objectivity photos on Flickr

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101 Oil Studies, No. 45

Objective: Texture study with a focus on value.

Painted in 6 sessions: 25 Nov to 7 Dec 2024

Pigments (Winsor & Newton Artists' oil colour unless otherwise noted): Burnt sienna, Winsor yellow, cobalt blue, permalba white (Weber), cobalt turquoise light, terra rosa, warm grey (Rembrandt), ivory black. Mediums: Gamsol, Oleogel.

Centurion OP DLX oil primed linen, 30.5 x 22.9 cm (12 x 9 inches)

When everything seems like detail, extreme texture like tree bark puts to the test the old advice to put down broad patches of color first. But the old advice stands admirably, especially now that I have some experience in applying it. My color mixing is also coming along. Notably here, I'm not using any green pigrmant, but rather mixing my greens mostly from Winsor yellow (Winsor & Newton's hanza formulation) and cobalt blue. Concerning value, I painted thourgh the background pine on the left, lightening and desaturating the sky, all with a thin glaze of whlte.

What time is it? by F.MartínezLedesma 

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Machine and objective: Canon EOS 450D, Sigma 18-200mm DC OS.

Locale: United Kingdom, London

Photographer: F.MartínezLedesma

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Press “L” Please!!

Pulsa “L” Por favor!!

Velocidad: 1/80seg.

ISO: 400

Apertura: f/7,1

Focal: 51mm

…Nunca me han interesado ni el poder ni la fortuna lo que admiro son las flores que crecen en la basura…

DERECHOS DE AUTOR:

Todas las fotografias de este sitio, estan protegidas por el real Decreto Legislativo 1/1996, de 12 de abril, por el que se aprueba el texto Refundido de la LEY DE PROPIEDAD INTELECTUAL. Queda totalmente prohibida su reproducción total o parcial sin el expreso consentimento de su autor. Si estás interesado en adquirir alguna copia, o los derechos de reproducción de alguna de las fotografias aqui publicadas, contacta con el autor. Si la finalidad de las fotografias deseadas no es con fines lucrativos, igualmente debes contactar con el autor indicando el uso que se dará a las imagenes.

COPYRIGHT:

All photographs on this site are protected by Royal Decree Law 1 / 1996 of 12 April, approving the revised text of the Copyright Law. It is strictly forbidden to reproduce in whole or in part without the express consent from the author. If you are interested in purchasing any copy or reproduction rights for any of the photographs published here, please contact the author. If the desired purpose of the photographs is not for profit, you should also contact the author indicating the use which will be the images.

Objectives / Ziele by DLR German Aerospace Center

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GB: Determine the structure and the heat from the planet's interior to assess the activity, composition and evolution of Mars as an example of a rocky planet.

Why is Earth so special?

DE: Bestimmung des Aufbaus und des Wärmestroms aus dem Inneren des Planeten für Rückschlüsse auf Aktivität, Zusammensetzung und Entwicklung des Mars als Beispiel eines Gesteinsplaneten.

Warum ist die Erde so besonders?

More about NASA & DLR's mission on www.dlr.de/dlr/desktopdefault.aspx/tabid-11031/

Credit: DLR (CC-BY 3.0)

Objectives by DGD NAVE

These Objectives are some pilars of our organisation.

Mist-ical by Lozja Mattas

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Snowflake 0 by gripspix (mostly off, health issues)

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Sorry for the poor quality - taken with a reverse mounted objective, LED lighted...

Objective by Susan Van Ausdall

1:700 H.M.S. “Ludgar” (Pennant I 07), Royal Navy Trebuchet-class monitor, Mediterranean Fleet/Force H; North Africa, early 1942 (What-if/modified Hobby Boss kit) by Dizzyfugu

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+++ DISCLAIMER +++

Nothing you see here is real, even though the model, the conversion or the presented background story might be based historical facts. BEWARE!

Some background:

A monitor is a class of relatively small warship that is lightly armoured, often provided with disproportionately large guns, and originally designed for coastal warfare. The term "monitor" grew to include breastwork monitors, the largest class of riverine warcraft known as river monitors and was sometimes used as a generic term for any turreted ship. In the early 20th century, the term "monitor" included shallow-draft armoured shore bombardment vessels, particularly those of the Royal Navy: the Lord Clive-class monitors carried guns that fired the heaviest shells ever used at sea and saw action against German targets during World War I.

Two small Royal Navy monitors from the First World War, Erebus and Terror survived to fight in the Second World War. When the requirement for shore support and strong shallow-water coastal defence returned, new monitors and variants such as coastal defence ships were built. Allied monitors saw service in the Mediterranean in support of the British Eighth Army's desert and Italian campaigns, and they were part of the offshore bombardment for the Invasion of Normandy in 1944.

During the First World War, the Royal Navy developed several classes of ships which were designed to give close support to troops ashore through the use of naval bombardment. The size of the various monitor classes of the Royal Navy and their armaments varied greatly. The Marshal Ney class was the United Kingdom's first attempt at a monitor carrying 15 in (381 mm) guns, two of these ships were eventually built and showed a disappointing performance. The Admiralty immediately began the design of a replacement class, which incorporated lessons learned from all of the previous monitor classes commissioned during the war. Some of the main modifications were an increase in the power supply to guarantee a speed of 12 knots (22 km/h; 14 mph) and a change to the angles and lines of the hull to improve steering. Another significant change was to raise the top of the anti-torpedo bulge above the waterline and reduce its width; both changes would improve the stability and maneuverability of the ship at sea. The new design would later be named the Erebus-class, the first ship being launched in June 1916. Two ships were built and took part in WWI, but the Admiralty was not fully convinced with these ships, which also had shown major operational flaws, and requested in early 1918 three ship from another monitor class with higher firepower and better performance at sea, which led to the Trebuchet-class – even though it came too late to take part in any hostilities.

