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HANDWORK and HANDICRAFTSFrom IndIcatIons by rudolF steIner

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PREFACE

Outofprintreferencebooksareoftendifficulttolocate.ThroughtheforesightandsupportoftheWaldorfCurriculumFund,thistitlehasbeenresurrectedandisnowavailablegratisinanelectronicversiononwww.waldorflibrary.org,oneofthewebsitesoftheResearchInstituteforWaldorfEducation.Wehopeyouwillfindthisresourcevaluable.Pleasecontactusifyouhaveotherbooksthatyouwouldliketoseeposted.

–DavidMitchellResearchInstituteforWaldorfEducationBoulder,COAugust�008

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HANDWORK AND HANDICRAFTS

by

HEDWIG HAUCK

fromindicationsby

Rudolf Steiner

TranslatedbyGraham Rickett

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The electronic publication was funded by the Waldorf Curriculum Fund

Electronic Copy©ResearchInstituteforWaldorfEducation,�008Editor:DavidMitchellScanningandCopyediting:AnnErwin

IssuedbytheSteinerSchoolsFellowship,�9�8andtranslatedfromtheoriginalGerman(publishedStuttgart,�9�7)

bypermissionoftheSteinerNachlassverwaltung,Dornach,Switzerland.

DistributedbytheSteinerPress,��ParkRoad,London,NW�

OriginallyPrintedinEnglandbyCopycraft,TunbridgeWells,Kent

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CONTENTS

INTRODUCTION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

CHAPTERSI IndicationsConcerningColorandPainting. . . . . . . . . . . . . . . . . . . . . . . . . ��II EducationinGeneral;TechnologyandtheCrafts . . . . . . . . . . . . . . . . . . . . ��III HandworkintheKindergartenandFirstSchoolYears. . . . . . . . . . . . . . . . . ��IV PhasesofChildDevelopmentintheEarlySchoolYears. . . . . . . . . . . . . . . . ��V TheLineinPaintingandHandwork. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . �8VI HandworkforChildrenClasses�–8. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . �0VII AftertheLowerSchool. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ��VIII RudolfSteiner,theTeacherofArtists.............................. ��IV BookbindingandFolders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ��

TitleDrawings:OrnamentalDesigns End-VignettesX IndicationsonDressandItsDecoration . . . . . . . . . . . . . . . . . . . . . . . . . . . ��XI ColorinClothingandInteriorDecoration. . . . . . . . . . . . . . . . . . . . . . . . . �8XII TheHistoryoftheArtofClothing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ��

FashionPastandFuture

APPENDIXI:ThePedagogicalValueofMakingAnimalsinSoftHandwork . . . . . . . . . .78

APPENDIXII:FromConferencesattheWaldorfSchool,StuttgartPart�-Kindergarten,Play,Left-handedness,andHandwriting. . . . . . . . . . . . . . .8�Part�-Handwork,Crafts,Bookbinding. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8�Part�-PaintingandDrawing;ArtandAesthetics;WallDecoration andDisplays. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9�

ILLUSTRATIONSPlates��,��,��havenotbeenincluded.

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9

INTRODUCTION

Ourageisatechnologicalone,andgrowsevermoresoastheyearsgoby.Machinesnowperformtheworkthatwasuntilrecentlydonebythehumanbeinghimself;heisobligedtoservethemachine,although,inmanycases,heisquiteignorantofitsconstructionandoftheforcebywhichitisdriven.Hecantakelittleornointerestinanoccupationofthiskind,andweaknessandemptinessinhissoul-lifearetheinevitableresults.

Technologyentersintoalldepartmentsoflife,andattemptsaremadeonallsidestoextenditsinfluence.Iteveninvadestheworldofart,andintroducesmechanismwheretherewasoncealivingintercoursebetweenthesoulofthehumanbeingandtheworkcreatedbyhishands.Thisinnerconnectionbetweenthehumanbeingandhisworkisundermined.Factoriesnowproducethingsthatoncewentoutintotheworldasaresultofthefeelingandstrivingofahumanpersonality.Consequentlytheobjectsweuseandhavearoundustakeonanincreasinglyinhumanappearance.Thisisespeciallynoticeableinthesphereofmoderncrafts,which,borrowingtheirformsfromthenew“functional”styleinarchitecture,givemuchthattheyproduceanairofemptinessandabstraction.

Theexistenceofthecraftsisalsothreatenedonapurelyeconomiclevelbytheuniversalinvasionoftechnology.ThecasemightbementionedoftheheadoftheCraftsDepartmentoftheStuttgartMuseumofHomeIndustries,whofoundhimselfobligedtopublishalengthynewspaperarticledefendingtherightsofhisowndepartmentinthefaceofdemandsmadebythetechnicaldepartmentsformorespacetobeallottedtothemattheexpenseofthecrafts.Hesaidinthearticle:“Tofulfillthesedemandswouldmeantotalcollapse,notmerelythetransferoftworoomsfromtheCraftsDepartmenttotheTechnicalDepartment.Oncetheprocessofdecaysetsin,completecollapseisinevitable.Agoodmuseumofhandicraftsmustendeavortocollectthebestpossiblesamples,andallagesandallpeoplesshouldberepresented.Thismeansthatitshouldnotconfineitselftotheproductsofthelandtowhichitbelongs.OncethisMuseumbecomesmerelyarecordofournationalindustries,orevenakindofbusinessconcern,andnolongerfulfillsitsfunctionasasourceofconstantandvaluablestimulus,itcannotclaimtobeamuseumofreallyhighstandards.”

Nomoreisneededtoillustratethepositioninwhichthecraftsfindthemselvestoday.Theartisticsenseofmankindisindangerofbeinglostthroughtheforcesofeconomicsandtechnology.Appreciationoftheimportanceinthelifeofthenationasawholeofapieceofhandworkartisticallymadewilldisappearaltogetherifnoattemptismadetoarrestthisprocess.Itisimportant,therefore,notonlytoenliventheartisticsenseinthosewhoreceivethefinishedworkofart,buttoawakenthefacultyofartisticactivityitself,andtorekindleitwhereveritisindangerofcompleteextinction.

ThemeanswherebythecreativefacultiesofthehumanbeingcanbeawakenedhavebeenrevealedtousbyRudolfSteinerinhisanthroposophy.Theaimofthisbookis

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toreproducesomeoftheindicationsabouthandworkgivenbySteinerinhislecturesoneducation,andtoshowhowtheywereappliedwhilehewasdirectingtheWaldorfSchoolinStuttgarttowardstheendofhislife.

Heshowedtheteachershowhandworkprovidesthebalancingelementwhichthemoreintellectualactivitiesrequireifthedevelopmentofthechildistobeaharmoniousone.Classesinhandwork,aswellasincrafts,arecompulsoryforbothgirlsandboys.ChildrenareguidedintheWaldorfschoolssothattheyareabletodevelopnotonlyanopenmindforthethingsofpracticallifebutalsoadeepunderstandingforartasawhole,quiteapartfromthoseabilitiesthatarefoundedmoreupontheintellect.Creativepowersareawakenedwhichcanfindfruitfulapplicationinthemostvariedfieldsinlaterlife.

SteinerconsidereditdesirablethathandworkintheWaldorfschoolsshouldleadoverintothecrafts,andonhisvisitstotheclassroomsandinlecturesandmeetings,hegaveexamplesshowinghowthiscanbeachieved.Muchofthishasalreadybeenmadeavailable.Ourprimaryaimhereistoreproducewhathasnotyetbeenpublished.Butwehavealsoendeavoredtomakeakindofcompendiumofstatementsthatarescatteredthroughoutalargenumberofhisbooksandlectures.

ThespokenremarksmadebySteinerattheWaldorfSchoolinStuttgart,whichhavelivedoninthememoryofanumberofteachers,andwhichwenowwishtomakeaccessibletoawiderpublic,havebeenquotedasfaithfullyaspossible—inspiteofthefactthatsomethingsmaystrikethereaderasobviousorastooelementarytodeserveinclusioninthebook.ButitwasafeatureofallSteiner’sindicationsthat,throughthelovingattentionwithwhichhetookthemintoconsideration,eventheapparentlymostinsignificantthingsprovedlatertobelivingseedsfromwhichquitenewpointsofviewcouldbegrown,andwhichsuppliedthebasisforanextensionorevenacompleterevisionofourmethods.

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CHAPTER I

IndIcatIons concernIng color and PaIntIng

Oneofthemostimportantelementsinhandworkiscolor.LetusthereforequotesomethingofwhatSteinerhadtosayabouttheintroductionandhandlingofcolorintheartlesson.InaneducationallecturegiveninOxfordhesaid:

Youwillobservethattheaimistobuildupthehandworkandneedleworklessonsinconnectionwithwhatislearnedinthepaintinglessons.Inthepaintinglessonsthechildrenarenottaughttodraw(withabrush)ormakepatterns(sticken),butlearntodealfreelyandspontaneouslywiththeelementofcoloritself.Thusitisimmenselyimportantthatthechildrenshouldhavecometoarightexperienceofcolor…theymustnotpaintfromapaletteorblock,butfromajarormugwithliquidcolorinit,colordissolvedinwater.Thenthechildwillcometofeelhowonecolorgoeswithanother,hewillfeeltheinnerharmonyofcolors,hewillexperiencetheminwardly.�

Steinerhasshowninanotherlecturewhatalivelyexperienceitcanbeforchildrenifcolorsareintroducedtotheminthisway:

Themainpointisthatthechildrenshoulddevelopafeelingforthebuildingupofcolorvaluesandhaveanexperienceofthelifeofthecolorworldinfairytales.Assoonasyouallowfantasytoplayitspart,formswillcomeofthemselves.Theformsmustgrowoutofcolor.�

Thinkhowstimulatingitcouldbetogivethemanunderstandingofthefollowing:Hereisthiscoquettishlilaccoloranddirectlyontopofitsitsacheekypieceofredandallthisstandsagainstadevotionalblue.Youmustmakethecolorsbehavelikeobjectsanddothings,forthishasasoul-buildingquality.Therearemanydifferentmethodswecanadopttomakecoloractivesothatachildishelpedtoliveincolor.Forinstance,lettheredlookthroughtheblue—thismustbedonebythechilditself.Muchmorelifemustflowintotheteaching,foryouhavetohelpchildrentolosetheirsluggishness.Theymusthavefire!Itisimportantthatourfeelingforcolor,whichwehavelostmorethanourfeelingformusic,isreawakenedinus.Thiswillthenhaveastimulatingeffectonmusictoo.�

Steinerspokeofwhatwillcomeaboutifwefailtodevelopafullexperienceoftheworldofcolorinourchildren:

Ifarealexperienceofcolorisnotcultivatedinourtime,andifmechanistictheoriesofthenatureofcolorpersist,thenchildrenwillbebornwhonolongerpossessanyorganfortheperceptionofcolor.Liferevealsitselfthrough

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color,buthumanbeingswillnotbeabletoseecolors,justastheycannownolongerseetheelementalspirits.Theworldwillthenbecomegrey.�

Thesewords,spokenin�9��,arenowwellonthewaytofulfillment,ascanbeseenfromthefollowingreportfromRussiawhereourWesterntheoriesarebeingputintopractice.Inthesummerof�9��theUnitedPressgavethefollowingfrighteningpictureofMoscow:

Sixofthebiggeststreetsarebeingturnedinto“ModelStreets,”whicharetosetthepatterninacampaignforbeautyintownplanning.Theleadingarchitectshadspecialdifficultyregardingthecoloringofthebuildings,and,aftermuchdiscussion,thecolorgreyfoundthemostsupporters.Asaresultseveralhundredhouseshavealreadybeenpaintedgrey,inmanycasesadullbrownishgrey,whichstandsincompletecontrasttothelivelypastelshadesofoldRussianart.�

Alife-killinguniformityisatwork,leadingtothedestructionofthehumansoul.PeopleintheSovietstatehavebeenrobbedofthatinnerfreedomthroughwhichtheycouldbringloveandbeautyintotheirlives.

Evidenceofcolor-blindnessitselfisshowninareportissuedbymedicalexpertsinEngland,whofoundthatofthefourmillionpeopleinthecountrywhoarecolor-blind,athirdwereunabletodistinguishbetweenredandgreen.Thetestsalsorevealedthatcolor-blindnessoccurredinmenfourtimesasoftenasinwomen.AcommitteeofmedicalexpertsconductingtestsamongpersonneloftheBritishNavysaidthatcolor-blindness“isstillnotverywellunderstoodscientifically,andcanbethesourceofmanyunforeseendangers.…Doctorsdonotevenknowifitishereditary,andasforthepossibilityofcuringthecondition,scienceisstillgropinginthedark.”

Aswehavequotedabove,Steinerhadspokenofcolor-blindnessinthemostseriouswayasearlyas�9��,andhadpointedoutwhatitisthatcanleadtothiscondition.Butifhumanitywerepreparedtolistentohim,afurtherincreaseincolor-blindnessmightstillbeprevented.Adequatepedagogicalmethodscouldbringaboutahealthydevelopmentofthechild,bothinbodyandsouland,byexertingahealinginfluenceonfuturegenerations,mightsavethemfromthisunfortunatecondition.

ENDNOTES�. Spiritual Ground of Education,Oxford,August�9��,lecture7.�. Whenhesawachild’sillustrationforGoethe’sZauberlehrlingdoneinpencilandcrayonwith

outlines,Steinerwaveditasidewiththeremarkthatitwas“antiquatedandinartistic.”�. Teachers’Conference,Stuttgart,November��,�9�0.�. Erinnerungsbilder aus arbeitsreicher ZeitbyM.Woloschina.�. Steinercharacterizedthecolorgreybyusinganexpressionfromtheworldofsound.Hesaid:

“Greyisnotacolor,isnotatone,itisanoise.”

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CHAPTER II

dIrectIons For educatIon In general and For FIndIng the rIght Forms In technology and the craFts

Thetrainingachildreceivesevenbeforeschoolagemustbesuchthathissoulisallowedtogrow,andisnotstuntedbywhatisfalseanduglyintheworldaroundhim.Whenspeakingoftheeducationofthechild,Steinersaid:

Uptotheseventhyearthechildlivesundertheimpression:TheWorldIsGood.Itstilllivesundertheguidanceofthosemorallawsinwhichithaditsbeingbeforeitwasborn.Everythingthechildreceivesfromthegrownupsaroundhimwhichisuntrue,orinotherwaysanegativesoul-impression,hindersitsdevelopment.Tosetagoodexampleis,therefore,thebesteducationonecangivebetweenthechild’sfirstandseventhyears.

Fromtheseventhtothefourteenthyearthechildlivesundertheimpression:TheWorldIsBeautiful.Thereforeonenoticesinchildrenofthisagethatcarefree,happy-go-luckykindofbehaviorwhichworriessomeparentsagooddeal.This[behavior]isquitejustified,however,andoneshouldnotyetappealtothechild’sintellectbutinsteadplacepicturesbeforethechild’ssoul.Firstofalloneshouldtellfairystories,thenmythsandlegends,andfinallygivedescriptionsofthecharactersofgreatpeople,notinawoodenandlifelessway,butdramatically,asanartistdoesonthestage.Allteachingmusttakeanartisticform.

Fromthefourteenthtothetwenty-firstyearthestudentlivesundertheimpression:TheWorldIsTrue.Onlynowshouldoneappealtotheintellectoftheyoungstudentandrequirehimtousehisownjudgment.�

Thisshowsthatitisduringthefirstyearsofschoolthatthechildwishestoexperiencebeautyinalivingway.Hissoulisopentoallthatcomestohimthroughtheteachingofhandwork.

Inthelectureon“AestheticEducation,”giveninthecourseforteachersatDornach,Christmas�9��,Steinerspokewithparticularemphasisoftheneedfortheawakeninganddevelopmentoftheaestheticsenseinthechildofthisage,andgaveveryprofoundreasonsforthis.Hesaid:

FromPlay,throughBeauty,toWork:Thisisagoldenpathforeducation.Inlaterlifethemostabstracttasks,themostdifficulttechniques,donotarouseantipathyifthispathhasbeenfollowedduringchildhood.Locomotivesandrailwaystationscanbebuiltinawaythatisbothartisticandtechnicallysound.Suchaneducationwouldgiveincalculablypowerfulimpulsesfor

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sociallife—thehumanbeingwouldfindhiswaybackintosomethingthatisquiteunknowntoday,theartisticinlanguage.�

Steinerhasspokenelsewhereofthebuildingofrailwaystations.Wequotehiswordsonthesubjectbecausethefundamentaldemandsmadeherealsoholdgoodinthesphereofhandwork.Hesaid,pointingfirsttothefuture:

WearenowapproachingthetimewhenthehumanbeingwillbegintocreateoutoftheSpirit,whenourwholesurroundingswillbecomeanexpressionofthespiritinhumanity—thoughitwouldnotbepossibleforthisagetoresemblethoseinwhichtheGothiccathedralandtheGreektemplewerebuilt.Buteveninourtechnicalandutilitarianageitispossibletoachievemorethanisdoneatpresent.

Hewentontosaythatthestylethatisreallynewandcharacteristicofourtimeisthatofourdepartmentstores.Theshopisatruesymbolofourmaterialistic,utilitarianthinking.ThisisexpressedjustasmuchinthedepartmentstoreasarethethoughtsofTaulerandEckhartintheGothiccathedral.Buteveninourtimeitispossibletobringstyletoourworkinotherrespects.Ourculturalmediaarecapableofgreatformativevariationandhavewithinthemthecapacitytoworkeducationallyuponthesoul-lifeofthehumanbeingtoafargreaterextentthantheydoatpresent.Welive,forexample,intheageoftherailway,buthaveasyetnostyleforrailwaystations,becausehumanbeingsdonotyetexperiencewhathappenswhenatrainentersorleavesastation,theydonotrealizethatwhathappenswhenatrainmovescanbeexpressedinthearchitectureoftherailwaystation,thatwhathastocomeintothestation—thelocomotivesarrivinganddeparting—shouldcometoexpressioninthestation’shollowforms.

Itistobehopedthatwhenairtravelbecomespossibleonalargescale,mankindwillhaveprogressedfarenoughtobeabletoconnectthethoughtofdeparturewiththatoftheplacedesignedforit,sothattheformofthelatterwillexpressthefactthatitisusedforthedepartureofaircraft.�

WecanseethatSteinerwishedthesetaskstobeapproachedinawaythatisbothlivingandspirituallytrue.Theobjectinquestionshouldbemadetofitintoitssurroundingssothatitbecomespartofthem,anditspurposeshouldbeexpressedinitsouterform—inbothitsfunctionanditsrelationshiptotherestoftheworld.Infacttheartisticshouldarisefromthepracticalactivitiesoflife,fromthatwhichgivesmeaningtotheobjectitself.FollowingSteiner’sindications,justastheoftenanimalistic,demonicnatureofmachinesandtoolscanbeexpressedintheirouterform,soastylecanbegiventohandworkwhichisinkeepingwiththeusetowhichanarticleistobeput.

Imitationsofoldstylesandtraditionsfromformerageshavenownomorethanhistoricalvalue.�Theynolongerhavethestrengthorthecapacitytodojusticeartistically

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totheneedsanddemandsofthemodernage.Notthroughsomesortof“Renaissance,”butthroughtherecognitionoftheorigin,thebeing,andthedestinyofthehumanbeing,hasthenewstyleofarchitecturearisenthroughSteinerintheGoetheanumatDornach.Thiswonderfulmonumenthasgrownoutofanthroposophyitselfandbringstoexpressioninitswholeouterformthatloftyspiritualitywhichcanalsospeaktothepresent-dayhumanbeingthroughthegreatdramaticworksofSteinerwhichareperformedthere.TheGoetheanumisintendedtoexertaninfluenceuponanageinwhichforcesareatworkthatwouldhinderspiritualization,forcesthatwouldmechanizeandplaceeverythingintheserviceofindustry.Theynolongerinspireustotreatanobjectmadebyhandasaworkofart,butmerelysupplypatternswhicharethenreproducedinvastnumbersbymachines.

ThroughSteiner’sartisticcreationsandspiritual-scientificresearch,mankindisnowbeingfreedfromthosepowersofwhichsomewouldfetterhimtotradition,whileotherswouldbringhiscreativeactivitytoastandstillthroughmechanization.Steiner’sworkisavailabletousinallspheresoflife,and,forthehealingofmankind,shouldbetakenupanddevelopedfurther.Werethistohappen,technologywouldsoonloseitsofteninhumanandunnaturalcharacter.Thiswouldsurelybringawarmerrelationshipbetweenthehumanbeingandtheworldaroundhim,andbetweenonehumanbeingandanother.

Consideringthesocialelement,thereisgoodreasonwhyhandworklessonsshouldbecompulsoryforboysaswellasforgirls.

IntheWaldorfschoolsboysandgirlsalwaysdohandworktogether.Allsortsofthingsaremadeinthehandworkclasses.Theboysandgirlsworktogetherquitecontentedly.Evenifyoulookatthefinerdetailsyouwillnotfinditeasytoguesswhetheranobjecthasbeenmadebyagirlorbyaboy.Theonlythingthatstandsoutinthisrespectisthattheboysdonotlikespinning;theyprefertohelpthegirls.�

Childrenwholearnwhiletheyareyoungtomakepracticalthingsbyhandinanartisticway,andforthebenefitofothersaswellasforthemselves,willnotbestrangerstolifeortootherpeoplewhentheyareolder.Theywillbeabletoformtheirlivesandtheirrelationshipsinsocialandartisticways,sothattheirlivesaretherebyenriched.Outoftheirrankscancometechniciansandartistswhowillknowhowtosolvetheproblemsandtaskssetusbylife.

ENDNOTES�. Study of Man,lecture9.(Thistextdiffersfromtheoriginalversion.)�. Thesewordsweremissingfromtheofficialnotesandwillthereforenotbefoundintheavailable

text.ButIwaspresentatthistalkandhavepersonalnotesmadeatthetime.[H.H.]�. Munich,June��,�908.�. Dornach,October��,�9��.�. Spiritual Ground of Education,lecture�,Oxford,�9��.

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CHAPTER III

handwork In the kIndergarten and In the FIrst school years

ThroughareviewoftheWaldorfschoolcurriculum,�weshalldiscussthehandworkdoneinthevariousclasses,startingwiththelowest,andwillquoteanumberofindicationsgivenbySteineronthissubject.Bywayofintroduction,hereisanindicationgivenconcerningtheeducationofchildreninthenurseryclass,thatis,beforeschoolage,forthiscanthrowlightonthewayinwhichthiseducationcanbecontinuedthroughouttheschoolyears.InthepedagogicalcourseforSwissteachersSteinerspokeasfollows:

Thenineteenthcentury,havingbecomegreatthroughnaturalscience,triedtointroducemechanicalinsteadoforganicmethodsevenintothekindergarten.Startingfromintellectual,preconceivedideas,peopleinventedtoyswhichweremoresuitableforgrownuppeople,whospinoutallkindsofabstractthoughts.Childrenweremadetocutoutsheetsofpaperthroughwhichred,blue,andgreenstripswereinserted.Theyweretaughttoarrangelittlestrips,andsoforth.Butitisjustthesemechanicalactivitieswhichhinderthechildwhenheistryingtogrowintoactivelife.Theyoungsoulbecomesthinandpinched.Butsimpleneedlework,ontheotherhand,inimitationofwhatgrownuppeopledo,preparesbothhandandheartforlaterlife.

Theobjectsusedinthekindergartenshouldbetakenfromactuallife;theyshouldnotbeinventedbyanintellectualcivilization.Abeautifuldollwithrealhairandpaintedcheekspreventsthechildfromunfoldinghisimagination.Itdoesnotletthechild’screativefacultiesgrow.Itwithersthesoul.Ahomemaderagdoll,ontheotherhand,madefromatowel,andwithink-spotsforeyes,awakensthechild’sgenius.

Inthebeginningthechildmerelyplays,butheplaysinearnest.Thereisonlyonedifferencebetweentheplayofthechildandtheworkoftheadult.Itisthattheadultadaptshimselftotheouterutilitywhichtheworlddemands;hisworkisdeterminedfrom without.Playisdeterminedfrom within,throughthebeingofthechildwhichwantstounfold.

Uptonowverylittlehasbeendonetointroducethechildintherightwaytothecomplicatedlifeoftoday,sothathemaylearntomasterthedifficultiesandintricaciesofthislife.Itisthetaskoftheschooltoleadovergraduallyfromplaytowork.Ifoncewefindapracticalanswertothequestionhowwecanmetamorphoseplayintowork,weshallhavesolvedthefundamentalproblemofallearlyschooleducation.

Ourbasisoughttobethefundamentalfactthatthechild’smostardentwishistoimitatetheworkofgrownuppeople,whetheritisdonewithaspadeorwithaknittingneedle.�

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Itis,therefore,notsodifficultassometeacherswouldseemtothink,toteachknittingasearlyasthefirstyearofschool.ThishasbeendoneintheWaldorfschoolfromtheverybeginning.Fromapedagogicalpointofview,Steinerespeciallyvaluedtheartofknitting,onewhichhehadpracticedhimselfasayoungboy.�Heinsistedthateverychildshouldlearntoknit.Whenoneobserveschildreninthe�stClassandseeshowtheyusetheirhandsmoreandmoreconsciouslyfromonelessontothenext,howfingerswhichwereonceratherclumsybecomemoreskillful,andhowpleasedthechildiswhenhemanagesforthefirsttimetomakesomestitches—anactivitywhichengageshisentirebeingrightdowntohisverytoes—thenonecanseethatthisactivitywhichexercisesbothhandsinaharmoniousway,thusbringingskillinlaterlife,isalsoonethatworksdeeplyintotheorganismofthechildandawakenshisspiritualforces.

Steineroftenpointedoutwhatanimportantpartknittingplaysinrelationtootherthingstaughtintheschool.InStuttgart(�9��)hesaid:“Whenweteachachildtoknitortomakesomething—ofcoursethethingshemakesmusthavepurposeandmeaning—wearethenworkinguponthespiritofthechild,andoftenmoretrulysothanwhenweteachhimsubjectsthataregenerallythoughtofasspiritualandintellectual.”�

Healsosaid:“IfyourecallwhatIsaidyesterday,thatitisnottheheadalonebutthewholehumanbeingthatisalogician,youwill,Ithink,bereadytoappreciateinanewwaythesignificanceoflessonsthatdemandmanualorbodilyskill.Foritisnomerewhimthathasledustorequireboysaswellasgirlstolearnknitting,andsoforth.Activitiesofthiskindperformedbythehandleadtoanenhancementofthefacultyofjudgment.Thisfacultyisactuallydevelopedleastofallbyexercisesinlogic!”�

IntheCurativeEducationCourse,�9��,Steinershowedhowknittingcanbeusedtherapeutically.Inthecaseofaboyofninewhowasmentallyandphysicallyretarded,itseemedimportanttowakeninhimaninterestintheouterworld.Steinersaid:

Aqualityisdevelopinginhimwhichwemustdoourutmosttoencourage—attentivenesstotheworldaround.Idonotmeananattentivenessmerelyoftheintellect,butaturningwithheartandfeelingtothethingsoftheworld…thefeelingandthewillmustbeengaged(inthisattentiveness)…Itisnoteasytorousehimtobeactiveinanyway.Whathedoes,hedoesunwillingly.ByJanuary,however,hedidmanagetoacquiresomeproficiencyintheusefulartofknitting.Thevalueforhimofsuchanoccupationconsistsinthefactthatontheonehanditintroduceshimtotheworldofmechanismandbringshimintomovement,whileontheotherittrainshiminthepowerofattention.Forinknittingonecaneasilydropastitch!

Ittakesnearlytwoyearsforallthechildrentolearntoknitwell.Thenonecanbeginwithcrochet.Thisengagesthehandsdifferentlyinthattherighthandisusedmuchmore.Aftersomeverysimplework,suchasball-nets,onecanstartinthethirdschoolyearmakingcaps,tea-cozies,orsmalljackets,whichmayvaryincoloraccordingtothetemperaments

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ofthechildren.Eachchildisallowedtochoosehisowncolors,evenforhisfirstsmallpieceofwhitecrochetworkwhichisfinishedoffwithacolorededge.Thisshouldencourageapersonalrelationshiptocolor.Afterthe�rdClass,knittingandcrochet,thoseactivitiesinwhichthechild’smainexperienceisthecreationofasolidobjectoutofasinglethreadbytheformationofloops,cometoanend.

Steineradvisedthatattheendofeveryhandworklessonthechildrenshouldbegivenapictureorimaginationconnectedwiththeirwork—somethingwhichshouldalsomakethemlookforwardwithjoytothenextlesson.�Inadditionhegaveinstructionsthatduringthelastthirtyminutesofalessonlastingtwohours,thechildrenshouldbeallowedtodosmallertasksofvariouskinds.7Hesaid:“Theycoulddosomethingnice,likecrochetroundtheedgeofacoloredribbon.”

Toknittingandcrochetotherworkcanbeaddedinthelowerclasses,suchassmalldrawingsandpaintingsonpaperorontheblackboard.Theseshouldpartlybedesignsinpreparationforfuturehandwork,andpartlyexercisestobringabouteitherafeelingforsymmetryorharmonizationoftemperaments,andsoforth.Steinergavemanyindicationsforsuchwork.WeshouldliketomentionthesketchesmadebyhiminStuttgart,8Dornach,9

Torquay,�0andelsewhere.InthepedagogicalseminarinStuttgarthemadespecialreferencetothefourtemperaments;he,orsomeonetakingpartinthecourse,dreworpaintedamotifforasanguinechildandthenamodifiedversionofthisforamelancholicchild.

Thisshowsthatinhandwork,aswellasinothersubjects,theteachershouldcatertoeachofthefourtemperaments,andtasksshouldbeallottedtothechildreninaccordancewiththese.ItisajoytoobservehowtemperamentsarereflectedespeciallyinsmallerobjectsmadebyClasses�and�,andhowtheyrevealthemselvesinthecolorandformofnotebooks,needlecases,pen-wipers,balls,ragdolls,andsoforth.

