{"corpus":"steiner","locus":"GA 292/1916-11-01/p005","lang":"en","edition":"English","edition_basis":null,"is_original":false,"is_default_edition":true,"text":"It is a very different thing when we say of Leonardo, Michelangelo and Raphael, that they bore within them the whole way of feeling which permeated the Italian civilisation of their time. For this civilisation entered livingly into the artistic quality of their work, into their whole manner of presentation; nor can we fully understand these artists if we have no feeling for the civilisation in the midst of which they lived. Today, indeed, people believe the most extraordinary things. They will believe, for instance, that a man can build a Gothic church even if he has not the remotest notion of High Mass. Of course, he cannot do so in reality. Or they believe that one can paint the Trinity even if one has no feeling for what is intended to be living in it. In this way, Art is expelled from its living connection with the spiritual life as a whole. At the same time, on the other hand, people fail to understand the artistic element as such, imagining that with aesthetic views and feelings which happen to be prevalent today they can set to work and criticize Raphael or Michelangelo or Leonardo, whose whole way of feeling was quite different. It was only natural (though I should need many hours to say in full what should be said on this point), it was only natural for them to be living in the whole way of feeling of their time. We cannot understand their creative work unless we understand the character which Christianity had assumed at the time when these artists blossomed forth. You need only remember that at the end of the 15th and beginning of the 16th century Italian Christianity witnessed the rise even among the Popes, of men who truly cannot be said to have satisfied even the most rudimentary demands of morality, nor need one be in any way a pietist to say so. And, of course, the whole army of priests were of like character. The idea that a specific moral impulse must be living in what goes by the name of “Christian” had been lost sight of, comparatively speaking. And when in later times it emerged again—in pietist and moralising forms, by no means identical with what I described the other day when speaking of St. Francis,—it was imbued with quite a different feeling of Christianity than inspired those who lived, for instance, under an Alexander VI, a Julius II or a Leo X. If, on the other hand, we consider the Christian traditions, the concepts and ideas (and when I say ideas I include “Imaginations”) connected with the Mystery of Golgotha, we find them still living in the souls with an intensity of which the man of today has little notion. Human souls lived in the ideas connected with the Mystery of Golgotha, as in a world that was their very own, and they saw Nature herself in the midst of this same world. We need but call to mind: In that time, even for the most educated, this Earth, of which the Western half was still unknown (or was only just beginning to be known and was not fully really reckoned with),—this Earth was the centre of the whole Universe. Going down beneath the surface of the Earth, one found a subterranean kingdom; going but a little way above, a super-earthly. We might almost say, it was as though a man only need lift his arm, to grasp with his hand the feet of the heavenly beings. Heaven still penetrated down into the earthly element. Such was the conception—a harmony, an interplay of the spiritual above and the Earth beneath it, with the world of the senses which contained mankind. Even their view of Nature was in this spirit.","text_trust":"verbatim","quote_safe":true,"title":"II. Leonardo, Michelangelo and Raphael","site_heading":null,"date":"1916-11-01","location":null,"word_count":629,"url":"https://anthroposophy.ai/v1/steiner/en/ga/292/1916-11-01/p005","alignment_confidence":"medium","alignment_reason":"beads:length","two_voice_volume":false,"translation_credit":{"scope":"unit","status":"not_established","translator":null,"identified_edition":"UNK1981","book_title":"The History of Art I","publisher":null,"publisher_inferred":false,"match_score":1.0,"source_url":"https://www.rsarchive.org/Lectures/GA292/English/UNK1981/19161101p01.html","evidence":null,"reason":"no_translator_named","note":"Neither the lecture's own page nor rsarchive's lecture list names a translator for it. No translator is established for this lecture: nothing at the level of the lecture names one. Do not attribute this English to a translator, and do not borrow a credit from another lecture of the volume. Cite the German for anything load-bearing."},"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/292/1916-11-01/p005"},{"lang":"en","edition":"English","edition_basis":null,"is_original":false,"is_default_edition":true,"url":"https://anthroposophy.ai/v1/steiner/en/ga/292/1916-11-01/p005","paragraph_aligned":true}],"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},"german_anchor":{"de_prefix":"1916-11-01","de_passages":[{"locus":"GA 292/1916-11-01/p006","url":"https://anthroposophy.ai/v1/steiner/de/ga/292/1916-11-01/p006"},{"locus":"GA 292/1916-11-01/p007","url":"https://anthroposophy.ai/v1/steiner/de/ga/292/1916-11-01/p007"}],"bead_confidence":"medium","length_check":{"de_words":676,"en_words":629,"ratio":0.93,"partial":false},"correspondence":"established","note":"English passage numbering is edition-relative, so the same number need not name the same paragraph in the German. The German original passage(s) above are the edition-invariant anchor — fetch them (lang='de') to verify wording before quoting across editions."},"witness_completeness":{"ratio":0.95,"band":"comparable","note":null,"word_count":10736,"original_word_count":11360,"may_be_abridged":false},"witness_quality":{"translator":{"scope":"unit","status":"not_established","translator":null,"identified_edition":"UNK1981","book_title":"The History of Art I","publisher":null,"publisher_inferred":false,"match_score":1.0,"source_url":"https://www.rsarchive.org/Lectures/GA292/English/UNK1981/19161101p01.html","evidence":null,"reason":"no_translator_named","note":"Neither the lecture's own page nor rsarchive's lecture list names a translator for it. No translator is established for this lecture: nothing at the level of the lecture names one. Do not attribute this English to a translator, and do not borrow a credit from another lecture of the volume. Cite the German for anything load-bearing.","warning":"No translator is recorded for this edition. An unattributed translation cannot be weighed as a witness: you cannot tell which hand made the choices in it. Cite the German for anything load-bearing."},"entity_parity":{"status":"discrepancy","checked_against":["GA 292/1916-11-01/p006","GA 292/1916-11-01/p007"],"missing_from_translation":[],"present_only_in_translation":["Christ"],"bead_confidence":"medium","bead_length_ratio":0.93,"likely_cause":"unresolved","note":"NAME MISMATCH between this English passage and its German counterpart. A name the German carries is absent here (or a name appears here that the German does not carry). Two things cause this and they need telling apart: the translation really drops or reassigns what the original distinguishes, OR the paragraph alignment paired the wrong passages. `bead_confidence` does NOT settle which: this corpus's embedding aligner pairs topically-related paragraphs at full confidence, and a sampled high-confidence mismatch proved to be a wrong pairing. Read the German passages listed and confirm they are counterparts BEFORE drawing any conclusion about the translation."},"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."}}