Herman Grimm would not have agreed with his last presentation either, even if he had completed it, because, you see, certain things that are connected with the spiritual life of humanity only begin to become clear when one takes into account the fact of repeated lives on earth. Such a merging of the Christian impulses with the Greek ones, as was the case with Raphael, can only be understood if one is able to call the explanation from repeated earthly lives to help. It may still be foreign to our contemporaries today, but I have often used the comparison [with what] Francesco Redi said. He said that it is wrong that animals can arise from river mud; living things can only come from living things. — And in the same way, spiritual and psychological things can only come from spiritual and psychological things. ]

[Today, you would be branded a heretic if you tried to point out that a human life cannot be explained only in terms of its immediate environment. If one examines these things more closely, one will realize that when something flashes up in a human soul that cannot be explained by its environment, this leads back to a previous earthly existence, to something that this soul acquired in a previous earthly existence and that, when the soul has passed through death and a new birth, takes on the form of the self-evident in its new earthly existence, as something connected with the being, as something belonging to it. Thus, the Christian impulses are naturally connected with Raphael's being, so connected that Raphael cannot be thought of without them.

[If one presupposes the spiritual-scientific realization that the human soul goes through repeated earthly lives, then it becomes understandable that what a person has acquired in an earlier earthly life becomes forces in a later earthly life. One experiences and observes how they enter the soul and go through the stages that a person goes through between death and rebirth, and there they become one with the soul. And when the person then enters a new existence, he works with these forces on his entire inner physical form and makes his body in such a way that what he creates in the next life on earth seems to emerge naturally from his being. It seems to me that there will certainly come a time in the development of humanity when people will realize, precisely through unbiased observation of the facts, that only the great phenomena can be understood from the law of repeated lives on earth. Then it will also be clear that it is not only necessary to look at the greatest phenomena, but that every single human life can be understood if one takes the view of repeated lives on earth.

But when one directs one's human gaze to these great phenomena, which are so intimately connected with human development, with all that is the innermost impulses of the progressing human spirit, then something emerges from this contemplation that strengthens the human soul, giving it inner support, inner confidence, inner strength for work, as has often been discussed here. It leads the human soul not only to know but also to feel the germ of a following earthly existence, just as we feel how the plant has gathered its strength and summarized it in the germ and thus becomes aware that a new plant will emerge from this germ in summer. The soul can have this awareness, this feeling of having incorporated everything, as a guarantee for a future earthly life. What is already in the germ in this earthly life is transformed by the mere knowledge of immortality into a feeling of the immortal human germ, into a feeling for what builds up the future life.

Once again, it was very strange to me that it was precisely Herman Grimm's approach to such things, which were just being discussed, that compelled me to read a certain passage at the beginning of his book about Raphael. He who regards Raphael from the standpoint of spiritual science will naturally come to regard repeated earthly lives as necessary if he wants to understand Raphael quite concretely. And from the realization of repeated earthly lives we draw that strength which gives us the insight for what we will encounter in the future. Truly, it is surprising when one feels this as the effect of science: When someone approaches a phenomenon like Raphael and never comes to terms with it, but nevertheless, in the face of Raphael's greatness, receives a feeling, not yet of the reality of coming earth lives, but that in the face of this fulfilled human life, he feels a kind of desire for a coming earth life. The certainty of repeated earthly lives can only arise through spiritual science, but when contemplating Raphael's life, Herman Grimm felt a sense of security in the face of eternity, which he expresses with the strange word:

> I see developments in humanity that I will be denied the opportunity to partake in, but which appear to me to be so brilliantly beautiful that it would be well worth starting human existence all over again for their sake.

It is now highly remarkable that we can translate the desire that arises in Herman Grimm through the contemplation of Raphael's life into the contemplation of a reality.

And so we can summarize what was the subject of today's contemplation in an overview of our feelings: It seems natural that in the face of a personality like Raphael's, where one feels so certain that a single life on earth is not enough to understand it, that for someone who allows this personality to have a complete effect on them, the desire that spiritual science describes as reality arises – the vision of repeated lives on earth. And so, an unbiased spiritual-scientific consideration of such great human beings as Raphael may lead to people being led more and more to develop such habits of thought through the contemplation of these great human beings. These habits of thought may still be very much opposed to today's opinions, but they will most certainly become part of people's spiritual life. As surely as the contemplation has become established – living things can only come from living things – so surely will the contemplation become established: spiritual and soul things can only come from spiritual and soul things. And it is precisely the contemplation of human greatness that can sink into our soul that which leads to such [new] habits of thinking. Wanting to try to understand human greatness also brings forth in us the opinion, indeed the certainty, that the truths of which we convince ourselves through an ever-deepening immersion in things and in the spirit of things, even if they initially meet resistance after resistance, will ultimately find their way into human hearts. No matter how narrow the chinks through which the truth must squeeze to reach the hearts of men, truth will find the way even through the narrowest chink. Those who can only see the germ of spiritual science today can be inspired by this sentence, which has been so deeply confirmed by the spiritual development of mankind, for it is only a germ. But he can also, by looking at this germ, develop confidence in his soul so that this germ will surely rise, blossom and bear fruit for the human soul. Answering

No question: I request that this lecture be printed.

Rudolf Steiner: In view of the number of lectures that have already been printed, I would prefer if nothing more were printed. What has been printed has not yet penetrated everywhere as far [into people's consciousness] as it could have.

Question: What do you do with the [standstill in development]? Is there [any] progress at all, [so that] the direction changes?