Inthesefirstyearsthechildrenaretaughtthateverythingtheymakemustbenotonlypleasingtotheeye,butperfectlyadaptedtoitsuse.Steineroncecommentedontheappearanceofapen-wiperwhosesurfacehadbeencompletelycoveredwithembroidery.Hesaidthataspaceshouldhavebeenleftfreeforthethumbtotakeholdofit(Plate�,fig.�).

WhenhegaveadviceonsuchmattersSteinerenteredintothesmallestdetailsandgavemanynewimpulses.Heinsistedthatthechildrenshouldneverbemadetodoanythingthatwassimplyanexerciseofnopracticaluse.

Afterallthispreparationthechildisnowreadyinthefourthschoolyeartomakesomethingagooddeallarger,suchasabagforhandworkorforcarryinglunchtoschool,andsoforth.Herehecanlearntosewneatlyandtodecoratehisworkinanartisticand,atthesametime,practicalway.When,shortlyaftertheopeningoftheWaldorfSchoolinStuttgart,Steinersawbagswhichdidnotsatisfytheseconditions,hesaid:“Itisnotpossibletotellwhichisthetopandwhichisthebottomofthesebags.Oneshouldbeabletoseethisquiteclearlyjustbylookingatthem;otherwiseonemightpickthemupthewrongwayandeverythingwouldfallout!”

�9Plate 1

Fig.�

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Fig.�a Fig.�b Fig.�Fig.�

Fig.7

Fig.8(wrong) Fig.9(wrong)

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Hethendrewontheblackboardabag(Plate�,fig.�)whoseveryappearanceshowedthatitcouldholdallkindsofthings.HeexpressedthisagainintheDornachChristmasCourse,�9��:“Ithasbecomefashionablerecentlytodecoratethesebags,or‘pompadours,’withadesign.Inmanycasesyoucannothelpasking:‘Whichisthetopandwhichisthebottom?’Youshouldbeabletoseefromtheembroiderywheretheopeningisandwhichwayupthebagissupposedtobe.Nooneseemstotakesuchthingsintoconsiderationatall.”��

Theembroideryonthebagwillenablethechildtoexpresshispersonality.Withalittlehelpfromtheteacher,someofthechildrenwillnowtry,usingtheexperiencegainedinmakingthesmallextrathingsinthe�ndand�rdClasses,toworkouttheirownwayofdoingtheembroidery.Otherswillstillbecompletelyundertheguidanceoftheteacher,whomustbesureatthesametimetogiveeachchildindividualattention:“Notwhatthechildwants,norwhattheteacherwants,butathirdthingshouldemergefromworkingtogetherinthisway,”saidSteiner.

Childrenareveryfondofcross-stitch,whichcanalwaysbelearnedonsomesmallpieceofwork.Childrenwhoareweakintellectuallycanbehelpedbyit,especiallyiftheyaremadetofindthesymmetricalcounterparttotheformtheyareworkingat.Consciousnessisheightenedthroughthecrossingofstitches,justasitiswhenthearmsarecrossedtomakethesound“E”ineurythmy:��“[T]heformingofacross(withthearms)means…holdingoneselfupright.”��

Thedecoratingofobjectssuchasthesebagsaimsmoreatcultivatingasenseofbeautyinthechildthanatteachinghimskill.Steinerinsistedthatthechildshouldbetaughttodistinguishbetweenthe“beautiful”andthe“lessbeautiful,”thisapplyingespeciallytothedevelopmentofasenseofcolor.Throughanexperienceofvariouscolorcombinationsorcomparisonsofeachother’swork,thesenseforbeautyandgoodtasteisdeveloped.��

Oneshouldtrytoopentheeyesofthechildtoallthatisusefulandpractical,andalsotothebeautyofthethingsaroundhim.Inthiswayhelearnsto“lookcreatively.”“Thesenseofbeautyimpliesacapacitytoliveinimaginativepictures.Thisissomethingthattheteacherhasfirsttolearnforhimself.”��

ENDNOTES�. Waldorf School Curriculum,editedbyCarolinevonHeydebrand.�. TheSwissTeachers’Course,Easter�9��.�. Hehadalsolearnedbookbinding.AlbertSteffansaid:“RudolfSteinertoldusthathehadlearned

tosaymanythingsinhislecturesinawellorderedand‘bound’way,becausedestinyhadbroughtitaboutthatheshoulddobookbindingatacertainperiodinhislife.”(TheSwissTeachers’Course)

�. SupplementaryCourse,theUpperSchool,Stuttgart,�9��,lecture�.�. SupplementaryCourse,�9��,lecture�.�. Hegavesimilarsuggestionsforalllessonswithchildrenofthisage(7–��)intwoeducational

lectures,Stuttgart,June�9��.TheremarkintheSupplementaryCourse,UpperSchool,June�9��,lecture�,appliesequallywelltotheendofthehandworklesson:“Yourstudentswill

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becomehumanbeingswhohavelosttheirwayinlaterlifeiftheirspirit,whichhasbeenloosenedthroughbodilyexerciseorsinging,isnotafterwardsbroughttorest.”Itisabeneficialthing,therefore,tomakethechildrenstandperfectlystillforafewminutesbeforetheyleavetheclassroom.

7. IntheWaldorfschoolClasses�–�havealessononceaweeklastingtwohours;Classes�–�0haveonlyonehourofhandworkaweek.InClass8asecondhourisaddedfordarning,mending,ironingandmangling.

8. Discussions with Teachers,Stuttgart,August�–September�,�9�9.9. Lectures to Teachers,Christmas�9��.AlsoWays to a New Style of Architecture,Dornach,�9��.�0. Kingdom of Childhood,Torquay,�9��.��. Lectures to Teachers,Dornach,December�9��–January�9��.��. “E”ispronounced“ay,”asin“say.”��. Eurythmy as Visible Speech,Dornach,June�9��.��. The Younger Generation,��lectures,October�9��.The Kingdom of Childhood,lecture�.��. Lectures to Teachers,Dornach,Christmas�9��.

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CHAPTER IV

Phases oF develoPment oF the chIld In the early school years

Duringthefirstyearsofschoolthechildpassesthroughtwospecialandclearlymarkedphasesofitsdevelopment;onebetweentheninthandthetenthyears,andtheotherbetweenthetwelfthandthirteenth.Ofallthatconcernsthesephasesweshallspeakhereonlyofwhatrelatestohandwork.

Betweentheninthandtenthyears(thirdtofourthyearsatschool)theself-awareness,whichmeanstheego-consciousnessofthechild,isstrengthened.Hebeginstoplacehimselfmoreconsciouslyandintelligentlyintohisenvironment,ofwhichbeforehisninthyearhehadbeennomorethanaparthimself.�Inhandworkonecanseehowthechildseemstohavemoreunderstandingforhisworkandtotakeadeeperandmorelivelyinterestinit.InthisconnectionSteinerhassaidthefollowing:

Atthisage,roundabouttheninthyear,weshouldwatchthechildandobservehowhebeginstohaveaninnerexperienceofwonder.Hewondersabouteverything,andentersintoaquitenewrelationshiptohissurroundings.Inthecaseofanormalchild,thishappensbetweentheninthandtenthyear…Itisjustintheseyearsthatonecanbestimplantinhimasenseofbeauty.Whathappensifonedoesnotdothis?Thechildwonders—yes—buttherealstrengthofthiswonderhasbeenkilled…Ifweencouragethechildtolookattheworldwithwonderandamazement,wearepreparinghimforthemomentofpuberty.Ifweareabletomakethissenseofbeautyaconsciousexperienceinhim,thenwearepreparingthechildforthisexperienceofpubertyinsuchawaythathecanlearntolovetheworld,candevelopthepowerofloveintherightway.Forthereisnotonlytheloveofonesexfortheother;thatisonlyoneofmanyloves.Loveissomethingthatshouldpenetrateallouractions.Weshouldonlydowhatwelovedoing.Dutyandloveshouldgrowtogether.Weshouldlovewhatwehavetodo…Thisiswhyduringtheseearlyyearsatschool,wemustbecarefultodevelopthesenseofbeautyintherightway.Becauseyousee,myfriends,whilethesenseoftruthisinnateinthechild,thesenseofbeautywemustdevelopinhim.�

InhisAesthetic Letters,Schillerdemandedsuchaneducationofthehumanbeingthroughbeauty.Inthetwenty-thirdletterhewrote:“Inaword:Thereisnootherwayofmakingarationalbeingoutofasensualindividualthanbyfirstmakinghimaesthetic.”

HowoftenSteinerexpressedhisregretthattheselettershavehadsolittleinfluenceonpedagogy.�Intheseventhlectureofthe“PracticalCourseforTeachers,”hesaidthat

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besidestheselettersofSchiller’s,LevanabyJeanPaulalsocontainsnumerouspracticalhintsforteachers.

IntheWaldorfschooltheartisticelementisnotonlybroughttothechildthroughtheteachingofparticularsubjects,butpermeatesandenlivenstheentirecurriculumfromthefirstyearonwards.“Allteachingintheschoolmustbedoneartistically,”saidSteiner.Togetherwithdrawing,painting,modelingandworkinmusicandspeech,itiseurythmyinparticularwhichstrengthensthesenseforformandcolorinthechild.

SteinerattachedgreatimportancetothedevelopmentofanaestheticsenseforthesublimeandbeautifulinNature.Oneshouldguidechildrensothattheyexperiencethebeautyandsplendorofasunriseandasunset,thebeautyofflowersandthemagnificenceofathunderstorm.Thisishowonedevelopstheaestheticsense.Andthissenseofbeauty,thisaestheticencounterwiththeworld,isthatelementwhichwillholdtheexperienceofpubertywithinappropriatelimits.�

Attheageoftwelvethechildentersanewphaseofexistence.Hispowersofspiritandsoulnowbecomestrengthened.Whereasbeforethetwelfthyearhistorycouldbebroughttothechildonlybymeansofstorytelling,�anunderstandingforhistoricalrelationshipsnowawakensinhim.Inthesamewaythechildisnowreadytobetaughtphysics.Atthistimethesoul-spiritnatureofthechildisunitingmorefirmlywiththemechanicsofthebonysystem;consequentlynoharmisdone.Oneshouldevenintroduceintotheteachingeverythingwhichfollowsmechanicallaws—inlifeitselfaswellasinthesciences.�

Teachingshouldnowleadintothepracticalspheresoflife.Therearemanypeopleintheworldwhohavenoideahowmuchhealthylogicandclearthinkingcanbedevelopedthroughlearningtoknit.AlltheboysintheWaldorfschoolsknitaface-flannelanddarntheirownsocks,justasthegirlsdo.Whoeverwantstobeagoodphilosopheroughttoknowhowtomendhisshoestoo.Insomeclassesthechildisalsotaughthowtoweaveandspinandlearnshowpaperismade.

Whenitcomestospinningthefactemergesthat,whereasgirlsenjoydoingit,theboysprefertohelpwithallthepreparations—thefetchingandcarryingthathavetobedone.Thepsychologicalreasonsforthisshouldbeinvestigated.Thishandworkteaching,whichisvaluedveryhighlyinourschools,leadsoverlaterontobookbinding.Bookbindingandbox-makingarelearned.Theimportanceofthisliesfarlessintheactualbindingofbooksthaninthefactthattheproceduresconnectedwithbookbindingarecarriedoutatacertainageinthelifeofthechild.Thisisofgreatimportanceforlaterlife.7

Steineronceexpressedthewishthat,besidesbookbinding,otherhandworkshouldbecontinuedintheupperclasses.Ontheotherhandheconsidereditimportantthatduringhandworklessonsacertainamountofbookbindingintheformofsmallbooks,folders,and

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soforth,shouldbedoneinaverysimplewaybysewingandgluing.Oncewhensomethingofthiskindwasshowntohim,hesaidwithapproval:“Yes,suchthingsshouldbedonemuchmore.”Theuseofcolorinthisconnectionservesasapreparationfortherealcraftlateron.Throughsuchworkthechildrenareintroducedtopracticaltasksofthekindtheymaymeetlateroninlife(Plate�,figs.�0–��andPlates�,�,7,8).

Withinthesixthschoolyeartherealteachingofcraftsbegins,andlessonsingardeningarealsogiven.Throughcrafts,aswellasthroughhandwork,afeelingisawakenedforhowusefulnessandbeautyshouldbeunitedinthedesigningofanobject.8 ThefollowingwordsofSteinertellhow,intheeducationofachild,thesenseofbeautyshouldbedevelopedbeforeanyattemptismadetocometogripswiththetechnicalsideoflife:

Oneshouldneverintroduceboystotheinnerworkingsofalocomotive,atramoratelephonebeforetheyhaveacquiredanunderstandingforthebeautyofapictureorofaplasticform.Thechildrencarrywiththemintopuberty,andthenceintolaterlife,acertainsensefortheaesthetic,ifthishasbeencultivatedinearlyyears.9

LaterSteinerspokealsoofthefactthatutilitymustnotbelackinginbeauty,andexplainedhowthechildmustlearn,fromtheageoftwelveonwards,tocombinethesetwoelements,“Thechildmustnowinhissixthschoolyearbegivenanideaofhowutilityandbeautycancometogether;how,forexample,achaircanfulfillitsfunctionperfectlyandatthesametimehaveabeautifulshape.Thiscombiningofutilityandbeautyoughttobecomeareal,practicalhabit.”�0

Thisshouldpenetraterightintothesystemofthechild.Itisnotenoughthatheshouldexperiencethebeautyinhisownworkthroughtheeyealone.Thisfullyhumanartisticfeelingissomethingthatshouldflowbywayofthelimbsintotheworkitself.Inadiscussiononhandwork,Steinersaid:

Itistruetosaythatthechildisimmediatelyathomeintheworldofform,andheretheteacherhasendlesspossibilities.Youreffortswillonlybefruitful,however,ifinsteadofappealingmerelytotheeye,youcallupfeelinginthechild.Youmustseetoitthatitbecomesamatteroffeelingforthechildthat,forexample,heshouldwanthisdrawingtoopenoutatthebottom:Somethingispressingdownfromabove,somethingisstrivingfromabovedownwards.Itmustbetransformedintoafeeling;whateveristobeperformedwiththehandmustbecomepartofthehand’snaturalmovements.Actually,thewholehumanbeingisengaged;hethinkswithhiswholebody.Onemustthereforetrytobringitaboutthathealsofeels,experiences,things.Thefeelingofthechildmustbeworkeduponinahandworklesson.If,forexample,hewantstoembroideracorner,heshouldbeabletofeelthatitmustbedoneinsuchawaythatifheapproachestheembroideredpiecefromtheothersidehecannotgetthrough.If,however,hecangetthrough,theremustbesomethinginherentinthedesignwhichtellshim:Thisisthewaythrough.

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Whenthechildrenmakecoziesforteaorcoffeepotstheymustserve.IfIopenanobjectfrombelow,thenwhatIdowithmyhandsmustcontinueintothedesign.Imustbeabletoseefromthedesignwheretheopeningis.Butitoftenhappensthatachildmakesadesignlikethis(Plate9,fig.�8).Yes,thisiswrong;thedesignmustshowwherethereisanopeningandwherethereisnotone.�� Ifahandworkteacherworksinthewayjustdescribed,��hecanwellsay:“Idothisbecausemyspecialconcernisthespiritualactivityofthechild.”��

Continuingourconsiderationsofthephasesofdevelopmentofthechild,weshallnowdirectourattentionmoretothewayinwhichtheteachershouldbringtheever-changingcontentofteachingtothechildduringthesephases.Beforetheageofseven,thechildisstillintheimitativephase.Duringthisperiodtheteachercanachievemuchbydemonstratingthingstothechildhimself.

Betweentheseventhandfourteenthyears(firsttoeighthyearsatschool),afeelingfortheauthorityoftheteacherhastobecultivatedinthechild.HowthiscanbedoneSteinerhasindicatedinthefollowingway:

Inemphasizinginanthroposophicallectures,thepointthatbetweensevenandfourteenyearsofagethefeelingforauthorityshouldbecultivated,itisnotmeantthatatrainingisrequiredtoproducethisfeelingforauthority.Whatisnecessarycanflowfromtheverymethodofinstructionitself.Itsinfluenceispresentlikeanundertone;whenthechildlistens,hesays:“Aha,hecallsthatnine;hecallsthattwenty-four,”andsoforth.Heobeysvoluntarily,atonce.Throughlisteninginthiswaytothepersonwhousesthismethod,thechildisinoculatedbywhatexpressesitselfassensitivitytoauthority.Thisisthesecret.Anyartificialtrainingofthefeelingforauthoritymustbeexcludedbythemethodortechniqueitself.��

Towardsthefourteenthyearthechildenterstheperiodofpuberty.Uptonowhehasbreathedinthebeautyoftheworld;nowhedemandsthattruthalsoshouldbefoundinit.Inordertoarriveathisownjudgmentconcerningthis,thechildhastooutgrowhisfeelingforauthority.Steinersaid:

Whenachildattainspuberty,heshouldatthesametimeundergoachangethroughthefactthatheisnowabouttodispensewithauthority;hehasoutgrownit.Butifwehavenotintheearlieryearsaccustomedhimtotheacceptanceofauthority,thisimportantchangewillbemissed.Hemustfirstexperienceadependenceonauthority;thenatpubertyhecanoutgrowthisfeelingofdependenceandbegintojudgeforhimself.

Andthiswillmeanthatthetimehascomeforusteacherstoenterintoanewrelationshipwiththechildren,arelationshipthatiswell-expressedinthefamiliarsaying:“EachoneofuschooseshisownheroinwhosefootstepshewillfollowonthepathtoOlympus.”Ofcoursethischangein

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relationshipcanoftenbringusintotroublesomesituationswiththechildren.Wearenolongerabletobetheiridealasamatterofcourse.Wehavetokeepourselvesuptoit!��

Thisattitudeoftheteacherwillleadgraduallytothepointwherethefeelingforauthority,whichthechildrenshouldhavehaduptonowbutwhichtheycanhavenolonger,giveswaytothatinterestwhicharisesfromthefacultyofjudgmentandcomestomeetallthatisgiventothembytheteacher.Wecanobservehowthisfacultyofjudgmentturnsintoanattitudethatposespuzzlingquestions,anditisclearthatwemustbeawaketothis.��

Whenyouleadthechildrenonwardsfromthe9thtothe�0thClass,youmustpresentthemwithanentirelynewsituation.Thechildmustfeel:“Goodheavens!Whathashappenedtomyteacher?Wealwaysthoughtofhimasagreatlight,assomeonewhocouldtellusmanythings,butnowitseemsasthoughthereisnotjustonehumanbeingspeakingtous;thewholeworldseemstospeakthroughhim.”�7

Thereshouldbearealchangeinthewaytheteacherconductshislessonswheneverheisstartingoutonanewclasswithhischildren.Itisimportantfortheteacherofhandworktoobservetheserathersubtlechangesverycarefully.Ifhedoesso,hewillsucceedagainandagaininarousinginthechildrenajoyandaninterestineverythingheundertakeswiththem.

Realenthusiasmmustbeshownbyateacherwhosestudentsare��–��and�0–��yearsold,enthusiasmwhichaddressesitselfabovealltotheimagination.Foralthoughthechildrenbringforthfromwithinthemselvesatendencytoformjudgments,itispreciselyjudgmentwhich,fromourpointofview,isbornoutoftheimaginativefaculty.Thechildrenexpecttobemetbythispowerofimagination,andithastobebroughttothemwithanenthusiasminwhichtheycanbelieve.�8

Itcanbeseenfromtheaboveremarksthat,ineverythingtheteacherhastodo,itdependsentirelyuponhisfindingtherightwayofgivingthechildeveryopportunityofdevelopment,uponhisfreeingthewayforthechildsothathistruebeingcanunfold.Thisiswhyhandworkmustbejudged,notaesthetically,butpurelypedagogically.Onlytheeducationofeachindividualchildis ofimportance,nottherealizationofbrilliantachievements.Itcanoftenhappenthatapieceofratherdullbutpainstakingworkspeaksmoreoftheinnerprogressmadebyachildthandoesapieceofworkthatismorepleasingtotheeye.

ENDNOTES�. Practical Course for Teachers,lecture7.�. SupplementaryCourse,lecture8(notaverbatimreport).[translator’s note:Seealsothetranslation

byMaryAdams.]�. Education and Art,Education and the Moral Life,Schiller and Our Times,March�90�.

�7

�. SupplementaryCourse,Stuttgart,�9��(shortenedrendering).[translator’s note:SeethecorrespondingpassageinMaryAdams’translation(lecture�).]

�. SeebeginningofchapterII.�. Waldorf School Curriculum,September�,�9�9.7. ThisisaslightlyabridgedversionofnotestakenbyHedwigHauckoftheSwissTeachers’Course

(April�9��).8. Waldorf School Curriculum,lecture�.9. TakenfromHedwigHauck’snotesof“LecturestoTeachers,”Dornach,Christmas�9��.�0. Waldorf School Curriculum,Stuttgart,September�9�9.��. SeePlate�,fig.7,andexplanations;chapterIX,Foldersandbookswhichonecannotopen;

chapterVII,Uncomfortablecushions.��. Whatissaidhereapplies,ofcourse,toallhandworklessons.��. SupplementaryCourse,Stuttgart,�9��,lecture�.Theaboveisnotaverbatimtranslation.

[translator’s note:SeeMaryAdams’translation(verbatim).]��. Practical Course for Teachers,Stuttgart,�9�9,lecture�.��. SupplementaryCourse,Stuttgart,�9��,lecture8.��. Twoeducationallectures,June�9��(notgivenwordforword).�7. Twoeducationallectures,June�9��.�8. Twoeducationallectures,June�9��.

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CHAPTER V

the lIne In PaIntIng and handwork

Steineralsogaveimportantindicationsinregardtotheuseoflines.Wheneverhespokeofthelineinpainting,hewouldsaysomethinglikethis: “Thelineinpaintingisanartisticlie,becausetherearereallyonlycoloredsurfacesborderingoneupontheother.”�Whenhespokeofhandworkandthecrafts,ontheotherhand,herecognizedthelineashavingaquitesubstantialvalueandanexistenceofitsown.Whenaskedatateachers’conferencewhetherdrawingshouldbedevelopedaswellaspainting,hesaid:“Nolineardrawing,exceptintheteachingofgeometry.Buttheotherkindisimportant—theworkingoutoflightanddarkness.”WhenaskedifClass�0shouldalsotakepaintinglessons,hesaid:

Itmustbegiveninthelessonswhichtheyalreadyhave.Itisquiteclearthatmoreartisticworkshouldbedone.Iamanxiousthatthehandworklessonsshouldhaveanartisticcharacter.Theyareoftenlackingintaste.Ishouldlikethemtobereallyartistic.Thelinemaybeusedinhandwork,butdrawnonpaper,itissomewhatunreal.�

Withregardtolinearperspective,Dr.Steinersaid:

Ifthechildlearnstheperspectiveoflinesbeforehehasexperiencedtheperspectiveofcolormuchharmisdone,forthefirstmakesthesoulrigidwhilethelattermakesitrichandflexible.Achildwhohasarrivedatperspectivethroughtheexperienceofcolorwilllearntoreadattherightpace.Thustheutilitarianquestion:“Whyteachpainting?”isanswered.�

Theanswertothequestionwhetherthelinearorthepaintingelementshouldbecultivatedmostinhandworkwilldependuponthetaskinhandandthegiftsoftheindividualchild.WhenSteinerwasaskedtolookattwopiecesofworkdoneintheearlyyearsoftheWaldorfSchoolinStuttgart,ofwhichonewasmorerhythmical-linearincharacterandtheotherfreerina“painter’s”useofcoloredsurfaces,hepraisedthefirst,butthenpointedtothesecondandsaid:“Moreofthisshouldbedone”(Plate�,figs.�and7).

Drawingandpaintingonblackboardorpaperareoftenveryusefulasapreparationforhandwork.Inembroiderymanychildrenliketosticktotheirsketches,butiftheydoso,theyshouldtrytogiveanewformtothemotifastheytransferittothematerial.Othersworkquitefreely,withoutrelyingonanypreconsidereddesign.Althoughthechildrenareallowedtocreatetheirownformsandchoosetheirowncolors,itisunderstoodthattheteachershoulddiscusswiththemwhattheyareabouttodo,thoughhemayalsowaituntilthechild’sworkitselfshowshimhowitshouldbecontinued.TheWaldorfschoolhasno

�9

patternsorsamplesforcopying.Steinerwarnedagainstmakingthechildcopythingsfromhis/hersurroundings.Hesaid:“Awakenthefeelingforform,beforethewishtocopynaturebeginstostirinthechild.”�Inotherwords,theexperienceofpureform,regardlessofcontent,mustbearousedbeforeweallowanobjectfromtheoutsideworldtobecopied.Healsosaid:“IntheWaldorfschoolsweattemptnottopaint‘something,’buttopaintoutoftheexperienceofcoloritself.Thepaintingof‘something’cancomelateron.Ifitisbeguntoosoon,thesenseforwhatislivingislost,anditsplaceistakenbyasenseforwhatisdead.”�

Steinerrejectedeverythingstereotyped,everythingthatwouldtendtobindhandoreye.Hewishedforthechildtoengagehishandandeyeincreativeactivitywithouttheaidoftechnicaldevices.Whenoncehesawachildusingastenciltodrawthescallopsroundtheopeningofagarment,hetookthepencilsandshowedhowitshouldbedonebydrawingthemfreehandonthematerial(Plate�,fig.�).

OnedayDr.Steinersawchildrensewingwithoutthimbles.Hetooktheteachertotaskquiteseverelyforthis.Hemadetheabsolutenecessityofthethimbleunderstandabletothechildrenbysaying:“Notusingathimbleisjustlikeahuntergoingouthuntingwithoutagun!”

ENDNOTES�.Practical Course for Teachers,lecture�.�.Teachers’Conference,Stuttgart,November��,�9��.�.CourseforSwissTeachers,Dornach,April�9��.�.Waldorf School Curriculum,lecture�,Stuttgart,September8,�9�9.�.The Spiritual Ground of Education,lecture7,Oxford,�9��.

�0

CHAPTER VI

Handwork for CHildren from tHe fiftH to tHe eigHtH Years at sCHool

Fromthefifthschoolyearonwardsthechildrenlearntomakethevariousitemsoftheirownclothing.Theybeginbyknittingknee-orankle-socks.Then,inthesixthyeartheymakeslippersandshoesforgymnasticsandeurythmy,andintheseventhandeighthyearsbothgirlsandboyslearntosewbyhandeitherablouseorashirtforthemselves.Theboysliketochoosecolorfulsportswear,andthegirlsputembroideryontheirwork.Regardingthenecklineoftheblouse,thesameindicationsapplyasaregivenlater(chapterX)forthedress(Plate9,figs.��–��).“Theboysshouldlearntomaketheirowntrousers,”saidDr.Steiner;sothisisoftendoneasaseconditem,forwhich,totheirgreatprideandsatisfaction,theyareallowedtousethesewingmachine.Thechildrenarealsotoldsomethingabouttextiles,andtheylearntodarn,mend,ironanduseamangle.Dr.Steinervaluedthesepracticaldomesticactivitiesveryhighlyindeed,� buthedismissedtheideaofweavingonasmalltableloominahandworklessonwiththewords:“That’sjustachildishgame!”HewantedthechildreninClasses�0and��tolearnsomethingofthetechnicalitiesofweavingonabigloomintheirTechnologyclass.Hefelttheyshouldalsopracticespinninguntiltheyareabletomakeaproperthread.

Steinerpointedoutrepeatedlythatourclothes,inthewaytheyareshaped,mustberelatedascloselyaspossibletothehumanbeing.Somegirlshadoncemadethemselvesverybeautifulshoesandhadevenmanagedtoexpresstheasymmetryofthefeetintheembroidereddesign.ButSteinerwasstillnotsatisfied.Hesaid:“Oneshouldbeabletoseefromtheshoeasawholethatitenclosesafoot.”Hethendrewattentiontothepositionofthetoes,tothesinews,themusclesandthebonestructureofthefoot.Nexthedrewasoleinordertodemonstratetheasymmetryofthefoot(Plate9,fig.�9),andrepeatedwhathehadpointedoutwithrespecttothewholefootandtowhatmustbetakenintoaccountinembroidery.Thewayinwhichoneconveysthistothechildrenmust,ofcourse,beartisticand,atthesametime,suitedtotheage-groupinquestion.�

Toysareaddedtotheseusefularticlesfromthefifthschoolyearonwards.Thechildrenlovemakingdollsandanimals.Havingbecomefamiliarwiththephysicalstructureofthehumanbeingandanimalsinlessonsinnaturalscience,�theybringtotheworkwithdollsandanimalsinthehandworklessonanewandmuchdeeperinterestandunderstandingthanwouldhavebeenpossiblebefore.Thechildisnowabletoconstructananimalinamuchmoreconsciousandlivingway,whileinthefirstyearsatschoolhehadbeenconnectedwiththeanimalmorethroughhisfeelingsandhadbeenabletomakeonlysomewhatchildishattemptswheredollsandanimalswereconcerned.

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Asadetailedaccountofsuchworkisgiveninthelaterchapteron“ThePedagogicalValueofMakingAnimalsinSoftHandwork,”wecannowpassontothedollinparticularandtovariouskindsoftoys.InThe Education of the Child in the Light of Anthroposophy,Steinerhasgivenfar-reachingindicationsonthesubject.

Youcanmakeadollforachildbyfoldingupanoldnapkin,makingtwocornersintolegs,andtheothertwocornersintoarms,aknotforthehead,andmarkingineyes,nose,mouthwithblotsofink.Orelseyoucanbuythechildwhattheycalla“pretty”dollwithrealhairandpaintedcheeks.Weneednotdwelluponthefactthatthe“pretty”dollisofcoursehideousandquitecapableofspoilingthehealthyaestheticsenseforalifetime.

