{"corpus":"steiner","locus":"GA 292/1916-12-13/p005","lang":"en","edition":"English","edition_basis":null,"is_original":false,"is_default_edition":true,"text":"From the inner historical point of view, this is one of the most important moments in the evolution of Art. It is, as you know, the period immediately after the dawn of the fifth post-Atlantean epoch—that epoch which is called upon to bring forth, out of the depths of human evolution, all that is connected with the development of the Spiritual Soul. In the Dutch and Flemish pictures we shall now consider, this comes to expression in a most characteristic way. We see in every detail how the Spiritual Soul begins to work. We can see it, my dear friends, if only we bring to these works of Art an elementary power of understanding—that is to say, if we have to some extent escaped the unhappy fate of being historians of Art after the modern fashion.","text_trust":"verbatim","quote_safe":true,"title":"VI. Dutch and Flemish Painting","site_heading":null,"date":"1916-12-13","location":null,"word_count":136,"url":"https://anthroposophy.ai/v1/steiner/en/ga/292/1916-12-13/p005","alignment_confidence":"medium","alignment_reason":"beads:length+anchor_constrained","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/UNK1981/19161213p01.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/292/1916-12-13/p005"},{"lang":"en","edition":"English","edition_basis":null,"is_original":false,"is_default_edition":true,"url":"https://anthroposophy.ai/v1/steiner/en/ga/292/1916-12-13/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":"1916-12-13","de_passages":[{"locus":"GA 292/1916-12-13/p004","url":"https://anthroposophy.ai/v1/steiner/de/ga/292/1916-12-13/p004"}],"bead_confidence":"medium","pairing_state":"proposed","verified":false,"length_check":{"de_words":289,"en_words":296,"ratio":1.02,"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."},"paired_german":{"status":"paired","german":[{"locus":"GA 292/1916-12-13/p004","passage_number":4,"text":"Wir werden Ihnen heute eine Reihe von Bildern vorführen, welche einen Teil der Entwickelung der niederländischen Malerei, der niederländisch-flandrischen Malerei, in die Zeit des 15. Jahrhunderts herein bis zum Beginn des 16. Jahrhunderts zeigen sollen. Wir weisen damit gerade auf einen in innergeschichtlicher Entwickelung auch allerwichtigsten Zeitpunkt in der Kunstentwickelung hin. Das können Sie ja vor allen Dingen daraus ersehen, daß wir damit in bezug auf die Kunstentwickelung unmittelbar in der Zeit stehen nach dem Anbruch des fünften nachatlantischen Zeitraumes, also desjenigen Zeitraumes, der berufen ist, herauszugestalten aus der Menschheitsevolution alles dasjenige, was zusammenhängt mit der Entwickelung der Bewußtseinsseele. Und wenn man es nur einigermaßen dahin gebracht hat, kein nach modernem Zuschnitt gebildeter Kunsthistoriker zu sein, so wird man vielleicht wenigstens ein elementares Verständnis entgegenbringen können demjenigen, was sich gerade an einer charakteristischsten Stelle wie in diesem Abschnitt «Niederländische Malerei» künstlerisch so zum Ausdruck bringt, daß man in jeder Einzelheit sieht dieses Wirken, dieses auftretende Wirken der Bewußtseinsseele. Wenn man allerdings ein nach modernstem Zuschnitt gebildeter Kunsthistoriker ist, wozu ja selbstverständlich gehört, daß man einen solchen Kunsthistoriker wie Herman Grimm für einen ganz untergeordneten Geist ansieht, [beziehungsweise] wenn man ein solcher Kunsthistoriker zu sein nicht das Unglück hat, so wird man, selbst wenn man gar nichts weiß von den Gesetzen der Impulse, die wir kennengelernt haben in der Geistesentwickelung für die Menschheitsevolution, finden, daß gerade in der Kunstentwickelung die wunderbarste Bestätigung liegt für dasjenige, was Geisteswissenschaft, sagen wir namentlich für die Unterschiede des dritten, vierten, fünften nachatlantischen Zeitraumes aufweist. Und es ist interessant zu sehen, wie langsam und allmählich in den Jahrhunderten dieser Zeiträume herauskommt, was heute eigentlich als das Grundgerüst der Kunstanschauung anzusehen ist, und wie die einzelnen Elemente dieses Grundgerüstes an den verschiedensten Stellen der Menschheitsentwickelung herauskommen.","text_trust":"verbatim","quote_safe":true,"word_count":289,"url":"https://anthroposophy.ai/v1/steiner/de/ga/292/1916-12-13/p004"}],"english":["GA 292/1916-12-13/p004","GA 292/1916-12-13/p005","GA 292/1916-12-13/p006"],"method":"length+anchor_constrained","confidence":"medium","correspondence":"established","length_check":{"de_words":289,"en_words":296,"ratio":1.02,"partial":false},"pairing_state":"proposed","verified":false},"witness_completeness":{"ratio":1.01,"band":"comparable","note":null,"word_count":6292,"original_word_count":6252,"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/UNK1981/19161213p01.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":"ok","checked_against":["GA 292/1916-12-13/p004"],"missing_from_translation":[],"present_only_in_translation":[],"bead_confidence":"medium","note":"Every load-bearing name in the German counterpart appears in this English passage. That is a check on NAMES only: a translation can keep every name and still reverse who acts on whom, change a number, or soften a claim. Read the German for anything you intend to rest an argument on."},"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."}}