8. The Harmony Between Spiritual Science and Natural Science and the Misconceptions about the Former and the Building Dedicated to it in Dornach

Dear attendees, I can of course only touch on these things in a very fragmentary way. Precisely for that which is important in the treatment of colors for the figurative, something should be attempted that is not usually attempted with color. One should try to experience color directly. Everything that the soul engages in through spiritual research should be experienced inwardly there. The color should not be just a surface that reveals something that is underneath, but the color should have an inner life and develop this inner life itself; so that from the corresponding color and color composition, life itself arises; so that one looks at the pictorial work of art in such a way that one has the feeling directly in the interaction of the colored and that which lives from the color into the form: You live in what is alive in the color, what is alive in the color lives in you. You grasp reality in the color, not through the color, but through the reality behind the color. Colors should express themselves, forms should express themselves – not something through colors, not something through forms. For this is precisely what leads to life with the spiritual world, the colors and forms, when they are to be depicted pictorially, to depict them only as we really have them artistically in every moment, that one does not immediately stick to some model, but that one brings what life and weaving is in the spiritual fact and in the spiritual essence into the weaving of the colors and into the life of the forms, which one then brings onto the surface. And this other had to be striven for, for the reason that the whole of the structure, like the shell, which results from the same forces, should be like spiritual science itself. There had to be a departure, for example, from the principle of placing columns, each of which is always the same as the one before, columns with capitals that are all the same. A certain development had to be followed from the first pair of columns with their capitals to the second and so on. This results in an inner design, an inner development, as nature itself does, by developing the other tones, the second, third and so on from the fundamental, from the prime. And just as it is not superstition, just as it is not some kind of mystic madness, when one sees seven tones in the scale and in the eighth tone the repetition of the fundamental, so it is not something mystically mysterious when one seeks to find a progression in the inner motives of the capitals, and thereby a sevenfold number of columns is quite automatically brought out, because one is standing inside the creation of the world with the spiritual, just as the creative element in nature lives inside the creation itself. Thus a parallelism emerges between what is present in nature in a primitive form, such as the seven tones, the seven colors in the rainbow, and what occurs in the spiritual realm. The strange thing is that it could happen that people looked at this building in Dornach and thought that seven columns had been chosen here out of some superstition about the number seven. These same people might say: What a grotesque superstition it is that the rainbow has seven colors or that the musical scale has seven tones! - It would be the same logic, the one as the other. The one as the other is required by the nature of the facts.