Themaineducationalquestionisadifferentone.Ifthechildhasbeforehimthefoldednapkin,hehastofillinfromhisownimaginationallthatisneededtomakeitrealandhuman.Theworkoftheimaginationmoldsandbuildstheformsofthebrain.Thebrainunfoldsjustasthemusclesofthehandunfoldwhentheydotheworkforwhichtheyarefitted.Givethechildtheso-called“pretty”doll,andthebrainhasnothingmoretodo.Insteadofunfolding,itbecomesstuntedanddriedup.

Ifpeoplecouldlookintothebrainasthespiritualinvestigatorcan,andseehowitbuildsitsforms,theywouldassuredlygivetheirchildrenonlysuchtoysasarefittedtostimulateandvivifyitsformativeactivity.Toyswithdeadmathematicalformsalonehaveadesolatingandkillingeffectupontheformativeforcesofthechild.Ontheotherhandeverythingthatkindlestheimaginationoflivingthingsworksintherightway.

Ourmaterialisticageproducesfewgoodtoys.Whatahealthytoyitis,forexample,whichrepresentsbymovablewoodenfigurestwosmithsfacingeachotherandhammeringananvil!Suchtoyscanstillbeboughtincountrydistricts.Excellentalsoarethepicturebooksinwhichfigurescanbesetinmotionbythreadspulledfrombelow,sothatthechildhimselfcantransformthedeadpictureintoarepresentationoflivingaction.Allthisbringsaboutalivingmobilityoftheorgans,anditisthroughsuchmobilitythattherightformsoftheorgansarebuiltup.�

Steineralsogaveimportanthintsaboutdoll-makingduringaconferenceattheWaldorfSchoolinStuttgart.Hesaid:�

Whenthechildrenmakedolls,artisticability,style,senseforcolor—allthese—canbedeveloped.Ifeverypossibleeffortweremadetoovercomenaturalismindoll-making,sothatsomethinglivingcouldtakeitsplace—laughingdolls,formedartistically—one’sworkwouldreallyhaveabeneficialinfluenceintheworld.�

Similardemandscouldbemadeconcerningthemakingofdolls’houses,anactivitywhichSteinerconsideredtobeofpedagogicalvalue.Butheobjectedtoacircuswithperformingelephantswhichthechildrenaskediftheymightmake,andsaid:“Itwouldbe

��

bettertomakeaherdofchargingelephants.”Thiswasdonewithgreatenthusiasmbythechildren.TherehappenedtobeananimalshowinStuttgartatthattime;thechildrenwereallowedtorideontheelephantsintheopenair,andwereabletoacquireamuchmoreintimatefeelingforthelivinganimals.

Howissuchaherdmade?First,theanimalsaredrawnontheblackboard.Theneachchilddrawsanelephantinprofileonapieceoffirmwrappingpaperandcutsitout.Thissilhouetteistracedontoadoublepieceofmuslinandthencutout,allowingforseamsallround.Thetwoparts—withtheexceptionoflegsandfeet—arenowsewntogether.Athirdpieceofmaterialisadded,supplyingthehalfrequiredforroundingoffthelegsandalsotheundersideoftheelephant’sbody.

InBerlinin�9��Steinergavesuggestionsforapuppettheatre,whichwasthenconstructedbymembersoftheAnthroposophicalSocietyforchildrenwhosefatherswereonactiveserviceintheWar.Hesaidthatthedollsshouldbemanipulatedfromabovebymeansofstringsorwires.Inadditionhesaidthatoneshouldaimatdevelopingthepuppetshowartisticallytothepointthatthedollscoulddoeurythmy.In�9��Snow Whitewasperformed.Steinersaidthatthedwarfsshouldsitataroundtable,andthattheyshouldbemovedinsuchawaythattheyarealwaysfidgeting.“Dwarfsmustbethoroughfidgets,”hesaid.ThenextyearSleeping Beautywasperformed.Oneshouldnotthinkofmakingsuchatheatreinschoolbeforethechildrenaretwelvetothirteenyearsold(seechapterIV).

Intheeleventhlectureofthe“PracticalCourseforTeachers,”Dr.Steinerspokeofhow,inconnectionwiththeteachingofgeographyfromthetwelfthtothefifteenthyear,thechildshouldbeshowntherelationbetweenagricultureandhumanlifeandreceiveavividconceptionoftheplough,theharrow,andsoforth:

Tryespeciallytogetthechildtoimitatetheshapesofsomeofthesesimpleimplements,ifonlyintheformofatoyorapieceofhandwork.Itwillmakethechildskillful,andwillhelphimtoplacehimselfproperlyintolifewhenheisolder.

ENDNOTES�. SeebeginningofchapterII.�. SeechaptersII–IV.�. Practical Course for Teachers,lectures7,8,�0.�. Cologne,December�,�90�.Thenumerousindicationsandsuggestionsitcontainsmakethis

bookletindispensabletobothparentsandteachers.�. SeereferencetodollsinchapterVII.�. Teachers’Conference,November��,�9�0.

��Plate 2

From the Handwork Class(Classes�&7)

��

CHAPTER VII

aFter the lower school

WhenthechildrenleavetheLowerSchool,theyenteranewphaseofdevelopment.Theywishnowtograspthetruth-contentoftheworld.Fromnowoncriticalthinkingandindependentjudgmenthaveaparttoplayinthewaytheyprepareandcarryouttheirhandwork.Whatinthisactivitywasformerlydonemoreoutofafeeling-andwill-experience,andwasstill,thoughperhapsnotalwaysconsciously,dominatedbyasensitivitytotheauthorityoftheteacher,mustnowbecomeconsciousinthechildandbebroughtintoharmonywiththinking.Innerconflictsareboundtoarise,butinmostcasestheseproblemsareresolvedthroughtheworkitself.Oncetheyoungpersonhasattainedacertainbalanceofhissoul-forces,hisgiftsandartisticcapacitiescanbegintounfold.

Afterpubertytheyounghumanbeingbeginstotakenoticeofactionsassuch.Theloveforworkawakensinhim.Nowthatanunderstandingfortheworkofmankindisborninhim,theplayofthechildleadsovertotheworkoftheadult.�

Intheseyears,therefore,muchfreedomshouldbeallowedinthechoiceofwork.Theresultingvarietyofworkdoneinaclassfavorstheprogressofeachindividualchild.Newcraftsareadded.Basket-making,raffiaorleatherwork,theknottingofhammocks—ajobwhichtheboysenjoyespecially—canbedonetoo.Tasksinvolvingpaintingarealsoincluded.Steinersuggestedthepaintingofposters.Bookcovers,lampshadesandotherthingsarepaintedwithwatercolorfromthepot.Steinerdidnotwantcoloredchalkstobeusedintheschools—thoughoilcrayons,becausetheydonotmakedust,maybeusedforsketching.WithregardtopostersSteinersaid:

Childrencanbetaughttowriteoutabillofexchange,soIdonotseewhytheyshouldnotbetaughttorecognizethebeautyofabeautifulposter.Oneshouldalsobeabletorecognizeanugly,impossibleposter.Butpeoplelookatsuchthingswithoutgettinginfuriated.Artistictasteneedstobeeducated.Thefeelingforstyleneedstobedeveloped...WhatImeanistheabilityinwardlytoexperiencethesethings...Onemustbeabletoexperienceatriangle,experiencearectangle—notbeabletomerelyimitateit.Butnowadayswhensomeonemakesadoll,hedoesitbyimitatingratherthanbyexperiencingitinwardly.Onemustbeabletoexperiencefromwithinhowadolllaughsorcries.Thisshouldenterevenintothewayitsclothesaremade.Thegirlscanmakeadollandtheboysaharlequin.Suchacapacitytoexperienceinwardlyisfundamentaltoarightuseofcolorinpainting.A

��

bridgecanbebuiltfromhandworktothecrafts.Therearecountlesssmallobjectsthatcanbepainted.Inthehouseholdtherearethingsthatshouldbemadebyhandandthenpainted.�

Steinerpointedoutthenewdirectionsforpaintingitself.AlthoughwhathecreatedinthesmallercupolaofthefirstGoetheanuminDornachwasdestroyedbyfire,thepostershehimselfmadefortheperformancesattheGoetheanum,executedinpartbythepainterHennyGeekfollowingtheindicationsandpracticalsuggestionsofSteiner,havebeensavedforus.Steineradvised:“StudytheposterswearemakingtogetherinDornach.”InDornachitselfhesaid,withregardtothesepostersandprograms:

Ifyoulookatwhathasbeenstrivenafterinthesimpleattemptswehavemadeinthedesigningofprograms,youwillseethat,thoughitisonlyabeginning,abeginninghasbeenmadeinthereleaseofcolorsfromweight,intheexperiencingofcolorasanelementinitsownright,inmakingcolorsspeak.

Ifitsucceeds,then,asagainsttheinartisticworld-philosophywhichwouldleadtotheextinctionofallart,anartwillbecreatedoutofthefreeelementsofcolorandofsound,anartfreedagainfromtheinfluenceofweight.�

OncewhenhewasaskedattheWaldorfSchoolinStuttgarthowthechildrenshouldmovetheirbrushwhenpaintinginwatercolors,hesaidthatitisbestalwaystokeeptoonedirection.Heillustratedthisbypaintingasignpost(Plate�,figs.�a,�b),andshowedalsohowitshouldnotbedone(fig.�c).Hesaidthatinembroiderytoooneshouldalwayskeeptoonedirectionwiththesinglestitches,whateverformisbeingmade(fig.�).

Onanotheroccasionheexplainedthatincarvingandmodelingoneshouldalwaystakeintoaccountthenatureofthematerialinwhichoneisworking.Woodmustbeshapeddifferentlyfromstoneoriron,forexample.Whenhewasaskedifthisappliedalsototheuseofcoloredmaterialsforembroidery,hesaid:“No,hereitspurposehastobeconsidered.”

IntheWaldorfschoolmuchattentionisgiventothewaysinwhichpaintingandembroiderycanbeconnected.Insuchworkthereisscopeforfreeartisticactivity.Thereis,however,thedangerthatsuchworkmightbegintobedoneforitsownsakeandbecomemere“studiowork,”atermusedbySteinerincriticismofallworkwhichservesnorealpurpose.Thisdangercanbeavoidedifthechildrenaregivenconcretetaskstocarryout.Ifatableclothwasbeingembroidered,Steinerwishedittoexpressinitsdesignthepurposeitwasintendedtoserve.Itsfuturesurroundingsalsohadtobetakenintoaccount.Steineronceshowedhowatablecloth,forexample,canbebroughtintoharmoniousrelationwiththeobjectsonorunderit,when,ononeoccasionhepointedtotwofinishedtableclothsandsaid:“Thisoneshouldlieonawhitemarbletable,andontheotherthereshouldstandatallvaseofflowerswithlongstems.”Inthiswayheshowedhowthechildren’stastecanbeeducatedinpreparationforthetimewhentheyhavehomesoftheirown.

��

Steineralsosetsuchtasksasthefollowing.Hemadesketchesfortableclothswhichwere,inonecase,foratablewiththreelegs,andinanother,foratablewithfourlegs(Plate�,figs.�7and�8).IntheWaldorfschoolhesuggestedthatatableclothshouldbemadeforaparticularnumberofpeople.Theembroideryonitwastoleavespaceforthecutleryandplates,whichwouldbeenclosedinakindofframe,whosedesignshouldalsotakeintoconsiderationthepeoplesittingatthetable.Thosewhowishedtoarrangeexhibitionsofhandworkwereunsurewhethersuchspeciallydesignedarticlescouldbeexhibitedawayfromthesurroundingstowhichtheybelonged.Steinerwasoftheopinion,however,thatitwaspossible,providedlabelswereattachedtotheobjectsexplaininghowtheyshouldbeused.Hepointedtoatableclothwhichhadbeendiscussedearlierandsaid:“Writeforthisone—‘Thisisatableclothforuseonaroundtableinareceptionroominwhichguestsassembletodrinktea.’”

Allhandworkshouldbebroughtintorelationwithlifeandwiththehumanbeing.Steinerdismissedmerelyornamentaltableclothsas“studiowork.”“Fartoomanyornamentalclothsaremade,”hesaid.“Letthechildrenmakecushions.”Thushesetthe9thClassaquiteconcretetask.Theimportanceofthisveryquestion—howtoembroideracushion—hadbeendiscussedbySteineronvariousoccasions.“For,”hesaid,“itcanhappenwhenyoulieonamoderncushionthatyouwakeupandfindtheembroideredpatternimprintedonyourcheek.”Inthe“Christmas”lecturesgivenattheGoetheanumin�9��,hemadesketchesontheblackboardandsaid:

Itisn’tpossibletolayyourheadonthiscushion(fig.�0),becausethethinginthemiddlewillscratchyou!Itdoesnotexpresstherealfunctionofacushionatall.Thisishowitshouldbedone(fig.��)...andnowyoucanonlyliewithyourfacetotheright.Ifitistobedonereallyartistically,thesamedesignmustbeputfacingleftonthebackofthecushion(Plate�,fig.��).�

Allkindsofqueriesandreflectionsaroseamongstthelistenersastohowelseacushioncouldbeartisticallydesigned.Itwasthought,forexample,thatitwouldbefullyinharmonywiththefunctionofthecushionifitwereembroideredonlyalongitsfouredges,forSteinerhadsaid(inDornachonanotheroccasion)thatinthemiddleofthecushionisthehumanbeing—nothingisthere—butaroundhimarehisdreams.

Whenhewasshownacushionembroideredinthiswayalongitsfouredges(Plate�,fig.��),helaiditflatonhisopenhandand,turningitinallfourdirections,triedtolayhisheadonit,untilhegaveuptheattemptandsaid:“ButhowcanIgetintoit?Hereitisclosed—thereitisclosed—itisclosedonallsides.Onecannotgetinatall.”Thenhetookapencil,drewasketchofacushion(Plate�,fig.��),andsaid:“Itmustbeembroideredinsuchawaythatonecanseewheretheheadandtheneckshouldbe.Thedesignmustopenouttowardsthebottomsothatthehumanbodycangetin,andinthemiddleatthetop,thedesignopensoutagain.”

�7

Afterhehadsketchedthepatternforembroideryforthecushion,hedrewanumberofshortfirmstrokesalongthebottomseamandsaid:“Theloweredgemustbestronglyemphasized;itmustbeclearlydefined.Thesideedgesmustbetoo,butlesssoasyouapproachthetop.Theloweredgemustbeespeciallystrong(thereisnoseamalongthetop).Thenonthebackofthepillow(Plate�,fig.��),youcanembroidersomethinginallfourcorners,oryoucanembroiderinthemiddle,toshowthatonecannotliethere”(Plate�,fig.��).

ThefollowingobservationscanemergefromtheseindicationsfromSteinerconcerningthecushion,ifoneconsidersseparatelytheembroideryonthecushionontheonehandandtheaccentuationofthethreeedgesontheother.Lookedatinthisway,thedecorativeandtheconstructive(theaccentuationoftheedgeswherethepartsarejoinedtogether)elementsofthecushionareshownseparatelyfromoneanother(figs.��a&��b).Thecushionisonlycompletethroughthebringingtogetherofthesetwoprinciples,whichareherecharacterizedasstraightlineandcurve.

SteineroncedrewtheattentionofavisitortothefirstGoetheanumtotheinterplayofcurveandstraightlineintheformsofthebuilding.Hesaidsomethinglikethefollowing:“Lookhoweverywherethecurvespassoverintothestraightlinesorhavesomerelationtothem.Itisthroughtheharmoniousinterplayofthetwothatthetruemeaningofthebuildingcomesabout.Whentheeyefollowsthisplayoflinesandforms,whenthehumanbeingexperiencesthestraightandcurvedlines,onlythendoesthebuildingbecomeaworkofartinthehumansoul.”

Curvesandstraightlines,decorativeandconstructive,point,likelightandshade,topolarforcesintheworld.Whentheseestablishaharmoniousorrhythmicrelationtooneanother,theworkinquestionneithersuccumbstothehardeningforcesoftheearth,nor,throughbecomingnebulousandillusory,losesitsconnectionwiththeconditionsofearthlylife.

ItiscertainlynotwithoutsignificancethatSteinerrecommendedforteachersofhandworkthestudyofmathematicallaws.“StudyDr.vonBaravalle’sbookThe Pedagogy of Physics and Mathematics,”hesaid.“Thisbookcanbeofgreatvalueforhandworktoo.”

23a 23b

�8

Cushions

Fig.��Fig.�0(wrong) Fig.��

Fig.��Front Fig.��Back

Fig.��FrontFig.��Front(wrong)

Plate 3

�9Plate 4

Sketches by Rudolf SteinerDrawninJuly�9��fortheDornachSchool

Reproduced by Louise van Blommestein

Fig.�7Tableclothforafour-leggedtable

Fig.�9 Fig.�0red,orange,yellow

Edgeoftableclothhangingdownfromtable

Fig.�8Tableclothforathree-leggedtable

Fig.��Wallhangingforclothes

The intention was to indicate a plant motif with rootlike forms in the earth, rising up into stemlike forms which then go over into leaves and blossom. –L.v.Bl.

�0

Theworkingtogetherofartandscience,theharmonyresultingfromtheinterplayofdecorationandconstruction—thosetwoelementswhichtheartisttriesmoreorlessvisibly,thoughoftenonlyinahiddenway,touniteinahighersynthesisinhiswork—fromthistherearisesanartwhichistrulyChristian.Suchwastheworkofartwhichfounditsplaceontheearth,likeagiftfromheaven,intheformoftheGoetheanum,builtbySteinerinDornachduringWorldWarI.

ButonNewYear’sEveof�9��–�9��,thissublimeworkofart,throughwhichSteinerhadbroughtadivinespiritualworldtomanifestation,fellvictimtotheflamesputinitbycriminalhands.ThisfirstGoetheanum,whichhasfoundanundyingmemorialintheheartsofallthosewhowereabletoexperienceit,oncelookedoutoverthesurroundingcountryside,proclaimingasitwerethroughitsforms:“Maythehumanbeingbringaboutwithinhissoultheredemptionofthepolaroppositesintheworld,throughharmonizingthemwithinhimselfandstrivingtoraisethem,transformed,toahigherspirituality.”

OnthesiteofthedestroyedbuildinganewGoetheanumarose,andseemssolemnlytorepeatthesamedemands.Itacts,atthesametime,asamightybulwarkagainsttheevildestructiveforcesstorminginonallsides.Itisasourceofstrength,givingcouragetothehumanbeing,enablinghimtobringfulfillmenttothetaskwhichthepowersguidingworldevolutionhavegivenhim.

ENDNOTES�. SwissTeachers’Course,Dornach,Easter�9��.�. Teachers’Conference,Stuttgart,November��,�9�0.(ThisquotationistakenfromHedwig

Hauck’sownnotes.)�. Color,partII.�. ThisisnottheofficialversionofDr.Steiner’sremarks.[H.H.]

��

CHAPTER VIII

rudolF steIner, the teacher oF artIsts

Dornachistheplacewhere,inthemidstofageneraldeclineanddissolutionofallouroldculturalvalues,anentirelynewArtwasgiventotheworld.Itwasinthehardyearsofwarfrom�9��onwards,whiletheearthofEuropewasshakenbytherumbleofguns,thatSteinercreated,inapeacefulcornerofSwitzerland,theGoetheanum,ofwhichwehavespokenearlier.Hewasassistedbymembersofthenationsthatwereatwarwithoneanother.Hewastheteacherofthearchitectsandthewoodcarverswhoworkedonthepedestals,capitalsandarchitravesofthepillarssupportingthecupolainsidethebuilding.Theyalsomadetheouterwalls,whichconsistedofmanytightly-packedlayersofsolidwood,andwhichintheirliving,mobileformwerethemselvesanornament.Steineralsotaughtthepainterswhohelpedtoexecutethesketcheshehadmadeforbothcupolas,representingtheepochsintheevolutionoftheearthandmankind.

Steinerstoodinthemidstofalltheseartists,notasanonlookerbutalwaysactivehimselfwhereverhelpwasneeded.Forinstance,hetookabrushandpaintedmostofthesmallercupolahimselfinashorttime,totheamazementofallthepainterspresent.

Besidesthishesculptedanenormousfigureinwood,ninemetershigh.CalledThe Representative of Humanity,thiswoodcarvingwasallthatescapeddestructioninthefireof�9��–�9��.Itwastohaveoccupiedthecentralpositioninthebuilding,andwassparedbecauseithadnotbeenquitefinishedandsohadbeenleftoutsidethebuilding.Thusitcameaboutthatworksofakindneverseenintheworldbeforeinarchitecture,sculptureandpaintingwerecreatedinDornachinthosefewyears.

Whentheninecoloredwindowswerefinallyputinandthelightfloodedthroughtheminmanycolorsintotheplastically-formedinterior,unitingwiththecolorsofthecupolapaintings,itseemedthatallearthlygravityhadvanishedinthisseaofcoloredlightandthatthehumanbeing,beholdingthis,couldunitehishigherselfwiththewidthofthecosmosandfeelthepresenceofthespiritualworlditself.�

Steinerbroughtforthcreationsofworldimportanceinotherplacesalso.InMunichhisMysteryDramaswereperformed,firstunderhisdirectionin�9�0,andthenonwards.InStuttgarthepouredhisgeniusintotheFreeWaldorfSchool,foundedbyEmilMolt,andinauguratedanentirelynewpedagogywhichwasbornofanthroposophy,hislife-creation.AnotherofthemanygiftsfromSteinerwaseurythmy,acompletelynewartofmovement.

Inadditiontothistherewerehismanyspiritual-scientificlectures—andhealsofoundtimetopourawealthofnewideasandimpulsesintoallspheresofhumanlife.Notonlyartists,buttechnicians,poets,musicians,theologians,doctors,farmersandotherstoowereabletobenefitfromtheinsightofSteiner.

��

HemadesketchesofcostumesandsceneryforhisMysteryDramas,aswellasforothergreatdramaticworks,e.g.Goethe’sFaustandthedramasofEdouardSchuré.Healsogaveimportantindicationsconcerninghumanclothing.Hequiteuntiringlyproducednewsketchesandpaintingsfortheartistswhoconsultedhimonallbranchesoftheartsandcrafts.

TherearosetheplansfortheGoetheanumitself,andsketchesforthegreatwindows,forwhoseconstructionSteinerhaddevisedanewtechniqueofengraving;�sketchesforthemakingofjewelry,whichwasthentakenupbyFrauMeyer-Jakobs;andsketchesforpostersandticketsofadmissiontoanthroposophicalmeetings,bookcovers,folders,andsoforth.Whenevernecessaryhewouldensurethesuccessofataskundertakenbydoingsomeoftheworkhimselforbyshowinghowitshouldbedone.Hewasalwaysreadytohelpandhissingleconcernwasthecreationofnewpossibilitiesforthehigherdevelopmentofthehumansoul.Hewaslikeastarthroughwhoselightadivineworldrevealeditselftomankind,andthroughwhosewarmthindividualswereledinfreedomtothosetasksonearthwhichthespiritualworldrequiresustofulfill.

ENDNOTES�. ForthestudyoftheartintheGoetheneaum,werecommendlecturesgivenbyRudolfSteiner:

Ways to a New Style of ArchitectureandThe Architectural Conception of the Goetheanum.�. SeeThe Goetheanum WindowsbyA.Turgenieff.

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CHAPTER IX

bookbIndIng and Folders

Steinerledhisstudentswithunparalleledpatience.Hedidthiswithlove,butalsowithseverity.Hewasasharpcriticandwasquiteabletoexpresshisdispleasurewhenhesawthathisadvicehadbeenfollowedeitherincompletelyornotatall—orwhentheessentialpointofhissketcheshadnotbeengraspedbuthadmerelybeenimitated.OnavisittotheStuttgartWaldorfSchoolin�9��,hewasveryannoyedtoseetwofolders(Plate�,figs.8and9)onwhichthedecorativedesignledacrossfromlefttorightnotonlyatthetopbutatthebottomtoo.Hepointedtoitandreprimanded:

Whatarethesecurvesdoingdownhere?Onecannotopenthesefoldersbecausethedecorationrequiresonetoleavethemshut.Itisjustbearableonthisone(fig.9),wherethecolorsarefaint,butontheembroideredone(fig.8),thecurvebelowisquiteimpossible.

Whenthereplywasgiventhattheyhadtriedtofollowtheindicationsgiveninhissketches,heansweredangrily:“Haveyoueverseenanythinglikethatinmysketches?Ifacopyiswanted,itshouldatleastbedoneaccuratelyandwell”(Plate�,figs.�0,��and��;Plates�,�and7).

Steinerhadspokeninseveralplacesaboutthedesigningofbookcoverssomeyearsbefore�9��.Inthe“LecturestoTeachers,”Dornach,Christmas�9��,hesaidthefollowing,whichistakenfromthenotesofAlbertSteffen:

Cushionswhoseembroideryisfeltagainstthefacewhenoneputsone’sheadonthem,handbagsgivingnoindicationofwhichisthefrontandwhichistheback,booksboundinsuchawaythatthecoverdoesnottellonethatitissupposedtobeopened,allthesearesinsintheworldofappearance,whichisthedomainofart.

Thefollowingremarkappearsinshorthandnotesofthesamelecture:“Nowadaysoneseldomseesabookdesignedinsuchawaythatonecanseethattheleavesaremeanttobecut.Booksusuallybearsomedesignwhichactuallyrequiresonetoleavethemshut,nottoopenthematall.”

Decorationsonthecoversofbooksandfoldersshouldshowquiteclearlywhichisthetopandthebottom,thefrontandback.Regardingtheformatofbooksandfolders,Steinersaidthatanuprightoblongshouldbeusedforanythingwrittenorprinted,whilstalengthwiseoblongshouldbeusedfordrawingsorpictures.Hesaidthattheinsidesoffolders,andofotherthingstoo,shouldalwaysbelighterthantheoutsides.InDornachhefurther

��

remarked:“Theplacewherewetouchortakeholdofanobjectshouldalwaysbemadelighterthantherestofit.Itwillthenbeasthoughthehumanbeingwereradiatinglight.”

Inconclusionweshouldliketoquotetwointerestingparagraphsaboutbookbinding:

Ifonecanbringaboutafeelingforcolorharmonyinchildren,byfirstlettingthempaintsothattheirexperiencesreallyariseoutofcolor,thenonewillbringitaboutthatthechildrenwillmakethingslateronwhichservewellinlife.Nothingisdrawnfirst.Thechildlearnstoliveincolor,andthentogiveformtosomethingthatismeanttobethecoverofabook.Themainobjectistoawakenareallifeexperienceinthechild.Itisjustthroughformandcolorthatsuchanexperiencecanbestbeawakened...

Onemustknowwhendesigningabookcoverthatthereisadifferencebetweenaboveandbelowwhenoneislookingatoropeningthebook.Thechildmustbeallowedtogrowintoafeelingforspaceandform.Itissomethingthatwillpenetraterightdownintohislimbs.�

ENDNOTE�.The Spiritual Ground of Education,Oxford,�9��.

��

tItle drawIngs by steIner

ORNAMENTAL DESIGNSExplanations of Plates 5, 6 and 7

Figure 1:Dreigliederung des Sozialen Organismus,aweeklyjournalpublishedinStuttgart,asitappearedfromJuly�9�9toApril�9�0.Thecornerdesign,drawnbyDr.Steiner,canbeconsideredtheprototypeofallhisbookdesigns.ThisformfirstappearedonhisbookDie Kernpunkte der Sozialen Frage[TheThreefoldCommonwealth](Plate�,fig.�8).TheletteringandthedesignbelowitarenotDr.Steiner’s.

Figure 2:TheabovejournalasitappearedfromMay�9�0toJanuary�9��.ThecornerdesignwasdrawnbyDr.Steiner.

Figure 3:FolderfortheDreigliederungjournals,whichappearedafterthefirstyearofpublication.Thecornerdesign,avariationoffig.�,wasnotdrawnbyDr.Steiner.

Figure 4:Anthroposophie, Wochenschrift fur freies Geistesleben,publishedinStuttgartfromJuly�9��toOctober�9��.ThedesignwasdrawnbyDr.Steiner.

Figure 5:Dreigliederung des Sozialen OrganismusasitappearedfromFebruary�9��toJune�9��.ThedesignwasdrawnbyDr.Steiner.

Figures 6 and 7:DrawnbyDr.SteinerforthecartonsofmedicinesmadebytheClinicalTherapeuticalInstitute“DerKommendeTag”inStuttgart.ThemedicinesweremanufacturedinSchwab.Gmünd.Thedesign(fig.�)islightblueandredonadarkivoryground.Notethetworeddesignsatthetopandbottomofthebox(leftsideoffig.7)indicatingonwhichsidetheboxistobeopened(Plate9,fig.�8).

Theboxiscutoutofasinglepieceofcardboardandthenfoldedandglued.Onlytwosidesareshownhere.Theothertwoarethesameastherightsideinfig.7,whichisshownenlargedinfig.�.

Figure 8:Designedin�9�0byDr.Steinerforthearticles,drawnupbyhimforthefoundingofabusinessundertaking.

Figures 9 and 10:Drawnin�9�0byDr.SteinerfortheKlinisch-TherapeutischesInstitutinStuttgart.Figure9wasusedasatrademark.

Figure 11:Drawnin�9�0fortheKlinisch-TherapeutischesInstitutinArlesheim-Dornach.

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Figure 12:Publisher’ssigndrawnbyDr.Steinerforthepublishinghouse(founded�9�9)of“DerKommendeTag,”Stuttgart,acompanyforthepromotionofeconomicandspiritualvalues.

Figure 13:Soziale Zukunft,afour-tosix-weeklyjournalfirstpublishedinJuly�9�9bytheSwissassociationforthepromotionoftheThreefoldSocialOrganism.Thedesign(fig.��)isinside,onthefirstpageofthejournal,forwhichitwasdrawnbyDr.Steiner.Hedidnotdrawthedesignonthefrontofthejournal.

