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• Title: Errors in Spiritual Investigation
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  • that the first form (Gestalt) in which the new, super-sensible world
  • world in its first form; he must not only recognize it as a
  • has transformed itself into an organ of perception for the spiritual
  • area or the circumference of the circle. This task of transforming
  • always strove: the transforming of the circle into a square. Now, no
  • cannot take on the form of the universally reigning error. Thus she
• Title: Lecture: The Mission of Raphael in the Light of Spiritual Science
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  • element, and that a uniform stream of spiritual development has flowed
  • pictures we feel that something would be lacking if the creative, formative
  • centuries but his creations form one organic whole with all preceding
  • great significance when we thus see how a uniform spiritual essence
  • the Reformation. The experiences and writings of Augustine as compared
  • rise up before us in picture form and our immediate impression is that
  • transformed Florence as if the direct radiation of the Reformer of
  • of scorn, the Reformers their attacks. Yet this Papacy was the Patron
  • his soul flow creations which give a new form to Christian conceptions
  • naturally to form themselves into human figures, one being the Child
  • beautiful forms. Raphael, however, remained with me as a breath, as
  • one of those revelations sent to one in women's form by the Gods of
  • it form in a picture like the Sistine Madonna, stands there in its inner
  • form to the figures of Christian tradition in an age when treasures
  • State, Greek sculpture, or Greek philosophy. A formless element
  • and noblest in external form confronts us in Raphael and his contemporaries.
  • forms in all their objectivity and roundness could not have been created
  • an age when Christianity was not yet expressed in picture form or in
  • turn once again to the forms that had been created by this Greek spirit.
  • outward manifestation in a world of artistic forms permeated with the
  • Maximum number of matches per file exceeded.
• Title: Poetry/Fairy Tales: Lecture 1: The Poetry of Fairy Tales
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  • emotions, and will forces — but this form of consciousness
  • consciousness has developed out of the earlier forms in ancient
  • understanding them. The soul formed these into pictures and images
  • transform one thing into another in a trice — something the
  • form a concept of this creature who lives within you and is so much
  • arrows. They shot so well that the arrows formed figures, towering
  • elemental, primary form. Knowledge of these soul-happenings, when it
  • is present, does not destroy the ability to transform them into fairy
  • everything connected with it, they are of all forms of literature the
  • clearly perceptible form, the result will be great art, intrinsic
  • forming itself, bringing about the growth of its body, unfolding its
• Title: Jacob Boehme
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  • the single currents united to form a great comprehensive
  • formulae of the alchemists, or to some philosophical or other
  • of alchemistic formulae, or such things, it is only verbal
  • tó say in all kinds of alchemistic formulae. But only when
  • formulae from what we know today as scientific thinking, as
  • the human being has brought it about that he does not only form
  • to think through speech, instead of forming speech through
  • transformations, or the growth of grass like a modern
  • with the changing clouds something is transformed for his
  • that the question of evil is transformed into an entirely
  • light if darkness were not opposed to it, so can good perform
  • into a simple formula — not what he gave theoretically,
  • experienced, — into the formula: No
  • without a No” is the simple formula
  • it is not a theoretical formula, but in this philosophy, there
  • and saw in the “Runes” which took form all kinds of
  • formulae of Jacob Boehme, but that they also take refuge in the
  • the glistening, high-flown formulae of Jacob Boehme, and
• Title: Lecture: Leonardo da Vinci
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  • receive the impression that every form of the human soul and
  • colors formerly used were not striking enough. He wanted to conjure
  • wanted to own something of his. First he would form an idea of what
  • the human form, he would enlarge a single limb, to ascertain how in
  • organism. Caricatured forms — in all sorts of contortions —
  • and their original form is no longer recognizable) we have the “St.
  • this form they correspond to what we can now see of the “Last
  • with respect to Judas, is, that this form itself conjures up a shadow
  • science new ideas and new conceptions were formed, but where it has
  • molded the form from an external model or made studies in detail as
  • instance, all the forces that formed that arm. Man felt himself
  • within the independent inner being of his own form. He did not look
  • at the form from outside but created “consciously” from
  • within, for he was still conscious of the formative creative force.
