HANDWORK and HANDICRAFTSFrom IndIcatIons by rudolF steIner

PREFACE

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DavidMitchellResearchInstituteforWaldorfEducationBoulder,COAugust008

HANDWORK AND HANDICRAFTS

by

HEDWIG HAUCK

fromindicationsby

Rudolf Steiner

TranslatedbyGraham Rickett

The electronic publication was funded by the Waldorf Curriculum Fund

Electronic CopyResearchInstituteforWaldorfEducation,008Editor:DavidMitchellScanningandCopyediting:AnnErwin

IssuedbytheSteinerSchoolsFellowship,98andtranslatedfromtheoriginalGerman(publishedStuttgart,97)

bypermissionoftheSteinerNachlassverwaltung,Dornach,Switzerland.

DistributedbytheSteinerPress,ParkRoad,London,NW

OriginallyPrintedinEnglandbyCopycraft,TunbridgeWells,Kent

7CONTENTS

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

CHAPTERSI IndicationsConcerningColorandPainting. . . . . . . . . . . . . . . . . . . . . . . . . II EducationinGeneral;TechnologyandtheCrafts . . . . . . . . . . . . . . . . . . . . III HandworkintheKindergartenandFirstSchoolYears. . . . . . . . . . . . . . . . . IV PhasesofChildDevelopmentintheEarlySchoolYears. . . . . . . . . . . . . . . . V TheLineinPaintingandHandwork. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8VI HandworkforChildrenClasses8. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 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. . . . . . . . . . . . . . .8Part-Handwork,Crafts,Bookbinding. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8Part-PaintingandDrawing;ArtandAesthetics;WallDecoration andDisplays. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9

ILLUSTRATIONSPlates,,havenotbeenincluded.

9INTRODUCTION

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

Technologyentersintoalldepartmentsoflife,andattemptsaremadeonallsidestoextenditsinfluence.Iteveninvadestheworldofart,andintroducesmechanismwheretherewasoncealivingintercoursebetweenthesoulofthehumanbeingandtheworkcreatedbyhishands.Thisinnerconnectionbetweenthehumanbeingandhisworkisundermined.Factoriesnowproducethingsthatoncewentoutintotheworldasaresultofthefeelingandstrivingofahumanpersonality.Consequentlytheobjectsweuseandhavearoundustakeonanincreasinglyinhumanappearance.Thisisespeciallynoticeableinthesphereofmoderncrafts,which,borrowingtheirformsfromthenewfunctionalstyleinarchitecture,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

0

toreproducesomeoftheindicationsabouthandworkgivenbySteinerinhislecturesoneducation,andtoshowhowtheywereappliedwhilehewasdirectingtheWaldorfSchoolinStuttgarttowardstheendofhislife.

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

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

ThespokenremarksmadebySteinerattheWaldorfSchoolinStuttgart,whichhavelivedoninthememoryofanumberofteachers,andwhichwenowwishtomakeaccessibletoawiderpublic,havebeenquotedasfaithfullyaspossibleinspiteofthefactthatsomethingsmaystrikethereaderasobviousorastooelementarytodeserveinclusioninthebook.ButitwasafeatureofallSteinersindicationsthat,throughthelovingattentionwithwhichhetookthemintoconsideration,eventheapparentlymostinsignificantthingsprovedlatertobelivingseedsfromwhichquitenewpointsofviewcouldbegrown,andwhichsuppliedthebasisforanextensionorevenacompleterevisionofourmethods.

CHAPTER I

IndIcatIons concernIng color and PaIntIng

Oneofthemostimportantelementsinhandworkiscolor.LetusthereforequotesomethingofwhatSteinerhadtosayabouttheintroductionandhandlingofcolorintheartlesson.InaneducationallecturegiveninOxfordhesaid:

Youwillobservethattheaimistobuildupthehandworkandneedleworklessonsinconnectionwithwhatislearnedinthepaintinglessons.Inthepaintinglessonsthechildrenarenottaughttodraw(withabrush)ormakepatterns(sticken),butlearntodealfreelyandspontaneouslywiththeelementofcoloritself.Thusitisimmenselyimportantthatthechildrenshouldhavecometoarightexperienceofcolortheymustnotpaintfromapaletteorblock,butfromajarormugwithliquidcolorinit,colordissolvedinwater.Thenthechildwillcometofeelhowonecolorgoeswithanother,hewillfeeltheinnerharmonyofcolors,hewillexperiencetheminwardly.

Steinerhasshowninanotherlecturewhatalivelyexperienceitcanbeforchildrenifcolorsareintroducedtotheminthisway:

Themainpointisthatthechildrenshoulddevelopafeelingforthebuildingupofcolorvaluesandhaveanexperienceofthelifeofthecolorworldinfairytales.Assoonasyouallowfantasytoplayitspart,formswillcomeofthemselves.Theformsmustgrowoutofcolor.

Thinkhowstimulatingitcouldbetogivethemanunderstandingofthefollowing:Hereisthiscoquettishlilaccoloranddirectlyontopofitsitsacheekypieceofredandallthisstandsagainstadevotionalblue.Youmustmakethecolorsbehavelikeobjectsanddothings,forthishasasoul-buildingquality.Therearemanydifferentmethodswecanadopttomakecoloractivesothatachildishelpedtoliveincolor.Forinstance,lettheredlookthroughthebluethismustbedonebythechilditself.Muchmorelifemustflowintotheteaching,foryouhavetohelpchildrentolosetheirsluggishness.Theymusthavefire!Itisimportantthatourfeelingforcolor,whichwehavelostmorethanourfeelingformusic,isreawakenedinus.Thiswillthenhaveastimulatingeffectonmusictoo.

Steinerspokeofwhatwillcomeaboutifwefailtodevelopafullexperienceoftheworldofcolorinourchildren:

Ifarealexperienceofcolorisnotcultivatedinourtime,andifmechanistictheoriesofthenatureofcolorpersist,thenchildrenwillbebornwhonolongerpossessanyorganfortheperceptionofcolor.Liferevealsitselfthrough

color,buthumanbeingswillnotbeabletoseecolors,justastheycannownolongerseetheelementalspirits.Theworldwillthenbecomegrey.

Thesewords,spokenin9,arenowwellonthewaytofulfillment,ascanbeseenfromthefollowingreportfromRussiawhereourWesterntheoriesarebeingputintopractice.Inthesummerof9theUnitedPressgavethefollowingfrighteningpictureofMoscow:

SixofthebiggeststreetsarebeingturnedintoModelStreets,whicharetosetthepatterninacampaignforbeautyintownplanning.Theleadingarchitectshadspecialdifficultyregardingthecoloringofthebuildings,and,aftermuchdiscussion,thecolorgreyfoundthemostsupporters.Asaresultseveralhundredhouseshavealreadybeenpaintedgrey,inmanycasesadullbrownishgrey,whichstandsincompletecontrasttothelivelypastelshadesofoldRussianart.

Alife-killinguniformityisatwork,leadingtothedestructionofthehumansoul.PeopleintheSovietstatehavebeenrobbedofthatinnerfreedomthroughwhichtheycouldbringloveandbeautyintotheirlives.

Evidenceofcolor-blindnessitselfisshowninareportissuedbymedicalexpertsinEngland,whofoundthatofthefourmillionpeopleinthecountrywhoarecolor-blind,athirdwereunabletodistinguishbetweenredandgreen.Thetestsalsorevealedthatcolor-blindnessoccurredinmenfourtimesasoftenasinwomen.AcommitteeofmedicalexpertsconductingtestsamongpersonneloftheBritishNavysaidthatcolor-blindnessisstillnotverywellunderstoodscientifically,andcanbethesourceofmanyunforeseendangers.Doctorsdonotevenknowifitishereditary,andasforthepossibilityofcuringthecondition,scienceisstillgropinginthedark.