The class’ ships were to be the name-giving HMS Trebuchet, HMS Mangonel and HMS Ludgar. The latter would be the first and eventually become the class' only ship, because Trebuchet and Mangonel were quickly cancelled. HMS Ludgar was named after the famous, probably largest trebuchet ever made, also known as “Warwolf”, which had been created in Scotland by order of King Edward I of England, during the siege of Stirling Castle, as part of the Scottish Wars of Independence. Still seeing a need for this specialized ship for local conflicts in the British Empire around the world, Ludgar was proceeded with and laid down at Harland and Wolff's shipyard in Govan on 12 October 1918.

Due to the lack of wartime pressure, though, Ludgar took three years to complete and was launched on 19 June 1920. The new design was a thorough re-modelling of the earlier Royal Navy Monitors, even though most basic features and the general layout were retained - with all its benefits and flaws. Overall the ship was slightly larger than its direct predecessors, the Erebus-class monitors. Ludgar had a crew of 224, 9,090 long tons (9,185 t) loaded displacement, was 436 ft (133.1 m) long, 97 ft (29.6 m) wide with a draught of just 11 ft 8 in (3.6 m, less than a destroyer) for operations close to the coastline. Power was provided by four Babcock & Wilcox water-tube boilers, which would generate a combined 6,000 ihp (4,500 kW) that were produced by triple-expansion steam engines with two shafts. The monitor had an operational range of 2,480 nmi (4,590 km; 2,850 mi) at a speed of 12 knots.

HMS Ludgar’s deck armor would range from 1 in (25 mm) on the forecastle, through 2 in (51 mm) on the upper deck and 4 in (102 mm) over the magazine and belt. Unlike former British monitors, the Trebuchet Class featured two main turrets, which were each armed with two 15 in guns, what considerably improved the ship’s rate of fire. With the main 15 in guns being originally intended for use on a battleship, the armor for the turrets was substantially thicker than elsewhere in the design; with 13 in (330 mm) on the front, 11 in (279 mm) on the other sides and 5 in (127 mm) on the roof. The main guns' barbettes would be protected by 8 in (203 mm) of armor. Learning from the earlier experience with Ney, the turrets were adjusted to increase elevation to 30 degrees, which would add greater firing range. The 15 in guns had a muzzle velocity of 2,450 feet per second (750 m/s) – 2,640 feet per second (800 m/s), with supercharge. Maximum firing range was 33,550 yards (30,680 m) with a Mk XVIIB or Mk XXII streamlined shell @30° – 37,870 yards (34,630 m) @ 30°, with supercharges.

Just like on former British monitor ship designs, the turrets had to be raised high above the deck to allow the small draught, what raised the ship’s center of gravity and required a relatively wide hull to ensure stability.
The tall conning tower was protected by 6 in (152 mm) of armor on the sides and 2.5 in (64 mm) on the roof. The former monitors retrofitted anti-torpedo bulges were integrated into the Trebuchet-class’ hull, extending the deck’s width and giving the ship a more efficient shape, even though the short and wide hull still did not support a good performance at sea. The outer air-filled compartments under the waterline were 13 ft (4 m) wide with a 9 ft (2.7 m) wide outer section and an inner compartment 4 ft (1.2 m) wide containing an array of protective, air-filled steel tubes which would take the blast from an eventual broadside torpedo hit.

Ludgar conducted sea trials on 1 September 1921, during which the ship was faster than her predecessors at 16.5 knots (30 km/h; 19 mph) compared to 13 knots (24.3 km/h; 15.1 mph) for the Erebus-class monitors. However, like her ancestors, the wide and shallow hull of Ludgar made the ride rather unstable, and under practical conditions the ship’s top speed rarely exceeded 14 knots, making Ludgar only marginally faster than older monitor ships. The inherent flaws of the ship class’ design could not easily be overcome. However, Ludgar was officially commissioned on 2 September.

Upon entering service Ludgar was immediately deployed to the eastern Mediterranean as part of the 1st Battle Squadron of the Atlantic Fleet to mediate conflicts between Greece and the crumbling Ottoman Empire. While in the Ottoman capital Constantinople, Ludgar and the other British warships took on White émigrés fleeing the Communist Red Army.
The 1922 Washington Naval Treaty cut the battleship strength of the Royal Navy from forty ships to fifteen. The remaining active battleships were divided between the Atlantic and Mediterranean Fleets and conducted joint operations annually. Ludgar remained with the Mediterranean through 1926. On 4 October 1927, the ship was placed in reserve to effect a major refit, in which new rangefinders and searchlights were installed and the ship's original secondary armament, eight 4 inch naval guns against enemy destroyers and torpedo boats, was replaced be anti-aircraft guns of the same caliber.
On 15 May 1929 the refit was finished, and the ship was assigned to the 1st Battle Squadron of the Mediterranean Fleet. The squadron also consisted of Royal Sovereign, her sisters Resolution and Revenge, and Queen Elizabeth, and based in Malta. The only changes made during the Thirties were augmentations to Ludgar’s anti-aircraft batteries.

