{"corpus":"steiner","locus":"GA 286/1914-07-05/p029","lang":"en","edition":"English","edition_basis":null,"is_original":false,"is_default_edition":true,"text":"This was no longer the case after the old clairvoyant consciousness, which linked man to the cosmos, ceased. Imitative art came into being, for man no longer possessed within himself the power which guided the lines and other factors of art; he no longer felt, I will draw near to the Godhead. ‘There is the Godhead and I will approach.’ When a man felt himself rising to the Godhead he was conscious of the perception of blue, and if he wanted to give expression to this feeling he used the colour blue. But if he was conscious of the approach of an enemy, an alien being bearing down upon him, then he used red. He experienced the flowing sea of colour within himself and there was no need to imitate or copy. This was no longer the case when atavistic connection with the cosmos ceased. Imitative art came into being and attained its summit, so far as sculpture was concerned, in the Graeco-Latin epoch, and so far as painting was concerned, in the age which marked the transition to the fifth Post-Atlantean period. To those who have eyes to see, external history would also be able to prove the truth of these things. Try to think why it is that peoples from Northern and Central Europe who came into contact with Graeco-Latin culture remained so long in a state of barbarism and could not find their way to art. The reason is that these Celtic, Germanic, Slavonic peoples had remained at an earlier stage of evolution than the Graeco-Latin peoples. They had not reached the stage of the full birth of the ego and understood nothing of true imitative art. They came along afterwards with a reinforcing impulse. Hence when we study the art of the Middle Ages we find that the significant elements there are not those of imitative art. The characteristic qualities of mediaeval art are to be found in architecture where man does not imitate but creates out of his inner being. It is only gradually that the imitative element in art entered into the northern peoples.","text_trust":"verbatim","quote_safe":true,"title":"7. True Aesthetic Laws of Form","site_heading":null,"date":"1914-07-05","location":null,"word_count":350,"url":"https://anthroposophy.ai/v1/steiner/en/ga/286/1914-07-05/p029","alignment_confidence":"low","alignment_reason":"count_diverges","two_voice_volume":false,"translation_credit":{"scope":"unit","status":"established","translator":"Harry Collison","identified_edition":"APC1927","book_title":"Ways to a New Style in Architecture","publisher":"Anthroposophical Publishing Co.","publisher_inferred":true,"match_score":1.0,"source_url":"https://www.rsarchive.org/Lectures/GA286/English/APC1927/19140705p01.html","evidence":"lecture_list_row","publisher_note":"The publisher is inferred from the edition code in this lecture's source URL, not stated by the source page. The translator IS verified for this lecture: its own source names the translator (evidence: the lecture's page, rsarchive's lecture list, or the cover of the book it was published in), and that page's text was matched against this unit (see match_score and source_url). Cite the translator with confidence; attribute the publisher only as probable."},"edition_coverage":{"de":["original"],"en":["English"]},"available_versions":[{"lang":"de","edition":"original","edition_basis":null,"is_original":true,"is_default_edition":true,"url":"https://anthroposophy.ai/v1/steiner/de/ga/286/1914-07-05/p029"},{"lang":"en","edition":"English","edition_basis":null,"is_original":false,"is_default_edition":true,"url":"https://anthroposophy.ai/v1/steiner/en/ga/286/1914-07-05/p029"}],"record":{"record_type":"unknown","scope":"volume","note":"How this text was taken down (shorthand transcript, listeners' notes or manuscript) is not on record here. Unknown is not an assurance of a stenogram: check the edition's own notes before resting an argument on one word.","evidence":null,"evidence_translation":null,"evidence_source":null},"witness_completeness":{"ratio":0.94,"band":"comparable","note":null,"word_count":5382,"original_word_count":5745,"may_be_abridged":false},"witness_quality":{"translator":{"scope":"unit","status":"recorded","translator":"Harry Collison","identified_edition":"APC1927","book_title":"Ways to a New Style in Architecture","publisher":"Anthroposophical Publishing Co.","publisher_inferred":true,"match_score":1.0,"source_url":"https://www.rsarchive.org/Lectures/GA286/English/APC1927/19140705p01.html","evidence":"lecture_list_row","publisher_note":"The publisher is inferred from the edition code in this lecture's source URL, not stated by the source page. The translator IS verified for this lecture: its own source names the translator (evidence: the lecture's page, rsarchive's lecture list, or the cover of the book it was published in), and that page's text was matched against this unit (see match_score and source_url). Cite the translator with confidence; attribute the publisher only as probable."},"entity_parity":{"status":"not_checkable","note":"No verified paragraph alignment covers this passage, so its names cannot be compared with the German."},"note":"quote_safe certifies the bytes of this text. This block is about the translation as a WITNESS: who made it, and whether it carries the same names as the original. See witness_completeness for how much of the original this witness holds."}}