Aswehavequotedabove,Steinerhadspokenofcolor-blindnessinthemostseriouswayasearlyas9,andhadpointedoutwhatitisthatcanleadtothiscondition.Butifhumanitywerepreparedtolistentohim,afurtherincreaseincolor-blindnessmightstillbeprevented.Adequatepedagogicalmethodscouldbringaboutahealthydevelopmentofthechild,bothinbodyandsouland,byexertingahealinginfluenceonfuturegenerations,mightsavethemfromthisunfortunatecondition.

ENDNOTES. Spiritual Ground of Education,Oxford,August9,lecture7.. WhenhesawachildsillustrationforGoethesZauberlehrlingdoneinpencilandcrayonwith

outlines,Steinerwaveditasidewiththeremarkthatitwasantiquatedandinartistic.. TeachersConference,Stuttgart,November,90.. Erinnerungsbilder aus arbeitsreicher ZeitbyM.Woloschina.. Steinercharacterizedthecolorgreybyusinganexpressionfromtheworldofsound.Hesaid:

Greyisnotacolor,isnotatone,itisanoise.

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,thebesteducationonecangivebetweenthechildsfirstandseventhyears.

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

Fromthefourteenthtothetwenty-firstyearthestudentlivesundertheimpression:TheWorldIsTrue.Onlynowshouldoneappealtotheintellectoftheyoungstudentandrequirehimtousehisownjudgment.

Thisshowsthatitisduringthefirstyearsofschoolthatthechildwishestoexperiencebeautyinalivingway.Hissoulisopentoallthatcomestohimthroughtheteachingofhandwork.

InthelectureonAestheticEducation,giveninthecourseforteachersatDornach,Christmas9,Steinerspokewithparticularemphasisoftheneedfortheawakeninganddevelopmentoftheaestheticsenseinthechildofthisage,andgaveveryprofoundreasonsforthis.Hesaid:

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

sociallifethehumanbeingwouldfindhiswaybackintosomethingthatisquiteunknowntoday,theartisticinlanguage.

Steinerhasspokenelsewhereofthebuildingofrailwaystations.Wequotehiswordsonthesubjectbecausethefundamentaldemandsmadeherealsoholdgoodinthesphereofhandwork.Hesaid,pointingfirsttothefuture:

WearenowapproachingthetimewhenthehumanbeingwillbegintocreateoutoftheSpirit,whenourwholesurroundingswillbecomeanexpressionofthespiritinhumanitythoughitwouldnotbepossibleforthisagetoresemblethoseinwhichtheGothiccathedralandtheGreektemplewerebuilt.Buteveninourtechnicalandutilitarianageitispossibletoachievemorethanisdoneatpresent.

Hewentontosaythatthestylethatisreallynewandcharacteristicofourtimeisthatofourdepartmentstores.Theshopisatruesymbolofourmaterialistic,utilitarianthinking.ThisisexpressedjustasmuchinthedepartmentstoreasarethethoughtsofTaulerandEckhartintheGothiccathedral.Buteveninourtimeitispossibletobringstyletoourworkinotherrespects.Ourculturalmediaarecapableofgreatformativevariationandhavewithinthemthecapacitytoworkeducationallyuponthesoul-lifeofthehumanbeingtoafargreaterextentthantheydoatpresent.Welive,forexample,intheageoftherailway,buthaveasyetnostyleforrailwaystations,becausehumanbeingsdonotyetexperiencewhathappenswhenatrainentersorleavesastation,theydonotrealizethatwhathappenswhenatrainmovescanbeexpressedinthearchitectureoftherailwaystation,thatwhathastocomeintothestationthelocomotivesarrivinganddepartingshouldcometoexpressioninthestationshollowforms.

Itistobehopedthatwhenairtravelbecomespossibleonalargescale,mankindwillhaveprogressedfarenoughtobeabletoconnectthethoughtofdeparturewiththatoftheplacedesignedforit,sothattheformofthelatterwillexpressthefactthatitisusedforthedepartureofaircraft.

WecanseethatSteinerwishedthesetaskstobeapproachedinawaythatisbothlivingandspirituallytrue.Theobjectinquestionshouldbemadetofitintoitssurroundingssothatitbecomespartofthem,anditspurposeshouldbeexpressedinitsouterforminbothitsfunctionanditsrelationshiptotherestoftheworld.Infacttheartisticshouldarisefromthepracticalactivitiesoflife,fromthatwhichgivesmeaningtotheobjectitself.FollowingSteinersindications,justastheoftenanimalistic,demonicnatureofmachinesandtoolscanbeexpressedintheirouterform,soastylecanbegiventohandworkwhichisinkeepingwiththeusetowhichanarticleistobeput.

Imitationsofoldstylesandtraditionsfromformerageshavenownomorethanhistoricalvalue.Theynolongerhavethestrengthorthecapacitytodojusticeartistically

totheneedsanddemandsofthemodernage.NotthroughsomesortofRenaissance,butthroughtherecognitionoftheorigin,thebeing,andthedestinyofthehumanbeing,hasthenewstyleofarchitecturearisenthroughSteinerintheGoetheanumatDornach.Thiswonderfulmonumenthasgrownoutofanthroposophyitselfandbringstoexpressioninitswholeouterformthatloftyspiritualitywhichcanalsospeaktothepresent-dayhumanbeingthroughthegreatdramaticworksofSteinerwhichareperformedthere.TheGoetheanumisintendedtoexertaninfluenceuponanageinwhichforcesareatworkthatwouldhinderspiritualization,forcesthatwouldmechanizeandplaceeverythingintheserviceofindustry.Theynolongerinspireustotreatanobjectmadebyhandasaworkofart,butmerelysupplypatternswhicharethenreproducedinvastnumbersbymachines.

ThroughSteinersartisticcreationsandspiritual-scientificresearch,mankindisnowbeingfreedfromthosepowersofwhichsomewouldfetterhimtotradition,whileotherswouldbringhiscreativeactivitytoastandstillthroughmechanization.Steinersworkisavailabletousinallspheresoflife,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.

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.Itdoesnotletthechildscreativefacultiesgrow.Itwithersthesoul.Ahomemaderagdoll,ontheotherhand,madefromatowel,andwithink-spotsforeyes,awakensthechildsgenius.

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

Uptonowverylittlehasbeendonetointroducethechildintherightwaytothecomplicatedlifeoftoday,sothathemaylearntomasterthedifficultiesandintricaciesofthislife.Itisthetaskoftheschooltoleadovergraduallyfromplaytowork.Ifoncewefindapracticalanswertothequestionhowwecanmetamorphoseplayintowork,weshallhavesolvedthefundamentalproblemofallearlyschooleducation.

Ourbasisoughttobethefundamentalfactthatthechildsmostardentwishistoimitatetheworkofgrownuppeople,whetheritisdonewithaspadeorwithaknittingneedle.

7

Itis,therefore,notsodifficultassometeacherswouldseemtothink,toteachknittingasearlyasthefirstyearofschool.ThishasbeendoneintheWaldorfschoolfromtheverybeginning.Fromapedagogicalpointofview,Steinerespeciallyvaluedtheartofknitting,onewhichhehadpracticedhimselfasayoungboy.Heinsistedthateverychildshouldlearntoknit.WhenoneobserveschildreninthestClassandseeshowtheyusetheirhandsmoreandmoreconsciouslyfromonelessontothenext,howfingerswhichwereonceratherclumsybecomemoreskillful,andhowpleasedthechildiswhenhemanagesforthefirsttimetomakesomestitchesanactivitywhichengageshisentirebeingrightdowntohisverytoesthenonecanseethatthisactivitywhichexercisesbothhandsinaharmoniousway,thusbringingskillinlaterlife,isalsoonethatworksdeeplyintotheorganismofthechildandawakenshisspiritualforces.