Fleet exercises in 1934 were carried out in the Bay of Biscay, followed by a fleet regatta in Navarino Bay off Greece. In 1935, the ship returned to Britain for the Jubilee Fleet Review for King George V. In August 1935, Ludgar was transferred to the 2nd Battle Squadron of the Atlantic Fleet, where she served as a training vessel until 2 June 1937, when she was again placed in reserve for a major overhaul. This lasted until 18 February 1938, after which she returned to the 2nd Battle Squadron.

In early 1939, the Admiralty considered plans to send Ludgar to Asia to counter Japanese expansionism. They reasoned that the then established "Singapore strategy", which called for a fleet to be formed in Britain to be dispatched to confront a Japanese attack was inherently risky due to the long delay. They argued that a dedicated battle fleet would allow for faster reaction. The plan was abandoned, however. In the last weeks of August 1939, the Royal Navy began to concentrate in wartime bases as tensions with Germany rose.
At the outset of war in September 1939, Ludgar was assigned to the 2nd Battle Squadron of the Home Fleet but remained at Plymouth for a short refit. In May 1940, painted in an overall light grey livery, she moved to the Mediterranean Fleet. There she was based in Alexandria, together with the battleships Warspite, Malaya, and Valiant, under the command of Admiral Andrew Cunningham.

In mid-August 1940, while steaming in the Red Sea, Royal Sovereign was attacked by the Italian submarine Galileo Ferraris and lightly damaged. Later that month, she returned to Alexandria for repairs and she received false white wakes at front and stern to simulate speed and confuse enemies. At the same time the conning tower was painted in a very light grey to make it less conspicuous when the ship was lurking behind the horizon. These were combined with periodic maintenance and the stay at dock lasted until November 1940.
Ludgar then moved to North Africa where she supported Operation Compass, the British assault against the Italian Tenth Army in Libya. The monitor shelled Italian positions at Maktila in Egypt on the night of 8 December, as part of the Battle of Sidi Barrani, before coming under the command of Captain Hector Waller's Inshore Squadron off Libya on 13 December. During the successful advance by the Western Desert Force Terror bombarded Italian land forces and fortifications, amongst others the fortified port of Bardia in eastern Libya on 16 December. After the Bardia bombardment concern was raised about the condition of the 15 in gun barrels which had been fitted, having been previously used, in 1939. The barrels were inspected by Vice Admiral Sir Andrew Cunningham and the order was given for Ludgar to reduce the amount of cordite used when firing the main guns, in an attempt to extend the weapons' useful life. In a further attempt to conserve the monitor's main guns, her duties were changed to concentrate on providing anti-aircraft cover for the rest of the squadron and to ferry supplies from Alexandria. The ship also served as a water carrier for the advancing British and Commonwealth army.

Along with the flotilla leader Stuart, the gunboat Gnat and the destroyers Vampire and Voyager, Ludgar supported the assault on Tobruk on 21 January 1941 by the 6th Australian Division with the port being secured on 22nd. By this point the monitor's main gun barrels had each fired over 600 rounds of ammunition and the rifling had been worn away. While the main guns could still be fired, the shots would rarely land accurately and frequently exploded in mid-air. Ludgar was now relegated solely to the role of a mobile anti-aircraft platform and her light anti-aircraft armament was supplemented by two triple two-pounder anti-aircraft guns, mounted in armored turrets in front of the bridge and on a small platform at stern. To make room for the latter the original locations of the ship's lifeboats was moved from stern to the main deck behind the funnel, and a large crane was added there to put them afloat. The crane was also able to deploy a light reconnaissance float plane - and for a short period in early 1941 Ludgar carried a Fairey Seafox biplane, despite having neither catapult nor hangar. However, since the aircraft was exposed to the elements all the time and quite vulnerable, it soon disappeared.
At this phase the ship started sporting an unofficial additional camouflage which consisted of irregular small patches in sand, brown and khaki over her basic grey livery, apparently applied in situ with whatever suitable paint the crew could get their hands on, probably both British Army and even captured Italian paints. The objective was to better hide the ship against the African coastline when supporting land troops.

In March 1941, Ludgar was involved in Operation Lustre, the Allied reinforcement of Greece. The turn of fortune against the Allies in April required the evacuation of most of these forces, Operation Demon. On 21 April Ludgar was in Nafplio and accounted for the evacuation of 301 people, including 160 nurses. Following this, the ship became involved with the Tobruk Ferry Service, and made 11 runs to the besieged city of Tobruk before engine problems forced her withdrawal in July. Ludgar sailed again to Alexandria for repairs, which lasted from September 1941 to March 1942.

Ludgar – now re-fitted with new main gun barrels and two more Oerlikon AA machine cannon to the original complement of eight – was then assigned to Force H in the Mediterranean. Operation Torch saw British and American forces landed in Morocco and Algeria under the British First Army. Force H was reinforced to cover these landings and Ludgar provided heavy artillery support for the land-based ground troops. The end of the campaign in North Africa saw an interdiction effort on a vast scale, the aim was to cut Tunisia completely off from Axis support. It succeeded and 250,000 men surrendered to the 18th Army Group; a number equal to those who surrendered at Stalingrad. Force H again provided heavy cover for this operation.

