Rudolf Steiner’s architectural masterpiece, the double-domed building known as the first Goetheanum, featured decorated ceilings that were designed and partly painted by Steiner himself, utilizing vegetable colors and a new layering technique. Steiner emphasized that he was seeking a new artistic conception based on a conscious understanding of the nature of color. Contemporaries report the extraordinary effect of the domed ceilings’ paintings combined with the multicolored light emanating from the engraved glass windows. The cupolas depicted the creation and ages of the world, the initiators of the various cultural epochs and the figure of Christ. Tragically, the ‘complete work of art’ that was the first Goetheanum burned down on New Year’s Eve 1922 – so today we can only get an impression of the lost paintings and windows from Rudolf Steiner’s pastel sketches and drawings and a handful of photographs. In this lavish volume, the result of decades of research and study, Hilde Raske provides a detailed examination of the artistic work on the two cupolas, including Rudolf Steiner’s draft sketches and his written and verbal statements. Featuring 30 color and more than 100 black-and-white illustrations, this printing is a high-quality facsimile of the long out-of-print original edition from 1983.

Assya Turgeniev was a Russian artist and one of Rudolf Steiner's most important co-workers, best known for her engraving work on the colored windows of the first Goetheanum building in Dornach, Switzerland. In these unique reminiscences, she provides eye-witness reports of the burning of the first Goetheanum, the time surrounding the death of Rudolf Steiner, the early performances of his Mystery Plays, Steiner's lecturing and travels abroad, the artistic work on the Goetheanum, the carving of the "Group" statue, and the Christmas plays and "Faust. She also describes the development of eurythmy, and recounts her memories of Marie Steiner, Edith Maryon and others. Turgeniev initially set out to write a complete account of the period during which Anthroposophy was founded and developed, but illness prevented her from doing so. Nevertheless, the fragment which constitutes this book is one of the most valuable accounts available.

This is an introduction to the spiritual and historical conditions prevailing during the restablishment of the General Anthroposophical Society at the "Christmas Conference" of 1923, just one year after its first center, the Goetheanum, was burned to its foundation. The author's purpose was to see Rudolf Steiner within the overall process of world history and so to recognize his spiritual mission while experiencing the nature of that important event.

In this revised and expanded edition of his classic debut, Sergei O. Prokofieff investigates the deepest mysteries of Rudolf Steiner’s life and individuality, from ‘the years of apprenticeship’ and ‘the great Sun period’ to ‘the path of the Teacher of Humanity’ and ‘the birth of the New Mysteries’. He discusses the earthly and supersensible aspects of the first Goetheanum, the implications of the Christmas Conference of 1923-24, and the Foundation Stone meditation that Steiner left as a legacy to members of the Anthroposophical Society. In his very personal Introduction, Prokofieff describes, in moving detail, the events in his life which led to his discovery of anthroposophy whilst living in Communist Russia, and how eventually he came to write this extraordinary study of Rudolf Steiner. The resulting volume – a work of secondary anthroposophical literature unprecedented in its depth and significance – was first published in Germany in 1982, meeting with equal amounts of acclaim, astonishment and controversy. It is published in this paperback edition to mark the 35th anniversary of the original publication.

This book is an interdisciplinary collection of essays examining Goethe’s Faust and its derivatives in European, North American, and South American cultural contexts. It takes both a canonic and archival approach to Faust in studies of adaptations, performances, appropriations, sources, and the translation of the drama contextualized within cultural environments ranging from Gnosticism to artificial intelligence. Lorna Fitzsimmons’ introduction sets this scholarship within a critical framework that draws together work on intertextuality and memory. Alan Corkhill looks at the ways in which the authority of the word is critiqued in Faust and Marlowe’s Dr. Faustus.Robert E. Norton revisits the question of Herder as Faust and the early twentieth-century context in which the claim resonated. J. M. van der Laan explores the symbolic possibilities of the mysterious Eternal-Feminine. Frederick Burwick examines Coleridge’s critique of Goethe’s Faust and his own plans for a Faustian tale on Michael Scott. Andrew Bush demonstrates how Estanislao del Campo’s poem “Fausto” retells Gounod’s opera in the sociolect of Argentine gauchos. David G. John examines complete productions of Goethe’s Faust by Peter Stein and the Goetheanum. Jörg Esleben surveys contemporary Canadian interplay with Goethe’s Faust. Susanne Ledanff discusses the significance of Goethe’s Faust for Werner Fritsch’s avant-garde “Theater of the Now.” Bruce J. MacLennan examines Faust from the perspective of a researcher in several Faustian technologies: artificial intelligence, autonomous robotics, artificial life, and artificial morphogenesis.

As the first comprehensive encyclopedic survey of Western architectural theory from Vitruvius to the present, this book is an essential resource for architects, students, teachers, historians, and theorists. Using only original sources, Kruft has undertaken the monumental task of researching, organizing, and analyzing the significant statements put forth by architectural theorists over the last two thousand years. The result is a text that is authoritative and complete, easy to read without being reductive.

8 lectures plus extracts and notes (CW 286) This collection introduces Rudolf Steiner's vision of architecture as a culmination of the arts. Such architecture unites sculpture, painting, and engraving as well as drama, music and dance--a vital synthesis of all the arts working in cooperation through the common ideal of awakening us to our individuality and task in life. Unlike many of his contemporaries, Steiner's ideas did not remain abstract. Within his lifetime he was able to design and construct a number of buildings, including his architectural masterpiece, the Goetheanum--a center for culture and arts near Basle, Switzerland. In these lectures Steiner describes, with reference to the Goetheanum, the importance of an architecturally coherent and integrated community, and how this in turn affects social unity and harmony. These lectures offer a panorama of the development of architecture in parallel with the emerging human soul in human evolution. This is a valuable collection for all students of architecture, the arts, social science, and those looking for a deeper spiritual understanding of the art of architecture. Includes eight color plates and 30 black & white illustrations. CONTENTS: Part One: The Temple Is the Human Being An Art & Architecture that Reveal the Underlying Wholeness of Creation The Task of Modern Art & Architecture Proposals for the Architecture of a Model Anthroposophical Community at Dornach Part Two: Ways to a New Style of Architecture True Artistic Creation Art As the Creation of Organs through which the Gods Speak to Us A New Concept of Architecture The Aesthetic Laws of Form The Creative World of Color Appendix: The Evolution of Architecture at the Turn of Each New Millennium Notes & Color Plates Architecture as a Synthesis of the Arts is a translation from German of Wege zu einem neuen Baustil. "Und der Bau wird Mensch"