Steineroftenpointedoutwhatanimportantpartknittingplaysinrelationtootherthingstaughtintheschool.InStuttgart(9)hesaid:Whenweteachachildtoknitortomakesomethingofcoursethethingshemakesmusthavepurposeandmeaningwearethenworkinguponthespiritofthechild,andoftenmoretrulysothanwhenweteachhimsubjectsthataregenerallythoughtofasspiritualandintellectual.

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

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

Aqualityisdevelopinginhimwhichwemustdoourutmosttoencourageattentivenesstotheworldaround.Idonotmeananattentivenessmerelyoftheintellect,butaturningwithheartandfeelingtothethingsoftheworldthefeelingandthewillmustbeengaged(inthisattentiveness)Itisnoteasytorousehimtobeactiveinanyway.Whathedoes,hedoesunwillingly.ByJanuary,however,hedidmanagetoacquiresomeproficiencyintheusefulartofknitting.Thevalueforhimofsuchanoccupationconsistsinthefactthatontheonehanditintroduceshimtotheworldofmechanismandbringshimintomovement,whileontheotherittrainshiminthepowerofattention.Forinknittingonecaneasilydropastitch!

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

8

ofthechildren.Eachchildisallowedtochoosehisowncolors,evenforhisfirstsmallpieceofwhitecrochetworkwhichisfinishedoffwithacolorededge.Thisshouldencourageapersonalrelationshiptocolor.AftertherdClass,knittingandcrochet,thoseactivitiesinwhichthechildsmainexperienceisthecreationofasolidobjectoutofasinglethreadbytheformationofloops,cometoanend.

Steineradvisedthatattheendofeveryhandworklessonthechildrenshouldbegivenapictureorimaginationconnectedwiththeirworksomethingwhichshouldalsomakethemlookforwardwithjoytothenextlesson.Inadditionhegaveinstructionsthatduringthelastthirtyminutesofalessonlastingtwohours,thechildrenshouldbeallowedtodosmallertasksofvariouskinds.7Hesaid:Theycoulddosomethingnice,likecrochetroundtheedgeofacoloredribbon.

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

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

Thisshowsthatinhandwork,aswellasinothersubjects,theteachershouldcatertoeachofthefourtemperaments,andtasksshouldbeallottedtothechildreninaccordancewiththese.ItisajoytoobservehowtemperamentsarereflectedespeciallyinsmallerobjectsmadebyClassesand,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.

Fig.

Fig.

Fig.a Fig.b Fig.Fig.

Fig.7

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

Fig.c(wrong)

Fig.0

Fig. Fig.

Cases

0

Hethendrewontheblackboardabag(Plate,fig.)whoseveryappearanceshowedthatitcouldholdallkindsofthings.HeexpressedthisagainintheDornachChristmasCourse,9:Ithasbecomefashionablerecentlytodecoratethesebags,orpompadours,withadesign.Inmanycasesyoucannothelpasking:Whichisthetopandwhichisthebottom?Youshouldbeabletoseefromtheembroiderywheretheopeningisandwhichwayupthebagissupposedtobe.Nooneseemstotakesuchthingsintoconsiderationatall.

Theembroideryonthebagwillenablethechildtoexpresshispersonality.Withalittlehelpfromtheteacher,someofthechildrenwillnowtry,usingtheexperiencegainedinmakingthesmallextrathingsinthendandrdClasses,toworkouttheirownwayofdoingtheembroidery.Otherswillstillbecompletelyundertheguidanceoftheteacher,whomustbesureatthesametimetogiveeachchildindividualattention:Notwhatthechildwants,norwhattheteacherwants,butathirdthingshouldemergefromworkingtogetherinthisway,saidSteiner.

Childrenareveryfondofcross-stitch,whichcanalwaysbelearnedonsomesmallpieceofwork.Childrenwhoareweakintellectuallycanbehelpedbyit,especiallyiftheyaremadetofindthesymmetricalcounterparttotheformtheyareworkingat.Consciousnessisheightenedthroughthecrossingofstitches,justasitiswhenthearmsarecrossedtomakethesoundEineurythmy:[T]heformingofacross(withthearms)meansholdingoneselfupright.

Thedecoratingofobjectssuchasthesebagsaimsmoreatcultivatingasenseofbeautyinthechildthanatteachinghimskill.Steinerinsistedthatthechildshouldbetaughttodistinguishbetweenthebeautifulandthelessbeautiful,thisapplyingespeciallytothedevelopmentofasenseofcolor.Throughanexperienceofvariouscolorcombinationsorcomparisonsofeachotherswork,thesenseforbeautyandgoodtasteisdeveloped.

Oneshouldtrytoopentheeyesofthechildtoallthatisusefulandpractical,andalsotothebeautyofthethingsaroundhim.Inthiswayhelearnstolookcreatively.Thesenseofbeautyimpliesacapacitytoliveinimaginativepictures.Thisissomethingthattheteacherhasfirsttolearnforhimself.

ENDNOTES. Waldorf School Curriculum,editedbyCarolinevonHeydebrand.. TheSwissTeachersCourse,Easter9.. Hehadalsolearnedbookbinding.AlbertSteffansaid:RudolfSteinertoldusthathehadlearned

tosaymanythingsinhislecturesinawellorderedandboundway,becausedestinyhadbroughtitaboutthatheshoulddobookbindingatacertainperiodinhislife.(TheSwissTeachersCourse)

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

lectures,Stuttgart,June9.TheremarkintheSupplementaryCourse,UpperSchool,June9,lecture,appliesequallywelltotheendofthehandworklesson:Yourstudentswill

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

7. IntheWaldorfschoolClasseshavealessononceaweeklastingtwohours;Classes0haveonlyonehourofhandworkaweek.InClass8asecondhourisaddedfordarning,mending,ironingandmangling.

8. Discussions with Teachers,Stuttgart,AugustSeptember,99.9. Lectures to Teachers,Christmas9.AlsoWays to a New Style of Architecture,Dornach,9.0.Kingdom of Childhood,Torquay,9..Lectures to Teachers,Dornach,December9January9.. Eispronounceday,asinsay..Eurythmy as Visible Speech,Dornach,June9..The Younger Generation,lectures,October9.The Kingdom of Childhood,lecture..Lectures to Teachers,Dornach,Christmas9.

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,thishappensbetweentheninthandtenthyearItisjustintheseyearsthatonecanbestimplantinhimasenseofbeauty.Whathappensifonedoesnotdothis?ThechildwondersyesbuttherealstrengthofthiswonderhasbeenkilledIfweencouragethechildtolookattheworldwithwonderandamazement,wearepreparinghimforthemomentofpuberty.Ifweareabletomakethissenseofbeautyaconsciousexperienceinhim,thenwearepreparingthechildforthisexperienceofpubertyinsuchawaythathecanlearntolovetheworld,candevelopthepowerofloveintherightway.Forthereisnotonlytheloveofonesexfortheother;thatisonlyoneofmanyloves.Loveissomethingthatshouldpenetrateallouractions.Weshouldonlydowhatwelovedoing.Dutyandloveshouldgrowtogether.WeshouldlovewhatwehavetodoThisiswhyduringtheseearlyyearsatschool,wemustbecarefultodevelopthesenseofbeautyintherightway.Becauseyousee,myfriends,whilethesenseoftruthisinnateinthechild,thesenseofbeautywemustdevelopinhim.