Two further sets of landings were covered by Force H against interference from the Italian fleet. Operation Husky in July 1943 saw the invasion and conquest of Sicily, and Operation Avalanche saw an attack on the Italian mainland at Salerno. Following the Allied landings on Italy itself, the Italian government surrendered. The Italian fleet mostly escaped German capture and much of it formed the Italian Co-Belligerent Navy. With the surrender of the Italian fleet, the need for heavy units in the Mediterranean disappeared. The battleships and aircraft carriers of Force H dispersed to the Home and Eastern Fleets and the command was disbanded. Naval operations in the Mediterranean from now on would be conducted by lighter units, and Ludgar was commanded back to Great Britain, where she was put into reserve at Devonport, enhancing the station’s anti-aircraft defense.
At Devonport Ludgar was repainted in a dark grey-green Admiralty scheme and on 2 June 1944 she left Devonport again, joining Bombardment Force D of the Eastern Task Force of the Normandy invasion fleet off Plymouth two days later. At 0500 on 6 June 1944 Ludgar was the first ship to open fire, bombarding the German battery at Villerville from a position 26,000 yards offshore, to support landings by the British 3rd Division on Sword Beach. She continued bombardment duties on 7 June, but after firing over 300 shells she had to rearm and crossed the Channel to Portsmouth. She returned to Normandy on 9 June to support American forces at Utah Beach and then, on 11 June, she took up position off Gold Beach to support the British 69th Infantry Brigade near Cristot.

On 12 June she returned to Portsmouth to rearm, but her guns were worn out again, so she was ordered to sail to Rosyth via the Straits of Dover. She evaded German coastal batteries, partly due to effective radar jamming, but hit a mine 28 miles off Harwich early on 13 June. The explosion ripped her bow apart, leaving a gaping leak, and she sank within just a couple of minutes. Only 57 men of Ludgar’s crew survived.

General characteristics:

Displacement: 9,090 long tons (9,185 t)

Length: 436 ft (133.1 m) overall

Beam: 97 ft (29.6 m)

Draught: 11 ft 8 in (3.6 m)

Complement: 224

Propulsion:

4× Babcock & Wilcox water-tube boilers, generating a combined 6,000 ihp (4,500 kW) via

triple-expansion steam engines with two shafts

Performance:

Top speed: 16.5 knots (30 km/h; 19 mph)

Range: 2,480 nmi (4,590 km; 2,850 mi)

Armament:

2× twin BL 15-inch L42 Mk I naval guns

8 × single QF 4-inch Mk V naval guns

2 × triple two-pounder (40 mm) anti-aircraft guns

10x single Oerlikon 20mm (0.787 in) anti-aircraft machine cannon

The kit and its assembly:

This was another submission for the "Gunships" group build at whatifmodellers.com in late 2021 - and what would such a competition be without a literal "gunship" in the form of a monitor ship? I had wanted to scratch such a vehicle for a while, and the GB was a good motivation to tackle this messy project.

The idea was to build a post-WWI monitor for the Royal Navy. From WWI, several such ships had survived and they were kept in reserve and service into WWII, some even survived this war after extensive use. However, the layout of a typical monitor ship, with low draft, a relatively wide hull and heavy armament for land bombardments, is rather special and finding a suitable basis for this project was not easy - and I also did not want to spend a fortune just in donor parts.

Then I recently came across Hobby Boss 1:700 kit of the USS Arizona (in its 1941 guise, w/o the hull barbettes), and after some comparison with real British monitors I found my starting point - and it was dirty cheap. Righteously, though, because the model is rather primitive, comparable with the simple Matchbox 1:700 waterline ships. There are also some dubious if not cringeworthy solutions. For instance, in order to provide the superstructures with open windows, the seams between the single levels run right through the windows! WTF? These seams can hardly be hidden, it's really an awkward solution. Another freak detail: the portholes on the lower hull protrude like pockmarks, in real life they'd the 1 1/2 ft (50 cm) deep?! Some details like the cranes on the upper deck are also very "robust", it is, in the end, IMHO not a good model. But it was just the starting for me for "something else"...

Modifications started with shortening the hull. Effectively, I cut out more then 3 1/2 in from the body, which is an integral part with side walls and main deck, basically any straight hull section disappeared, leaving only the bow and stern section. My hope was that these could be simple glued together for a new, wide hull - but this did not work without problems, because the rear section turned out to be a bit wider than the front. What to do...? I eventually solved this problem through wedge-shaped cuts inside of the integral railings. With some force, lots of glue and a stiffening structure inside the new hull could be completed.

Next the original turret bases had to disappear. as well as two of the four anchors and their respective chains on the foredeck. I retained as much of the original superstructure as possible, as it looked quite plausible even for a shorter ship, but since the complete hull basis for it had been gone, some adaptations had to be made. The main level was shortened a little and I had to scratch the substruction from styrene sheet, so that it would match with the stepped new hull.

At the same time I had to defined where the main turret(s) would be placed - and I settled for two, because the deck space was sufficient and the ship's size would make them appear plausible. A huge problem were the turret mounts, though - since a monitor has only little draught, the hull is not very deep. Major gun turrets are quite tall things, on battleships only the turret itself with the guns can be normally seen. But on a monitor they stand really tall above the waterline, and their foundation needs a cover. I eventually found a very nice solution in the form of 1:72 jet engine exhausts from Intech F-16s - I has a pair of these featureless parts in the spares box, and with some trimming and the transplantation of the original turtret mounts the result looks really good.