  • existence, which might take form in art, and the fragment of it which
  • embedded in the super-sensible; they must live in it to form the
  • soul: “Symmetrically and beautifully formed, there he stood, as
• Title: Raffaels Mission Im Lichte der Wissenschaft vom Geiste
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  • Reformation. Wie charakteristisch erscheint uns der angedeutete
  • ob unmittelbar eine Art von religiösem Reformator die
  • Zornesworte gerichtet hatte, gegen das sich die Reformatoren
  • menschenähnlichen Gestalten formen, von denen eine, wie
  • die schönen Formen, sinnlich palpabel. Raffael blieb mir
  • formt, eine solche Seele stellt sich dann wie etwas ganz
  • Bevölkerung sich wieder hinlenken auf die Formen, die
  • künstlerischen Form ihre Götter-Ideen
  • zu formen versuchen, wenn in unsere Seele einströmt die
  • sich die Griechen nur in Gestalten geformt gedacht hatten, das
  • Formenschönheit, tritt uns in dem gegenüberliegenden
  • der schönen, vom griechischen Geiste durchzogenen Form. So
• Title: Raphael's Mission in the Light of the Science of the Spirit
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  • him joins with his own creative activity to form an organic
  • special light. We see how a uniform spiritual element flows
  • than we are from the Reformation. Humanity's progress becomes
  • a kind of religious reformer Savonarola had transformed the
  • system that Savonarola had railed against and the reformers had
  • ideas appear in many respects in a new form. We see the most
  • by clouds that seem naturally to take on human form. One of
  • were only human pictures; in memory, their beautiful forms palpable
  • female form, in our happiness or sorrow; like pictures that
  • ideas, but forms them into a picture. By virtue of its inner
  • We see Raphael giving form to the figures of Christian
  • impressive and noblest becomes manifest in outer form in
  • in the form of art, but received that mighty impulse at its
  • directed its attention once again to the forms the Greek spirit
  • expression in a world of forms, of pictures in which the purest
  • realms of the spiritual, but assumes artistic form — much as
  • lives and weaves formlessly in the universe, pressing this into
  • attempting to form an overall picture of his works in their
  • exalted, perfect forms, they appear to us as possessing a
  • What the Greeks had conceived and formed into figures we now
  • Maximum number of matches per file exceeded.
• Title: Leonardo's Spiritual Stature: Lecture
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  • that we have it only in a truncated form, this book by Leonardo
  • most wonderful way in conformity with the truth. Nothing
  • Thus, in conformity with the entire spiritual stature of
  • concepts were formed by means of natural science. And where
  • from earlier times took effect only in the form of a certain
  • example with an arm, all the forces that formed it. One felt
  • human form. Things were not viewed from outside, but created
  • from within, while being aware of the actual formative forces.
  • of taking on form by means of art, and what he had been able to
  • bequeath to the world after all only in fragmentary form.
  • features, well-formed, he stood before humanity as an exemplary
• Title: Fairy Tales: in the light of Spiritual Investigation
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  • expression oneself in the form of a fairy tale of some kind.
  • set forth in a more philosophical-abstract form in his
  • tragic, as well as other forms of artistic expression, results
  • having developed out of older forms of human consciousness.
  • the inner battles it had to undergo, giving pictorial form to
  • transforming one thing into another. Nature is
  • form a conception of this cleverer, wiser, more skillful being
  • resin and could only perform his work during the night, since,
  • avenge him. And they shot arrows. They shot arrows that formed
  • the form of pictures, since external happenings have to
  • characteristic fairy tales are those handed down from former
  • Grimm collected in the form told them by relatives and
  • hand, nothing of the artistic form of the fairy tale is
  • whereas the fairy tale form is really the more comprehensive
  • the innermost soul, it is precisely the form most suited to the
  • expressed in the simplest possible form. In fact, one
  • art capable of expressing in the most self-evident form what is
  • work creatively on its own physical formation,
  • summoning the formative forces for its own growth, for
  • formulated in words this man spoke — knowing as he
• Title: The Worldview of Herman Grimm in Relation to Spiritual Science
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  • University of Berlin, also published in book form. Anyone
  • on form to become a creation, of Goethe's phantasy. How, he
  • sensibility transforms everyday events in the physical
  • transformed it artistically, who have utilized it for cultural
  • without putting it into an abstract formula — having been
  • of European cultural life in the last form these lectures took.
  • transformed itself into a point of light that became visible to
  • it took on form — Arthur stood before her! She saw him,
  • his form.”
  • himself, no mere phantom that had taken on his form.”
  • behind the entire sense world. It could appear a form of