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• Title: Foundation Course: Lecture 4: Anthroposophy and Religion.
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  • When we now go to what we called the Transformation yesterday, we find that with the Transformation we refer to something which already penetrates matter, which already strongly approaches substantiality, but which has not yet been configured, which has not yet taken in an outline; this is experienced in the transformation as characteristic and one refers, in the same sense, to how the Word refers to the warmth, the Offering to the air, the Transformation, the transubstantiation to the water.
• Title: Foundation Course: Lecture 11: Insights into the Mystery of Golgotha, Priest Ordination.
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  • Particularly for those who had a strong feeling for the sense of the Mystery of Golgotha as fallen out of the ordinary earthly course, like all that the Roman Catholic Church has gradually become, still a kind of departure came about from the original meaning of the Mystery of Golgotha. It has crystallized into an historic anecdote. When Leonardo da Vinci was appointed to paint the Last Supper, he worked slowly, for a long time. Actually, he needed more than ten years. Then a new Prior arrived and wanted this painting chap to finish off the thing at last. The painting had been completed up to the figure of Judas when the new Prior asked when it would at least be complete. Leonardo said that up to that point he had not been able to complete the painting because he had no model for Judas. Now however, he had in the Prior a model for Judas, and he could complete the painting.
  • 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.