In the meantime the hull-mounted gun barbettes of USS Arizona had to disappear, together with the pockmarks on the hull. A messy affair with several PSR rounds. Furthermore, I added a bottom to the waterline hull, cut from 0.5 mm styrene sheet, and added plaster and lead beads as ballast.

Most of the superstructure, up to the conning tower, were mostly taken OOB. I just gave the ship a more delicate crane and re-arranged the lifeboats, and added two small superstructures to the rear deck as AA-stations, behind the rear tower - the space had been empty, because USS Arizona carried aircraft catapults there.

For the armament I used the OOB main turrets, but only used two of the three barrels (blanking of the opening in the middle). The 4 in guns were taken OOB to their original positions, the lighter 20 mm AA guns were partly placed in the original positions, too, and four of them went to a small platform at stern. For even more firepower I added two small turrets with three two-pounder AA guns, one on the rear deck and another right in front of the bridge.

Painting and markings:

The ship might look odd in its fragmented multi-colored camouflage - but this scheme was inspired by the real HMS Terror, an monitor that operated in early 1941 on the coast of North Africa and carried a similar makeshift camouflage. This consisted of a multitude of sand and brown tones, applied over an overall light grey base. I mimicked this design, initially giving the ship at first a uniform livery in 507b (Humbrol 64), together with an unpainted but weathered wooden deck (Humbrol 187 plus a washing with sepia ink) and horizontal metal surfaces either in a dark grey (507a, Humbrol 106) or covered with a red-brown coat of Corticene (Humbrol 62). As a personal detail I gave the ship false bow and stern waves on the hull in white. Another personal mod is the light grey (507c, Humbrol 147) conning tower - as mentioned in the background, I found that this light grey would be most useful when the ship itself was hidden behind the horizon from view, and only the conning tower would be directly visible in front of a hazy naval background.

On top of the grey hull I added several other paints, including khaki drab (FS 34087 from Modelmaster), red brown (FS 30118, Humbrol 118), khaki drill (Humbrol 72), mid stone (Humbrol 225) and light stone (Humbrol 121).

The model received an overall washing with dark grey and some rust stains with various brown and red shades of simple watercolors. The waterline was created with long and thin black 1.5 mm decal stripes, a very convenient and tidy solution. Finally, all parts were sealed with matt acrylic varnish, and after the final assembly I also added some rigging to the main mast with heated black sprue material.

Phew, this was quite a challenge, the result looks good overall, but I am not happy with the finish. Ships are not my strength and you see the Hobby Boss kit's flaws and weaknesses everywhere. Then add massive bodywork, and thing look even more shaggy (*sigh*). Nevertheless, the model looks like a typical monitor ship, and when I take the rather crappy USS Arizona kit as basis/benchmark, the "new" HMS Ludgar is not a bad achievement. It's surely not a crisp model, but the impression is good and this is what counts most to me.

Objective lenses, Microscope by Graham Shaw

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Attempting some macro shot before next Tuesday's Club night ' Tabletop and Macro' Cleaned up my old microscope for a subject. ( it was covered in thick dust ) I liked the problem of dealing with the shiny parts.

Mobile Objective by sheldonschwartz

Goethe's Secret Revelation..Sealed-up treasure...Goethe sealed up a packet this sealed-up treasure.This packet contained in a comprehensive way the whole striving of Goethe's life.Second part's Faust; which was not to be published by Hughes Songe