Figure 14:“DasGoetheanum,”aninternationalweeklyforAnthroposophy and the Threefold Social Organism,publishedinDornachsinceAugust�9��.ThedesignandtheletteringbelowweredrawnbyDr.Steiner.

Figure 15:DrawnbyDr.Steinerin�9��fortheAnthroposophischerHochschulbund.

Figure 16:Die Drei,amonthlyjournalforAnthroposophy,theThreefoldState,andGoetheanism,aspublishedinStuttgartfromFebruary�9��toMarch�9��.Thedesign,andprobablytheletteringalso,weredrawnbyDr.Steiner.Theprintisblueonanivoryground.

Figure 17:ThisdesignwasdrawnbyDr.SteinerforthesecondeditionofhisbookDie Kern-punkte der Sozialen Frage[TheThreefoldCommonwealth].Theprintisblackonabrownground,thesameasinfig.��.

Figure 18:ThedesignandletteringweredrawnbyDr.Steinerin�9�9forthefirsteditionofhisbookDie Kernpunkte der Sozialen Frage.Theprintisblackonagreenground.ThiswasthefirstdesigngivenbyDr.Steiner.Itsformunderliesalllaterdesignsdonebyhimandotherartists(Plate�,fig.�).

Figure 19:Dr.Steinerdrewthisdesignin�9��for“RitterWahn,”amysterypoembyJuliusMosen.Itwasoneofthelastdesignsdrawnbyhimforthepublishinghouseof“DerKommendeTag”inStuttgart.

Figure 20:ThiswasdrawnbyDr.Steinerin�9�0asatrademarkfor“DerKommendeTag”inStuttgart.ItisnowusedinDornach.

Figure 21:ThedesigndrawnbyDr.SteinerforthesecondeditionofhisbookDie Kernpunkte der Sozialen Frage(fig.�7).

Figure 22:ThisdesignwasdrawnbyDr.SteinerfortwobooksbyCountPolzer-Hoditz,Politische BetrachtungenandDer Kampf gegen den Geist und das Testament Peters des Grossen.Itappearedshortlyafterthedesigninfig.��.Theprintisdarkredonanivoryground.

�7Plate 5

Sketches of Title Pages by Rudolf Steiner

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Figure 23:“Anthroposophie,OesterreichischerBotevonMenschengeistzuMenschengeist,”publishedbytheBundfurFreiesGeisteslebeninAustria.ThejournalappearedtwicemonthlyfromNovember�9��.ThedesignwasdrawnbyDr.Steiner.

Figure 24:ThesamedesignasthatdrawnbyDr.Steinershowninfig.�0.Itwasgivenbyhimin�9�0forthe“VereindesGoetheanum,”togetherwiththeletteringinit,whichwascopiedasfaithfullyaspossibleforprinting.SincethenthedesignhasbeenusedattheGoetheanuminDornach.

Figure 25:ThisdesignwasdrawnbyDr.Steinerin�9��or�9��forBulwerLytton’snovelZanoni, The Coming Race.

Figure 26:ThiswasdrawnbyDr.Steiner.Nothingmoreisknownaboutthisdesignthanthatitwasprobablyoriginallyintendedforwritingpaper.Themotif,thesameasinfig.��,isdrawninthefirstcaseforuprightformat,andinthesecondfortransverseformat.

Figure 27:Dr.Steinerdrewthisdesignbefore�9��forthebookTheosophie,andFrauPyle-Wallerthenexecuteditforprinting.

Figure 28:Alateruseofthedesignshowninfig.��.Notethattheword“Vril,”belongingtothecompositioninfig.��,ishereomitted.

Figure 29:ThisdesignwasdrawnbyDr.Steinerforthesecretary’sofficeattheGoetheanum.Themotifisthesameasinfig.��,wheretheformisadaptedtoatransverseformat.

Figure 30:Alateruseofthedesignshowninfig.�7.

Figure 31:Adesignformembers’cards,forusewithintheAnthroposophicalSociety.Dr.Steinerprobablydrewitin�9��,asthecardswerefirstusedearlyin�9��.Thecardsarefortransverseformat.Theprintisoldgoldonalightbluegroundofeventone.Themotifisthesameasinfig.�9,whereitisdrawnforuprightformat.

Figure 32:Anattendancecardforthe“SecondInternationalCongressoftheAnthroposophicalMovementfortheResolutionoftheProblemEastversusWest,”Vienna,June�9��.Dr.Steinerdrewthedesign.Theprintisblue-violet(West)andred(East)onapinkground.

Figure 33:Dr.Steiner’sdesignformembershipcardsoftheAnthroposophicalSociety,drawnprobablyin�9��,astheycameintouseearlyin�9��.Thecardsaretransverseformat.Theprintisolivegreenonastrongpinkground.Themotifisthesameasinfig.��.

�9Plate 6

Sketches of Title Pages by Rudolf Steiner

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Figure 34:Folder(cloth)fortheweeklypublication“WasinderAnthroposophischenGesellschaftvorgeht,”drawnbyDr.Steinerin�9��.Goldprintonadarkbluegroundwithdarkvioletsurround.Color-toneissimilarforgroundandframe.

Figure 35:DrawnbyDr.Steinerin�9��forAnthroposophischer Seelenkalender[CalendaroftheSoul].Goldonsky-blueground.

Figure 36:Folder(cloth)fortheperiodical“DasGoetheanum.”DesigndrawnbyDr.Steinerin�9��.Goldondarkvioletground.

TheselastthreedesignsweredrawnnotbyDr.Steiner,but,athisrequestbyFrauErnaPalmer,whoworkedintheyears�9��–�9��for“DerKommendeTag”(underthedirectionofDr.Steiner).Shewrotethefollowingindicationsregardingthesedesigns:

Figure 37:“ThedesignontheSolvievcoverismyown.TheonlychangemadebyDr.Steinertotheoriginalwasinthelowestpartofthedesign,whichinthisparticularcasehadtocomefromtheinfinitedistancesandthusbeallowedtofadeouttowardsthebottom,notbesharplydefinedasIhaditfirst.Dr.Steinerwasveryinsistentthateverythingshouldhaveameaningandcontributetotheformingofanorganicwhole.Nopart,howeversmall,wasallowedtocontradictanyother.”

Figure 38:“IalsodidthedesignforKarlJuliusSchroer’sGoethe und die Liebe.”

Figure 39:“Dr.SteinermostlikedmydesignsforthebookGoethe im Recht gegen NewtonbyGravell.Ihadallowedaconflicttotakeplacebetweenlightanddarkness,betweenalightandadarktriangle.Somethingwasreallyhappeningthere—theverything,infact,thatwashappeninginthebook.Itwonhisapprovalespeciallybecausethedesigncorrespondedexactlytothecontentsofthebook.Thepurposeofsuchadesigninthetopleft-handcornerofabookistodirectthereader’seyetoasymbolofthecontents,andthustoleadit,asitwere,throughthebookcovertothecontentsthemselves.Thebottomright-handcornerofthebookisusedforturningoverthepages,andthereforehasnodesign.”

TheimportancelaidbyDr.Steineronthedesigningofmotifsforbookcoversinsuchawaythattheyenablethereadertoseestraightawaywherethebookopens,hasbeendiscussedindetailinchapterIX.ButhowlittlesenseissometimesshowninthisconnectionisillustratedbyanexamplegivenbyDr.SteinerataTeachers’ConferenceinStuttgart,November��,�9�0.“Wehadthemosttryingexperienceshereashorttimeago.YouwillallknowthegraphicdesignforthreefoldnessonDie Kernpunkte der Sozialen Frage[TheThreefoldCommonwealth](Plate�,figure�8).Wewantedtochangeit.Itwasmeanttobemademoreup-to-date,sowhatdidtheartistdo?Hedrewhismotifinsuchawaythattheolddesignforthebookwasgivenitsownmirror-reflectioninthetopright-handcorner.Sothatwhatwasontheleftwasputontherighttoo—onlytheotherwayround,pointingtowardstheleft.HemadeaGothicwindowofit.Suchthingsdohappen!”

��Plate 7

Sketches of Title Pages by Rudolf Steiner

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END-VIGNETTES

drawn by rudolF steIner

Plate 8

Steinernotonlygavedecorativemotifsforbookcovers,foldersandjournals,butin�9�9and�9�0healsopointedoutnewwaysinthedesigningofend-vignettes.HeputsuchadesignattheendofeachoffourarticlespublishedinSoziale Zukunft[Social Future];theyareworthyofpreservationandareincludedinthisbook(facingpage).

Thesedesigns,liketheonesonbookcovers,folders,andsoforth,aremostintimatelyconnectedwiththespiritualcontentofthewritingsinquestion.Onthecoverofthebookthedesignservestopreparethereaderforthecontent,whilethepurposeoftheend-vignetteistobringthecontenttoaconclusionintheformofapicture,orperhapstosumupthecontentofthebookbyrepresentingitscentralmoodinsuchaform.

Aquitedifferentrelationtothecontentsofthebook,tohimself,ortotheworldisbroughtaboutinthereaderthroughthevignettesattheendsoftheabove-mentionedarticles.Oneofthem,forexample,isenclosedwithinitself;itisasthoughitsformgrewoutoftheleadingthoughtsinthearticle;itseemstocalluponthereadertocollecthisthoughtsandtoreflectonceagainonwhathehasread.Inanothervignettethelinesleadinginfrom,oroutinto,theinfinitespacesseemtoindicateawishtobringaboutinthereader,throughtheestablishmentofacertaininnerequilibrium,aconnectionwiththewideraspectsoflifeandoftheworldaround.Inthisvignettetoothecontentoftheforegoingarticleisfelttoreverberate.ItisalwaysthecasethatthedesigngivenbySteinertosuchvignettesisdeterminedbythespiritualcontentofhiswritings.Itisoutofthisthatthepicturefinallyshapesitself.

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end-vIgnettes by rudolF steIner

Soziale Zukunft[Social Future]...FromanarticlebyDr.Steiner,“InternationalEconomicLifeandtheThreefoldSocialOrganism.”Theideaofthethreefoldnessofthesocialorganismwillhave

persuasiveforceinthedirectionindicated.Theprospectsopenedupbyitforasocialfuturewillbeastimulustoactivity.Toputforwardtheideainsuchawaythatitcanbereceivedwithunderstanding,andthatthedoubtsstandinginthewayofitsrealizationcanbelaidaside,isanessentialpartofthetasksetinthepresentdayforasolutionofthesocialproblem.

Soziale Zukunft,Nos.�–7...ArticlebyDr.Steiner,“ThePedagogicAimsoftheWaldorfSchoolinStuttgart.”TheWaldorfSchoolinStuttgartisnota“progressiveschool,”founded,likesomany

others,inthebeliefthatoneknowsthereasonfortheshortcomingsofthisorthatkindofeducation.Ithasoriginatedinthethoughtthatthefinestprinciplesandgoodwillinthisspherecanbeeffectiveonlyiftheteacherhasanunderstandingofthenatureofthehumanbeing.Thisonecannothaveifonedoesnotdevelopalivelyinterestinthewholesociallifeofmankind.Ifoneisopentothebeingofmankind,allhumanjoyandsufferingis

experiencedasthoughitwereone’sown.Throughateacherwhohasthisknowledgeofthesoulandofthehumanbeing,thegenerationthatisgrowingintolifeisbroughtintocontactwithsociallifeasawhole.Fromhisschoolpeoplewillemergewhocanplacethemselvesintolifewithstrengthandpurpose.

Soziale Zukunft,No.�...ArticlebyDr.Steiner,“ThreefoldnessandTrustinSocialLife,”(CapitalandCredit)....Thisdecisioncanbereachedonlythrougharrangementswhichenablethevalueofsingle

possessionstobeassessedfromwithinthecontextofthesocialorganismasawhole.Anyonewhodoubtsthatsucharrangementsneedtobestrivenforhasnoeyeforthefactthat,wherenomorethanthelawofsupplyanddemandisacknowledged,certainhumanneedsareneglectedwhosesatisfactionwouldenhancethecivilizationofthesocialorganism.Suchapersonhasnounderstandingforastrivingthatwishestoincludethesatisfactionoftheseneedsamongstthegoalsofthesocialorganism.

Tocreateabalancebetweenhumanneedsandthevalueofhumanwork—thisiswhatthestrivingforaThreefoldSocialOrganismmeans.

Soziale Zukunft,No.�...ArticlebyDr.Steiner,“SpiritualLife,Jurisdiction,Economy.”Butonlysuchaneedisabletobringabouttheknowledgethatisrequiredifthe“socialproblem”istobeseenintherightlight.Thereasonwhytheattemptsmadeinourdaytosolvethis“problem”appearso

unsatisfactoryisthatmanypeoplearestillunabletoseewhattheactualcontentoftheproblemis.Oneseesthequestionariseintheeconomicsphereandseeksforananswerintermsofeconomicadjustment.Onethinksthateconomictransformationwillprovidethesolution.Butonefailstorecognizethatthesetransformationscanbeeffectedonlywiththehelpofforcesliberatedinhumannaturethroughtheemergenceofanindependentspiritualandjuridicallife.

Plate 8

��

CHAPTER X

IndIcatIons concernIng dress and Its decoratIon

Steinerquiteoftengavebriefindicationsconcerningtheshapingofclothesinameaningfulway,especiallywhenhesawthatsuchaprinciplehadbeenneglected.Letusfirstquotearemarkfrom“LecturestoTeachers”(Dornach,Christmas�9��),asrecordedbyAlbertSteffen:

Dr.Steinerillustratedhispointbymeansofquitesimpleexamples.Youseegirls,hesaid,sittinginaneedleworkclasssewingsomekindofpatternroundtheneck,roundthewaistband,androundthehemofadress,andoneisdismayedtofindthatitisalwaysthesamepattern!Andwhenyoumeetayoungladyhoopedaroundinthisway,shelooksasthoughshehasbeensqueezedtogetherbythispatternwhichisthesameaboveandbelow.Headandfeethavebeencompletelyignored,whileinfactthepatternoughttobemetamorphosedinaccordancewiththese.Dr.Steinershowedontheblackboardhowthedesignshouldbedevelopedorganically(Plate9,fig.��).

SteinersaidthingssimilartothisintheWaldorfSchoolinJune�9��,andhesketchedanotherpatterninseveralstagesofmetamorphosis(Plate9,fig.��).Heputafurthersketchnexttoit(Plate9,fig.�7)andsaid:“Thisisacurtain.”Thisdesignshouldbecomparedtothatonthelowerseamofthegarmentshowninfig.��.

HowimportantitwastoDr.SteinerthatthechildrenshouldlearntodistinguishbetweenadesignforthetopofagarmentandoneforthebottomisshowninataskhesetintheWaldorfSchoolayearortwoafteritsopening:“Getthechildrentodesignacollarandawaistband.”IntheOxfordCourse�9��,�heexpressedthoughtssimilartothosegivenintheSupplementaryCourse,Stuttgart�9��:�“Nowsometimesyouwillfindaterriblethingdone:Ateacherwillgetachildtomakeaneckband,awaistbandandadresshem,allthreehavingthesamepattern.Youcanseethissometimes.Obviously,fromanartisticpointofview,thisisthemostterriblethingimaginable.Thechildmustlearnveryearlyonthatabanddesignedfortheneckhasatendencytoopendownwards,ithasadownwarddirection;thatagirdleorwaistbandtendsbothupwardsanddownwards;andthatthelowerhemofadresshasanupward-strivingtendency,andmusthaveakindofbasebelowuponwhichitstands.Itisaterriblethingifachildistaughtmerelytodesignabandartistically.Thechildshouldknowhowthebandshouldlookaccordingtoitspositiononthehumanbeingwearingit.”�ThiswasillustratedbySteinerontheblackboard(Plate9,fig.��).

��Plate 9

Figures��,�7and�9arefromoriginalpencilsketchesbyDr.Steiner.

above

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Fig.��(Stuttgart) Fig.��(Dornach)

Fig.��(Oxford) Fig.��(Torquay)

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Fig.�7CurtainFig.�9Sole

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InTorquayhediscussedthematterasfollows:

Herewearetryingtomakethechildrenintopracticalworkers.WhenyoucometotheWaldorfschool,youwillseethatthechildrencandoverynicebookbinding,andmakeallkindsofboxes,andsoforth;youwillseehowtheyaretrainedtodoreallyartisticneedlework.Andthegirls’needleworklessonsarenotgiveninsuchawaythatyoucanseeanythingresemblingtheso-calledclothesthatwomenwearnowadays,inwhichnodistinctionismadebetweenwhatiswornuphere,whatiswornroundthewaist,andwhatbelongsroundthehem.Noattemptismadetoensurethatwhatiswornaroundtheneckshallhavethecharacterofsomethingwornaroundtheneck(Plate9,fig.��).(Thisisdrawnonlyschematically.)Nooneisconcernedtomakewhatiswornroundthewaistshowbyitsdesignthatthereissomethingaboveitandsomethingbelow.�

Norshouldoneoverlookthefactthatthebelthastobeclosed.Theformstotheleftandrightoftheplacewhere it is fastenedshould likewisebemetamorphosedinaccordancewiththelatter—ifpossibleinsymmetrywithit.

Steineralsospokeofthemetamorphosesrelatingtothedarkandlightcoloringofthesinglepartsofawholegarment.Hesaid:“[T]hegarmentshouldbelightertowardsthetopanddarkertowardsthebottom.Hereitshouldrelatetotheearth,andbemadeheavyanddarkincontrasttotheupperrealmsofairandlight.”�Onanotheroccasionhesaidthatitisbeneficialtokeepagarmentsymmetricaltothecentralverticallineatthefront.�

TakingtheseindicationsfromSteinerasawhole,onecouldperhapssaythat“metamorphosisisrequiredintheverticaldirectionfromthetopdownwards,whilesymmetryisaprinciplerelatingmoretothecentrallineatthefrontofthegarment,”thoughthisshouldofcoursenotbetakeninanydogmaticway.Ifonecompares,forexample,thetwofiguresSophiaandEstellainThe Portal of InitiationbySteiner,onewillseehowtheircostumesaremadetocorrespondtotheirsoul-spiritualnatures.Butbothgarments—Sophia’speach-blossomstole,whichbecomesdarkertowardsthebottom,andEstella’ssmart,asymmetricaldressofalightergreen—expressatruth.

The Modeling of HatsSteineralsomadeobservationsfromtimetotimeregardingtheshapeanddecoration

ofhats,andweshouldlike,asfarasmemoryallows,toreproducesomeofthemhere.ItwasintheyearsbeforeWorldWarI(from�909–�9��)thattheMysteryDramaswerebeingperformedinMunich.Notonlywasthescenerydesignedunderhisdirection,buthealsogaveindications,downtoparticulardetailsofformandcolor,forthegarmentsandheadgearofeachindividualcharacterinhisplays.Heisevensaidtohavegivenpracticalassistancewhensomethingwasgoingwronginthemakingofthem.

Butinquiteotherconnectionstoo,remarksweremadebyhimatthattimeregardingwomen’shatsingeneral.Hesaidthatahatshouldsitfirmlyontheheadasthoughheldby

�7

it,andthat,ifthereisabrim,agentletransitionshouldbemadefromittothepartofthehatclosetothehead.Thiswasnotatallobviousatthattime,forsincethe�890sfashionhaddisplayedallkindsofcuriosities,forexample,hatsnotsittingfirmlyonthehead,butratherlyingontopofit,andwhich,iftheyweretostayon,hadtobefixedtothehairwithalongpin.Onecouldalsoseestiffenedhatbrimswhichhadbeenironedoffatasharprightangletoasimilarlystiffcrown.Bywayofdecorationofthehats,therewasforatimeafashionforbowspointinggailyinanupwarddirection,andseemingtowanttomakethehatflyoffintotheair.ButSteinerexpectedtheformandtrimmingofahattobeinkeepingwithitsfunction.Theyshouldexpressthefactthatthehatisplacedfromabovedownwardsontothehead:Itbearsasimilarrelationtotheheadastherooftoahouse.

Beforethe�9��–�9�8warthepainterFrl.v.E.madeherselfasummerhatthatwasbothmeaningfullydesignedintheabovesenseandpleasingtotheeye.Loopsofribbonwerearrangedrhythmicallyaroundthehatandfloweddownontoasoft,widebrim.

InBerlinSteinermadeahumorouscriticismofalady’senormoushat,andaddedthatheadandhatshouldberelatedaccordingtotheGoldenMean.OnanotheroccasionhesuggestedthatweshouldstudythewayinwhichSpanishwomenarrangetheirheadgear.Anelderlylady,MissL.,hadmadeherselfaheadcoveringhavingsomethingofthischaracter.Itconsistedmainlyofalargepieceofsoftmaterialsurroundingheadandforeheadfromabove,heldtogetherbehind,andallowedtofalldownoverthebackingentlefolds.Thewholethingwassewnontoasoftbutfirmcapcorrespondingtotheshapeofthehead.Theformanddecorationofthishat,thoughdesignedinacompletelyindividualway,hadbeeninspiredbyamodelwhichFrauHeleneKoberhadmadeanddiscussedwithDr.Steiner.Itshouldbeaddedthat,asregardssymmetry,thesameprinciplesapplyaswerestatedwithrespecttoadress.

ENDNOTES�.Lecture7.�.Lecture�.�.The Spiritual Ground of Education,Oxford,�9��.�.Notquitethesameasofficialversion[H.H.].(SeeKingdom of Childhood,lecture7.)�.Shoestoo,whichareincontactwiththeground,shouldbedarker.�.SeechapterXII.

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CHAPTER XI

color In clothIng and InterIor decoratIon

Steiner’sworkhasnotonlyopenednewpossibilitiesofformintheartisticsphere;bycarryingtheGoetheantheoryofcolortoitshighestperfectionthroughhisownresearch,hedevelopedanewcolorteachingwhichgivesthesoulofthehumanbeinganewexperienceoftheworldofcolor,andnewpossibilitiesofitsapplicationinearthlyexistence.�ThefollowingexampleswillshowhowrealisticallyandmeaningfullySteinerwishedtoseecolorsappliedintheworldofexternalappearance.

WeshallbeginwiththeMysteryDramas,whichwerefirstproducedinMunichbySteinerhimselfinsuchawaythateverything,downtothesmallestthingonthestage,wasgivenalivingartisticform.AllthecolorschosenforthecostumeswornintheMysteryPlayswereintendedtorevealtheinnernatureofthecharacterconcernedandhisrelationshiptothespiritualworld.Thiswastruenotonlyofthewomen’sbutalsoofthemen’scostumes.

InthecourseonSpeechandDramaheldafewmonthsbeforehisdeath,Steineralsogaveextensiveindicationsconcerningtheartisticdesigningofstagedecor.Butwhathesayshasimplicationsfortheotherartstoo,andforeverydaylife.

Artiswhatthestagemustnowrediscover.Theartofthestagehasbecomenoart—thoughcontinuallysoughtafter;for,afterall,doesnoteveryonestilllovetoseeaplay?Whatwemustlearntodoistobringartintoourthinking,sothatwhenwegiveourattentiontoanyaspectwhateveroftheworkofthestage,wedosofromthestandpointofart.�

Steinerachievedthis,inassociationwithhisgiftedcoworkerFrauMarieSteiner.FormerlyinMunich,andnowinDornachthereisaplacewherethehumanbeingcanbepurifiedandstrengthenedthroughanartbornofbeautyandtruth,andcanshareinthegreathumantaskbegunbySteiner,beitonlyinthemosthumbleway,whereverhisdestinymayhaveplacedhim.

FromthedramaticartinDornachlife-givingstreamscanflowintoallotherartsandcrafts.AndmuchofwhatSteinerhasgivenasacourseoftrainingforstudentsofdramawillbeabletohelpstudentsinotherartisticfieldstoextendanddeveloptheircapacities.Onemightmentionasanexampletheexperiencingoftherainbow.

Thestudentmustfindhisway,throughtheheavenlymiracleoftherainbow,intoadeepinnersoulexperienceofcolor…Icanreallytellyouofnothingthatwillhelpyousowelltodevelopasensitivefeelingforstagedecoraswilltherainbow.Giveyourselvesupinreverentdevotiontotherainbow,anditwilldevelopinyouaremarkablytrueeyeforstagesetting,andmoreover

�9

theinnerabilitytocomposeit.Therainbow...Ifeelwithinmeamoodofprayer:Thatishowtherainbowbegins,inthemostintensevioletthatgoesshimmeringoutandoutintoimmeasurabledistances.Thevioletgoesoverintoblue—therestfulquietmoodofthesoul.Thatagaingoesoverintogreen.Whenwelookuptothegreenarcoftherainbow,itisasthoughoursoulwerepouredoutoverallthesproutingandblossomingofNature’sworld.Itisasthough,inpassingfromvioletandblueintogreen,wehadcomeawayfromthegodstowhomwewerepraying,andnowinthegreenwearefindingourselvesinaworldthatopensthedoortowonder,opensthedoortoasensitivesympathyandantipathywithallthatisaroundus.Ifyouhavereallydrunkinthegreenoftherainbow,youarealreadyonthewaytounderstandingallthebeingsandthingsoftheworld.Thenyoupassontoyellow,andinyellowyoufeelfirmlyestablishedinyourself,youfeelyouhavethepowertobeManinthemidstofNature—thatis,tobesomethingmorethantherestofNaturearoundyou.Andwhenyougoovertoorange,thenyoufeelyourownwarmth,thewarmththatyoucarrywithinyou;andatthesametimeyouaremadesensibleofmanyashortcominginyourcharacter,andofgoodpointstoo.Goingonthentored,wheretheotheredgeoftherainbowpassesonceagainintothevastdistancesofNature,yoursoulwilloverflowwithjoyandexultation,withardentdevotion,andwithloveforallmankind.�

Thesewordsleadusinquiteamagicalwaytoanexperienceoflivingcolor.Inthesamelecturewehearhowinnermoodsofsoulcanbeexperiencedascolors:

Youwouldseethatthesoulwaslivinginred,inaredthatpositivelyshoutsatyou.Whenwelookatthecolorred,weexperienceitfromwithout.Butwereweabletogliderightintothejubilantredthatweseeinthatpaintingthereonthewall,andfeelhowthepainterhimselfmusthavefeltwhilsthewaspaintingit,thenwewouldsee,shiningthereinthered,theradiantlyhappysoulthatIdescribedjustnow.Asoulthatisimbuedmorewithafeelingofcontentmentwithwhathastakenplace,willliveinamoretranquilred. Asoulthatisdeepsunkinthoughtlivesingreen,experiencesgreenwithin.Asoulthatiswraptinprayerlivesinviolet,andasoulthatisbrimmingoverwithloveexperiencesapureandquietred.Asoulthatiseatenupwithegotismexperiencesstreaksandsplashesofyellow-green.Andsoon,andsoon.Everypossibleexperiencewithouthasitscorrespondingexperiencewithin.

AftergivingtheseindicationsSteinerdescribedhow,outofamoodarisingatacertainmoment,theindividualcharactersonthestagecanbeexperiencedincolor.HeillustratedthisbyshowinghowthedifferentpersonalitiesrepresentedinHamerling’sDanton and Robespierre,aplayhehaddiscussedearlierinsomedetail,shouldbedressed.“Youshouldthenbeseeingtherebeforeyouonthestagetheinnersoulexperiencesofthevariouscharacters.Thentoowillthedecorreceiveatlastitsstyle.”�

�0

Inasimilarwayheindicated,afterareadingbyFrauDr.SteinerofvariousscenesfromSchiller’sdrama,thecolorsthatwouldberequiredforthecostumesofthetwoqueens,ElizabethandMary.

Blackshouldappearonthestageonlyintherarecaseswhereitisjustifiedfromanartisticpointofview.Asamatteroffact,onthestage,blackobliteratesitself,makesavoid.Devils,orbeingsofsuchilk,wecanallowtoappearinblack,butweoughtnevertothinkofusingblackforanyotherpurpose.Marywillhavetobedressedindarkviolet.Hercolorshouldbechosenfirst.(Fortheachievementofstyle,itisalwaysimportanttoknowwheretobegin.)Then,withMaryinviolet,youcannotdootherwisethanchooseforElizabethadressofreddish-yellowcolor;andthecolorsoftheothercharacterswillbegraduallyshadedastasterequires.

Workinginthisway,youwillgetyourpicture.Andyouwillsee,youraudiencewillunderstandit.Providedithasbeenfaithfullybuiltupontheselinesthepicturewillmakeitsappeal.�

Theselecturescanbeofgreathelpforthepaintingoflandscapesforthestage,andalsofor“decoration”and“style.”

Butstagedecorisnotfinished.Itisonlyfinishedwhenitisilluminatedbythestagelighting.Andnoteventhen;itreceivesitsfinaltouchwhenwearelookingatittogetherwithwhathappensonthestage.Notuntiltheplayisbeingenactedisthestagedecorcomplete.Thismeansthatitwillhavetodependforitsstyle,notonformandline,butoncolorandlighting.Ifyouwanttoplanyourscenesothatthewholedecoraddsjustwhattheactorneeds,givinghimtheexactlyrightsurroundingforhisart,thenyouwillhavetocenteryourattentionontheplayoflightandcolor.

Onthebasisofthesesuggestionsforthestage,easyaccesscanbefoundtoallthatSteinerhassaidaboutcolorsandtheirrelationtoclothing,interiordecorationandotherthingsofeverydaylife.

