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• Title: Foundation Course: Lecture 11: Insights into the Mystery of Golgotha, Priest Ordination.
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  • So, on the one hand we have the continuation of symbolism, the symbolism that led to the enormous upswing of art in the Renaissance period in central Europe. Art Historians need only dig deep enough to discover that without the Catholic symbolism the entire artistic development of Giotto, Cimabue, from Leonardo to Rafael and Michelangelo would have been impossible, because the artistic development is certainly a propagation of Christian artistic subjects and belongs so strongly in Christianity that people can’t, for example, understand why the Sistine Madonna looks like she does.
  • Look at the Sistine Madonna, she is magnificent. As far as one can see there are images of clouds which transform purely into angelic heads, and how the Madonna herself, with the Child, condenses out of the angles who reside in the clouds. It is as if the angelic forms have condensed out of the cloud images and have descended down to the earth, yet everything is wonderfully lifted into the spirit. Then the two curtains (he sketches on the blackboard) and below that a coquettish female figure and a terrible priestly figure, all things which absolutely do not belong to it. Why is this so? It is simply from the basis of Raphael having initially intended with this image, to give a soul experience with the picture of Mary on a certain feast day of Mary — now this is on the Feast of Corpus Christi -where people walk around in a procession with a picture of the virgin Mary that is carried under a canopy and comes to the altars where people kneel down. This is why there are these curtains (points to sketch on blackboard) with the kneeling female and male forms in a chapel, in front of the picture of Mary. Well, that is the kind of elementary school way of looking at what Raphael painted. What is actually meant here stands right in the Roman Catholic cult — absolutely right inside it.