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Goethe's Secret Revelation PART TWO THE RIDDLE IN FAUST Esoteric Two Addresses given 11nth and 12th March, 1909, at Berlin . It was in August, 1831, that Goethe sealed up a packet and handed it to his faithful secretary Eckermann and prepared his testamentary directions for the editing of this sealed-up treasure. This packet contained in a comprehensive way the whole striving of Goethe's life. It contained the second part of Goethe's Faust; which was not to be published until after Goethe's death. Goethe was aware that in this work he had given the contents of his rich, many-sided, far-reaching and deeply-penetrating life to human existence, and the importance of this moment for him may be gathered from the words he uttered at the time, ‘I am now finished my life's true work, anything I do further and whether I do it or not, is all the same!’ If we permit a fact such as this to work on the soul we can say: It would not be easy for a human life to become fruitful for the rest of humanity in a more beautiful, harmonious way, or indeed to become fruitful in a more conscious manner. There is something deeply affecting in the thought of Goethe's life at this point of time — for he lived barely one year longer — in that he should have visited Ilmenau once more and there re-read the beautiful verse he had written on the 7th of September, 1783, when he was still a comparatively young man.‘Above all heights Is rest, In the tree tops Thou feelest Scarce a breath,The birds are silent in the woods, Only wait, soon Thou too shalt rest.’One may well ask whether these lines may not have signified at that time a frame of mind regulating Goethe's ideas in a new way as he re-read them in the evening of his life with affecting tears.Goethe's Faust is truly a testament of the very first order when considered with reference to its literary and intellectual standpoint.In 1831 Goethe finished the work which had occupied him from his earliest youth, having worked energetically from the year 1824 at the second part of Faust. We find that Goethe knew from the beginning of 1770 that he had what may be called the Faust disposition and that he began in 1774 to write down the first part of Faust, returning again and again to this poem in the most important moments of his life.Notably he took the first part of Faust with him when he went to Weimar and owing to his position there entered the great world. Certainly it was not produced there. But because one of the Weimar Court ladies, Fräulein von Göchhausen, preserved a copy of the Faust which Goethe took with him to Weimar, we to-day possess the form in which it was when he took it there. We therefore know the form in which Faust was printed for the first time and published in 1790, and further we know the setting in which the whole of Goethe's works appeared in 1808 in the first edition. All that we have of Faust, including that very important document which Goethe left as his testament, shows us the different stages of Goethe's growth. It is endlessly interesting to observe how these four stages of Goethe's Faust-creation appear to us in different ways, according to its inner nature, and how they represent a crescendo in the whole of Goethe's life-endeavour. What Goethe took with him to Weimar is a literary work of a quite personal character into which he had poured the feelings, the degrees of knowledge and also the despair of knowledge, as they went with him through the Frankfort time into the Strassburg time and also into the first Weimar period. It is the work of a man hotly striving after knowledge, striving to feel himself into life, experiencing every despair that an upright honourable man can go through, and all this he had poured into this work. All this is in the first part of Faust. But when Faust appeared in 1790 as a fragment, it was recognized that Goethe had worked at it and transformed it out of a longing lying deep in his soul and inner life which had become enlightened through his contemplation of Italian nature and of Italian works of Art. Out of this personal work of one who had been tossed to and fro in life's storms there emerged the work of one, who to a certain degree, had become unshackled and who had a very clear view of life before his soul.Then came the time of Goethe's friendship with Schiller. The time when in his inner being he learned to know and experience a world which had long become rooted within him. A world of which one can say that he who experiences it has had his spiritual eyes opened, so that he can see into the surrounding spiritual world. And now Faust's personality becomes a being placed between two worlds, between the spiritual world to which man can raise himself through purification, through the ennobling of himself and that world which drags him down. Faust becomes a being placed between the world of good and the world of evil. And while previously we saw in Faust the life of the single striving personality, now we see before us a great conflict carried on between the good and evil powers around man. Man is thus placed in the centre as the worthiest object for which the good and evil beings fight in the world. Though in the very beginning Faust is seen as a man doubting all knowledge, he now comes before us as one placed between heaven and hell. Thus the poem reaches an essentially higher stage and a higher existence.In the form in which Faust appears in 1808 it seems as if thousands of years of human development resound. We are reminded of the great dramatic representation of man's life produced in ancient times in the Book of Job, where the evil spirit went among men and stood up before God, and God said to him: ‘Thou hast been to and fro on the earth, hast thou considered my servant Job?’ What is here said we find in the poem, ‘The Prologue in Heaven’ where God speaks with Mephistopheles, the messenger of the evil spirituality: ‘The self in them expands to a spiritual universe.’ At that time at Frankfort he had the feeling, ‘Away from the mere striving after ideas! Away from the merely perceptive sense observation! There must be a path to the sources of existence!’ and he came into touch with what one can call alchemistic, mystical and theosophical literature. He himself attempted the practice of alchemy. He relates how he came to know of a work through which many sought for similar knowledge at that time, Welling's ‘Opus Mago-Cabalisticum et Theosophicum.’ This book was much thought of then as giving a knowledge of the sources of existence. Goethe studied by degrees Paracelsus, Valentinus and above all a work which from its whole method must have produced a deep impression on all those who strove after such knowledge, ‘Aurea Catena Homeri.’ This was a representation of nature the Mystics in the Middle Ages believed to see. The study of these mystical, alchemistic, theosophical books must have had a similar effect on Goethe to that which a man striving to-day after the same things would experience if he took up the books of Eliphas Levy or any other thinker on the same lines. Indeed at that time these things must have had an even more bewildering effect upon Goethe because these different writers no longer really understood the magic, theosophy, etc., of which they wrote. It was impossible to speak in direct way of the real grandeur and meaning of these things, proceeding from an ancient wisdom which had lived in human souls, for the meaning was hidden under an outer garb which included all kinds of physical and chemical forms. For those who merely saw what appeared outwardly in these books it was the greatest nonsense, and at that time it was most difficult to penetrate behind these secrets and arrive at the real meaning. But we must not forget that Goethe from his deep striving for knowledge had developed an intuitive mind. He must have been greatly pleased when on opening the ‘Aurea Catena Homeri’ he saw on the first page a symbol which had a deep effect on his soul; two triangles interlaced; in the corners the signs of the planets, drawn in a wonderful way, a flying dragon wound round in a circle, beneath which another dragon had fixed stiffening itself, and when he read the words on the first page, saying that the flying dragon symbolizes the stream which sends those forces which stream down from out of the Cosmos to the stiffened dragon, showing how heaven and earth hang together, or as it is expressed there: ‘How the spiritual forces of heaven pour into the earth's centre.’These mysterious signs and words must have made a great impression upon Goethe. For instance, those which depict the whole growth of the earth: ‘From chaos to that which is called the universal quintessence’ — a remarkable sentence, curiously mixed up with signs of a chaotic nature, still undifferentiated right through the mineral, plant and animal kingdoms, right up to man and to that perspective to which man is developing in ever greater refinement. But it was not easy to find a way of penetrating to the deeper meaning. So Goethe left Frankfort in a frame of mind which can be described in the following words: I have found nothing. These seekers into nature can only give me dry, empty ideas; anything that can be squeezed out of them is but life's water. I have busied myself with much that has come down to us from the past from those who declare that they saw into the secrets of life. But the way, the way drives one to despair!This was sometimes the mood in Goethe's soul. He was not to be bewitched by easy speculations or philosophizing, or by confused symbols and explanations from those old books, which worked so wonderfully and forebodingly on him. They looked at him with their mysteries as something to which he could find no way. But anyone who knew Goethe's soul, knew the seed was already sown in his soul which was to germinate later. But he felt himself as one who was rejected and unworthy to unravel the secrets of life. Then he went to Strassburg.There he met people who must have interested him in one way or the other. He got to know Jung-Stilling with his deeply mystical soul, who owing to the development of peculiar forces generally found sleeping in men, had looked deeply into the hidden side of existence. He met Herder at Strassburg, who had gone through similar moods and who in times of desperation had often been at the point of a denial of future life. In Herder he learnt to know a man who suffered from a surfeit of life and who said, I have studied much, discerning sundry things connected with men's works and men's strivings on the earth. But he was unable to say to himself, I have had one moment when my longing after the sources of life has been satisfied. This was when he was ill and inclined to deny everything with bitter irony. Yet it was Herder who pointed out many depths in the riddles of life, and Goethe found in him a truly human Faust. But that side of negation which is not the outcome of mockery and scorn Goethe learnt to know later through his friend Merck. Goethe's mother who disliked criticism of people and all moralizing said of Merck, he can never leave Mephistopheles at home, in him we are quite used to it. In Merck Goethe found a disclaimer of much that is worth striving for in life. Over against all these impressions which Goethe received from the Strassburg people, it was through Nature and his observation of Nature that many of life's puzzles were cleared up for him.At the same time we must think of Goethe as a man possessed of a sharp, penetrating mind; he was not an unpractical man. He was an advocate, but only practised for a short time. Those who knew Goethe's work as an advocate and later as a Minister, were acquainted with his eminently practical mind. As advocate he knew little more than what he had learnt by heart from law books. But he was a man able to decide very quickly on any point laid before him; such a man can also map out clearly life's course.Let us consider Goethe when during his Italian journey, he gradually arrived at the discovery of the primeval plant, he collected stones, prepared himself diligently to take up the work of research, and did not seek to know immediately ‘how one thing strives to enter another’ but said to himself: ‘If you would gain a premonition’ of ‘how one thing works and lives in another’ as heavenly powers rise and fall, offering each the ‘golden urn,’ examine the vertebras of the spinal column and the way in which one bone is connected with the next; and how one faculty helps another. Seek in the smallest thing the picture of the greatest.Goethe became a very diligent student during his travels in Italy, examining everything. He formed the opinion that if an artist acted ‘according to the laws which are followed by nature herself’ and understood by the Greeks, the divine will be present in his works even as it is in the works of creation. For Goethe, art is a ‘manifestation of the secret laws of nature.’ The creations of the artists are works of nature on a higher stage of perfection. Art is man's continuation and conclusion of nature. ‘For since man is the head of nature so he regards himself as a complete nature, but also as one which can call forth a further rise. He strives for this through the acquisition of all accomplishments and virtues which call for choice, order, harmony, and meaning, and at last rises to the production of the work of art.’