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

HowoftenSteinerexpressedhisregretthattheselettershavehadsolittleinfluenceonpedagogy.IntheseventhlectureofthePracticalCourseforTeachers,hesaidthat

besidestheselettersofSchillers,LevanabyJeanPaulalsocontainsnumerouspracticalhintsforteachers.

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

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

Attheageoftwelvethechildentersanewphaseofexistence.Hispowersofspiritandsoulnowbecomestrengthened.Whereasbeforethetwelfthyearhistorycouldbebroughttothechildonlybymeansofstorytelling,anunderstandingforhistoricalrelationshipsnowawakensinhim.Inthesamewaythechildisnowreadytobetaughtphysics.Atthistimethesoul-spiritnatureofthechildisunitingmorefirmlywiththemechanicsofthebonysystem;consequentlynoharmisdone.Oneshouldevenintroduceintotheteachingeverythingwhichfollowsmechanicallawsinlifeitselfaswellasinthesciences.

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

Whenitcomestospinningthefactemergesthat,whereasgirlsenjoydoingit,theboysprefertohelpwithallthepreparationsthefetchingandcarryingthathavetobedone.Thepsychologicalreasonsforthisshouldbeinvestigated.Thishandworkteaching,whichisvaluedveryhighlyinourschools,leadsoverlaterontobookbinding.Bookbindingandbox-makingarelearned.Theimportanceofthisliesfarlessintheactualbindingofbooksthaninthefactthattheproceduresconnectedwithbookbindingarecarriedoutatacertainageinthelifeofthechild.Thisisofgreatimportanceforlaterlife.7

Steineronceexpressedthewishthat,besidesbookbinding,otherhandworkshouldbecontinuedintheupperclasses.Ontheotherhandheconsidereditimportantthatduringhandworklessonsacertainamountofbookbindingintheformofsmallbooks,folders,and

soforth,shouldbedoneinaverysimplewaybysewingandgluing.Oncewhensomethingofthiskindwasshowntohim,hesaidwithapproval:Yes,suchthingsshouldbedonemuchmore.Theuseofcolorinthisconnectionservesasapreparationfortherealcraftlateron.Throughsuchworkthechildrenareintroducedtopracticaltasksofthekindtheymaymeetlateroninlife(Plate,figs.0andPlates,,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;whateveristobeperformedwiththehandmustbecomepartofthehandsnaturalmovements.Actually,thewholehumanbeingisengaged;hethinkswithhiswholebody.Onemustthereforetrytobringitaboutthathealsofeels,experiences,things.Thefeelingofthechildmustbeworkeduponinahandworklesson.If,forexample,hewantstoembroideracorner,heshouldbeabletofeelthatitmustbedoneinsuchawaythatifheapproachestheembroideredpiecefromtheothersidehecannotgetthrough.If,however,hecangetthrough,theremustbesomethinginherentinthedesignwhichtellshim:Thisisthewaythrough.

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

relationshipcanoftenbringusintotroublesomesituationswiththechildren.Wearenolongerabletobetheiridealasamatterofcourse.Wehavetokeepourselvesuptoit!

Thisattitudeoftheteacherwillleadgraduallytothepointwherethefeelingforauthority,whichthechildrenshouldhavehaduptonowbutwhichtheycanhavenolonger,giveswaytothatinterestwhicharisesfromthefacultyofjudgmentandcomestomeetallthatisgiventothembytheteacher.Wecanobservehowthisfacultyofjudgmentturnsintoanattitudethatposespuzzlingquestions,anditisclearthatwemustbeawaketothis.

Whenyouleadthechildrenonwardsfromthe9thtothe0thClass,youmustpresentthemwithanentirelynewsituation.Thechildmustfeel:Goodheavens!Whathashappenedtomyteacher?Wealwaysthoughtofhimasagreatlight,assomeonewhocouldtellusmanythings,butnowitseemsasthoughthereisnotjustonehumanbeingspeakingtous;thewholeworldseemstospeakthroughhim.7

Thereshouldbearealchangeinthewaytheteacherconductshislessonswheneverheisstartingoutonanewclasswithhischildren.Itisimportantfortheteacherofhandworktoobservetheserathersubtlechangesverycarefully.Ifhedoesso,hewillsucceedagainandagaininarousinginthechildrenajoyandaninterestineverythingheundertakeswiththem.

Realenthusiasmmustbeshownbyateacherwhosestudentsareand0yearsold,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).[translators note:Seealsothetranslation

byMaryAdams.]. Education and Art,Education and the Moral Life,Schiller and Our Times,March90.

7

. SupplementaryCourse,Stuttgart,9(shortenedrendering).[translators note:SeethecorrespondingpassageinMaryAdamstranslation(lecture).]

. SeebeginningofchapterII.. Waldorf School Curriculum,September,99.7. ThisisaslightlyabridgedversionofnotestakenbyHedwigHauckoftheSwissTeachersCourse

(April9).8. Waldorf School Curriculum,lecture.9. TakenfromHedwigHaucksnotesofLecturestoTeachers,Dornach,Christmas9.0.Waldorf School Curriculum,Stuttgart,September99.. SeePlate,fig.7,andexplanations;chapterIX,Foldersandbookswhichonecannotopen;

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

[translators note:SeeMaryAdamstranslation(verbatim).].Practical Course for Teachers,Stuttgart,99,lecture.. SupplementaryCourse,Stuttgart,9,lecture8..Twoeducationallectures,June9(notgivenwordforword).7.Twoeducationallectures,June9.8.Twoeducationallectures,June9.

8

CHAPTER V

the lIne In PaIntIng and handwork

Steineralsogaveimportantindicationsinregardtotheuseoflines.Wheneverhespokeofthelineinpainting,hewouldsaysomethinglikethis: Thelineinpaintingisanartisticlie,becausetherearereallyonlycoloredsurfacesborderingoneupontheother.Whenhespokeofhandworkandthecrafts,ontheotherhand,herecognizedthelineashavingaquitesubstantialvalueandanexistenceofitsown.Whenaskedatateachersconferencewhetherdrawingshouldbedevelopedaswellaspainting,hesaid:Nolineardrawing,exceptintheteachingofgeometry.Buttheotherkindisimportanttheworkingoutoflightanddarkness.WhenaskedifClass0shouldalsotakepaintinglessons,hesaid:

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

Withregardtolinearperspective,Dr.Steinersaid:

Ifthechildlearnstheperspectiveoflinesbeforehehasexperiencedtheperspectiveofcolormuchharmisdone,forthefirstmakesthesoulrigidwhilethelattermakesitrichandflexible.Achildwhohasarrivedatperspectivethroughtheexperienceofcolorwilllearntoreadattherightpace.Thustheutilitarianquestion:Whyteachpainting?isanswered.

Theanswertothequestionwhetherthelinearorthepaintingelementshouldbecultivatedmostinhandworkwilldependuponthetaskinhandandthegiftsoftheindividualchild.WhenSteinerwasaskedtolookattwopiecesofworkdoneintheearlyyearsoftheWaldorfSchoolinStuttgart,ofwhichonewasmorerhythmical-linearincharacterandtheotherfreerinapaintersuseofcoloredsurfaces,hepraisedthefirst,butthenpointedtothesecondandsaid:Moreofthisshouldbedone(Plate,figs.and7).

