A Lecture on Eurythmy

To-day, when a sculptor or painter wishes to represent the human figure, he does so by studying and working from a model. It can, however, easily be shown that the art of sculpture, which reached its zenith during the civilisation of ancient Greece, did not arise through the artist working from a model, and in his way more or less imitating the external impressions of the senses, but at that time, when the plastic art of Greece was in full bloom, man was still to some extent aware of the etheric body—which contains within it the formative forces and the forces of growth. At the height of Greek civilisation man knew how to make use of the etheric body when bringing an arm or hand, for instance, into a certain attitude, and the position and arrangement of the muscles were an actual experience to him. He had an inner understanding of the possibilities of movement in the arm and hand, of the possibilities of muscular expansion and contraction. And he was able to bring this inner experience to physical expression, making use of physical materials.