We can say that during the Italian journey everything that came before Goethe took on definite forms and through inner soul experiences appeared clearly before him. So once again he took up ‘Faust,’ and we perceive how he endeavoured to bring the separate parts into union. But we also perceive how he interested himself in an objective manner in what Faust could become for the people of the North. In Italy he became particularly conscious of the great difference between people who had been brought up amid classical surroundings and those who had not. He found it strange that so little should be heard in Rome of ghost stories such as were common in the North. In the Villa Borghese he wrote at this time the ‘Witches Kitchen’ scene, as one who had lost touch with all such things, but also as one who recalled to memory the spirit of the earth. When he had previously written about the earth spirit, he represented it in such a way that Faust turned away from it, as from a ‘hideous worm.’ But the fact of turning away from it, even without understanding why, remains in the soul and works on further, as it did in Goethe. But those who become impatient and refuse to wait until after long years the seed grows, are unable to see the way clearly. And when in Italy Goethe knew that a turning away from the terrible countenance would have its effect upon his soul, and now these words arise:‘Sublime Spirit, thou gavest me, gavest me all For which I begged. It was not without reason That thou didst turn thy face in fire to me And for a kingdom gavest me the glorious nature With strength to feel it and to enjoy it. Not A coldly astonished gaze didst thou grant to me But didst permit me to look into her profound bosom As into that of a friend. Past me didst thou lead the ranks of the living And didst teach me to know, in the quiet bushes, In air, and in water, my brother. And when the storm roared and rattled in the woods And there fell the neighbouring branches of the giant fir Squashing the undergrowth and in their fall Sounding like thunder in the hollow of the hills, Thou didst lead me to a safe Grotto, where Thou didst show me myself and opened my heart To deep and secret wonders.’Before Goethe, there stands the possibility of the human soul, through its own development expanding to a spiritual universe. Through a patient sacrificial resigned search, the fruits stand before his soul which as germs were planted when he came into touch with the earth spirit. We can see through this monologue in ‘Wald und Höhle’ (wood and grotto) what a forward jerk this was towards the ripening of the fruits in his soul, for it shows us that the seed already sown was not sown in vain. And as a warning to have patience, to wait until such seeds had ripened in his soul, that fragment of ‘Faust’ meets us which appeared with this setting in 1790. And now we see how Goethe finds the way step by step after being led to his ‘safe grotto where the secret deep wonders of his own heart were opened to him,’ he obtains that comprehensive survey which bids him no longer abide with his own sorrow, but teaches him to rise above his sorrow, to send his foreseeing spirit out into the Macrocosmos, watch the fighting of the good and evil spirits and see men on their battle ground. And in ‘Faust’ in 1808 he sent out beforehand the ‘Prologue in Heaven:’Raphael: ‘The sun-orb sings, in emulation, 'Mid brother-spheres, his ancient round: His path predestined through Creation He ends with step of thunder-sound.’We next see how the macrocosmic Mights oppose the forces of the great world. We see too from out the experiences of Goethe's soul, what a remarkable light falls on the two dragons with which at one time in his youth he came in touch.‘Faust’ is such a universal poem because it contains so many warnings. It also gives us that golden saying: ‘Wait in confidence for the development of thy inner forces, even if that means waiting a very long time!’ These words also sound as a warning which stand as an attribute before Faust, when Goethe looks back to those ‘fluctuating figures which in early days had once shown a troubled countenance’ but which now are flooded with light. Now he had waited so long that the friends who had taken such a vivid interest in Faust as he had appeared to them in the first form, had died, and those who had not died were very far away. Goethe had been obliged to wait for the development of the seed already sown in him.Now these striking words meet us:‘My sorrow speaks to an unknown crowd, Their applause e'en makes my heart feel heavy, And those who once delighted in my song If they still live, in other lands are scattered.’No longer did it matter to those who in youth had felt with him. He had had to wait, as the last lines of this dedication so beautifully express it — ‘What was once a reality to me, has gone into the unreal: but what has remained for me and appears to outer vision as unreal, that to me is now true, and it is only now that I can give it as truth.’ So we see how this poem, even if only looked at in such an external manner as we have to-day, leads us into the depths of the human soul.‘Faust’ was begun in a desultory manner, some parts being pushed in between others, and therefore Goethe was unable to show in a continuous way what he had experienced in his soul. But something else led to the fact that Goethe expressed his deepest experiences in ‘Faust.’The ‘Helena scene’ also belongs to the first part of ‘Faust’ written by Goethe. But we find it was not included even in the ‘Faust’ of 1808. Why not? Because the manner in which Goethe had finished ‘Faust’ at that time would not allow it. What Goethe wished to say through the Helena scene was the expression of such a deep premonition of the deepest riddle of existence, that the first part was not sufficiently prepared to allow of this. Only when Goethe had reached an advanced age, was he able to give a true form to what really was the inner work of his life.We see how his mind had expanded so that he was able to grasp the worlds of the macrocosm, as expressed in the ‘Prologue in Heaven.’ We shall also see the way in which Goethe represents the stages of the soul's experience, leading men from the first stage up to that of imaginative vision, where the soul penetrating ever deeper and deeper, bursts at last the doors of the spiritual world, which Mephistopheles would close. Goethe also represents these inner experiences. For he places in the second part of ‘Faust’ the experiences of a soul through secret scientific study, and we see here one of the deepest riddles of existence, which if recognized, would be found to be an announcement of Western spiritual science given in imposing language. One is tempted to place such a poem as the ‘Bhagavad Gita’ and the second part of ‘Faust’ side by side. For great and powerful wisdom speaks out of such Eastern writings. It seems as if the gods themselves desired in them to speak with men to express the wisdom out of which the world was formed. Indeed it is so.Now let us look at the second part of ‘Faust.’ Here we see a striving human soul which has raised itself to spiritual vision from outer physical perception; we see how it has worked its way up to true clairvoyance when Faust enters the spiritual world and finds the spiritual choir around him ...‘Hearken! Hark! — The Hours careering Sounding loud to spirit-hearing. See the new-born day appearing! Rocky portals jarring shatter, Phœbus' wheels in rolling clatter, With a crash the Light draws near! Pealing rays and trumpet-blazes — Eye is blinded, ear amazes: The Unheard can no one hear!’Faust II, Act I.to that passage where Faust is outwardly dazzled, so that the outer world is lost to his perception and he says to himself: ‘Only within shines clear light! ...’ up to that passage in which the soul works itself up to the spheres of world existence, where the spiritual worlds are to be seen in all their purity, and the riddle of the world discloses itself to the soul. This is a way which we must designate as an esoteric one.The way in which we can penetrate from the outer to the inner life of Goethe's world enigma, we shall see to-morrow, and we shall also see from out of what depths Goethe spoke the word which at last gave him the certainty he needed with reference to all the longings, all the sorrows, pains and strivings for knowledge in his life.‘Whoever zealously strives We can redeem him; And if love from above Feels an interest in him, The blest choir will be there With a friendly greeting.’We shall consider to-morrow how Goethe solved this riddle of existence, and how that which lives in the soul can rise up to its true home. It will give us the answer to what Goethe placed as the riddle of his existence and about which he gives us such a hopeful answer at the end of the second part of ‘Faust:’‘For the spiritual world, That noble member, Is saved from evil. Whoever strives zealously We can redeem him! ...’This tells us Faust can be saved and those spirits will not conquer who by bringing men into the material bring them also to destruction.