Drawingandpaintingonblackboardorpaperareoftenveryusefulasapreparationforhandwork.Inembroiderymanychildrenliketosticktotheirsketches,butiftheydoso,theyshouldtrytogiveanewformtothemotifastheytransferittothematerial.Othersworkquitefreely,withoutrelyingonanypreconsidereddesign.Althoughthechildrenareallowedtocreatetheirownformsandchoosetheirowncolors,itisunderstoodthattheteachershoulddiscusswiththemwhattheyareabouttodo,thoughhemayalsowaituntilthechildsworkitselfshowshimhowitshouldbecontinued.TheWaldorfschoolhasno

9

patternsorsamplesforcopying.Steinerwarnedagainstmakingthechildcopythingsfromhis/hersurroundings.Hesaid:Awakenthefeelingforform,beforethewishtocopynaturebeginstostirinthechild.Inotherwords,theexperienceofpureform,regardlessofcontent,mustbearousedbeforeweallowanobjectfromtheoutsideworldtobecopied.Healsosaid:IntheWaldorfschoolsweattemptnottopaintsomething,buttopaintoutoftheexperienceofcoloritself.Thepaintingofsomethingcancomelateron.Ifitisbeguntoosoon,thesenseforwhatislivingislost,anditsplaceistakenbyasenseforwhatisdead.

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

OnedayDr.Steinersawchildrensewingwithoutthimbles.Hetooktheteachertotaskquiteseverelyforthis.Hemadetheabsolutenecessityofthethimbleunderstandabletothechildrenbysaying:Notusingathimbleisjustlikeahuntergoingouthuntingwithoutagun!

ENDNOTES.Practical Course for Teachers,lecture..TeachersConference,Stuttgart,November,9..CourseforSwissTeachers,Dornach,April9..Waldorf School Curriculum,lecture,Stuttgart,September8,99..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:Thatsjustachildishgame!HewantedthechildreninClasses0andtolearnsomethingofthetechnicalitiesofweavingonabigloomintheirTechnologyclass.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.

AsadetailedaccountofsuchworkisgiveninthelaterchapteronThePedagogicalValueofMakingAnimalsinSoftHandwork,wecannowpassontothedollinparticularandtovariouskindsoftoys.InThe Education of the Child in the Light of Anthroposophy,Steinerhasgivenfar-reachingindicationsonthesubject.

Youcanmakeadollforachildbyfoldingupanoldnapkin,makingtwocornersintolegs,andtheothertwocornersintoarms,aknotforthehead,andmarkingineyes,nose,mouthwithblotsofink.Orelseyoucanbuythechildwhattheycallaprettydollwithrealhairandpaintedcheeks.Weneednotdwelluponthefactthattheprettydollisofcoursehideousandquitecapableofspoilingthehealthyaestheticsenseforalifetime.

Themaineducationalquestionisadifferentone.Ifthechildhasbeforehimthefoldednapkin,hehastofillinfromhisownimaginationallthatisneededtomakeitrealandhuman.Theworkoftheimaginationmoldsandbuildstheformsofthebrain.Thebrainunfoldsjustasthemusclesofthehandunfoldwhentheydotheworkforwhichtheyarefitted.Givethechildtheso-calledprettydoll,andthebrainhasnothingmoretodo.Insteadofunfolding,itbecomesstuntedanddriedup.

Ifpeoplecouldlookintothebrainasthespiritualinvestigatorcan,andseehowitbuildsitsforms,theywouldassuredlygivetheirchildrenonlysuchtoysasarefittedtostimulateandvivifyitsformativeactivity.Toyswithdeadmathematicalformsalonehaveadesolatingandkillingeffectupontheformativeforcesofthechild.Ontheotherhandeverythingthatkindlestheimaginationoflivingthingsworksintherightway.

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

Steineralsogaveimportanthintsaboutdoll-makingduringaconferenceattheWaldorfSchoolinStuttgart.Hesaid:

Whenthechildrenmakedolls,artisticability,style,senseforcolorallthesecanbedeveloped.Ifeverypossibleeffortweremadetoovercomenaturalismindoll-making,sothatsomethinglivingcouldtakeitsplacelaughingdolls,formedartisticallyonesworkwouldreallyhaveabeneficialinfluenceintheworld.

Similardemandscouldbemadeconcerningthemakingofdollshouses,anactivitywhichSteinerconsideredtobeofpedagogicalvalue.Butheobjectedtoacircuswithperformingelephantswhichthechildrenaskediftheymightmake,andsaid:Itwouldbe

bettertomakeaherdofchargingelephants.Thiswasdonewithgreatenthusiasmbythechildren.TherehappenedtobeananimalshowinStuttgartatthattime;thechildrenwereallowedtorideontheelephantsintheopenair,andwereabletoacquireamuchmoreintimatefeelingforthelivinganimals.

Howissuchaherdmade?First,theanimalsaredrawnontheblackboard.Theneachchilddrawsanelephantinprofileonapieceoffirmwrappingpaperandcutsitout.Thissilhouetteistracedontoadoublepieceofmuslinandthencutout,allowingforseamsallround.Thetwopartswiththeexceptionoflegsandfeetarenowsewntogether.Athirdpieceofmaterialisadded,supplyingthehalfrequiredforroundingoffthelegsandalsotheundersideoftheelephantsbody.

InBerlinin9Steinergavesuggestionsforapuppettheatre,whichwasthenconstructedbymembersoftheAnthroposophicalSocietyforchildrenwhosefatherswereonactiveserviceintheWar.Hesaidthatthedollsshouldbemanipulatedfromabovebymeansofstringsorwires.Inadditionhesaidthatoneshouldaimatdevelopingthepuppetshowartisticallytothepointthatthedollscoulddoeurythmy.In9Snow Whitewasperformed.Steinersaidthatthedwarfsshouldsitataroundtable,andthattheyshouldbemovedinsuchawaythattheyarealwaysfidgeting.Dwarfsmustbethoroughfidgets,hesaid.ThenextyearSleeping Beautywasperformed.Oneshouldnotthinkofmakingsuchatheatreinschoolbeforethechildrenaretwelvetothirteenyearsold(seechapterIV).

IntheeleventhlectureofthePracticalCourseforTeachers,Dr.Steinerspokeofhow,inconnectionwiththeteachingofgeographyfromthetwelfthtothefifteenthyear,thechildshouldbeshowntherelationbetweenagricultureandhumanlifeandreceiveavividconceptionoftheplough,theharrow,andsoforth:

Tryespeciallytogetthechildtoimitatetheshapesofsomeofthesesimpleimplements,ifonlyintheformofatoyorapieceofhandwork.Itwillmakethechildskillful,andwillhelphimtoplacehimselfproperlyintolifewhenheisolder.

ENDNOTES. SeebeginningofchapterII.. SeechaptersIIIV.. Practical Course for Teachers,lectures7,8,0.. Cologne,December,90.Thenumerousindicationsandsuggestionsitcontainsmakethis

bookletindispensabletobothparentsandteachers.. SeereferencetodollsinchapterVII.. TeachersConference,November,90.

