Saved by good fortune from the flames that engulfed the first Goetheanum, Rudolf Steiners wooden sculpture of the Christ, "the Representative of Humanity," standing between the adversary forces of Lucifer and Ahriman, remains intact, although unfinished, and on display to this day. Unique in the history of art, the Sculptural Group was deeply connected to Rudolf Steiners inner being. The great Christian initiate even died by its side, having made efforts to work on the sculpture days before he crossed the threshold.

'Yes, that is the Christ. This i.s how my .spirituaL eye perceived him in Pal.e.stine.' -Rudolf Steiner, speaking of his sculpted figure of Christ Rudolf Steiner referred to the wooden 'group' sculpture of the figure of Christ surrounded by adversary spiritual beings as the centre of the first Goetheanum. Steiner even told the architect of the second Goetheanum that the sculpture he made with Edith Maryon should occupy the same central position 'as in the first building'. What was Rudolf Steiner's essential aim for the sculptural group within the Mystery building he conceived, and why did he regard it as the crown of the building? What were Steiner's intentions -and, specifically, what were the spiritual aims behind this remarkable depiction of Christ? Rudolf Steiner described the core task of anthroposophical spiritLlal science as preparing for Christ's reappearance in the etheric realm. The Christ he sculpted was not the possession of a specific community with a religious world view, but rather a being

A study of Steiner's statue The Group. This large-format book contains many plates, and detailed pictures of the working models. The text, with introduction by Hagen Biesantz, gives many insights into this important work.

2 lectures by Sergei O. Prokofieff, Bologna, March 31 & April 8, 2011 A special conference took place in Bologna in spring 2011, marking the hundredth anniversary of a unique lecture Steiner delivered to a philosophically trained audience in the same city. In his key exposition, Steiner had given a concise description of the spiritual-scientific theory of knowledge as well as a brief outline of the anthroposophic path of training. In his contribution to the 2011 congress, Prokofieff tackles two principal aspects. On the one hand, he describes how Steiner's Bologna lecture contained the essential foundations for a new "science of the human ego" (the human "I"). On the other hand, Prokofieff states that Steiner was the first person to transform this theory into a practical path of knowledge, following it to its very conclusion. Thus, the words of Steiner's lecture were based entirely on personal experience. Together with a transcript of Steiner's full Bologna lecture, Prokofieff's lecture is reproduced here in an expanded version. In addition, this volume features Steiner's important "summaries of essential points," in which he develops and connects some of his key thoughts with further aspects of Anthroposophy, especially in relation to their Christological foundations.

Rudolf Steiner understood that the history of art is a field in which the evolution of consciousness is symptomatically and transparently revealed. This informal sequence of thirteen lectures was given during the darkest hours of World War I. It was a moment when the negative consequences of what he called the age of the consciousness soul, which began around 1417, were made most terribly apparent. In these lectures he sought to provide an antidote to pessimism. After describing the movement of consciousness from Greece into Rome, coupled with influences from the Orthodox East, he showed how these influences transformed as the Middle Ages became the Renaissance. The process that begins with Cimabue and Giotto develops, deepens, and becomes more conscious in the great Renaissance masters Leonardo, Michelangelo, and Raphael. Then this movement continues with the Northern masters, D rer and Holbein, as well as the German tradition. One entire lecture is devoted to Rembrandt, followed by one on Dutch and Flemish paintings. Themes are woven together to show how past epochs of consciousness and art live again in our consciousness-soul period. Replete with interesting information and more than 600 color and black-and-white images, these lectures are rich and dense with ideas, enabling us to understand both the art of the Renaissance and the transformation of consciousness it announced. These lectures demonstrate (to paraphrase Shelley) that artists truly are the unacknowledged legislators of the age.

A Life with Colour is the first complete survey of Gerard Wagner’s biography and his artistic intentions, featuring dozens of illustrations and more than 120 colour plates. The life and work of Gerard Wagner (1906-1999) were closely aligned to the artistic-spiritual stream connected with the Goetheanum in Dornach, Switzerland. He first heard of the Goetheanum – and of its destruction by fire at New Year 1922/23 – whilst still a youth. In 1926, he made his first visit to Dornach, but his intended stay of a week turned into a lifelong sojourn of over 73 years. He found there an active, striving community with which he felt intimately connected. From the start, Gerard Wagner immersed himself in the various artistic impulses that Rudolf Steiner had instigated. This, together with an intensive study of anthroposophy, formed the basis upon which he forged his own approach to painting. The many years he spent in colour experimentation led him to discover objective principles within the language of colour and form that are an inspiration to many today. His paintings, first shown at the Goetheanum in the early 1940s, were exhibited internationally, most notably at the Menshikov Palace, Hermitage Museum, St Petersburg, Russia, in 1997. ‘[Wagner’s] whole being bowed before the mystery of colour in a loving, joyful yet serious way, full of devotion and dignity. His life and work itself became a living metaphor of the creative power of colour.’ – Christian Hitsch ‘ Caroline Chanter has not only accomplished a great and seminal study that illuminates the life and work of Gerard Wagner, but has done a great service also to the Goetheanum and its School of Spiritual Science.’ – Peter Selg ‘[Gerard Wagner was] a soul which on earth was devoted so selflessly and in such purity to the beings that are revealed… in forms and colours. He helped them to utterance and manifestation in this world of ours.’ – Sergei O. Prokofieff

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.