Thepointis,wemustknowhowtosurrenderourwholesoultothemessageofcolor.Then,inapproachingred,weshallfeelsomethingaggressivetowardsourselves,somethingthatattacksus.Redseemsto“comefor”us.Ifallladieswentaboutthestreetsinred,anyonewithafinefeelingforcolormightinwardlybelievethattheymightfalluponhim,onaccountoftheirredclothes.Blue,onthecontrary,hassomethinginitwhichgoesawayfromus,whichleavesuslookingafteritwithacertainsadness,perhapsevenwithakindoflonging.�

WeshouldliketotakethefollowingextractfromthelecturegivenonFebruary�7,�9�8,on“TheSensible-SupersensibleandItsRealizationinArt”:

��

Iwanttosaythis:IfIshouldentersomebody’sdiningroomandfindpeopleeatingtherefromplateswhichhadaredglaze,itwouldgivemetheimpressionthatthesewerepeoplewhowantedtoenjoytheirfoodlikerealgourmets.ButifIsawthemeatingfromblueplates,thenIwouldthinktheywerenotgourmetsbutjusthungrypeoplewantingtosatisfytheirappetite.Somebodyelsemighthaveanotherimpression,butthatisnotwhatmatters.Whatmattersis,thateverythingonemeetsinlifeseemstohaveanaestheticeffectonone.Thisformsitselfintoasortoffaintimaginationorvision.Illusionscanplayintothisagooddeal,ofcourse.Thatdoesnotmatter.Evenifitisnotgenerallytruethatapartyofpeopleeatingfromplateswhicharecoloredredmustnecessarilybeacrowdofgourmets,fromanaestheticpointofviewitstillholdstrue.Inthesamewayonecouldsaythatifsomebodyreceivesmeinaredroomandstandsthereinfrontofmewithoutsayingaword,beingareallydullsortofperson,Ifeellikesaying:“Hereallyliesbyreceivingmeinthisredroom,becauseitmakesmeexpectsomebodytherewhohasalottosaytomeanddoesn’tletmetalkallthetime.”Itmakeshimlookasifheweredeceivingme—hiswayoflivingseemsalietome.

OnavisittotheWaldorfSchool,Steinersaid,speakingaboutateacozy:“Suchanobjectoughttohavealotofredinit,sothatonecanseethatitistokeepsomethingwarm.”Moreindicationscanbefoundinthe“Color”lectures.Wereadthere:

Ifforinstanceyouthinkofgreen,youcaneasilythinkofgreencardtables.Becauseagameisalimited,pedanticactivity,somethingveryphilistine,onecanthinkofsuchanarrangement—aroomwithcardtablescoveredwithgreen.WhatImeanisthatitwouldbeenoughtomakeyourunawayifyouwereinvitedtoplaycardsonamauvetable.Ontheotherhandalilac-coloredroomoraroomfurnishedthroughoutinmauvewouldlenditselfverywell,shallwesay,tomysticalconversation—inthebestandintheworstsense.Itistrue,colorsinthisrespectarenotantimoralbutamoral.Thuswenotethatbyvirtueofitsownnature,colorhasaninnercharacter;whereasgreenallowsitselftobedefined,lilac,peachorfleshcolortendstospreadintovagueness.7

Inhisremarksabouttheredandthelilac-coloredrooms,Steinerissuggestingthemoodthatonecanreceiveintooneselfonenteringaroomwhichisdecoratedinacertaincolor.Buthenotonlymadevariousstatementsonthesubject;hehimselfcreatedcoloredinteriors—apartfromthoseofthestage—suchastheroomsformeetingsoftheAnthroposophicalSociety,andshowedinpracticehowthedarkercolorblueismoreconducivetoamoodofinwardnessorreverencethanred,whichismoresuitableforartisticactivities.IntheWaldorfschoolSteinerindicatedfortheclassroomscolorsthatwouldcorrespondtothechildren’sagesandphasesofdevelopment.Forcraftshesuggestedorange,andforhandworkalightvioletinwhichredpredominates.Asbookbindingbelongstohandwork,theroominwhichitisdoneshouldalsobeofthiscolor.Wherelocalfactors

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madeitnecessary,hewouldoccasionallyrecommendforSteinerschoolsinothertownsdifferentcolorsfromthoseintheStuttgartschool.

Healsogavequitedefiniteindicationsconcerningthe“artisticarrangement”oftherooms.Butheputitforwardasanidealthattheartisticarrangementshouldreallyariseoutoftheanthroposophicalpedagogyitself.Forhandworkandcraftroomshemadethefollowingsuggestions:

Forhandworkrooms,interiorsshouldbeusedwhichgivespecialemphasistothesoul-element.Thecraftroomshouldbedecoratedwithartisticallyexecutedmotifsfromeverydaylifeandfromthecrafts,sothatonehasonthewallssomethingthatreceiveswithacertainsympathyallthatisdoneintheserooms.Thiswouldapplytospinningtoo.8

Steinerinsistedrepeatedlyupontheeducationalvalueofcolor.Thefollowingremarksaboutpaintingillustratethepointparticularlyclearly.Steinershowedhow,ifheworksartistically,theteachercanusecolorinanextremelybeneficialway,namelyby“individualizingfromchildtochildwithintheworldofcolor.”InhisOxfordlecturecycleheshowedhowchildrencanbeeducatedthroughpainting.Hespokeofachildinwhom

whatwegivehimcannotescapeintotherestofhisorganism…IfIhavesuchachild,Ishallusecolorsandpaintwithhimquitedifferentlyfromanother...whoseideas,farfromstickinginhishead,escapethroughhisheadasthroughasieve;inhimeverythinggoesintothebody,andthechildgraspsnothingbecausehisheadisreallylikeasieve.9

Steinerwentontodescribeindetailthepaintingexercisesthatshouldbeusedwiththesechildren.

InthefieldofmedicineSteinershowedvariousdoctorsoftheAnthroposophicalSocietynewwaysofapplyingcolorforhealing.Heindicatedtoparentsandteachersthatcertaincolorscanhaveabeneficialandhealingeffectuponoveractivechildren,andothersuponthosewhohavetheoppositetendency.

Afewmoreexamplesmaybegiven.Anervous,thatistosay,excitablechild,shouldbetreateddifferentlyasregardsenvironmentfromonewhoisquietandlethargic.Everythingshouldcomeintoconsideration,fromthecoloroftheroomandofthevariousobjectsthataregenerallyaroundthechild,tothecoloroftheclothesinwhichheisdressed.Onewilloftendothewrongthingifonedoesnottakeguidancefromspiritualknowledge.Forinmanycasesthematerialisticideawillhitontheexactreverseofwhatisright.Anexcitablechildshouldbesurroundedanddressedinredorreddish-yellowcolors,whereasforalethargicchildoneshouldhaverecoursetoblueorbluish-greenshadesofcolor.Fortheimportantthingisthecomplementarycolorwhichiscreatedwithinthechild.Inthecaseofred,itisgreen,andinthecaseofblue,orange-yellow,asmayeasilybeseenbylookingforatimeataredorbluesurface.

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Thephysicalorgansofthechildcreatethiscontraryorcomplementarycolor,anditisthiswhichbringsaboutthecorrespondingorganicstructureswhichthechildneeds.Ifanexcitablechildhasaredcoloraroundhim,hewillinwardlycreatetheopposite,thegreen.Andthisactivityofcreatinggreenhasacalmingeffect.Theorgansassumeatendencytocalmness.�0

(Theaboveshouldalsobeconsideredinconnectionwithhandwork.)ThereisnolimittowhatSteinerhasrevealedconcerningthenatureofcolorinhis

writingsandlectures.ThehumansoulcomestoanewrelationshiptonatureandtoartifitsoreceivesSteiner’scolorteachingthatitbecomesalivingexperience.ThenwecanlearntoappreciatehowtheOldMasters,throughtheinnerknowledgeofcolorthattheystillpossessed,wereabletobringthesupersensibletoexpressioninthesensibleinsuchawaythatthespiritualrealityofwhatwasrepresentedintheirpicturescanbeexperiencedeventoday,ifwelookatthemintherightmoodofreverence.��Spiritualbeingsvisitusonthewingsofcolorandconnectuswithadivineworld.

IntheritualformingpartofthereligioussacramentsasrestoredthroughtheinsightofSteiner,thecolorofthepriests’vestmentsandofthealtarclothschangesaccordingtotheseasonsandtheChristianfestivals,thusbringingtoouterexpressiontheinnermoodprevailingatthesetimesoftheyear.Thelanguagespokenbythesecolorscouldnotbeplainer.Thereemanatesfromthemamoodofconsecration,ofhealingandofbeauty.Andinbeautythehumansoulexperiencesspiritualrealityinearthlyform.

Steinersaidofclothingingeneral:“Therealpurposeofclothingistomakethehumanbeingbeautiful.”��Thusitshouldalsoleadhimtoanexperienceofthefactthatnotonlyhissoul-spiritualmembersbutalsohisphysicalbodyisofdivineorigin.Thehumanbeingshouldsochoosehisclothingthatitisaworthyexpressionofhisdivinenature.SpeciallightisthrownonthisbythefollowingremarkofSteiner:“Ourconnectionwiththespiritisbrokenifitisnotsustainedthroughthemediumofbeauty.Beautyconnectsthe‘I’tothebody.”��

ENDNOTES�. Color,PartsI,II,III.�. “SpeechandDrama,”lecture��,Dornach,�8��.�. Ibid.�. Ibid.�. Ibid.,lecture��.�. Color,PartIII,Dornach,July��,�9��.7. Color,PartI,lecture�,Dornach,�9��.8. Teachers’Conference,Stuttgart,January��,�9��.9. The Spiritual Ground of Education,lecture�,Oxford,August�9��.�0. The Education of the Child in the Light of Anthroposophy.��.Color,PartI,endoflectures�and�.��. FromalectureinDornach,August�7,�9��.��.FromanotebookofRudolfSteiner,�9�8(Publishedin“DasGoetheanum,”Vol.XII,No.��).

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CHAPTER XII

the hIstory oF the art oF clothIng

Steinergaveimportantindicationsconcerningtheoriginofcolorandtheartofclothing.�Hedescribedhowtheartofclothing,likethehumanbeinghimself,hasitsoriginintheworldoftheSpirit,andhowprimevalmanbroughttovisibleexpressioninhisclothingmemoriesofwhathehadexperiencedinthespiritualworldbeforebirth.InalecturegivenatDornachonJune�,�9��,hesaid:

[B]eforebirththehumanbeinglivesinaworldoflight,colorandsoundpermeatedwithsoulandspirit.Itisaworldofqualities,ofintensities,notofquantities,ofextension...Mancomesdowntotheearthandfeels:“I,who,asahumanbeing,bringsomethingdownwithmefromthespiritualworld,amnotatallinharmonywiththatwhichentersmyphysicalbodyfromtheearthlyenvironment.ThereforeImustdosomethingtoadaptmyselftoit.”Andsohebringsdownfromthespiritualworldthecolorofhisclothing...

Ancientformsofdressreflectedthepreferencewithregardtocolorandcolorharmonywhichmenbroughtdownwiththemfromtheirpre-earthlylifeinthespiritualworld.Asmemoryofpre-earthlyexistencedeclined,theartofclothingbecamemoreandmoredilettante.

Ifyouobservehowmuchdelightincolorisrevealedintheclothingofreallyadvancedprimitivecultures,andhowacultureveryoftendisplaysacharacteristicpreferenceinitschoiceofcolors,youwillseethatwehaveintheartofclothingatrueandgreatart,anartthroughwhichthehumanbeingseekstocarryhispre-earthlyexistenceintotheearthly.�

InAdolfRosenberg’scomprehensivework,Geschichte der Kostume[TheHistoryofCostume],welearnhowearlymanfirstcoveredhimselfwithcoloredearth,thenbegantopainthimself,rubbingpaintintowoundswhichhehadhimselfmadesothatitwouldbeabsorbedthoroughlyintotheskin.Itwasfromsuchdecorationthatclothinggraduallyevolved.Thepaintingofthebodyandtattooingnowtraditionalamongstprimitivepeoplesofthepresentdaypointbacktotheseearlytendenciesofmankind.

InalectureheldinDornachonAugust�7,�9��,SteinerreferencedtheOldTestament:

ConsiderhowweareheretoldthatuntilthetimeoftheLuciferictemptationhumanbeingswentaroundnaked.Thisisnottobetakentomeanthat,fortheirconsciousness,theywentaboutnakedasonewouldgoaboutnakednow,butthatpreviouslytheyhadseentheauraaroundthehumanbeing.Consequentlytheyhadnotseenwhatonewouldseeifahumanbeingwere

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towalkaroundnakedtoday;theysawhiminaspiritualgarment.Theaurawashisgarment.

Andwhenthestateofinnocencewastakenfromhumanbeings,whentheywerecondemnedtoamaterialisticmodeoflife—when,inotherwords,theycouldnolongerseetheaura—theysawwhattheyhadnotseenaslongastheaurahadbeenvisibletothem.Andsotheybegantoreplacetheaurawiththegarment.Thisistheoriginofclothing:thereplacementoftheaurabyagarment.�

Inourmaterialisticageitisindeedagoodthingtoknowthathumanbeingsfirstclothedthemselvesfornootherreasonthantoimitatetheauraintheirclothing.Insacredritesthisisverymuchthecase,forhereeveryarticleofclothingisanimitationofonepartoranotherofthehumanaura.YouwillseeinpaintingsbyRaphaelthatthegarmentsofsuchfiguresasMary,JosephandMaryMagdalenehavecolorswhichtendtorecur.Forexample,youwilloftenseeMaryMagdalene,inpaintingsbythosewhowerefamiliarwithtraditionorwhostillhadsomeclairvoyance,depictedinyellow.Theattemptisalwaysmadetofindsomecorrespondencetotheauraoftheindividualityinquestion,fortheypossessedaconsciousnessenablingthemtoimitatetheaura,tocreateanexpressionoftheaura,intheclothing.

Inthiswayclothingcameintobeingwhosearchetypalform,thehumanaura,originatedinaworldofspirittowhichthehumanbeingwasabletofeelhiskinshipthroughthewayinwhichheclothedhimself.Itwasaformofdressthatstoodincloserelationtothetruenatureofthehumanbeing;onethathadnotlostitsconnectionwiththehumanbeingasisgenerallythecasetoday.ButSteinerdidnotonlyspeakoftheoriginofclothinginrelationtothesingleindividual;hepointedalsototheconnectionsexistingbetweenthevariouspeoplesandtheirpeculiarstylesofdress.�

Eventodayyoucangotoareaswhoseinhabitantshavepreservedacharacteristicmodeofdress.Thereyoumayanswerforyourselvesthequestions:“Howhaveanumberofsoulsfoundtheirwaytogetherhereinthefolk-communitybyvirtueoftheaffinitywhichwastheirsinpre-earthlylife?Howdotheybringtoexpressionintheirdresswhattheyhadexperiencedtogetherinthelifebeforebirth?”Itwasamemoryoftheirappearanceintheheavenlyworldthattheywishedtocreateintheirclothing…

Youwilloftenhavetogobacktoancienttimestofindformsofclothingthatarereallymeaningful.Forinthosetimestherewerenotonlypainters,sculptors,andsoforth,buttrueartists.Thewholeofhumanlifewasimbuedwithanartisticelement.Raphael,forexample,stillhadalivingperception,oratleastalivingtradition,accordingtowhichthesoulandspiritqualitiesanindividualbringsdownfromheaventoearthareexpressedinhisclothing.

Thisiswhatgivesourdressitsinnermeaning.Theindividualoftodaywillsay:“Itspurposeistokeepuswarm.”Thisisnodoubtitsmeaningfrom

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amaterialisticpointofview,butartisticformswillneverarisefromsuchaconception.Artisticformsalwaysarisethrougharelationtothespiritual.ForthemysteriesoflifeandtheworldmergeofthemselvesintotheelementofArt.�

FashionSteinerexplainedtoushowourclothingoriginatesintheworldofthespirit.But

overthecenturiesthebondbetweenthehumanbeingandhismodeofdressthatexistedinancienttimesloosenedmoreandmoreuntilfinallyitdissolvedaltogether.Ifwenowwishtoseekforthepowerswhichprevailinthesphereofhumanclothingtoday,wecouldwellfindtheminallthatgoesbythenameof“fashion.”

Itwouldbeoflittleusetoattempttogiveadatefortheoriginofwhatwecall“fashion.”AtthetimeoftheFall,humanbeingsbegantoclotheandornamentthemselves.Throughthecourseofmillennia,thiswasinfluencedbytheMysteries,�underwhoseguidancethedressofthehumanbeing,thecostumesofthevariouspeoples,werefashionedinaccordancewithspiritualinsight.

ButwiththeFallnewsoulqualities,suchasvanity,loveandhatebegantoappearinthehumanbeingandhenowwishedhisown“personal”inclinationsandinstinctstoplayapartindetermininghismodeofdress.Thusornamentanddressgraduallyfoundtheirwayfromthesacredtotheprofane.

Soitisatthepointwheremankindabandonedtheoldties,wherehelefttheMysteriesandthesefinallyfallintooblivion,wherepersonaldesiresandegotismcomeevermoretothefore,thattraditionaldresswasreplacedbyfashion.Itisconnectedwiththechangeofconsciousnessinthehumanbeing,withtheloosening,requiredbyhisdevelopment,ofthebondswiththespiritualworld.Thelatterceasedtobeadeterminingfactorbecausethehumanbeingcouldnolongerperceivetheaura.

Whereasthefactthattheyhadtheirsourceinspiritualperceptionlentaqualityofpermanencetothestylesofdresswornbytheancientpeoples,“fashion,”likethemoodsofthehumanbeing,issubjecttoconstantvariation.Itcanbeseenhowitspathwouldattimescrossthoseoftraditionalcostume,orhowtheywouldbothplayoneintotheother.“Costume”accompaniesapeopleoranagethroughthecourseofitsdevelopment,changingitsformsinaccordancewiththis;itthendisappearsatthecloseofacertainperiodoftime.“Fashion,”ontheotherhand,iscaughtupinperpetualchange,andhurries,quiteregardlessofrulesandtime-honoredcustoms,intoevernewformsandmetamorphoses.7Sometimesitcanseemtobenomorethanaplayfulchildoffantasy,butatothertimesitseemstoriseupfromdarkdemonicsourcesandcausesthehumanbeingtoforgethisspiritualorigin.

Thoughinancienttimesitaffectedhumanlifeandcustomsonlytoaslightextent,fashionhasbeengrowingrightuptothepresentdayandhasgainedinstrengthinproportionasthehumanbeinghaslosthisconnectionwiththespiritualworld.Ithasadvanceddownthecenturiesatanever-quickeningpace,continuallychanging.Asearlyas

�7

thefourteenthcentury,sowereadintheLimburgChronicle,fashionwaschangingsofastthateventhetailorscouldnotkeeppacewithit:“Stylesofdressinthesepartshavechangedsomuchinsoshortatimethatmenwhowereoncegoodtailorsarenowgoodfornothing.”Whatwouldthechroniclerhavetosayaboutthetempoinourdays?

Throughthegrowthoffashion,clothinglostmoreandmoreitsconnectionwiththesoul-natureofapeopleoracommunity.In�9�8Maxv.Boehncharacterizeditthus:“Ithasturnedtherealpurposebehindtheartofclothingcompletelyupside-down;throughfashiondresshasbecomeanendinitselfandexistsquiteindependentlyofanyhygienicoraestheticconsiderations.”8Butthehumanbeinghasfallenintoitsclutchesandissubjecttopowerswhich,sincelosinghisconnectionwiththespiritualworld,heisunabletorecognize.ThisproblemtoohasbeenilluminatedbySteiner.InalecturegiveninMunich,hefirstdescribedthetruenatureandoriginofphantoms,ghostsanddemons,andthenwentontosay:9

Demonsarisebecausehumanbeingsdonotapproachoneanotherinaframeofmindwhichonemightcharacterizeasfollows:“IwilltellotherswhatIthink,butImustleaveittothemtodecidewhethertoagreewithmeornot.”

Atcardtables,socialevenings,teapartiesandsoforth,hundredsofdemonsofallkindsarecalledintoexistence,foratsuchgatheringsweseldomfindamentalitybasedoninnertolerance,butratheronewhichinducespeopletosaytothemselves:“Ifyoudonotagreewithme,youareafool.”

Thushumanlifeactuallycallsspiritualbeingsintoexistenceinthespiritualworld.Andallthesebeings—phantoms,spectersanddemons—have,intheirturn,aninfluenceuponthehumanbeing.Justthink:Wheneverthisorthatprejudiceprevailsepidemically,asitwere,inourenvironment,wheneversomefoolishfashionsuddenlyarises,thisiscausedbythedemonsbroughtintoexistencebythehumanbeing,demonswhotherebyhinderthestraightcourseofhumanprogressanddevelopment.Thesebeingscreatedbymankindareconstantlyflittingandweavingabouthim.

Wehinderourownprogressthroughthefactthatwecanbecreativeinthespiritualworldinthisway.Wemustrealizethateverythingwethinkorfeelcanproduceeffectsofasgreatasignificanceasthoseproducedbythefiringofagun.Thelattermayhaveterribleconsequences,andisconsideredtobethemoredangerousthing,simplybecauseourordinarysensesareabletoperceivetheeffects,whereasinthecaseofthoughtsandemotions,wecannotperceivethem.�0

Fashionhasconquerednearlytheentireworldinthecourseofthelastfewcenturies,whilethecostumesofthepeopleshaverecededmoreandmoreintothebackgroundandtodayleadamerelytraditionalexistenceofmoreorlesshistoricalvalue.Theiroriginallifeisextinguished,thoughitstillsurvivestoacertainextentamongthosetribesandpeopleswhohavepreservedtheconnectionwiththeiroldfolk-spiritualitythroughnothavingbeencaughtupintheturmoilofmoderncivilization.

�8

IfonelooksatthecostumesreproducedinRosenberg’sThe History of Costume,thechangesthathavetakenplaceoverthecenturiesamongthevariouspeoplecanbeclearlyseen.Thesepicturesshowalsohowdifferentpeopleshaveinfluencedeachotherandhow,inthisway,quitenewformshavebeenabletoariseintheartofclothing.

Ifweconsiderfashioninourowntime,weshallfindthatmanyinfluencesplayintoitfromoldhistoricalcostumes,forexample,fromEgyptandRome,orevenfrommedievalknighthood.Muchmaterialcouldbecollectedtosubstantiatethis.Butoverthelastfiftyyearsfashionhasbecomealmostentirelyacreatureofindustry—commercialenterprisehastakencontrolofitinordertomakeoutofitasmuchmoneyaspossible.Theindividualoftodayacceptsthedictatesoffashionwiththeirunderlyingprincipleofadvantagetotheproducer,andcannotbutfeelhimselftobeitsslave,forhecannevercompletelyescapeitsuniversalinfluence.

Fashiongenerallychangesmostquicklywherethereisgreatluxurytokeepthewheelsofindustryturning.Theinfluenceoffashionuponjudgmentandtasteisverystrongindeed;wesacrificetoitoursenseofdecency,comfortandbeautywithoutnoticingtheholdithasuponus.��

Readymadegarmentsnowadaysconstitutemostoftheclothingofalargepartofmankind.TheextremestowhichthisiscarriedcouldbeseensometimeagoinaGermanillustratedmagazinewhichgaveareportonthefloodingoftheEnglishmarketwithasortof“Europeanuniform”fromRussia.ThusthesameEasterninfluencecanbetracedinthesphereofclothingaswasdescribedinconnectionwiththerowsofhousespaintedauniformgrey.��Thetendencytobringaboutauniformitystiflesallcreativesoul-forcesinthehumanbeingandleadsfinallytothedeathofartandofallindividualhumanwork.Suchenterprisesofmassproductionevenbringourmobile,ever-changingfashionstoastandstill.

Steinercharacterizedafurthertendencyofourage(Dornach,August�7,�9��).Afterrecallingthefactthatinancienttimesmenstrovetoimitatetheauraintheirclothes,hewentontosay:

Itisacharacteristicaberrationofourmaterialisticagethatincertaincirclesitshouldbeconsideredanidealtodoawaywithclothingaltogether—formaterialismiseverywherecarriedtoitslogicalconclusion—andtoadvocatethecultofnudism,onthegroundsthatitisanextremelyhealthypractice.Thereisevenaperiodicalthatpromotessuchthingsandcallsitself“Beauty.”

Thisperiodicalisbasedonacompletelyfalsenotion.Itthinksthatitstandsforsomethingquiteunlikethecrudest,themostblatantmaterialism.Itbelievesthatitseesrealityinallthatexternal,sense-perceptiblenaturepresentstousasreal,whileinfactclothingaroseoutofastrivingtopreserve,asfarasispossibleinordinarylife,thatstateofconsciousnessinwhichtheauraofthehumanbeingcanbeseen.Thequestionarises,therefore,astotheoriginofthetendencyinourtimetostrivefortheeliminationofclothing.

�9

Itisacompletelackofanimaginativesensefordress.Weshouldnotseeanythingofanidealnatureinthistendency,butratheralackoffantasy,ofanysenseofbeauty.Forclothingisactuallymeanttomakethehumanbeingbeautiful,andtoseebeautyonlyinthenakedbodywouldmeanthattheinstinctofourageisamaterialisticone.��

The Art of Clothing in the Past and in the FuturePlate 10

Letusconsiderthedevelopmentoftheartofclothingfromyetanotherpointofview.IfwestudytheclothinginthecenturiesbeforeandafterChrist,takingnoteofthepurelyformalelementconstitutedbythelines—thatistosay,withspecialreferencetothehorizontalandvertical,andtosymmetryandasymmetry—wecanbestruckbythefactthattheclothingofpreChristiantimesdisplaysnomarkedsymmetryinrelationtothecentralverticallineofthebody,nordoesitplaceanyspecialemphasisonaverticallineinthedress.Wedonotmeanbythisanemphasizingoftheverticaldirectionthroughanexpressivefoldingofthematerialitself—theplissé—whichappearsonancientBabyloniansignetcylinders(Plate�0,fig.�)fromthetimeoftheUrDynasty(about��00bc)—orinsinglecases,suchastheAtticfemalestatuetteintheBerlinMuseum.Nordowemeanthecentralverticallinedeterminedbytheclosingofagarment,orbysomeotherpracticalconsideration,aswiththeEthiopians,whosegarmentsareinanycasetooasymmetricaltowardstheupperpart.��

Forpresentpurposesweareconcernedwithanemphasizingoftheverticalbymeansofsomekindofdecoration,forexampleribbonssewnon,orembroidery;justasthehorizontalcanbeindicatedbythesewingonofnarrowruffles,aswecanseeontheancientBabyloniansignetcylinders(figs.�,�,�)andinotherearlyworksofart(figs.�,�,�,7,8,9).Itisinterestinginthisconnectiontoobservehowtheformsinarchitectureandclothingarerelated;forexample,thesteppyramidsorsteptowers��andtheflouncedskirt.ComparealsotheheadgearoftheCretanfigure(Plate�0,fig.�)withtheTowerofSamarra(fig.�a),whichwasbuiltinthespiritofthisancientperiod.ThisCretanfigurealsoillustratesthetendencyamongtheancientpeopletoemphasize“roundness”inclothinginimitationoftheroundedformsofthehumanbody.

Strictsymmetryofrightandleft,fromtheneckdowntothefeet,appearsinantiquityonlyinindividualcases;forexample,intheabove-mentionedAtticfigure,orinthe“HeraofAegioninAchaia.”Asymmetryisthegeneralrule,aswealsofinditisintheclothingoftheancientEgyptians,theGreeksandtheRomans.

BeforeweconsiderinmoredetailthegarmentsoftheGreeksandRomans,weshouldliketoquotearemarkofSteiner’sconcerningthefundamentaldifferencebetweenGreekandRomandress:

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UndertheinfluenceofAugustussomethingcameaboutinRomewhichwasaltogetherdifferentfromwhathadoncelivedinGreece.HowevermuchtheRomangarmentsmayhaveresembledtheGreek,theRomantogawasnotwornasaGreekworehisclothes,feelingthemtobeapartofhimself.Ithadbecomesomethingmuchmoresuperficial,awayofdecoratingoneselffortheworldoutside.Onecanevenseeareflectionoftheestablishedcultofthetimesintheorderedfoldsofthetoga,whichwouldneverhaveappearedinaGreekgarment—justasthereisatremendousdifferencebetweenthestutteringDemosthenes,who,nevertheless,expressedtheGreekspiritexceedinglywell,andtheRomanoratorwhoadheredsocarefullytoalltherulesofrhetoricinchoosinghiswordsandconstructinghissentences.��

Althoughonecannot,ingeneral,speakofsymmetricalclothinginancientGreece,thefactshouldnotbeoverlookedthatgarmentswereoftengiveninwoven,attached,orembroideredtrimmings,anindustrywhosehomewasinBabylonandPhrygia.Suchtrimmingsranparalleltotheseamsofagarment—ofthechiton,forexample—oroneithersideofthem,fromthewaistdownwards(inaboutthesamepositionastheseamsofourwomen’sskirts)orsometimesranfromtheneckdowntotheloweredgeofthegarment.TheseverticaltrimmingscorrespondtotheclavusoftheRomans.�7

AccordingtoRosenberg,inanearlierperiodthetogawastheonlygarmentwornbytheRomans,thetunicbeingaddedlaterasunderclothing.Itwasaprivilegeofsenatorstowearonthefrontofthetunicawidepurplestripe(clavus latus),descendingfromthenecktothelowerhem.Severaltunicswerewornoneontopoftheotherasprotectionagainstthecold.Whentwotunicswereworn,itwasusualforbothmenandforwomentowearthelongpleatedoutertunic,orstola,whichtheyshortenedbypullingitoutoverthebelt.Oneofthesetwogarmentswasprovidedwithsleeves.AccordingtoHottenroth,�8theimperialtunicwasalsocalledthedalmatica.ThisgarmentofDalmatianorigin—alongtunicwithwidesleevesandwithorwithoutabelt—referredtobyMaxvonBoehnas“theluxurygarmentofdecliningantiquity,”waswornbytheemperorsfromDiocletianonwardsandintroducedin��0astheofficialattireofChristiandeacons.ThedalmaticawasalsopartoftheattireoftheHolyRomanEmperors,whobeforetheircoronationwereordainedasdeacons.Thelongornamentaltrimmings,theclaves,extendingfromtheshouldertotheloweredgeofthegarment,gaveitaveryspecialstamp.Originallytheclaves,whichcouldvaryinwidth,werereservedforRomansofspecialrank,butinImperialRometheywerealsowornby,forexample,theyoungsonsofpatricianfamilies.�9

ThedalmaticaiswonderfullydepictedinearlyChristiantimesonthewallsofthecatacombs,onwhichthefirstChristiansrepresentedtheirdeadandsometimestheMadonnaclothedinthisgarmentwithitsverticalclavesinsymmetricalarrangement.Ifonecomparesthisrichlyornamentedbut,initself,quitesimplegarmentwiththesumptuousasymmetricalclothingoftheearliercitizenofRome,onecanseeinittheexpressionofanewage.