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,theknottingofhammocksajobwhichtheboysenjoyespeciallycanbedonetoo.Tasksinvolvingpaintingarealsoincluded.Steinersuggestedthepaintingofposters.Bookcovers,lampshadesandotherthingsarepaintedwithwatercolorfromthepot.Steinerdidnotwantcoloredchalkstobeusedintheschoolsthoughoilcrayons,becausetheydonotmakedust,maybeusedforsketching.WithregardtopostersSteinersaid:

Childrencanbetaughttowriteoutabillofexchange,soIdonotseewhytheyshouldnotbetaughttorecognizethebeautyofabeautifulposter.Oneshouldalsobeabletorecognizeanugly,impossibleposter.Butpeoplelookatsuchthingswithoutgettinginfuriated.Artistictasteneedstobeeducated.Thefeelingforstyleneedstobedeveloped...WhatImeanistheabilityinwardlytoexperiencethesethings...Onemustbeabletoexperienceatriangle,experiencearectanglenotbeabletomerelyimitateit.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,thedangerthatsuchworkmightbegintobedoneforitsownsakeandbecomemerestudiowork,atermusedbySteinerincriticismofallworkwhichservesnorealpurpose.Thisdangercanbeavoidedifthechildrenaregivenconcretetaskstocarryout.Ifatableclothwasbeingembroidered,Steinerwishedittoexpressinitsdesignthepurposeitwasintendedtoserve.Itsfuturesurroundingsalsohadtobetakenintoaccount.Steineronceshowedhowatablecloth,forexample,canbebroughtintoharmoniousrelationwiththeobjectsonorunderit,when,ononeoccasionhepointedtotwofinishedtableclothsandsaid:Thisoneshouldlieonawhitemarbletable,andontheotherthereshouldstandatallvaseofflowerswithlongstems.Inthiswayheshowedhowthechildrenstastecanbeeducatedinpreparationforthetimewhentheyhavehomesoftheirown.

Steineralsosetsuchtasksasthefollowing.Hemadesketchesfortableclothswhichwere,inonecase,foratablewiththreelegs,andinanother,foratablewithfourlegs(Plate,figs.7and8).IntheWaldorfschoolhesuggestedthatatableclothshouldbemadeforaparticularnumberofpeople.Theembroideryonitwastoleavespaceforthecutleryandplates,whichwouldbeenclosedinakindofframe,whosedesignshouldalsotakeintoconsiderationthepeoplesittingatthetable.Thosewhowishedtoarrangeexhibitionsofhandworkwereunsurewhethersuchspeciallydesignedarticlescouldbeexhibitedawayfromthesurroundingstowhichtheybelonged.Steinerwasoftheopinion,however,thatitwaspossible,providedlabelswereattachedtotheobjectsexplaininghowtheyshouldbeused.Hepointedtoatableclothwhichhadbeendiscussedearlierandsaid:WriteforthisoneThisisatableclothforuseonaroundtableinareceptionroominwhichguestsassembletodrinktea.

Allhandworkshouldbebroughtintorelationwithlifeandwiththehumanbeing.Steinerdismissedmerelyornamentaltableclothsasstudiowork.Fartoomanyornamentalclothsaremade,hesaid.Letthechildrenmakecushions.Thushesetthe9thClassaquiteconcretetask.TheimportanceofthisveryquestionhowtoembroideracushionhadbeendiscussedbySteineronvariousoccasions.For,hesaid,itcanhappenwhenyoulieonamoderncushionthatyouwakeupandfindtheembroideredpatternimprintedonyourcheek.IntheChristmaslecturesgivenattheGoetheanumin9,hemadesketchesontheblackboardandsaid:

Itisntpossibletolayyourheadonthiscushion(fig.0),becausethethinginthemiddlewillscratchyou!Itdoesnotexpresstherealfunctionofacushionatall.Thisishowitshouldbedone(fig.)...andnowyoucanonlyliewithyourfacetotheright.Ifitistobedonereallyartistically,thesamedesignmustbeputfacingleftonthebackofthecushion(Plate,fig.).

Allkindsofqueriesandreflectionsaroseamongstthelistenersastohowelseacushioncouldbeartisticallydesigned.Itwasthought,forexample,thatitwouldbefullyinharmonywiththefunctionofthecushionifitwereembroideredonlyalongitsfouredges,forSteinerhadsaid(inDornachonanotheroccasion)thatinthemiddleofthecushionisthehumanbeingnothingistherebutaroundhimarehisdreams.

Whenhewasshownacushionembroideredinthiswayalongitsfouredges(Plate,fig.),helaiditflatonhisopenhandand,turningitinallfourdirections,triedtolayhisheadonit,untilhegaveuptheattemptandsaid:ButhowcanIgetintoit?Hereitisclosedthereitiscloseditisclosedonallsides.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.vonBaravallesbookThe 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 SteinerDrawninJuly9fortheDornachSchool

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,theharmonyresultingfromtheinterplayofdecorationandconstructionthosetwoelementswhichtheartisttriesmoreorlessvisibly,thoughoftenonlyinahiddenway,touniteinahighersynthesisinhisworkfromthistherearisesanartwhichistrulyChristian.Suchwastheworkofartwhichfounditsplaceontheearth,likeagiftfromheaven,intheformoftheGoetheanum,builtbySteinerinDornachduringWorldWarI.

ButonNewYearsEveof99,thissublimeworkofart,throughwhichSteinerhadbroughtadivinespiritualworldtomanifestation,fellvictimtotheflamesputinitbycriminalhands.ThisfirstGoetheanum,whichhasfoundanundyingmemorialintheheartsofallthosewhowereabletoexperienceit,oncelookedoutoverthesurroundingcountryside,proclaimingasitwerethroughitsforms:Maythehumanbeingbringaboutwithinhissoultheredemptionofthepolaroppositesintheworld,throughharmonizingthemwithinhimselfandstrivingtoraisethem,transformed,toahigherspirituality.

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

ENDNOTES. SwissTeachersCourse,Dornach,Easter9.. TeachersConference,Stuttgart,November,90.(ThisquotationistakenfromHedwig

Haucksownnotes.). Color,partII.. ThisisnottheofficialversionofDr.Steinersremarks.[H.H.]

CHAPTER VIII

rudolF steIner, the teacher oF artIsts

Dornachistheplacewhere,inthemidstofageneraldeclineanddissolutionofallouroldculturalvalues,anentirelynewArtwasgiventotheworld.Itwasinthehardyearsofwarfrom9onwards,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,thiswoodcarvingwasallthatescapeddestructioninthefireof99.Itwastohaveoccupiedthecentralpositioninthebuilding,andwassparedbecauseithadnotbeenquitefinishedandsohadbeenleftoutsidethebuilding.Thusitcameaboutthatworksofakindneverseenintheworldbeforeinarchitecture,sculptureandpaintingwerecreatedinDornachinthosefewyears.

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

Steinerbroughtforthcreationsofworldimportanceinotherplacesalso.InMunichhisMysteryDramaswereperformed,firstunderhisdirectionin90,andthenonwards.InStuttgarthepouredhisgeniusintotheFreeWaldorfSchool,foundedbyEmilMolt,andinauguratedanentirelynewpedagogywhichwasbornofanthroposophy,hislife-creation.AnotherofthemanygiftsfromSteinerwaseurythmy,acompletelynewartofmovement.

Inadditiontothistherewerehismanyspiritual-scientificlecturesandhealsofoundtimetopourawealthofnewideasandimpulsesintoallspheresofhumanlife.Notonlyartists,buttechnicians,poets,musicians,theologians,doctors,farmersandotherstoowereabletobenefitfromtheinsightofSteiner.

HemadesketchesofcostumesandsceneryforhisMysteryDramas,aswellasforothergreatdramaticworks,e.g.GoethesFaustandthedramasofEdouardSchur.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.

CHAPTER IX

bookbIndIng and Folders

Steinerledhisstudentswithunparalleledpatience.Hedidthiswithlove,butalsowithseverity.Hewasasharpcriticandwasquiteabletoexpresshisdispleasurewhenhesawthathisadvicehadbeenfollowedeitherincompletelyornotatallorwhentheessentialpointofhissketcheshadnotbeengraspedbuthadmerelybeenimitated.OnavisittotheStuttgartWaldorfSchoolin9,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).

