III. The Rosicrucian Initiation

GA 98/the_rosicrucian_initiation/p013 ·1907-12-15 · English HighHigh alignmentThis translation's paragraph count matches the German original — the locus maps cleanly to the same paragraph in DE.
Record: listeners' notes. Written from listeners' notes, summaries, or memory rather than a shorthand transcript. The wording is the note-taker's as much as Steiner's: weigh a single striking phrase here far more cautiously than the same phrase in a stenographic volume, and do not rest an argument on one word. Evidence: «Hörernotizen von achtzehn Vorträgen» (Listeners' notes of eighteen lectures). Rudolf Steiner Verlag Gesamtverzeichnis 2022, volume subtitle. The translation is the maintainer's, not a published one.

Until the turn of the 13th to the 14th century men held on to completely different feelings and emotions. A drastic change occurred in all areas, even in the most seemingly isolated ones. In the art of painting, for example, we encounter a great change in the emotions of people. Today, it seems arbitrary to the materialist when, for example, Cimabue[^1] paints the background in gold on his pictures. However, this painter still followed the tradition of illustrating the higher world. When looking into the highest regions of the astral world, one will find that this golden background is a reality, an actual fact. Those, who later wanted to paint similar things, as imitators of those ancient painters who still possessed knowledge of the reality of the astral world through tradition, appear to us like barbarians compared to those who really still had a relationship to the higher world. For example, Giotto[^2] did no longer portray what he felt to be true, but everything is painted based solely upon external tradition. At his time, it was natural to move towards that which could only be seen on the physical plane, to materialistic art. Only the greatest painters of that time still held on to tradition.

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Cite: GA 98/the_rosicrucian_initiation/p013 · edition English