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AlthoughitwasalreadypreparedinGreece,itwasnotuntilthecloseofantiquity,afteritsgradualdevelopmentinRomantimes,thatthisgarmenttookontheexpressiveforminwhichweseeitintheearlyChristianera.World-historicaleventsarealwaysreflectedintheartisticcreationsofmankind.Inartandinthecrafts,and,aswehaveseenabove,inclothingtoo,theinnerandouterexperienceofthehumanbeingrevealsitself.Soonefeelsimpelledtoask:WhatwastakingplaceinhistoryatthetimewhentheoldRomangarmentwassupersededbyanewone?ItwasatthetimeofthefirstRomanEmperorthatChristianityenteredintoworldhistory.

ThroughthespiritualnatureofChristianity,aspeciallighting-upofconsciousnesswasabletotakeplaceinmankindthroughthecourseofthecenturies.ThesignificanceofthischangeasreflectedinthedevelopmentofphilosophyhasbeendescribedbySteinerinhisbookRiddles of Philosophy,aswellasinmanyotherbooksandlectures.ThroughChristianitysoulswereacquiringthecapacitytowinbackinfreedomandindependence,andwithever-increasingclarityofconsciousness,theconnectionwiththespiritualworldwhichtheyhadlostastheMysterieswhichhadonceguidedthemfellintodecline.Tothehumanbeingwasgiventhepossibilityofanewexperienceofthe“I.”ItistheChristwhogivestheimpulseenablingallmen—eachasaseparateindividual—toexperiencethe“Iam.”�0Allthatwentbeforewasapreparationforthisdevelopmentofconsciousnessofselfhood,ofthe“Iam.”

ThisdevelopmentisreflectedinmanydifferentwaysinChristianart.Feelings,sensationsandthoughtscanfindtheirouterexpressionincolor.Canwenotfeelasimpleverticalline,bycontrastwithacurvedorhorizontalone,tobeanexpressionoftheforceofuprightnessinthehumanbeing?DoesnotsuchalineconnectthehumanbeingwiththeheightsoftheCosmos?

Ifwelearntocultivateaninnerexperienceofthedynamicsoflinesandforms,adeeperunderstandingofthemawakensinus.AndthenitshouldbepossibleforustogainaninsightintotheremarkableoccurrenceoftheverticalornamentallineofthegarmentsoftheearlyChristianera.Theclaveswouldseemtobeaconfirmationoftheprofoundinnerexperiencethatsoulswereundergoingwithagreaterorlesserdegreeofconsciousness.Hereonecanfeelhowthehumangarmenthasbeengivenanartisticformwhichspeaksoftheexperienceofstandingfirmlyontheearthand,atthesametime,oflookingupwardstoadivineworld.Thusthenewagecreatedforitselfanewform,eventothestyleofdress.

ItisworthnotinginthisconnectionthatRomancivilizationdidnottransformitsoldgarment,thetoga,onitsentryintothenewera,butrather,atthemomentofreceptionoftheChristianEgo-impulse,replacedtheEtruscan,thatistosaytheEastern,Asiatictoga,withthedalmatica,whichcamefromanoldEuropeanpeople,theIllyrians.TheDalmatiansweredescendantsoftheIllyrians,anoldEuropean,notanAsiatic,people.DalmatiawasapartofIllyria.

Itwillveryoftenbefoundthatwhatthedivineworldswishtoaccomplishintheirguidanceofmankindisreflectedinearlyworksofart,andthatthese,byforeshadowingwhat

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istocome,pointthewaythatmankindmustfollow.ThustheBeardedSphinxofTanis(Plate�0,fig.�0)cannotbutmakeastrikingimpressiononanyonewhohasaneyeforsuchthings.Thebodyofthesphinxreclinesonthegroundbehind,whileatthefrontitrisesupwardsintwoverticals,andthiseffectinintensifiedbytheverticalinthebeard.Thecharacterofego-affirmationintheverticalthrustis,asitwere,acalltothehumanbeingtoovercometheanimalbodyandtostrengthenhimselftoascendtotruehumanity.Heretoothereappearsintheverticallinetheforceoftheerectwhichgivesthehumanbeingthepowertotakeholdofhisego.ThesamestrongimpressioncanbepurveyedbytheWingedBullofKhorsabad.��Heretheverticalisparticularlypronouncedinbeardandheaddress,whichtogetherwiththehairstyle,isthepartofthehumanbodyinwhichtheverticalfirstappearsamongtheseancientpeoples.

IfweattempttotracefurthertheevolutionofthisearlyChristiangarment,thedalmaticawithitstwoclavesoronebroadclavusinthemiddle,weshallbeledfromheredirectlytothedressofthemedievalOrdersandofKnighthood.Notthroughhistoricalinvestigation,butthroughbecomingawareofthereappearancehereandthereofsimilarlinesandforms,themonk’shabitwiththe“stole”canbeidentifiedasafurtherdevelopmentofthegarmentthatappearedinearlyChristianity.Inthescapulathetwoclavesaregrowntogetherwiththeverticalfieldseparatingthemtoformasinglepiecewhichisthendetachedfromitsbackgroundandconnectedontheshoulderstoasimilarpiecebehind.Thisscapula(stole),usuallywornwithabelt,thusformingacross,waselaboratedinindividualwaysbythedifferentmonasticOrders.ThusweseehowChristianitycontinuedwithaformofdressinwhichsymmetryisusedtoemphasizetheverticalinamostexpressiveway.

RosenbergsaysofthedressoftheBenedictineOrder,whichwasfoundedin��9adonMonteCassinoinLatium,thatitwas“copiedfromthatoftheearlyChristianpriesthood.ItwasthusthroughtheBenedictineswhoelaboratedthisbasicdesignthatitwashandeddowntotheotherOrdersandsurvivestothepresentday.”AndinfactonefindsthestoleinEuropedownthroughthecenturies,notonlyinthemonk’shabit,butalsointhecostlyattireofhighdignitariesoftheChurchandevenofsecularrulers,rightuptokings,emperorsandempresses.

OutofthepowerfulBenedictineOrdertherearose,aboutfivehundredyearslater,theOrderoftheCistercians.ThecenterfromwhichtheCistercianOrderspreadwastheMonasteryofCiteauxinFrance.Thesemonksworeawhite,orrather,grey,tunicofundyedwool,withablackstole.��

AconnectionwasmadewiththisgarmentbySteinerwhenhecreatedthecostumesforhisMysteryDramas.Hetoldhow,whenthequestionaroseregardingsuitablecostumesforhisfemalecharacters,itoccurredtohimthatitshouldbesomethingsimilartothehabitoftheCistercians.Thusinamodifiedformandwithsplendidcolors—stoleandbeltoftenofdifferentcolors,butusuallydarkerthantherestofthegarment—therearosebetween�909and�9��theimpressiveandeloquentlycoloredcostumesoftheMysteryDramas.

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Someelementsinthestyleofdressonthestageinfluencedtheaudience,untilattheendoftheseconddecadeofthetwentiethcentury,fashiontookholdofitandstole-dressesappearedinpubliclife.Withoutregardtotheirsourcetheseformswerepopularizeduntiltheysoonlosttheiroriginalcharacter(thebelt,forexample,fallingrightdowntothehips)andfinallydisappearedfromtheworldofwomen’sclothingaltogether.

IfweseekinpreChristiantimesforformsofclothingwhichresemblethesestole-garmentsandwhichcouldeven,asitwere,haveanticipatedthem,wecanfindintimationsofthemamongsttheHebrewsintheephod,which,followingtheMosaiclaw,wasdecoratedwithatasselateachofitsfourcorners.��Ashouldergarmentofthiskind,consistingoftwopieces,waswornbytheJewishHighPriest.ThereisalsoapictureofthelastPersianKingwhoisshowndressedinapurplegarmentofwhichthefollowingissaid:“TheKingaloneworeinfrontabroadwhitestripewhichremainedthroughouthisreignthesymbolofkinglyauthority.”��Itisremarkabletofindthesestole-likeformsamongtheancientPersiansandJews,bothofwhom,asSteinerhasoftendescribed,preparedthewayforChristianity.

Althoughthestole-garmentcreatedbySteinerhasnowdisappearedfromtheworldoffashion,itlivesonintheMysteryPlaysattheGoetheanuminDornach.WhentheseplayswerefirstperformedinMunich,Steinergavethesegarmentsaverystrictform,thebodybeingcoveredallthewayfromthenecktothehands.Heremarkedthattherewouldcomeatimewhenthepaintingofthenudewoulddisappearandtheonlypartsofthebodythatpainterswouldwishtoleaveunclothedwouldbetheheadandhands.Thesewordsgaininsignificancethroughtheknowledge,giventousbyanthroposophy,thatmankindwillinthefuturewinbackinanewformthecapacitytoperceivethespiritualworld,andthusalsothehumanaura.��

Butthestole-garmentwillcontinuetobeofimportancenotonlyonthestage.Elsewheretootherewillalwaysbeindividualswhofindthisasuitablegarmentforthemselvesandwhowillwearit,ifonlyonspecialoccasions.BeingrelatedthroughtheformofsuchagarmenttothedresswornbytheearlyChristians,thewearercanfeelinspiredtomeetthestormsoflifewithcourageandpoise.Asapictureofinneruprightness,thisdresscanalsobringtoexpression,throughthecolorschosen,anyofthetemperaments,moodsofseriousnessorgaiety,orsoul-qualitieswhichthehumanbeingisstillstrivingtoattain.Thusitscolorscanbringabout,ormerelyreflect,statesofspiritandsoulinthehumanbeing,justasweindicatedwithrespecttostagecostumes.��

Aquestionarisingnaturallyfromtheseremarkswouldbethefollowing:Howcouldastyleofclothingbeevolvedforthehumanbeingnowandinthefuture,whichistrulycontemporarywherecolorandformareconcerned?Couldtherenotariseanartofclothingthatisatoncenewandcapableoffurtherdevelopment?TheanswercanbefoundifwerecallSteiner’sremarkaboutdress,thatartisticformscanariseonlythrougharelationtothespiritandthatthisrelationmustberediscoveredifwewishtoenteragaintherealmofthetrulyartistic.

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Index to Plate 10

�. PartofanancientBabyloniancylinder-seal�. Serpentpriestess.PaintedCretanpotteryfigure(c.��00bcor�000bc).

�a.TowerofSamarraontheTigris�. PartofanancientBabyloniancylinder-seal�. GoldringfromMycenae(fromthe�ndmillenniumbc)�. Partofthebas-relieffromtheTableofLawwithHammurabi,ancientBabylonian (c.�9�0bc)�. PartofanancientBabyloniancylinder-seal(thetimeoftheUrdynasty)7. Partofalimestonebas-reliefofGudea,ancientBabylonian(Gudea,c.���0bc)8. Bas-reliefofKingAnubanini’svictory9. AncientChaldeanfemalestatue�0.GranitesphinxfromTanis,Egypt��.FrescointheVigna-Massimocatacomb(earlyad)��.Paenula,Roman(earlyad)��.Aristocraticladyindalmaticawithclavusstripes,Roman(earlyad)��.RepresentationofMarywithaWiseManfromtheEast,Roman(earlyad)��.GoodShepherdoftheparable,Roman(earlyad)��.Manintunicwithbroadcenterstripe

7�Plate 10

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Throughanthroposophytheroadtothespirithasbeenmadeopentohumanityinanewway,sothatthecreativehumanbeingisnowenabledinfreedom,andoutofspiritualunderstanding,togiveindividualartisticformnotonlytothewayheclotheshisbodyinaccordancewithhisspiritualnature,butalsotothewholeofhisenvironment.Theconnectionwiththespiritenablesthehumanbeingtobecomeacreatoroftrueculture,andthushecanbringintobeing,throughselflessdedicationtohisearthlytasks,thenewhandicraftswhoseseedshavebeenlaidbySteinerintheindicationsgiveninthisbook,andwhichtaketheirplacebesidealltheotherspiritualgiftshehasmadetohumanity.

Whereasinearliertimestheclothingaroseoutofacertaingroup-soulinstinctiveness,inthefutureahumanbeing,standinginfreedomwithinthespirit,willbeable,outofhisowninsight,todesignhisclothingartistically,andthustoovercometheauthoritywieldedintheworldbyfashion.Anewhumancommunitywillevolve,whoseinnerrelatednessinthespiritwillcometoexpressioninitsouterdress.

ItisnotbyaccidentthatSteiner’sindicationsconcerninghandicraftsarerelatedtoeducationalproblems.Theeducationofthegrowinghumanbeingisagreattaskofhumanity,andoneinvolvingimmenseresponsibility.Fornotonlydoesthedestinyoftheindividualdependuponarighteducationinchildhood;thedestiniesofpeoplesandevenofwholeepochscanbedeterminedbyit.Steinerhasshownusthroughspiritualknowledgethetruepathofeducationforthegrowinghumanbeing.Thewilltotreadthispathshouldbethebasisforallotherstrivingsinthissphere.ForonlythenwillthosehumanbeingsarisewhoareabletobringtofulfillmentallthatSteinerhasbequeathedtousintheformoftasksforthefuture.Heknewthatthefutureofthehumanracelayinthehandsofeducation.AndthushesaidtotheteachersandparentsattheopeningoftheFreeWaldorfSchoolinStuttgartonSeptember7,�9�9:

Allthatweaccomplishartisticallyisabletoattaintoitshighestfloweringifwecanchannelitintothegreatestartofall—thatartinwhichwearehandlingnotdeadmaterialsliketoneandcolor,butthatartinwhichthelivinghumanbeingishandedovertousinanincompletestateandinwhichourtaskistobringhim,throughanartisticeducation,toacertaindegreeofcompletion.

ENDNOTES�. June��,�908;August�7,�9��;andJune�–�,�9��.�. Thisandthetwofollowingquotationsarenotgivenliterally.�. Thisisnotincontradictiontoanearlierstatement,forhumanbeingsalsoexperienceeachother

throughtheiraurainthelifebeforebirth.(SeeTheosophy,chapterVI.)�. “TheArtofClothing,”Dornach,June�,�9��.Herenotgivenquiteliterally.�. Ibid.�. SteinerhasgiveninformationconcerningthenatureoftheMysteriesinnumerouslecturesand

writings.Hespeaksofhowthepriest-sagesweretheguardiansofahigherwisdomthroughwhich

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mankindwasledandguidedinancienttimes.Itisinthiswisdomthatart,scienceandreligionhavetheirorigins.(SeealsoChristianity as Mystical Fact.)

7. Wearenotenteringhereintothequestionofstyleanditsdevelopment.8. ThisremarkandthequotationfromtheLimburgChroniclearetakenfromMaxvonBoehn’s

Bekleidungskunst und Mode,�9�8.9. Munich,June��,�908(notaliteralquotation).�0. Munich,June��,�908.��. Universal-LexiconbyH.A.Pierer,�ndedition.��. SeechapterII.��. Notaverbatimquotation.��. ThestatementsofSteiner’sconcerningthedevelopmentofclothingcontainnoreferencetothe

roleofhorizontalandvertical.Theauthorbearsfullresponsibilityforthetreatmentofitinthischapter.

��. E.g.thesteppyramidsatSakkaraandatMedum(Springer);alsothesteptowerofKhorsabad(Woermann),ortheTowerofBabylon,consisting,accordingtoRawlinson,ofsevensteps(Jeremias).Thespiraloccurringofteninbuildingsandclothingprobablyrepresentsthemovementofthesun.AlfredJeremiassays:“Theideaofsevenheavensisthemostprevalent.InBabylonthisisattestedsinceSumeriantimesbythepyramidwithsevensteps...Theconceptionofsevenheavensisderivedfromthemovementofthesevenplanets.Thedailycourseofthesunisseenasacurveformingpartofacircle;inthecourseofayeartheobserverseesthesunmovinginarisinganddescendingspiral.Thetwoideascombinedgiverisetotheconceptionofamountainortoweronwhichaspiralrisesanddescends.Thesamepicturecanbederivedfromobservationofthemoon’smovements.”

��. FromalecturegiveninDornach,October��,�9�8.�7. Das Leben der Griechen und RömerbyErnsGuhlandWilhelmKoner.�8. Trachten[Costumes]byF.Hottenroth,I,�88�.�9. Geschichte der KostümebyAdolfRosenberg.�0. SeeRudolfSteiner,The Gospel of St John,Hamburg,May�908,lecture�.��. IntheLouvre(Woermann).SeealsotheportalvestmentsofKhorsabad(Springer),orthethree

godsonaboundarystoneinAsiaMinor;alsothegodRamanofBabylon(Jeremias).��. Orders and Congregations of the Catholic ChurchbyDr.MaxHeimbucher.��. Op.cit.,Hottenroth.��. Kretschmer,Die Trachten der Völker.��. SeeTheosophiebyRudolfSteiner.��. ChapterXI.

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APPENDIX I

the PedagogIcal value oF makIng anImals In soFt handwork

IthasbecomecustomaryattheWaldorfschooltocallneedleworkandthecrafts“soft”and“hard”handworkrespectively.Thispointstoanimportantdifferencebetweenthetwofieldsofactivity,thefullextentofwhichonecanrealizeonlyastimegoeson.Itisnotonlythatdifferentmaterialsareused,butthatthroughworkingwiththesematerialsquitedifferentsoul-forcesinthechildareawakenedandbroughtintoactivity.Andalthoughtheeducationalvalueofthetwoactivitiescanbesaidtolieinseparatespheres,theycomplementeachotherinawonderfulwayandoftenflowtogetheroroverlap,owingtothegreatvarietyofthingsthatcanbemadeinbothsoftandhardhandwork.

Tobeginwith,letusseeinwhatwaystheyaredifferent.Wehavetakenasourexampletheanimal,whichisshapedinwoodinhardhandworkandinsofthandworkisfirstsewntogetheroutofflatpiecesofmaterialandthenreceivesitsformfromwithinoutwardsthroughstuffing.Inhardhandworkwearedealingwithwood.Wehammer,plane,carve,andsoforth.Herestrongforcesofwillmakeuseofthelimbsofthechildtoworkcreativelyupontheouterworld.Insofthandworkthespunandwovenmaterialsarehandledwithgreatcare.Thebrightcolorsbringjoytotheheartandthesenses,andthechildtrieswithlovingunderstandingtobringthemintorelationonewithanother.Soul-forcesofafeelingnatureareactivehere.Theyareconnectednotwiththelimbsbutwiththestreamingofbloodandbreathinthebreastregionofthehumanbeing,andthusthehandsareusedonlyasameansofbringingtooutermanifestationwhatisexperiencedinwardly.

Justasalivingstreamofwaterformsandchangestherockfromoutside,sodoesthelivingwill,workingatthewoodfromoutside,createoutofthelife-forcestheworkofart,theanimal.Life-forcesstreamtothehumanbeingfromtheCosmos;soul-forcestakeholdofhiminwardlyandgiveformtothebodyfromwithinoutwards.

Justassoulandspiritareworkingcreativelyinthehumanbeingwhen,betweentheagesofsevenandfourteen,theymoldandensoulthephysicalbodyanditsorgansfromwithin,sodoesthechildworkupontheanimalinthehandworklesson,stuffingittogiveitformfromwithinoutwards.Theanimalisalso,asitwere,ensouledbythechildinthisway.Itisoftenquiteastonishingtoseehowthechildbringstoexpressionhistemperament,hisownbeing,intheanimalhemakes,andweget,forexample,notonlycholericlions,butphlegmaticandmelancholicones.Witandhumorveryfrequentlycomeoutintheanimals,whicharenearlyalwaysthefavoritetoyofthechild,evenwhiletheyarestillbeingmade.

Dolls,too,belongtothissphere.“Letthemmakelaughingdolls,dollsthatexpressasoul-mood,”Steineroncesaidtous.Thegirlsmakebothdollsandanimalswithgreat

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enthusiasm,whileboysgenerallypreferanimals.Atageninetoten,whenthenaturalhistoryofthehumanbeingbeginsinthemainlesson,itispossibleforthechildrentoshapetheiranimalsanddollsinamoreconsciousway.Beforethattimeanimalanddollformsariseentirelyoutofunconscioussoul-regions.

Whereasinsofthandworktheanimalisensouled,itisthelivinganimalthatcomesaboutinhardhandwork.Heretheanimalcanmoveinaquiteexternalwayandoftenbringsaboutveryamusingeffectsthroughitsmovements,thusexpressingalsosomethingofasoulnature.

Generallythesoftanimals,withtheirdirectexpressionoffeelingandtheirinimitablycomicappearance,arenotmovableintheordinarysense.Butfromwithintheyareverymuchalive.Ifachildmakesanelephantchargingwithupturnedtrunk,inthechild’simaginationtheelephantisreallyrunningandswingingitstrunkupanddown.Atoyofthiskindwhichisimaginedinconstantlivingmovement,willalwaysarousethechild’sfantasytorenewedactivity.Thisworksbackinaplastic,formativewayuponthebrain.Suchtoysaremorefavorabletothechild’sdevelopmentthanmany“beautiful”modernones,whoseeffectintheendistodullthebrain,sincetheirouterperfectionleavesnoroomforanycontributionfromthesideofthechild’simagination.

Ingeneralfartoolittleconsiderationhasbeengiventotheeducationalvalueofthechildren’smakingofthedollsandanimalsthemselves.Butotherimportantthingsareinvolvedtoo.Forexample,makingclothesforadollisthebestpreparationforthesewingofsimilararticlesofclothingforthemselvesandotherswhenthechildrenareolder.Inthiswaytheyareledfromplaytousefulwork—andalsotomoralimpulses.Fordollsandanimalsarealwaystakenintothechildren’slovingcare.Thiscallsforthinthechildthatselflessloveforthehumanbeingandforanimalswhichcanleadinlaterlifetothefinestsocialimpulses.

Soitisforcesoffeeling,oflove,whichareawakenedinthechildthroughsofthandwork,andprimarilyforcesofwillwhicharedevelopedinhardhandwork.Eurythmyandgymnasticsarerelatedtoeachotherinasimilarway.ManyfurtherexamplescouldbequotedtoshowhowintheWaldorfschoolasmuchconsiderationisgiventotheeducationoffeelingandwillastothetrainingoftheintellectualfaculties,sothatthewholehumanbeing,nottheintellectalone,cancometofulldevelopment.

Softandhardhandworkhaveastheiraimtheawakeningofartisticfeelingandcreativeability.Artisticfeeling,theloveofbeauty,favorsgrowthinthesoulofthechildandbuildsupinhimasenseforthetrueandafeelingforthegood.

WeshouldliketoclosethischapterbyquotingfromSteiner:

Joyinliving,aloveforallexistence,energyforwork—suchareamongthelifelongresultsofarightcultivationofthefeelingforbeautyandforart.Therelationshipofonehumanbeingtoanother,hownoble,howbeautifulitbecomesunderthisinfluence!Again,themoralsense,whichisalsobeingformedinthechildduringtheseyearsthroughthepicturesoflifethatare

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placedbeforehim,throughtheauthoritiestowhomhelooksup—thismoralsensebecomesassured,ifthechildoutofhisownsenseofbeautyfeelsthegoodtobeatthesametimebeautiful,thebadtobeatthesametimeugly.�

ENDNOTE�.FromThe Education of the Child in the Light of Anthroposophy.

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APPENDIX II

QuestIons and answers From conFerences at the waldorF school, stuttgart

Part I: Kindergarten, Play, Left-handedness and Handwriting

Cutting-out: Picture Books with Moving Pictures in the Nursery ClassThequestionwasaskedwhethercutting-outshouldbedoneintheNurseryClass.Dr.Steiner:“Ifyougetthechildrentomakeartificialthingsofthiskind,youwill

discoverthatonechildoranotherhassometalentinthisdirection.Therewillnotbemany;theothershavetobetalkedintoit.Ifthethingsarepretty,theyarepretty,butinthemselvestheyareartificial.IwouldallowittobedoneonlyifIsawthatachildhadaleaningthatway—therearesuchchildren—butIwouldnotintroducetheworkforitsownsake.”

Dr.Steiner,afterafurtherremark:“Youmeancuttingoutandpasting?Ifyoufindthatachildhasatalentformakingsilhouettes,youcanlethimdoit.ButIwouldcertainlynotuseFroebelmethods.

“Youwillprobablybestoccupythechildrenbygettingthemtomakemeaningfulthingswiththemostprimitivematerials.Itcouldbeanything—youmusttrybylisteningtofindoutwhatintereststhem.Therearechildren,girlsespecially,forwhomyoucanmakedollsoutofahandkerchief;thedollswriteeachotherlettersandthelettersaredelivered.You,orthechildren,canbethepostmanorthepostoffice.Thepointistomakemeaningfulthingswiththecrudestobjects.

“Andthenatthetimeofthechangeofteeth,whenthechildrenarereadyforit,theywillwanttorepresentsomethingthemselves—onewillpretendtobeahare,andtheotheradog—meaningfulthingsthatthechildrencanperforminadreamlikeway.Theprincipleofplay,uptothechangeofteeth,consistsinthechild’simitatingthingsthathavemeaning—puppetsanddolls.TherecanbeabigPunchwithasmalleronebyhisside—theyneedonlybetwopiecesofwood.Fromtheseventhyearyouintroducesinginganddancinggames,inwhichsomethingisacted.Twocanbeahouse;theothersliveinit.Andthechildstandsinsideithimself.”�

Dr.Steiner:“ApicturebookwithmovingpicturespulledwithstringsfrombelowwouldbeparticularlynecessaryintheKindergarten.Ifyouwouldworkatthis!Itwouldinvolveashorttextwithmovingpicturesabove.”�

Certainformsofplayinchildhoodreappearinaperson’sapproachtolifewhenheisovertwenty.

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Dr.Steiner:“Thewayachildplayswilllatershowinhisattitudetolifeasanadult.Achildwhoplaysslowlywill,whenheisinhistwenties,thinkslowlywherethegatheringtogetheroflife-experienceisconcerned.Achildwhoissuperficialinplaywillbesuperficialinlaterlifetoo.Achildwhosayshewillbreakhistoytopiecesbecausehewantstoseewhatitlookslikeinside,willbecomeaphilosopher;forthisisthewayinwhichthinkingtacklestheproblemsoflife.

“Certainlyyoucandoagreatdealthroughplay.Ifachildhasatendencytoplayslowly,youcaninducehimtoplayfaster.Yougivehimjustthesortofgamesthatrequireacertainnimbleness.”�

Bad Handwriting, Toy Bricks, Movable Toys, Writing with the Left HandDr.Steiner:“Idonotthinkthatanyimprovementcanbebroughtaboutin

handwritingthroughattemptingtomakethechildrenwritebetter.Youreffortsmustbedirectedtomakingthemmoreskillfulinthedrawingofforms.Iftheyweretoplaythepiano,theirhandwritingwouldimprovealso.

“Itisquitecorrecttosaythathandwritinghasbeenasbadasitisonlysincethetimewhenchildren’stoysbegantobesoextremelymaterialistic.Itisappallingthatsolargeaproportionoftoysshouldconsistofbricks.Theseoughtnevertobeatoybecausetheyareatomisticanddonotdevelopskillinthefingers.Ifthechildhasasimplesmithythepointisthatheshouldworkinit.Ishouldliketoseeachildwithatoythatmoves.ThisIhavesaidinThe Education of the Child in the Light of Anthroposophy.Thesemoderntoysareshockinglybad—theycannotbringaboutskillfulnessinthefingers,andsochildrenwritebadly.

“Itwouldalsohelpifonecouldgetchildrenwhowritebadlywiththeirhandstomakequitesimpleformswiththeirfeet(butonecannotdothisinclass).Thishasitseffectuponthehand.Theyshoulddrawsmallcircles,semicircles,triangles,withtheirfeet.Letthemholdapencilbetweentheirbigtoeandsecondtoeanddrawcircleswithit!Thisisnoteasilydone;itishardtogetusedto,butisveryinterestingtodo.Ishouldconsideritaverygoodthingiftheyweretomakefiguresinsandoutdoorswithastick;itworksbackverystronglyonthehand.Orifyougotthechildtopickupahandkerchiefwithitsfootinsteadofitshand—thatalsohasastrongeffect.Idon’tmeanthatchildrenshouldeatwiththeirfeet—butaproblemlikethiscannotbesolvedsymptomatically.Onemusttry,nottoaimdirectlyatimprovementinhandwriting,buttomakethechildrenskillfulinthedrawingofartisticforms.Letthemworkoutthesymmetricalcounterpartofacomplicatedform.Beatingtimeisgoodforthedevelopmentofintellectualorlogicalforms.”�

Aquestionwasaskedaboutwritingwiththelefthand.Dr.Steiner:“Ingeneralyouwillfindthatchildrenwithspiritualleaningshave

nodifficultyinwritingwitheithertheleftortherighthand.Butitwouldmakeidiotsofchildrenwhoarematerialistic.Usingleftandrighthandsalternatelycanbeaveryriskypracticeineverythingconnectedwiththeintellect.Indrawingthisisnotso.Drawingcanverywellbedonewitheitherhand.”�

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Piano Lessons and Left-handednessAMusicteacher:“Ishouldliketoaskabouttheeffect,especiallyatthebeginning,of

theequalexercisingofrightandlefthandsinlearningtoplaythepiano.”Dr.Steiner:“Thisquestionisverymuchtothepoint.Itisafactthatpiano-playing

providesaverygoodopportunityforcorrectingleft-handedness.Thismustbegivenveryspecialattention;left-handednessshouldalwaysbecorrected.Inthisconnectionyououghtalsotoconsiderthetemperament;sothatmelancholies,whowillbesomewhatinclinedtoplaywiththelefthand,shouldhavemoreemphasisplacedontheright.Withcholericspriorityshouldbegiventothelefthand.Youmustseetoitthatphlegmatics,andsanguinestoo,usebothhandsequally.Everythingwoulddependonthis.