Steinerhadspokeninseveralplacesaboutthedesigningofbookcoverssomeyearsbefore9.IntheLecturestoTeachers,Dornach,Christmas9,hesaidthefollowing,whichistakenfromthenotesofAlbertSteffen:

Cushionswhoseembroideryisfeltagainstthefacewhenoneputsonesheadonthem,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,asitappearedfromJuly99toApril90.Thecornerdesign,drawnbyDr.Steiner,canbeconsideredtheprototypeofallhisbookdesigns.ThisformfirstappearedonhisbookDie Kernpunkte der Sozialen Frage[TheThreefoldCommonwealth](Plate,fig.8).TheletteringandthedesignbelowitarenotDr.Steiners.

Figure 2:TheabovejournalasitappearedfromMay90toJanuary9.ThecornerdesignwasdrawnbyDr.Steiner.

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

Figure 4:Anthroposophie, Wochenschrift fur freies Geistesleben,publishedinStuttgartfromJuly9toOctober9.ThedesignwasdrawnbyDr.Steiner.

Figure 5:Dreigliederung des Sozialen OrganismusasitappearedfromFebruary9toJune9.ThedesignwasdrawnbyDr.Steiner.

Figures 6 and 7:DrawnbyDr.SteinerforthecartonsofmedicinesmadebytheClinicalTherapeuticalInstituteDerKommendeTaginStuttgart.ThemedicinesweremanufacturedinSchwab.Gmnd.Thedesign(fig.)islightblueandredonadarkivoryground.Notethetworeddesignsatthetopandbottomofthebox(leftsideoffig.7)indicatingonwhichsidetheboxistobeopened(Plate9,fig.8).

Theboxiscutoutofasinglepieceofcardboardandthenfoldedandglued.Onlytwosidesareshownhere.Theothertwoarethesameastherightsideinfig.7,whichisshownenlargedinfig..

Figure 8:Designedin90byDr.Steinerforthearticles,drawnupbyhimforthefoundingofabusinessundertaking.

Figures 9 and 10:Drawnin90byDr.SteinerfortheKlinisch-TherapeutischesInstitutinStuttgart.Figure9wasusedasatrademark.

Figure 11:Drawnin90fortheKlinisch-TherapeutischesInstitutinArlesheim-Dornach.

Figure 12:PublisherssigndrawnbyDr.Steinerforthepublishinghouse(founded99)ofDerKommendeTag,Stuttgart,acompanyforthepromotionofeconomicandspiritualvalues.

Figure 13:Soziale Zukunft,afour-tosix-weeklyjournalfirstpublishedinJuly99bytheSwissassociationforthepromotionoftheThreefoldSocialOrganism.Thedesign(fig.)isinside,onthefirstpageofthejournal,forwhichitwasdrawnbyDr.Steiner.Hedidnotdrawthedesignonthefrontofthejournal.

Figure 14:DasGoetheanum,aninternationalweeklyforAnthroposophy and the Threefold Social Organism,publishedinDornachsinceAugust9.ThedesignandtheletteringbelowweredrawnbyDr.Steiner.

Figure 15:DrawnbyDr.Steinerin9fortheAnthroposophischerHochschulbund.

Figure 16:Die Drei,amonthlyjournalforAnthroposophy,theThreefoldState,andGoetheanism,aspublishedinStuttgartfromFebruary9toMarch9.Thedesign,andprobablytheletteringalso,weredrawnbyDr.Steiner.Theprintisblueonanivoryground.

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

Figure 18:ThedesignandletteringweredrawnbyDr.Steinerin99forthefirsteditionofhisbookDie Kernpunkte der Sozialen Frage.Theprintisblackonagreenground.ThiswasthefirstdesigngivenbyDr.Steiner.Itsformunderliesalllaterdesignsdonebyhimandotherartists(Plate,fig.).

Figure 19:Dr.Steinerdrewthisdesignin9forRitterWahn,amysterypoembyJuliusMosen.ItwasoneofthelastdesignsdrawnbyhimforthepublishinghouseofDerKommendeTaginStuttgart.

Figure 20:ThiswasdrawnbyDr.Steinerin90asatrademarkforDerKommendeTaginStuttgart.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

1

2 3

8

4

9

7

5

6

121110

8

Figure 23:Anthroposophie,OesterreichischerBotevonMenschengeistzuMenschengeist,publishedbytheBundfurFreiesGeisteslebeninAustria.ThejournalappearedtwicemonthlyfromNovember9.ThedesignwasdrawnbyDr.Steiner.

Figure 24:ThesamedesignasthatdrawnbyDr.Steinershowninfig.0.Itwasgivenbyhimin90fortheVereindesGoetheanum,togetherwiththeletteringinit,whichwascopiedasfaithfullyaspossibleforprinting.SincethenthedesignhasbeenusedattheGoetheanuminDornach.

Figure 25:ThisdesignwasdrawnbyDr.Steinerin9or9forBulwerLyttonsnovelZanoni, The Coming Race.

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

Figure 27:Dr.Steinerdrewthisdesignbefore9forthebookTheosophie,andFrauPyle-Wallerthenexecuteditforprinting.

Figure 28:Alateruseofthedesignshowninfig..NotethatthewordVril,belongingtothecompositioninfig.,ishereomitted.

Figure 29:ThisdesignwasdrawnbyDr.SteinerforthesecretarysofficeattheGoetheanum.Themotifisthesameasinfig.,wheretheformisadaptedtoatransverseformat.

Figure 30:Alateruseofthedesignshowninfig.7.

Figure 31:Adesignformemberscards,forusewithintheAnthroposophicalSociety.Dr.Steinerprobablydrewitin9,asthecardswerefirstusedearlyin9.Thecardsarefortransverseformat.Theprintisoldgoldonalightbluegroundofeventone.Themotifisthesameasinfig.9,whereitisdrawnforuprightformat.

Figure 32:AnattendancecardfortheSecondInternationalCongressoftheAnthroposophicalMovementfortheResolutionoftheProblemEastversusWest,Vienna,June9.Dr.Steinerdrewthedesign.Theprintisblue-violet(West)andred(East)onapinkground.

Figure 33:Dr.SteinersdesignformembershipcardsoftheAnthroposophicalSociety,drawnprobablyin9,astheycameintouseearlyin9.Thecardsaretransverseformat.Theprintisolivegreenonastrongpinkground.Themotifisthesameasinfig..

9Plate 6

Sketches of Title Pages by Rudolf Steiner

1314 15

16 17 18

1920

21

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Figure 34:Folder(cloth)fortheweeklypublicationWasinderAnthroposophischenGesellschaftvorgeht,drawnbyDr.Steinerin9.Goldprintonadarkbluegroundwithdarkvioletsurround.Color-toneissimilarforgroundandframe.

Figure 35:DrawnbyDr.Steinerin9forAnthroposophischer Seelenkalender[CalendaroftheSoul].Goldonsky-blueground.

Figure 36:Folder(cloth)fortheperiodicalDasGoetheanum.DesigndrawnbyDr.Steinerin9.Goldondarkvioletground.

TheselastthreedesignsweredrawnnotbyDr.Steiner,but,athisrequestbyFrauErnaPalmer,whoworkedintheyears99forDerKommendeTag(underthedirectionofDr.Steiner).Shewrotethefollowingindicationsregardingthesedesigns:

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

Figure 38:IalsodidthedesignforKarlJuliusSchroersGoethe und die Liebe.

