Handwork in Waldorf education
description
Transcript of Handwork in Waldorf education
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HANDWORK and HANDICRAFTSFrom IndIcatIons by rudolF steIner
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PREFACE
Outofprintreferencebooksareoftendifficulttolocate.ThroughtheforesightandsupportoftheWaldorfCurriculumFund,thistitlehasbeenresurrectedandisnowavailablegratisinanelectronicversiononwww.waldorflibrary.org,oneofthewebsitesoftheResearchInstituteforWaldorfEducation.Wehopeyouwillfindthisresourcevaluable.Pleasecontactusifyouhaveotherbooksthatyouwouldliketoseeposted.
DavidMitchellResearchInstituteforWaldorfEducationBoulder,COAugust008
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HANDWORK AND HANDICRAFTS
by
HEDWIG HAUCK
fromindicationsby
Rudolf Steiner
TranslatedbyGraham Rickett
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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
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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.
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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
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toreproducesomeoftheindicationsabouthandworkgivenbySteinerinhislecturesoneducation,andtoshowhowtheywereappliedwhilehewasdirectingtheWaldorfSchoolinStuttgarttowardstheendofhislife.
Heshowedtheteachershowhandworkprovidesthebalancingelementwhichthemoreintellectualactivitiesrequireifthedevelopmentofthechildistobeaharmoniousone.Classesinhandwork,aswellasincrafts,arecompulsoryforbothgirlsandboys.ChildrenareguidedintheWaldorfschoolssothattheyareabletodevelopnotonlyanopenmindforthethingsofpracticallifebutalsoadeepunderstandingforartasawhole,quiteapartfromthoseabilitiesthatarefoundedmoreupontheintellect.Creativepowersareawakenedwhichcanfindfruitfulapplicationinthemostvariedfieldsinlaterlife.
SteinerconsidereditdesirablethathandworkintheWaldorfschoolsshouldleadoverintothecrafts,andonhisvisitstotheclassroomsandinlecturesandmeetings,hegaveexamplesshowinghowthiscanbeachieved.Muchofthishasalreadybeenmadeavailable.Ourprimaryaimhereistoreproducewhathasnotyetbeenpublished.Butwehavealsoendeavoredtomakeakindofcompendiumofstatementsthatarescatteredthroughoutalargenumberofhisbooksandlectures.
ThespokenremarksmadebySteinerattheWaldorfSchoolinStuttgart,whichhavelivedoninthememoryofanumberofteachers,andwhichwenowwishtomakeaccessibletoawiderpublic,havebeenquotedasfaithfullyaspossibleinspiteofthefactthatsomethingsmaystrikethereaderasobviousorastooelementarytodeserveinclusioninthebook.ButitwasafeatureofallSteinersindicationsthat,throughthelovingattentionwithwhichhetookthemintoconsideration,eventheapparentlymostinsignificantthingsprovedlatertobelivingseedsfromwhichquitenewpointsofviewcouldbegrown,andwhichsuppliedthebasisforanextensionorevenacompleterevisionofourmethods.
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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
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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.
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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
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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
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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.
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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.
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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
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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!
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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
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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
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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.
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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
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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
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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.
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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
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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.
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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.
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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
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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.
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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.
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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
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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.
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Plate 2
From the Handwork Class(Classes&7)
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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
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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.
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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.
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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
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8
Cushions
Fig.Fig.0(wrong) Fig.
Fig.Front Fig.Back
Fig.FrontFig.Front(wrong)
Plate 3
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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.
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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.]
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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.
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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.
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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
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remarked:Theplacewherewetouchortakeholdofanobjectshouldalwaysbemadelighterthantherestofit.Itwillthenbeasthoughthehumanbeingwereradiatinglight.
Inconclusionweshouldliketoquotetwointerestingparagraphsaboutbookbinding:
Ifonecanbringaboutafeelingforcolorharmonyinchildren,byfirstlettingthempaintsothattheirexperiencesreallyariseoutofcolor,thenonewillbringitaboutthatthechildrenwillmakethingslateronwhichservewellinlife.Nothingisdrawnfirst.Thechildlearnstoliveincolor,andthentogiveformtosomethingthatismeanttobethecoverofabook.Themainobjectistoawakenareallifeexperienceinthechild.Itisjustthroughformandcolorthatsuchanexperiencecanbestbeawakened...
Onemustknowwhendesigningabookcoverthatthereisadifferencebetweenaboveandbelowwhenoneislookingatoropeningthebook.Thechildmustbeallowedtogrowintoafeelingforspaceandform.Itissomethingthatwillpenetraterightdownintohislimbs.
ENDNOTE.The Spiritual Ground of Education,Oxford,9.
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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.
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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.
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7Plate 5
Sketches of Title Pages by Rudolf Steiner
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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..
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9Plate 6
Sketches of Title Pages by Rudolf Steiner
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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!
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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.
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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
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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.).
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Plate 9
Figures,7and9arefromoriginalpencilsketchesbyDr.Steiner.
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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.