“Itisalsoofadvantageifyoutryasfaraspossibletoaccustomthechildren,nottohavingmerelyamechanicalfeelingforthepiano,buttofeelingthekeysassuch,andthedifferentpartsofthekeyboard,sothatthesenseoftouchalonewilltellthemwhetheritishighorlow,rightorleft.”�

Left-handedness, a Karmic PhenomenonItwasaskedwhetherchildrenshouldbebrokenofleft-handedness.Dr.Steiner:“Asarule,yes.Left-handedchildren,whiletheyarestillyoung,canbe

trainedtousetherighthandinallschoolwork.Itwouldberightnottodothisonlyifitcouldhaveharmfuleffects—whichwouldonlyseldombethecase.Thechildisnotasum,butacomplicatedpotency.Ifyoutrytobringaboutsymmetrybetweenrightandleftinthechildren,itcanleadinlaterlifetofeeble-mindedness.

“Left-handednessisquitedefinitelyakarmicphenomenon,aphenomenonofkarmicweakness.Totakeanexample:Anindividualwhohasoverworkedinhispreviouslifeonearth,andhasoverexertedhimselfnotonlyphysically,butaltogether—inhisintellectandsoul-lifealso—andwho,asaresult,comesintothenextlifewithamarkedweakness,isnotinapositiontoovercomethisweakness.Consequentlywhatisnormallybuiltupstronglybecomesweak,andleftlegandlefthandarecalleduponforassistance,areusedasasubstitute.Thepredominanceofthelefthandleadstotheuseoftherightinsteadoftheleftfrontalconvolutionofthebraininspeech.Ifitisgivenwaytotoomuch,aweaknesswillremainforthefollowing(third)earthlylife.Ifnot,theweaknessadjustsitself.

“Ifyoutrytomakeachilddoeverything,writinganddrawing,equallywellwiththerightandlefthands,thiswillleadtoweaknessofcharacterinlaterlife.Theattempttomakechildrenabletoworkwithbothhandsequallywellisthemostextremeformofdilettantism.Itisconnectedwiththecompleteignorancetodayofthetruenatureofthehumanbeing.”7

Upright or Sloping HandwritingAquestionwasaskedaboutuprighthandwriting.Dr.Steiner:“Itwouldbedesirable,aslongasonekeepstowritingwiththe

righthand,nottohaveuprighthandwriting.Itdoesnotlieinthenatureofthehuman

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organizationtowriteinthisway.Itneednotinclinetoomuch,butitoughttobeahandwritingthatgivesanartisticimpression.Uprighthandwritingwouldbejustifiedonlyifitgaveanartisticimpression,butitdoesnotdothis.

“Ihaveexplainedelsewherethattherearetwowaysofwriting.Oneiswritingfromthewrist.Peoplewhodothisdonotusetheireyewhenwriting.Theymaketheirbodyintoamechanismandwritefromthewrist.Manypeoplehavebeentaughttowriteinthisway.Butartistichandwritingiswritinginwhichtheeyeisused.Thehandismerelytheexecutingorgan.

“Nownoonewilleverdevelopanuprightwritingthroughwritingmechanicallyfromthewrist.Suchwritingwillalwaysbeoblique;henceuprightwritingcouldbejustifiedonlyifitwereartistic.Itisamatteroftaste,butitdoesnotsatisfyanaestheticjudgment.Itcanneverbebeautiful;italwayslooksunnatural.Thusitisnotjustified,andthereisnoreasontointroduceuprighthandwriting.Youmusttrytoseetoitthatnochildintheschoolwritesanuprighthand,butintheupperclassesyoucannotbetooinsistent.”8

ENDNOTES�.Teachers’Conference,June��,�9�0.�.Teachers’Conference,November��,�9�0.�.Teachers’Conference,June��,�9�0.�.Ibid.�.Ibid.�.Teachers’Conference,May�0,�9��.7.Teachers’Conference,May��,�9��.8.Teachers’Conference,October�8,�9��.

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Part II: Handwork, Crafts, Bookbinding

The Artistic Preparation of the Handwork LessonDr.Steiner:“Therightthingwouldbeforteacherswithanartistictrainingtotakeon

theteachingofhandwork.”�

“Wecanincludethe�0thClassintheteachingofhandwork.Wemustmaketheselessonsmoreandmoreartistic.”�

“Ishouldliketoseetoitthathandworkistaughtinareallyartisticway.Itismostlyveryphilistine.Itoughttobedonereallyartistically.”�

“Thestartingpointinhandworkandthecraftsshouldalwaysbethepurposetobeservedbytheobjectinquestion.Thisiswhatdeterminesitscolorandform.Thechildrenshouldnotdo‘studiowork’(e.g.matswhosefunctionispurelyornamental).Ineverycasewemusttakeintoaccountthepurposewhichtheobjecthastofulfillinlife—thatisthemeaningofhandicrafts.”�

Should Handwork Lessons Be Optional for Boys?Question:“Canwenotmakehandworklessonsoptionalforboysintheupper

school?Thegirlshaveaskedwhethertheboysmightnotbeallowedtostayaway.”Dr.Steiner:“Howcouldwedothat?Wehavemadethissubjectapartofour

syllabus,andthereisnoreasontochangeit.Itcannotbemadeoptional.”Frl.X:“TheboyswhohavegrownupintheWaldorfschooldonotobjecttodoing

handwork.Itisdifferentwiththosewhocometousfromotherschools.”Dr.Steiner:“Itispossibletohavevariationwithinthelesson...Onecanoccupy

thechildreninthegreatestvarietyofways...givetheboysonekindofworkandthegirlsanother.”

Frl.Xwouldliketomaketheshorthandlessonoptional.Dr.Steiner:“SometimesIhavethefeeling—andforthisreasonhavebeenthinking

seriouslythatteachersshouldberelievedofsomeoftheirwork—thatthereisnotenoughfreshnessintheteacherstobringverveintothelessons.Verve,dash,areessentialtoouractivityasteachers.Thiscanbefarmoreimportantthanmanyotherthings.If,forinstance,aboywantstodoapieceofhandwork,youmustthinkoverwhatyoumustgivehimtodosothatheentersfullyintothework.”�

Difficult ChildrenDr.Steiner:“Takingdifficultchildrenoutoftheclassanddealingwiththem

separatelyisnotagoodmethod.Ifnecessaryyoushoulddividetheclassorgiveextralessons,

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butdonottakeindividualsoutoftheclass.Ordinaryschoolsdonothavechildrenlikethis.Heretheymustgoupthroughtheschoolwiththeothers.ButIthinkitwillbepossibleifyoumakefriendswiththem...Humanityalsohassuchdifficultpeople,anditisourtasknottoridourselvesofthem,butreallytotreatthemtoo.”�

The Education of the Child at SchoolBrief indications given by Steiner at various conferences

“Notambition,butdevotiontotheobjectofstudyiswhatwemustencourageinthechild…Ishouldappealnottoambitionbuttothesenseofshame.Thechildrenmustfeelashamediftheydon’tgetanythingdone…Praisedoesnotmakethechildrenambitious;wemustnotomitpraiseandblame!Ifyouclotheblameinahumorousremark,youwillfinditextremelyeffective,andthechildrendonotforgetit.”

“Makethelazyonesstaybehindafter��o’clock,andtellthemthatthiswilloftenhappen.”

“Sitbackward(orcareless)childrenatthefront,andviolentchildreninacornerwheretheyhavefewerneighbors,forexampleattheendofthefrontorbackrow.”7

“Itcanhappenthatassessmentsbytwodifferentteachersofthetemperamentofachilddonotcoincidebecausetheirjudgmentisinfluencedbytheirowntemperaments.”

“InClasses7and8itisimportantforthechildrennottolosetheirsenseoftheteacher’sauthority.Appeartogiveway,butdonotreallygivewayatall.”

“Whattheteacherthinkshasitseffectuponthestudentsifinhiswholebeingheisreally‘with’them.Similarly,allthatlivesintheteacherbywayofartisticimpulsecommunicatesitselftothechildrenintheteachingofartisticsubjects.”

“Anindividualcanexperienceinhissoulonlythatthoughtwhichhehasevolvedhimself.8Butthechildisnotstrongenoughtoevolvehisownthoughts.”

“Theteacherwhoworkspictoriallymakesitpossibleforthethoughttoariseinthechildthroughtheveryfactthathehasthethoughthimself.”

Pedagogical Questions and Additions to the CurriculumHerrX:“Thechildrenhavebeenobjectingtooneofthesubjectsinthecurriculum.”Dr.Steiner:“Thechildrenwereinaframeofmindwhichmadethemask:‘What

arewelearningthisfor?’Thechildrenshouldnotbeallowedtojudgeinthisway.Theboysmustbedealtwithtoo.Howdoesateacherstandintheclasswhenhehimselfentersintosomethingwithenthusiasm?Itissimplyimpossibletomissthemarkifyouhaveenthusiasmforsomething...

“Thenthequestionarises,whatprovisiondowemakeforthe[atthattimedifficult]�0thClass,sothatHandworkcanbeintroducedintotheirtimetable.Thisshouldplayapartintheclass…Wemustensurethatthesyllabusofthe��thClassincludesbookbindingandbox-making,andthatthewaterwheel,theturbine,andpaper-manufacturingaredealtwithintheTechnologyclass.”

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AquestionwasaskedaboutHandicraftsinClass��.Dr.Steiner:“Bookbindinghasanimportantparttoplayinhandicrafts.Themainthingisthatthechildrenshouldlearntheknacksinvolvedinbindingabook.Bookbindingandbox-making.”

Frl.X:“WorkbeganinHandicraftsinClass�0andiscontinuingintoClass��.”9

Dr.Steiner:“Afewweeks’differencedoesnotmatter...Ironingandmanglingshouldalsobedone(perhapsinthe8thClass).Andcanthechildrenchopwood?”

Economy in Handwork LessonsDr.Steiner:“Theupperclassesshouldhavehandworkandgymnasticsinthe

afternoon.Evensoitshouldbepossibletomakeapracticabletimetable...Thehandworklessonismosteasilymanagedifitisleftuntiltheafternoon�0...Infuturethefirstfourclasseswillbehavingtwosuccessivehoursofhandworkaweek,andalltheotherclassesonehouraweek.”(Eachclasshadbeenhavingadoublelessoneveryweek).

“Wemustlimititsomehow...Optionallessonsmustbeaddedforthosechildrenwhowantmore.Whathappensinthesehandworklessonsisakindofamusement,andtheteacherneedstodoverylittle.

“Atsomeschoolstheygivefourhoursofhandworkaweek.Thiswecannotdo.WearenotaGirls’PreparatorySchool...

“Ofcoursenoonewillpretendthatmorecannotbelearnedintwohoursthaninone.Butyouwillhavemoretimeinthehandworklessonifyouplaniteconomicallyandgetthechildrenusedtotheideathatitdoesnottakeanhourbeforetheyreallysettledowntowork...Theremustbeeconomyinteaching.Thishasbeensaidfromthebeginning.”��

Block Periods in Relation to Handwork and HandicraftsAsshortageoftimehadlimitedhandworklessonstofortnightlyperiods,Dr.Steiner

introducedtheblockperiod(aswiththemainlesson)sothatthesplittingupoflessonswouldbeavoided.Dr.Steiner:“Ratherthansplitupthelessons,itwouldbepreferabletoworkwithagroupofchildreneverydayforaweek.Itisextremelyimportantforlaterlife,especiallyifthechildrenfinditdisagreeabletohavetoperseverewiththeirworkoveralongperiodoftime.Thebreakingupofworkintoperiodshasitssignificanceheretoo...Theonlysubjectwhichdoesnotsuffersomuchthroughlackofconcentrationisspeechpractice.Mainlessonsandartisticlessonsdonotonlysufferfromapsychologicalpointofview;somethinginthehumanbeingisactuallydamaged.

“Knittingandcrochetneednotbedoneeverydayforaweek,nordonesystem-atically.IcanimaginethatitwouldbequitestimulatingtospendaquarterofanhouratadefinitetimeeveryWednesdayknittingasockthatistobefinishedinsixmonths.ButitisquiteadifferentthingtohavetoworkataplasticobjecteveryWednesday.Youcanlearntoknitsocksinthisway...”

AHandworkteacher:“Ifeelthatitisagoodthingifthechildrenhavetheirlessonsonceaweek.”

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Dr.Steiner:“Whereitisnotaquestionofhandicraftstheintervalsmakenodifference.Inthehandicrafts,youmustaimatbringingaboutacertainconcentrationinthechildren.Ifthechildrenaretobindbooks,concentratedworkisnecessary...”��

Handwork and HandicraftsDr.Steiner:“Howarethehandworklessonsgettingon?”Frl.X.:“BeforeChristmastheupperclassesmadecostumesforthechildren’s

performances.WhatkindofartisticworkcanbedoneinClasses�and�?BeforeChristmaswedidmodelingandmadefiguresfortheNativity.”

Dr.Steiner:“Youmustchooseyourworkasthesituationrequires.Noteverythingprovidesscopeforartisticactivity.Youmustnotneglecttheartisticorallowittodryup,butthereisnotmuchtobedonewiththeartisticsensewhereknittingasockisconcerned.Youcanalwaysinterruptachildwhileheisknittingasockandgethimtoworkonsomeotherlittlethingforawhile.Wewanttointroduceapiquanttouchonthesocialevening.Getthemtomaketastefullittleribbonswithpapertrimmingsattachedtothem.Thingsthatcanbeused,thathavesomesignificanceinlife—arewhatcanbemadetastefullyandartistically.Noconcessions!Allownothingtobemadethatismerelyaproductofingenuityorcoquetry.Youwon’tbeabletousepaperformuch.”

ATeacher:“Thechildrenhavebegunmakingtoys,buttheyarenotfinishedyet.”Dr.Steiner:“Thereisnoreasonwhytheyshouldnotmakewoodenspoons.Theydo

nothavetomakeout-of-the-waythings.Aslittleluxuryaspossible!”��

Handwork and Handicrafts Lessons and the Artistic SenseDr.Steiner:“Traininginmanualskillmustbeledoverintothereallyartistic.This

hasalreadyhappenedwithmodeling,whichyoucanalternatewithpainting—thosechildrenwhoaregoodatitcanpaint.

“...Weneedinourteachingsomethinglikeanaestheticconnectionbetweentheplasticpaintingelementandthemusical.

“...Itseemstomethatthechildrenshouldbetaughtasearlyaspossibletheconceptofabeautifularmchair,abeautifultable.Youshouldputanendtotheabsurdideathatachairmustbebeautifulonlytotheeye.Wewanttofeelthechair,feelthebeautyofthechairwhenwesitonit,justasIsaidyesterdayinthehandworklessonthatthechildrenshouldfeelthattheembroiderytellsthemonwhatsideathingistobeopened.Ibelievethatacloserconnectionwillnowdevelopbetweenhandwork,manualtraining,andartisticfeeling.

“HermannGrimmalwayscomplainedthatwhenyoungpeoplecametohimandheshowedthempictures,theycouldnottellwhetherapersoninthepicturewasstandinginfrontorbehind.Theyhadnottheslightestabilitytosee.Thestudentsdidnotknowwhetherapersonwasstandinginfrontorbehind.”��

Dr.Steiner:“Therearepeoplewhoembroiderathing,butwhoseembroiderymightequallywellbeonsomethingelse.”��

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Brussels Laceand the Use of the ThimbleAquestionwasaskedaboutlacemaking.Dr.Steiner:“Itisterriblytediouswork.

Thesethingswereusuallydoneinthemostfrightfuloutercircumstances.Allthepeoplefellill,andoutcastswereemployedtodoit.Brusselslaceisaterriblething.Iwouldnotintroduceit.Whatyouarenowdoinginhandworkisverynice.Bealittlestrict!TodayIsawagirlsewingwithoutathimble!”��

“Ihavenotbeeninthehandworklessonsverymuchrecently,butononeoccasionIhadtoaskmyself:Whyhasn’tthechildathimble?Ihavealwayssaidthatwemustgetthechildrenaccustomedtosewingwithathimble.Achildcannotsewwithoutathimble—itishardlypossible.Childrensewingwithoutthimbles!Thatwon’tdo!”�7

Manual TrainingDr.Steiner:“Inmanualtrainingtheteachershouldcultivateincidentally,

unobtrusivelytheartisticelement,asensefortheartistic,inhisstudents.Theyshouldmakenotonlyusefulobjects,butalsotoys,sensibletoys.Ishouldliketoseethemworkingonthekindoftoyinwhichtwosmithsmakeeachothermovealternately.Thisdevelopsskillinthechildren.

“Youcanalsogetthemtomakegifts.Thisisalsosomethingtheteachershouldaimat.AndifyouweretogetthechildrentogathermossandmaketheChristmasnativity,shapingitthemselvesandpaintingthelittlesheepforit,thesolemnfestivemoodbroughtaboutinthiswaywouldprovetobeofgreatvalueinthelifeofthechild.

“But,ofcourse,donotneglectusefulobjects.Childrenareespeciallyfondofmakingrattles—somethinglikeapracticaljoke:‘Werattle,werattle,alltwelvetogether,thebellscomefromRome.’”l8

Handwork and Everyday LifeAquestionwasaskedaboutsuchthingsassewingcards.Dr.Steiner:“Ishouldnot

wishtomakethechildrenworkatthingsinschoolthathavenoplaceinreallife.Arelationtolifecannotariseoutofsomethingthathasnolifeinit.‘Froebel’thingsareinventedforschool.Butonlythingsbelongingtotheeverydayworld,toreallife,shouldbeusedinthiswayinourschools.”

ATeacher:“Thechildreninthe�0thClasshaveoftenaskedwhatisthedeepermeaningoflearninghowtospin.”

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Dr.Steiner:“Spinningisparticularlywell-adaptedtothesoul-lifeofthechildren,andthroughittheycometohavearealknowledgeofpracticallife.Suchknowledgecannotbegainedmerelybylookingatathing:Itmustbepracticedasitispracticedinreality.

“Wehavetechnologyfromthe�0thClassupwards.Inthe�0thClasswehaveweaving.Letthemmakewovenmaterialsinthesimplestwaypossible.Itisenough,iftheyaregivenapatterntocopy.Inthe��thClasstheylearnaboutsteamturbines.”�9

A Student Who Learned How to Make ShoesATeacher:“Thisstudentcannotkeepupwiththeclass.Butheisgiftedinlanguages.

Heisrathersly,cunning.”Dr.Steiner:“Youmustgivehimjobstodofromtimetotime,andhavechatswith

him.Theoccupationshouldvary...WhatusewouldtheHilfsklassebetohim?Heisfartooagitated.Itwouldmakeamuchdeeperimpressiononhimifyougothimtomakeapairofshoes.Youmustprovidehimwiththeopportunitytohammerinnailsandmakeshoes.Aproperpairofbootsforsomeoneelse.Youshouldlethimmakeshoesinthehandworklesson.Itwouldbeaverygoodthing.Hewouldenjoyit.Doublesoles.Shoeswithsoles!”�0(ThisstudentdidinfacthavelessonsinshoemakingfromaWaldorfschoolteacherwhoknewthecraft,andhisdevelopmentshowedgreatimprovementasaresult.)

Handwork and MathematicsDr.Steiner:“Ishouldliketodrawtheattentionofthoseteacherswhohaveto

dowithdrawingtoBaravalle’sThesis.Thethingsinitarealsoextremelyimportantforaesthetics.Allofyoushouldstudyit.HandworkteachingaboveallcanbenefitimmenselyfromBaravalle’sThesis.Thereiscertainlymuchinitthatwillhelpyoutosolvesuchproblemsashowtoformacollar,abeltorawaistbandaccordingtotheprinciplesinherentinthem.

“AworklikethisoneofBaravalle’sisoffundamentalimportancefortheWaldorfteacherbecauseitshowsinanimaginativewaytheleadingoverofthemathematicalintothepictorial.Thiscouldbeextended.Whathehasdoneforformcouldalsobedoneforcolorandsound...YouwillfindagooddealabouttheworldofsoundinGoethe’sOutline of a Theory of SoundinmylastvolumeoftheKürschnerWeimaredition.Thisaccountisenormouslyrichincontent.Thecolortheorycanalsobetreatedinthisway…

“...Itisextremelyimportant,itbringslifetothewholeCollegeofTeachersifarightinterestistakenintheoriginalworksoftheCollegemembers...”��

Bookbinding Thequestionwasaskedwhetherarrangementscouldnotbemadetosetupclassesinbookbinding.Dr.Steiner:“Youmean,whetheritwouldfitinwiththecurriculum?Bookbindingissomethingthatcouldbefittedintotheplansforacontinuationofthe

9�Plate 13

From the WorkshopsTop,Plasticwork,Classes��–��.Middle,Moveabletoys,Classes8–�0.

From the Handwork RoomsBottom,Stuffedanimals,Classes�–7.

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school.[Theupperclassesdidnotyetexistin�9�0.]Asanexperimentitcouldconsistinthebindingofschoolbooks...Itissomethingthatcanreallybedevelopedasacraft.Thereisnorealtransitionfromthebeautifulbindingsofearliertimes,whichgraduallydisappeared,tothequitephilistineones;andexperimentsmadeinrecentyearsaregenerallylittlemorethanaffectations.Nevertheless,toproducesomethinginthisfieldthatisofrealvalueisaveryattractiveidea.Justthinkofallthebooksmadetodaythatarenotbooksatall!Wemuststartmakingrealbooksagain...Bookbindingassuchisnotdifficultwork.Ofcourseonemusthavemasteredthetechnicalside,althoughthiswouldofferroomforimprovementifitcametogold-tooling.Whathastobelearnedisrelativelyeasy.Itisonlyamatterofpractice.”��

Induecoursetheschoolcametoincludean��thClass,andin�9��Dr.Steinerarrangedforthisclasstohavelessonsinbookbinding.Bookbindingshouldbringaconclusiontoallthehandworkdonefromthe�sttothe�0thClass.Dr.Steineroftensaidthatbookbindingbelongstohandworkandnottothecrafts.Healsoexpressedthewishthathandworkshouldcontinuealongsidebookbindinginthe��thClass.AstotheindicationsgivenconcerningbookbindingbyDr.Steiner,FrauLeinhas,theteacherentrustedwiththistask,reportedasfollows:

ThefirsttimethatDr.Steinerspoketomeaboutbookbinding,whichIdidnotknowhowtodothen,hesaid,“Butyoucanlearnbookbinding,”whichIthenproceededtodo.

Iwastoldbymyteacherthatedge-gildingandgold-toolingweretooexpensiveandtoodifficulttodoinaschool.WhenItoldDr.Steinerthishesaid,“Notatall.Ofcoursethechildrenmustlearnit.”

BeforeIstartedteaching,Dr.Steinerexpressedthefundamentalsofbookbindinginthefollowingwords:“Inbookbindingthechildrenhavetolearnhowtounitesomethingspiritualwiththephysical.”

Inanswertomyquestionastohowweshouldbegin,hesaid:“Startbymakingboxes,sothatthechildrengetusedtohandlingthematerials—glueandcardboard.Butthethingthatisofprimaryimportanceintheteachingofbookbindingisthewaythethreadsrun.”Iunderstoodthathedidnotmeanonlythethreadsinthesewingframe,butalsothethreadsthatleadfromonehumanbeingtoanother,thethreadsthatmustarisebetweenteacherandstudents.Thismademytask,theworktobedone,quitecleartome,andallthedoubtsanddifficultiesthatIhadhadashorttimebeforevanishedcompletely.

LaterIshowedDr.Steinersomesheetsofpaperwhichhadbeencoloredandpreparedforthemakingofbookcovers.Hesaid:“Ideallythewholecontentofthebookshouldberepresentedonthepaper;thewholecontentshouldbeabletocometoexpressionthere.Firstthebookwouldhavetobestudiedandthenwouldcometheartisticwork.Butthechildrenmustfirstlearnthetechniqueofhandlingthematerials.Thepaperforthecovermustbelightestincolorwherethebookisopened;soitisdarkatthebackandlightatthefront.Oneshouldbeabletotellfromthecoloring

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whichisthefrontandwhichistheback.Thebackcovermustingeneralbekeptsomewhatdarker.”

WhenIshowedDr.Steinerabookwhich,forsomespecialreason,hadbeengivenaverywidecoverhesaidtome:“Yes,butitisbetterifthechildrenmakeanuprightformat.”Headded:“Picturesrequireawideformat,andanythingprintedorwrittenanuprightformat.”

ItshouldbeaddedthatDr.Steinerdemandedofthestudentsabsoluteexactnesswherethetechniquesofbookbindingwereconcerned.Whilehewasinspectingthefirstbookstobecompleted,Dr.Steinerpickedoneofthemupandopenedit.Itstayedopenontheflatofhishand,anddidnotshutitselfagainasnewbookssooftendo.Ashelookedatithiswordswerefew,buttheymeantagreatdealtous:“Yes,thatishowabookshouldbe.”

FrauMolt,whosharedtheteachingofbookbindingwithFrauLeinhasforatime,addedthefollowingindicationsfromSteinertothereport:

Firstletthechildrenmakecardboardboxes.Andthen,inbookbinding,startwithcardboard,half-cloth,andwhole-clothbindings;butlateryoumustgoonintotheartistic,tohalf-leatherandwhole-leatherbindings.Thechildrenthemselvesmustmakeeverythingthatbelongstothebooks—includingtheappropriatecoverdesignsandendpapers.Itshouldbepossibletoseefromtheoutsideofabookwhatitscontentsare.Actually,everyoneshouldknowhowtobindhisownbooks.

ENDNOTES�. Teachers’Conference,September��,�9�0.�. June��,�9��.�. November��,�9�0.�. FromaconversationbetweenDr.SteinerandhandworkteachersattheWaldorfSchool,

Stuttgart.�. Teachers’Conference,December9,�9��.�. Teachers’Conference,July��,�9��.7. Inthehandworklessonchildrenofthesametemperamentareusuallyputtogether,asinthe

mainlesson.IndicationsconcerningthetemperamentsaregiveninthefirstoftheDiscussions with Teachers,August�9�9.

8. FromanotebookofRudolfSteiner,�9��.See“Anthroposophie,”IX,No.��.9. May�0,�8��.�0.April�8,�8��.��.SeeRudolfSteiner,Course of My Life,Chapter�.��.Teachers’Conference,November��,�9��.��.Teachers’Conference,January��,�9��.��.Teachers’Conference,June�7,�9��.��.Teachers’Conference,November��,�9��.��.Teachers’Conference,June��,�9�0.�7.Teachers’Conference,July�0,�9�0.

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�8.Teachers’Conference,September��,�9�0.�9.FromTeachers’Conferences,September�8,�9��;February��,�9��;andApril�9,�9��.�0.Teachers’Conference,May��,�9��.��.Teachers’Conference,September��,�9��.��.Teachers’Conference,June��,�9�0.

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Part III: Painting and Drawing, Art and Aesthetics, Wall Decoration and Displays

Preparing the Painting LessonDr.Steiner:“Thechildrenmustnotbeallowedtopaintwithwatercolorsunlesstheir

paperisstretched.Otherwisetheybecomeslovenly.Thechildrenmustlearntostretchtheirpaperthemselves.Theyshouldlearntostretchtheirpaperneatlywithglue.Theymustworkwithpaintonlyonstretchedpaper—notinexercisebooks!Itdoesnotmatteriftimeistakenupbythissortofpreparation.Thechildrenhaveplentyoftimeiftheteacherdealsproperlywiththem.Theydothingsmuchtooquickly.

“Paintingshouldbedoneonlyonstretcheddrawingpaper.Wecannothavedrawingboards,sincetheyaretooexpensive,butitisquitepossibletouseaboardwhichhasbeenplanedsmooth.Coulditnotbearrangedforsuchboards,onwhichpapercanbestretched,tobemadeinthehandicraftslesson?Theuseofordinaryexercisebooksforpaintingisnotasatisfactorymethod.Assoonasyoubeginusingpaints,youshouldalsobegintostretchthepaper.”�

Painting out of ColorDr.Steiner:“Intheteachingofartyoucandoverydifferentthingsinverydifferent

ways.Itisnotrighttosaythatthisisexclusivelygood,andthatisexclusivelybad.InDornachtheyareteachinghowtopaintoutofthecolors,andarethusworkinginagoodway.Wehaveseenwhatagoodinfluenceithas.Wegetthemtousetheirpaintssothattheyapplycolorsonlyoutoftheirelementarycolor-imagination.Forexample,yousaytothechild:‘Hereinthemiddleofthepaperyouhaveaspotofyellow.Nowmakeitblue(onanothersheet).Dothewholepictureagain,sothatalltheothercolorsarechangedaccordingly.’Arealdeepeningoftheexperienceofcolorcomesaboutinthechildifhehastochangeacolorandthenchangeeverythingelsetocorrespond,forexample,onabagwhichhehastostitchandembroidersothateverythingisinexactlytherightplace.Allthatyou,Frl.X,havetoldusleadsinthisdirection,andthatisverygood.Onlyonecannotsayinwhichclasstostart.Youwillhavethemostsuccessifyoudoitfromthelowestclassonwards,andonlyteachwritingwhenyoucandevelopitoutofthispainting.”�

Painting in the Upper SchoolDr.Steiner:“Inpainting,thechildrenshoulddo‘Naturemoods.’Thestudentsin

theschoolatDornachdidreallyoutstandingworkinpainting.�Iaskedthemtoshowthedifferencebetweensunriseandsunset—someofthemdidthisquitebrilliantly.Thingsofthiskindcanbedone.‘RainintheForest’isanexerciseforfourteen-tofifteen-year-olds.The

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childrenshouldlearntodistinguishbetweenwhatbelongstopaintingandwhatbelongstotheplasticarts.”�

Painting in the Lower and Upper ClassesAhandicraftsteachersaidheregrettedthatpaintinglessonsintheupperschoolcould

notbecarriedonwithasmuchregularityandcontinuityasinthelowerschool.Dr.Steiner:“Itdoesnoharmifpaintingisinterruptedandreplacedbymodelingfor

ayearortwo.Itisafactthatthepaintingdoneinclassworksoninthesubconscious,andthatwhenitistakenupagaineverythingisdonewithvigorandgreataptitude.Thisisalwaysthecasewhensomethingisheldback.Greatprogressismadejustwhentheactivityhasbeeninterrupted.