Rudolf Steiner: Anyone who has really listened will not easily be able to ask such a question. It is like this: [first there is] change, then [a] standstill. We see this in every house, [which was first built and then remains as a result for years].

Question: Is it possible for a person who can consciously leave their body to consciously remain in other spheres and no longer return to their body? And is the body then asleep or dead?

Rudolf Steiner: It is dead, of course. It is not about the real impossibility of returning, but about the moral one. Morally, one is obliged not to thwart one's karma. Natural laws and moral order are becoming more and more aligned. The natural law is increasingly becoming a moral natural necessity, and then such questions are no longer asked. [These are just as nonsensical as the question:] Could someone who has just made a watch pick up a hammer and smash the watch right away? Of course he could, but it wouldn't be reasonable.

Question: Is color blindness a hindrance to occult self-development?

Rudolf Steiner: Read my writing “How to Know Higher Worlds” - it is, however, out of print: Gazing [into the spiritual world] does not depend on our sense organs, we are, after all, becoming free of them. It is in no way disturbing if any sense organ is imperfectly developed, not even blindness [is an obstacle]. It is a mistake to confuse what appears in spiritual science with ordinary clairvoyance. Ordinary clairvoyance is not clairvoyance that really takes place in supersensible worlds. Ordinary clairvoyance is based on a certain mood in the sense organs or at least comes about with their active participation. Two clairvoyants, one blind and the other not, have the same experience when they encounter the same thing. When one says of such an experience, “It is the same as what one experiences with the color blue (or red),” one means that the same thing is experienced as one experiences with the color blue (or red). That is why it is called that, but it is not the same as the external experience of color. Because most people have a normal development [of the senses], one can proceed from this point of view; but it may be necessary to choose different starting points for those born blind; but one arrives at the same [spiritual experience].

Question: Can one get an impression of spiritual science by reading Tolstoy's books?

Rudolf Steiner: From reading Tolstoy, one cannot come to the idea that there is a spiritual science.

Question: Is it permissible to anesthetize a dying person with opium, [or] if not, [then] as with operations?

Rudolf Steiner: In the ideal case, one should act according to the appropriate knowledge that applies [also to] one, which appears to be humanly possible. One should not resist [applying that which] can provide relief to a person; [otherwise] it would lead to impossibilities.

Question: Can devout prayer grant wishes?

Rudolf Steiner: Prayer should actually be a bowing of the soul to the divine spirituality that lives and permeates the world, so that prayer actually loses its meaning when it is selfish. And only that prayer is justified which ends in the words of the original prayer: “But not my will, but yours be done.” This postscript gives prayer the right mood. Then it is a right prayer, when it is not selfish, otherwise practical contradictions arise immediately. For what should the granter of wishes do when one farmer wants something to sprout and asks for rain, but the other in the same area asks for dryness, or when of two armies, each of which certainly wishes to win, one asks for victory, but the other also asks for victory? So one should not be selfish in prayer. Therefore, the question of whether wishes are granted or not has no real meaning, because a proper prayer cannot expect wishes to be granted. I know that this is offensive to many souls, but one should only look at the nature of things and one will find that things really are like that.

Question: What about vegetarianism [in the light of the Bible? There are] the words of Christ: “My oxen are slaughtered,” or the paschal lamb, or even the banquets. And what about alcohol at the wedding at Cana or at the Last Supper, [when] the bread is dipped in wine?

Rudolf Steiner: It would be going too far if the corresponding words of the Gospels were explained [now]. But it would be shown that many of the things one reads in the Gospels today are only translation errors. Apart from that, it can be said that the development of spiritual views can be facilitated by a vegetarian lifestyle. But it is nothing more than stating the fact that he [the vegetarian] can make his path easier, just as one makes many other things easier by abstaining from meat. But it is not the task of spiritual science to promote vegetarianism in a one-sided way. Spiritual science does not subscribe to one-sided propaganda. For spiritual science, precise thinking is necessary, not only for comprehension and understanding, but also for [better] engagement with the finer webs of thought. Many a person believes they have to object to this or that, but these objections only stem from thinking that has stopped halfway. These things are not based on the consistency of scientific thinking, but on habits of thinking, on a lack of logic. Spiritual science is based on the fact that only what is known is believed: this is the view of every science. But to penetrate [into spiritual science] in such a way that one can really participate, it is necessary to relieve one's thinking of its burdens, to make it finer, so that one is able to follow paths along which one would otherwise not be able to follow – and the vegetarian way of life contributes to this.

One should also consider the relationship to the other kingdoms of nature. Today, humanity cannot even think of making vegetarianism a general diet, because it is very personal whether a person wants to do that or not. One can thoroughly spoil oneself if one wants to live in an abstract vegetarian way. This applies not only to today, but to all periods of time. Of course, today we can claim things that made no sense 2000 years ago; what is true today does not have to be true for all time. This only applies to materialistic truths. When we talk about modern man and man at the time of Christ, we are not talking about the same thing; we are only obliged to use the same word. Many things change over time. The Easter lamb does not have to mean a slaughtered lamb. Even if what is written on the note is correct, it was a different time. It cannot be deduced from this that [vegetarianism] cannot apply to today, when the finer structures of human nature have become quite different from what they were then, and that it is not a means of helping spiritual science if one becomes accustomed to vegetarianism. Now, one should not believe that one can “eat one's way up” into the higher worlds, [because it is] irrelevant whether one eats or refrains from eating. [Vegetarianism is] only a means of facilitating, not a means of comfort.