Figure 39:Dr.SteinermostlikedmydesignsforthebookGoethe im Recht gegen NewtonbyGravell.Ihadallowedaconflicttotakeplacebetweenlightanddarkness,betweenalightandadarktriangle.Somethingwasreallyhappeningtheretheverything,infact,thatwashappeninginthebook.Itwonhisapprovalespeciallybecausethedesigncorrespondedexactlytothecontentsofthebook.Thepurposeofsuchadesigninthetopleft-handcornerofabookistodirectthereaderseyetoasymbolofthecontents,andthustoleadit,asitwere,throughthebookcovertothecontentsthemselves.Thebottomright-handcornerofthebookisusedforturningoverthepages,andthereforehasnodesign.

TheimportancelaidbyDr.Steineronthedesigningofmotifsforbookcoversinsuchawaythattheyenablethereadertoseestraightawaywherethebookopens,hasbeendiscussedindetailinchapterIX.ButhowlittlesenseissometimesshowninthisconnectionisillustratedbyanexamplegivenbyDr.SteinerataTeachersConferenceinStuttgart,November,90.Wehadthemosttryingexperienceshereashorttimeago.YouwillallknowthegraphicdesignforthreefoldnessonDie Kernpunkte der Sozialen Frage[TheThreefoldCommonwealth](Plate,figure8).Wewantedtochangeit.Itwasmeanttobemademoreup-to-date,sowhatdidtheartistdo?Hedrewhismotifinsuchawaythattheolddesignforthebookwasgivenitsownmirror-reflectioninthetopright-handcorner.Sothatwhatwasontheleftwasputontherighttooonlytheotherwayround,pointingtowardstheleft.HemadeaGothicwindowofit.Suchthingsdohappen!

Plate 7

Sketches of Title Pages by Rudolf Steiner

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END-VIGNETTES

drawn by rudolF steInerPlate 8

Steinernotonlygavedecorativemotifsforbookcovers,foldersandjournals,butin99and90healsopointedoutnewwaysinthedesigningofend-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.

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.TheWaldorfSchoolinStuttgartisnotaprogressiveschool,founded,likesomany

others,inthebeliefthatoneknowsthereasonfortheshortcomingsofthisorthatkindofeducation.Ithasoriginatedinthethoughtthatthefinestprinciplesandgoodwillinthisspherecanbeeffectiveonlyiftheteacherhasanunderstandingofthenatureofthehumanbeing.Thisonecannothaveifonedoesnotdevelopalivelyinterestinthewholesociallifeofmankind.Ifoneisopentothebeingofmankind,allhumanjoyandsufferingis

experiencedasthoughitwereonesown.Throughateacherwhohasthisknowledgeofthesoulandofthehumanbeing,thegenerationthatisgrowingintolifeisbroughtintocontactwithsociallifeasawhole.Fromhisschoolpeoplewillemergewhocanplacethemselvesintolifewithstrengthandpurpose.

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

possessionstobeassessedfromwithinthecontextofthesocialorganismasawhole.Anyonewhodoubtsthatsucharrangementsneedtobestrivenforhasnoeyeforthefactthat,wherenomorethanthelawofsupplyanddemandisacknowledged,certainhumanneedsareneglectedwhosesatisfactionwouldenhancethecivilizationofthesocialorganism.Suchapersonhasnounderstandingforastrivingthatwishestoincludethesatisfactionoftheseneedsamongstthegoalsofthesocialorganism.

TocreateabalancebetweenhumanneedsandthevalueofhumanworkthisiswhatthestrivingforaThreefoldSocialOrganismmeans.

Soziale Zukunft,No....ArticlebyDr.Steiner,SpiritualLife,Jurisdiction,Economy.Butonlysuchaneedisabletobringabouttheknowledgethatisrequiredifthesocialproblemistobeseenintherightlight.Thereasonwhytheattemptsmadeinourdaytosolvethisproblemappearso

unsatisfactoryisthatmanypeoplearestillunabletoseewhattheactualcontentoftheproblemis.Oneseesthequestionariseintheeconomicsphereandseeksforananswerintermsofeconomicadjustment.Onethinksthateconomictransformationwillprovidethesolution.Butonefailstorecognizethatthesetransformationscanbeeffectedonlywiththehelpofforcesliberatedinhumannaturethroughtheemergenceofanindependentspiritualandjuridicallife.

Plate 8

CHAPTER X

IndIcatIons concernIng dress and Its decoratIon

Steinerquiteoftengavebriefindicationsconcerningtheshapingofclothesinameaningfulway,especiallywhenhesawthatsuchaprinciplehadbeenneglected.LetusfirstquotearemarkfromLecturestoTeachers(Dornach,Christmas9),asrecordedbyAlbertSteffen:

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

SteinersaidthingssimilartothisintheWaldorfSchoolinJune9,andhesketchedanotherpatterninseveralstagesofmetamorphosis(Plate9,fig.).Heputafurthersketchnexttoit(Plate9,fig.7)andsaid:Thisisacurtain.Thisdesignshouldbecomparedtothatonthelowerseamofthegarmentshowninfig..

HowimportantitwastoDr.SteinerthatthechildrenshouldlearntodistinguishbetweenadesignforthetopofagarmentandoneforthebottomisshowninataskhesetintheWaldorfSchoolayearortwoafteritsopening:Getthechildrentodesignacollarandawaistband.IntheOxfordCourse9,heexpressedthoughtssimilartothosegivenintheSupplementaryCourse,Stuttgart9:Nowsometimesyouwillfindaterriblethingdone:Ateacherwillgetachildtomakeaneckband,awaistbandandadresshem,allthreehavingthesamepattern.Youcanseethissometimes.Obviously,fromanartisticpointofview,thisisthemostterriblethingimaginable.Thechildmustlearnveryearlyonthatabanddesignedfortheneckhasatendencytoopendownwards,ithasadownwarddirection;thatagirdleorwaistbandtendsbothupwardsanddownwards;andthatthelowerhemofadresshasanupward-strivingtendency,andmusthaveakindofbasebelowuponwhichitstands.Itisaterriblethingifachildistaughtmerelytodesignabandartistically.Thechildshouldknowhowthebandshouldlookaccordingtoitspositiononthehumanbeingwearingit.ThiswasillustratedbySteinerontheblackboard(Plate9,fig.).

Plate 9

Figures,7and9arefromoriginalpencilsketchesbyDr.Steiner.

above

aboveabove

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middle

underneath

underneath

Fig.(Stuttgart) Fig.(Dornach)

Fig.(Oxford) Fig.(Torquay)

Fig.8Teacozy

Fig.7CurtainFig.9Sole

outside

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InTorquayhediscussedthematterasfollows:

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

Norshouldoneoverlookthefactthatthebelthastobeclosed.Theformstotheleftandrightoftheplacewhere it is fastenedshould likewisebemetamorphosedinaccordancewiththelatterifpossibleinsymmetrywithit.

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

TakingtheseindicationsfromSteinerasawhole,onecouldperhapssaythatmetamorphosisisrequiredintheverticaldirectionfromthetopdownwards,whilesymmetryisaprinciplerelatingmoretothecentrallineatthefrontofthegarment,thoughthisshouldofcoursenotbetakeninanydogmaticway.Ifonecompares,forexample,thetwofiguresSophiaandEstellainThe Portal of InitiationbySteiner,onewillseehowtheircostumesaremadetocorrespondtotheirsoul-spiritualnatures.ButbothgarmentsSophiaspeach-blossomstole,whichbecomesdarkertowardsthebottom,andEstellassmart,asymmetricaldressofalightergreenexpressatruth.

The Modeling of HatsSteineralsomadeobservationsfromtimetotimeregardingtheshapeanddecoration

ofhats,andweshouldlike,asfarasmemoryallows,toreproducesomeofthemhere.