“Ithinkthatthereisstillneedforimprovementwherethetechnicalaspectsofpaintinginthelowerclassesareconcerned.Theuseofmaterialsisnotproperlyworkedout.

“Actuallythechildrenshouldnotbemadetopaintonsheetsofpaperwhichcontinuallypucker;youmustprevailonthemtoapplythecolorsonstretchedpaper.Thenthepaintingshouldbecarriedoutfrombeginningtoend,sothatthesheetofpaperisreallyusedup.Mostoftheirpaintingsareonlybeginnings.

“Inthetwoupperclasses(��and��),youcouldallowpaintingtobetakenupagainbythosewhohaveagiftforit.Thereisplentyoftimeforthis.Theyshouldstartagainwiththesimplestthings.Ifthestandpointfromwhichyouworkisconnectedwithatrueunderstandingofpainting,youwillnotencountertoomanydifficulties.

“Withyoungerchildrenitisacreatingoutofthesoulthatmustbestrivedforinpainting.Witholderchildrenphenomenaoftheobjectiveworldshouldbepainted,whileone’sstandpointmustalwaysbewhatistruewithrespecttopainting.Youmustshowhowlightbehaveswhenitfallsuponanobject,orhow,forapainter,itbehaveswhenitismerelyreflected.Everythingmustbepracticallyrelatedtothevisiblephenomena.Muchharmcanbedoneifchildrenaremadetopaintobjectsbeforetheirtenthyear.

(Dr.Steinerdrewontheblackboardwithcoloredchalk.)“Theolderthechildren,themoreyoushouldmakethepaintingelementyour

startingpoint.Youshouldmakethefollowingcleartothem:Thereisthesun.Thesunlightfallsonthetree.Nowyoumustnotstartfromthetreeanddrawthat.Youmuststartfromthelightanddarksurfaces,sothatthetreearisesoutofthelightanddarkofthecolor,outofthecolorthatcomesfromthelight.Youdonotstartfromtheabstractidea:‘Thetreeisgreen.’Itisnottheleavesthatshouldbepaintedgreen;leavesshouldnotbepaintedatall.Itislightsurfacesthatshouldbepainted.Thiscanbeachieved.Itispossibletodothis.

“Then,ifIwerehavingtostartwiththirteen-tofourteen-year-olds,IshouldbringalongDürer’sMelancholiaandshowthemhowwonderfullylightandshadearedistributedonthepolyhedronandthesphere.OrthelightatthewindowinthepictureofSt.Jerome.

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Itisveryfruitfultostartoutfromthesepictures.Youshouldletthechildrentransposethisblackandwhiteintoa‘color-fantasia.’�

“IshouldtrytoevolveallfreehanddrawingfromDürer’sMelancholia.Inthispicturethereiseverypossiblegradationoflightanddark,andthiscanbetransposedintocolor.Ifyoucanbringthestudentstoanunderstandingofthewholeofthispicture,theyshouldbeabletodoanything.”�OnalateroccasionDr.SteinersaidthathewouldespeciallyliketoseetheMelancholiatransposedintocolorbyfourteen-tofifteen-year-oldchildrenwhowerenewtotheWaldorfschool.

An Example of How not to Teach PaintingDr.Steiner:“AMr.XhasappearedintownX.Heisteachingataschool.Helooks

likeanarch-pedant.Hehasacquiredtheabilitytomakeelementaryschoolchildrenpaintpicturesthatareperfect—inthesenseunderstoodbypeoplewhoknownothingaboutart.Itisreallyremarkablewhatperfectthingsthesechildrencando.Butthisabilitydisappearsattheageoffourteentofifteen;itcomestoanend.Thechildrenareunabletodoitafterthat...Thefactthatitdisappearsisconnectedwiththe‘demon’ofthechest,ofthecirculatorysystem.Itstopsassoonasthehumanbeingbeginstowakeuptohimself.Peoplemustrealizewhatmischiefthereisindoingsuchthingsasthese.Itisoutrageous.WeareopposingthisintheWaldorfschoolthroughtheprinciplethatthechildrenshouldpaintartistically.ThechildrenintownXarepaintingMadonnaswithallappurtenances.Theyarepaintingbattlescenes,andConstantineandtheCaesars.Itisincredible;theyareabsolutelyperfect.”

Frl.Y:“ThisteacherXwillnotacceptolderchildren.”Dr.Steiner:“Youcanseethatinhimthereisthecounter-demon,whicharouses

thedemonsinthechildren.Hereyouseewhatisreallyhappeningintheeducationalworldtoday.Itisessentialforourteacherstolearntorecognizemoreandmoreclearlythefalsepathstakenbyeducationinthepresentday,sothattheymaypossessclearinsightintowhatthehumanbeingreallyis.”7

The Teaching of Art: Light and Dark in Dürer and Rembrandt, the Sculptural Arts, Rococo

Dr.Steiner:“DoyoureallythinkthatthemanydifferentobjectsinDürer’sMelancholiaaretobetakentorepresentdivineattributes?ThedifferencebetweenDürerandRembrandtwithrespecttolightanddarkisthis:ToRembrandttheproblemoflightanddarkisthatoflightanddarkassuch,whereasDürer’sunderstandingoftheproblemleadshimtoshowlightanddarkonasmanyobjectsaspossible.ThemanythingsintheMelancholiaarenottobeunderstoodasattributes;theexplanationofthemisratherthatDürerwishedtoplaceinthepicture-spaceasmanyobjectsaspossible.WithDürertheproblemmightbeexpressedinthequestion:Howdoeslightbehaveforourvisionwhenitisreflectedfromdifferentobjects?”

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InaBerlinlecture,Dr.SteineroncesharplyrejectedamysticalinterpretationofDürer’sMelancholia.HesaidthatDürerhadcomposedthepictureinordertoshowonthefemalefigureandontheotherobjectsthesamegradationsoflightanddarkasarefoundonthepentagon-dodecahedron.Hesaidthatallthedifferenttonesoflightanddarkthatareonthestonecanbefoundagainonthefemalefigure.ThishadbeenforDürertheideaunderlyinghiscomposition).

Dr.Steiner:“ForRembrandttheproblemisessentiallytheinteractionoflightanddark.TheproblemoftheMelancholiawouldnothaveoccurredtohiminthesameway.Hewouldhavedoneitmuchmoreabstractly...Inteachingyoucancontrastthelight/darkinRembrandt,whichistakenbyhimqualitatively,withthepaintingofsouthernEuropeanart.

“Thethingscanthusbeworkedintogether.ThiscanalsobedoneofcoursewhenyoushowhowRembrandt,whohasplasticformsinhispictures,understandstheproblemoflightanddarkqualitatively,andhowspaceishereonlyameansofsolvingthisprobleminpainting—andwhenyoucontrastwiththisthefactthatplasticartisexclusivelyaproblemofspace.Inthiswayyoucanleadovertoplasticart.AndprobablythebestthingtodoherewouldbetoconnectitwiththeclassicalplasticartoftheFrenchinlatertimes.

“InRococo,ofcourseyoumusttakethegoodside,youhavetheextremeplasticcounterparttoRembrandt.YoucanshowinRococohowdifferentistheeffectoflightanddarkinplasticartfromthatinthepaintingsofRembrandt.ButyoumustalwayspointoutthatRococo,althoughconsideredbysometobeoflessvalueartisticallythanBaroque,isneverthelesshigherinthescaleofartisticdevelopment.”

Question:“Shouldcertainstagesinthehistoryofartbebroughtintorelief?”Dr.Steiner:“Ishouldpointouthowthesestagescametoexpressiondifferentlyin

differentplaces.Itisinterestingtoshowhow,atthetimeofDürer,thethingsbeingdoneinHollandwerequitedifferentfromwhatRembrandtwasgoingtodolater.Differenttimesfordifferentplaces.”(Thedark/lightproblemwhichoccupiedDürerinGermanyatthebeginningofthesixteenthcenturyappearedinHollandinaquitedifferentform,throughRembrandt,intheseventeenthcentury.)8

The Teaching of AestheticsThe Development, by Means of Examples, of the Concepts of the Beautiful, the Sublime, the Comic, and so forth

Dr.Steiner:“Thesearechildrenofsomewherebetweenfourteenandsixteenyearsofage.Ishouldtry,byusingconcreteexamples,tobringtothechildrentheconceptofthebeautiful,ofartassuch,metamorphosesofthebeautifulthroughthedifferentstylisticperiods—thebeautifuloftheGreeks,thebeautifuloftheRenaissance.Itisespeciallyimportantforchildrenatthisage,thatwhatisusuallypresentedtotheminanabstractformshouldbegivenacertainconcreteness...Itcanbeparticularlyennoblingif,atthisage,thechildisgiventheopportunitytounderstandthenatureofthebeautiful,ofthesublime.

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Whatisthecomic?Howdoesthecomicexpressitselfinmusic,orinpoetry?...Whatisdeclamation?Whatisrecitation?Whenlecturingondeclamationandrecitation,Idiscoveredthatmostpeopledidnotknowthattherewasadifference.IfyoutakethewayinwhichGreekversemustbedelivered,youhaverecitationinitsarchetypalform,becauseitdependsuponthemeter,uponlongandshort...InGermantheimportantthingistheworkingoutoftheprincipalandsecondaryaccents,whichmustthereforebetakenasabasisforthe‘SongoftheNibelungs’;thatisdeclamation.YouhaveheardmequotetheexampleofGoethe’sGermanandRomanIphigenia.TheGermanIphigeniamustbedeclaimed,theRomanrecited.”9

Wall Decoration in Classrooms(Cp.p.��,�0�–�0�)Dr.Steiner:“Itseemstomethatintheroomswheresubjectsaretaughtthathave

beennewlyincorporatedintothecurriculum,thereoughttobesomethinginthewayofpicturesonthewalls.ThatsuchathingwasmissingstruckmemostforciblyintheReligionclass.Ifthewallsarenottoconfrontusmerelyaswalls,theyshouldhavesomekindofpictureonthem.Thiswouldhavetobedoneverycarefully…Itwouldhavetobeentirelyinkeepingwiththecharacterofoureducation.ForthisreasonitcannotbecarriedintoeffectuntilIreturntoStuttgart.Wherearethepainterswhocoulddosomething?Theinitiativeshouldcomefromtheclassteachers.Thenthewholethingcanbeapproachedinareallyartisticway.Somethingspecialreallyoughttobedoneforthisschool...”

Dr.Steiner:“Thispoem[‘TheGiantToy’byChamissohadbeentalkedoverwiththechildrenshortlybefore]shouldbetranslatedforthechildren,notintoprose,butintoapicture.Adeepimpressionismadeifsomethingcanbeseenonthewallswhichhasbeentakenfromthelessonandwhichthechildrenhaveenteredintowiththeirfeelings.Ispokelongago,atthebeginningoftheWaldorfSchoolinStuttgart,toFrl.W.ofthenecessitytocreatesomethingwhichexpressedtheideaofmetamorphosisasitadvancesthroughthelivingkingdomsofnature—somethingsimilartowhathasbeendoneintheGoetheanuminthetransitionfromonearchitravetothenext.Itwouldlightenthetaskoftheteacherenormouslyifhehadsuchpicturestowhichhecouldturnwhenheisexplainingsomething.”

X:“Woulditbeadmissiblepedagogicallyforthechildrentomakesomethingfortheclassroomthemselves?”

Dr.Steiner:“Itdependsverymuchoncircumstances...Actuallyitisquiteamistakenideatohanganordinarypictureonthewall.Whatisitsupposedtobedoingupthere?Inartistictimesitneveroccurredtopeopletohangpicturesonwalls.Apicturemustbelongtotheroom.The Last SupperofLeonardoisintherefectoryofamonastery.Themonksformedthreepartsofacircle,thefourthwallhadthepaintingonit.Heatewiththem.Hebelongedthere.Thiswasitsjustification...Ifyouwanttohanguppictures,itisnecessarythatitshouldbedoneproperly.Itcanhaveitsimportanceifthechildrenhavepictureswhichmakealastingimpressiononthem.”

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OneshouldmentionherethatDr.SteinerhadallowedlargephotographsoftheinteriorofthefirstGoetheanumtobehungupinthehandworkrooms.�0

Wall Decoration in theWaldorf SchoolDr.Steiner:“Takeitthenasthesettingupofanidealthattheartisticarrangement

oftheclassroomsshouldreallyariseoutofthepedagogyitself.Afurtherdevelopmentoftheartisticlayoutoftheschoolroomsbymeansofpicturesiscertainlynecessary...Inthelowerclasses(�–�)themostimportantthingwouldreallybethecontentofwhatispresentedtothemintheformofpictures.Thenonecanleadovergraduallytotheartisticontheonehandand,ontheother,tothemorepracticalconcernsoflife.Ishallmentiononlythemainpointstoday.Thequestioncanbeenteredintoconsiderablymoredeeplyastimegoeson.

“Itshouldbeobviousthat,evenwhenitisthecontentthatisofprimaryimportance,itisnotacommonplaceillustrationthatisrequired.Thethingsmustbepresentedartistically—notartisticallyintheone-sidedsense,wherewhatisexpressedisnomorethanaspecialartisticopinionorstyle,butinsuchawaythatsomethingthatismoreuniversallyhumancomestoexpression.

“InClass�thewallsshouldbedecoratedwithscenesfromfairytales,ifpossibleincolor.NowImustemphasizethatifitisnotpossibletocarrythroughthewholeschemeincolor,someofthepictureswillhavetobeblackandwhitereproductions.ItisbettertohaveablackandwhitereproductionthatistechnicallygoodthanabadcoloredcopyofthethingsIhaveinmind.ThesewouldinvolveillustrationsoffairytalesinClass�,andoflegendsinClass�.Thismustbestrictlyadheredto.

“Youcanimaginethattherightinfluencecanbeexertedcontinuallyuponthesoulofthechildbymeansofthesepictures,andinaquitedefiniteway.Theymustnot,ofcourse,beliketheillustrationsinpicturebooks;theymustbedoneartistically.Itwouldbeworthwhilegivingyourselvesexercisestocarryout;thisdoesnotmeanthatyouarerequiredtopaintinanyone-sidedmanner.Thethingsmusthaveacharacterthatisuniversallyhuman.

“�rdClass:Stilllife—picturesofplantsandflowers,ofliving,butnotyetfeeling,Nature.�thClass:Theworldofsensation,theanimal.�thClass:Humanbeingsingroups,e.g.rounddances;orastreetinwhichpeoplearegathering.�thClass:Theindividualhumanbeing;heads;thehumanbeinginNature,e.g.amanstandinginalandscapeinsunshineorrain,orasmalllakewithamanrowingonit.

“Wearenowatthepointwherethecontentceasestobeofprimaryimportance,andwherepicturedecorationmustbegintoentertheartisticsphere.Weshouldstartwiththemostartisticofall—bearinginmind,ofcourse,thatifcopiesarenotavailablewemusthavetheminblackandwhite.Itisagoodthingforchildrenat7thClassagetohaveaRaphaelandLeonardo;thesecanbekeptonintothe8thClass.Theycanbesharedbetweenthetwoclasses.Theessentialthingisthatthechildrenshouldhavethesepicturesinfrontofthem.Youshouldnotimaginethatthewalldecorationhastobesoarrangedthatitrunsparallel

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tothecurriculum;thechildrenmusthavehadthepicturesaroundthembeforetheyarementionedinHistoryofArtlessons.Beforethecoursebeginsthepicturescanbereferredtofromtimetotime.Fundamentally,itistheartisticwithwhichtheeyesofthechildshouldbeoccupied.Atthebeginningheshouldreceivethebaresense-impression,andknowthatthesepicturesareconsideredtobebeautiful.Inthenextclassestheimportantthingwillbeadiscreetbringingtogetheroftheartisticandthepracticalaspectsoflife,sothatthechildhasbothconstantlybeforehim...

“9thClass:OntheonehandGiotto,forexample;ontheother,plans,completelytechnical,ofafield,pastureland,awood,andsoforth.Therecouldalsobeanastronomicalchart,onwhichstylizedfiguresaredrawnrepresentingthevariousconstellations.

“�0thClass:Ontheartisticside,HolbeinandDürer;onthetechnical,scientificside,e.g.lifeunderthesea,marineanimals—instructivepictureswhichhavealsoanartisticeffect.

“��thClass:Holbein,Dürer,alsoRembrandt.Earlierpicturescanalsobeincluded.ThiswouldalwaysbethecaseforClasses��and��.Itistheageatwhichthepicturescanrunparalleltothecurriculum.Onthescientificside:Sectionsthroughtheearth,geologicalcross-sections,andcontourmaps,andsoforth,executedinasuitablyartisticway.NotuntilClass��wouldyouhavephysiologicalandanatomicalchartsinadditiontoHolbein,DürerandRembrandt.

“ThesearethethingsIwantedtoputbeforeyouasonechapterofourpedagogy.Itisabsolutelynecessaryforustoinsurethattheartisticishandledespeciallywellinoureducation,foritisindeedoneofthemeanswherebyanthroposophyworksfortheprogressofmankind.

“Yousee,itcanbesaidthatrightuptothesixteenthcentury,therewasnosharpdistinctioninanyspherebetweenanintellectualandanartisticcomprehensionoftheworld.Itisnotrealizedtodaythatuntilthetenthcenturytherewasnostrictseparationofartand‘exact’knowledgeatall—evenscholasticismmadeuseofacertainarchitectonicartinthelayoutofitsbooks,quiteapartfromtheinitialletters.Inourdayschildrenarepoisonedintheveryearliestyearsbytheintellectualisticnatureofalltheyaretaughtatschool.

“Thusweshouldbearinmindinallourworkthatouraimistopresentacounterforcetotheintellectualismprevailinginallmodernthinking,byallowingallthatwedoinourpedagogytobepermeatedthroughandthroughbyart.Wemustseetoitthatmodernsystematicbooksdonotinfluenceusinthewaywepresentthingstothechildren.Modernsystematicbooksarephilistineandinartistic.Peopleareashamedtoapproachanythingasthoughitwereartistic.Themodernscholarisashamedtodevelopanartisticstyle,ortoarrangehischaptersartistically.Thesearethingswhichwemustbearinmindinourpreparation.��

“IhaveonlyafewthingstoaddtowhatIsaidrecently.Thequestionhasstilltobeansweredastowhatpicturesaretobeusedforthedecorationofthemusicrooms.Innocircumstancescanamusicroombedecoratedwithpaintingsofarepresentationalkind.At

�0�

mostitcouldbedecoratedplasticallybysettingupplasticforms;orifpaintingsarewanted,onewouldhavetousecolorharmonies,purecoloreffects;paintingscontainingpurecoloreffects...Wheremusicisconcerneditisbettertoleavetheroomquiteplain,withoutpictures,thantointroducepicturesthatarepsychologicallyincompatiblewiththemusicthatistobeheardinit.

“Nowthedecorationoftheeurythmyrooms.ThisIdistinguishfromthemusicrooms,thoughwithustheymayhavetocoincide.Ifnecessarysomemusiclessonscouldbeheldintheeurythmyrooms,butitwouldhavetobeatemporaryarrangement.Theeurythmyroomitselfshouldbedecoratedwiththemestakenfromthedynamicsofthehumanbeing,fromthedynamicsofthesoul—humanexpressiontreatedinanartisticway...Theeurythmyfigureswouldhavetobesetupinaglasscaseintheeurythmyroom…

“Inthegymnasiumthehumanbeingshouldberepresented,butwithspecialemphasisonhis‘placinghimselfintheworld’;ineurythmythequestionistofindawayofexpressingtheworldaroundhimbymeansofthesenseofbalanceandmovement,e.g.holdinghimselfcourageouslyoveranabyss.Thehumanbeing’srelationshiptotheworldshouldbethethemeforthedecorationofthegymnasium.

“Handworkwouldrequireinteriorsinwhichspecialattentionisgiventothefeelingelement.Therestillremainsthehandicraftsroom.Thisshouldbedecoratedwithartisticallyconceivedthemesfromeverydaylifeandfromtheartsandcrafts,sothatthereissomethingonthewallsthatreceiveswithsympathyallthatisdoneintheroom...Thesameappliestospinningastohandicrafts.

“Ithinkthattheteachers’roomshouldbedecoratedasthetasteandharmoniousagreementoftheteachersthemselvesdemand.Thereforenothingshouldbeprescribedfortheteachers’room;everythingshouldariseoutofthetasteandmutualagreementoftheteachersthemselves.Itshouldbetheoutcomeofanespeciallyintimateconference,whichleads,butwithoutprofessionalism,intotheartisticsphere.

“Inthepassageswemustinsurethattotheleftandrightofeachdoorthereissomethingsimilartowhatistobefoundintheclassroom.

“Thecharacterofthepictureframeshouldbedeterminedbythepicture.IncaseswhereIhavehadtogiveadviceastothecoloringofapictureframe,Ihaveusuallyfoundthatacolorinthepictureshouldbeusedfortheframe.Theshapeoftheframemustdependuponthepicture.”

QuestionswerethenaskedaboutthePhysicsroom,theChemistryroomandtheHilfsklasse,andalsoabouttheroomfortheSundayService.Dr.Steinerpostponedtheansweringofthesequestions,asadministrativeproblemshadtobediscussed.OnanotheroccasionDr.SteinersuggestedthatvariousapparatuscouldbesetupinthePhysicsroom,andtheLaocoön GroupinReligionlessonswithClass9.��

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Indications Concerning the Color of the Walls of Classrooms and Other Rooms for the Waldorf School

In�9�0,aftertheopeningoftheWaldorfSchoolinStuttgart,Steinersuggestedfortheroomssituatedinwhatwasknownasthe“Baracke,”abluishlilacfortheclassrooms,yellowforthepassages,andindigoforthechoirroom.When,in�9��,whatisnow[�9�7]themainbuildingoftheschoolwascompleted,Dr.Steinerindicatedthefollowingcolors:

�thClass–palegreen�thClass–greenwithtingeofblue�thClass–blue7thClass–indigo8th&9thClasses–violet�0thClass–lilac��thClass–lilac,lighterthanthegymnasiumGymnasium–reddishlilac;Eurythmyroom–mauve;Craftsroom–orange;

Handworkroom–lightviolet,incliningtored;Physicsroom–blue;Doctor’sroom–reddish;Passages–reddishlilac.

FortheGoetheSchoolinHamburg,Dr.Steinersuggestedthefollowing:�st,�nd,�rdClasses–red,progressivelylighter�th,�th,�thClasses–orange,progressivelylighter7thClass–yellow8th,9thClasses–green,lighterin9ththanin8th�0th,��thClasses–blue,approachingvioletin��th��thClass–violetPhysicsroom–greenChoirroom–lilac

Red,orangeandyellowweretakenoverbytheWaldorfSchoolinStuttgartforClasses�,�and�whentheirroomshadtoberedecorated.

FortheNewSchoolinLondon,thefollowingindicationsweregiven:For�–�-year-oldchildren–red,orange,yellowFor7–8-year-oldchildren–greenFor9-year-oldchildren–adarkergreenFor�0–��-yearoldchildren–blueEurythmyroom–palevioletPassages–yellow

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Displays of Work Done by StudentsDr.Steiner:“Theexhibitingofstudents’workispointlessexceptonoccasionswhen

coursesarearrangedinwhichtheentireframework,content,andstructureoftheWaldorfschoolarediscussed.Butifyouonlyexhibitwork,thepeoplewhowillcometoseeit,whiletheyhavenoclearunderstandingoftheaimsoftheWaldorfschool,willnotknowwhattheyaresupposedtothink,Itwouldbethesameastakingthepicturesoutofastorybookandgivingthemtothechildrenwithouttellingthemthestories;thechildrenwouldnotunderstandthepictures...”

Onanotheroccasion,Dr.Steinersaid:“Weconsideritunpedagogicaltoexhibitthechildren’spaintingsalone...”��

Photographing the Works of Art in DornachDr.Steiner:“Allthathasbeenpaintedoutofcolorinthecupolacanbeunderstood

onlyifthefactisappreciatedthatithasbeenpaintedoutofthecolor.Ifyoutriedtoreproduceitphotographicallyitwouldbeworthlessunlessyoumakeitasbigasitisinthecupola.Wedonotwishtomerelyreproducesomething.Thelessthesepicturescorrespondtothoseinthecupolathebetter.Blackandwhiteonlygivesanindicationofit;itcriesoutforcolor.Themakingofreproductionsisquiteinartisticandisonlyamakeshift.Ishouldnotliketohavecoloredphotographstakenofthepaintinginthecupola.Whatisreallywantedisthattheessentialbegiven.Itisthesamewiththewindows.Ishouldopposeanyattempttoachievesomethingbymeansofreproductions.Oneshouldnottrytoreproducethesethingsasfaithfullyaspossible.Inasimilarwayitisnotdesirableforapieceofmusictobedeceptivelyimitatedbyagramophonerecord.Intheforminwhichthesereproductionsappear,whatisreproducedisthemosttrivial,theleastessentialthing.Youhavethefeelingthatthiscolororthatoughttobethere.

“ItissimilartowhatIsaidinThe Education of the Child in the Light of Anthroposophyaboutgivingachildabeautifullyfinisheddoll.Youshouldreallygivehimonemadeoutofahandkerchief.”��

Photographing of Plastic Art:Steiner’s Drawing of The Kabiri(Plate��)JustasDr.Steineropposedthephotographingofthecupolapaintingandofthe

windowsofthefirstGoetheanum,heoncespokeagainstthephotographingofplasticforms—forinstance,ofThe Kabiri,whichhehadmodeledinclayforaperformanceofGoethe’sFaust,partII.Hesaidthatplasticworksofartcouldnotberenderedsatisfactorilybymeansofphotography.Onewouldhavetorecreatethemintheformofadrawing,whichcouldthenbereproduced.SteinermadeadrawingofThe Kabiritoexperimentwiththetechniques.Hewantedtoseewhetherplasticformscouldberenderedadequatelyinashadeddrawing.Theexperimentprovedtohimthattheycould.HethereforerecommendedthisdrawingofThe Kabiriasatechnicalguidefortheworkofotherartists.ThewindowsofthesecondGoetheanumwerelaterdrawninthewayindicatedbyDr.Steiner.

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Dr.SteinerdrewThe KabiriontheoccasionofthebirthdayofFrauGeheimratRöchling,Thedrawingborethefollowingdedication:

WeareapproachedontheDayofBecoming BytheBeingsofBecomingofancienttimes. Theybearthethoughtsoflove Fromhearttoheart; Ourthoughtsthroughthemarestrengthened, Thattheymayholdinlastingmemory TheFestivalofBecoming.

–January�8�9�8,forHeleneRöchling

AreproductionofthisappearedinGoethe’sFaust in the Light of Spiritual Science, Vol. 2: The Problem of Faust.Itbearsthetitle“TheKabiri.AsketchbySteinerofhisownplasticwork.”��

Althoughhesaidthat,ingeneral,plasticforms,bytheirverynature,cannotbeadequately

Plate 15: The KabiriDrawingbyRudolfSteiner

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reproducedbymeansofphotography,Steinerhimselfshowedsuchphotographsonthescreenonmanyoccasions,andexpressedhispleasurewhenhesawthattheformshadcomeoutwell.SeveralattemptsweremadetophotographthecupolapaintingsinDornach.ThesepictureswerealsoshownbySteiner.Tophotographthewindows(againstthelight)seemedhardlypossible,butthiswasalsoattempted.

WhenFrauAssjaTurgenieffwasintendingtoreproducethewindowsofthefirstGoetheanumwiththeaidofsketchesmadeforthispurposebySteiner,headvisedhertofollowthetechniquehehadusedinthedrawingofThe Kabiri.TheresultofthiswastheexecutionbyFrauTurgenieffofthebeautifuletchingswhichwerelaterpublishedinDie Drei.��

ENDNOTES�. Teachers’Conferences,July�and��,�9��.�. Teachers’Conference,November��,�9��.�. Steinerhimselfdemonstratedtothestudentshowasunriseandsunsetshouldbepainted.The

twooriginals,aswellashisthreecolorsketches—“TreeinSunlightbyaWaterfall,”“TreesatRest,”and“TreesinaStorm”—werelaterpublishedbytheFriedwartSchool.SeealsotheseventhofSteiner’sschoolsketches,the“Madonna.”

�. Teachers’Conference,April��,�9��.�. Teachers’Conference,February�,�9��.�. Teachers’Conference,July��,�9��.7. Teachers’Conference,April�8,�9��.8. Teachers’Conference,December9,�9��.9. Teachers’Conference,September��,�9��.�0.Teachers’Conference,November��,�9�0.��.Teachers’Conference,January��,�9��.��.Teachers’Conference,January��,�9��.��.Teachers’Conferences,December�8andJuly��,�9��.��.Teachers’Conference,June��,�9�0.��.Thisdrawingcanalsobeobtainedseparately.��.Die Drei,volumes�and�;alsoinFrauTurgenieff’swork,The Goetheanum Windows.