View allAll Photos Tagged synthesis
The face of the artist is nothing but his mask, since his real "I" remains invisible. According to Steiner, the head having become a kind of hologram of the body, then all the effort of spiritualization of the human being by the artist, will have to relate to the shape of the human head. This is what will happen with the design of the Goetheanum. Once more, we are faced with an objectification of the supersensible domain. The model of Gnostic art for Rudolf Steiner is of course as a work of art the Goetheanum in which he will give substance to his thought. 1965 The model of artistic gnosis for Raymond Abellio is of course a cabalistic diagram: the Universal Senaire Sphere which achieves the synthesis and the program of all his thought. Same. Through these images, we can grasp the artistic project of the first Goetheanum whose architectural elements, such as the columns, the capitals and the windows, owed nothing to chance, neither taste nor even less to functionality, but had to obey requirements particular esoteric and spiritual. The entire Goetheanum was to illustrate the foundations and 16 teachings of Anthroposophy, just as the art of Gothic cathedrals illustrated the foundations and various passages of the sacred history of Christianity. The scene of the Goetheanum was of course the apogee of his artistic project, with the column-seats where the twelve "apostrophes" should sit, next to the carved wooden ensemble, "The Representative of Humanity". which returns as a colored figure under the cupola.
In the rented hall of the Munich State Theatre, the Mystery Plays of Rudolf Steiner were performed each year between 1910 and 1913. The wish arose within the circle around Rudolf Steiner to build an appropriately designed building for these and for performances of eurhythmy. As there were many obstacles from the side of the authorities in Munich, it was decided to redesign the building to be erected on donated land in Dornach near Basel/Switzerland.
Construction began in 1913, meeting with delays during the First World War. Still incomplete, the building burnt down on New Year’s Eve of 1922/23.
The central element, already present in the project in Munich was the ground plan: 2 domes of different sizes resting on 2 large rotundas and interlinked with one another. Because of their particular proportions, they gave the impression both of a single, sculpted space, or also one consisting of 2 separate portions. The pillars along the interior of the building connected with earlier epochs in the development of architecture. Yet each pillar was sculpted individually with a base and a capital whose motifs were carved in such a manner that each new one derived its forms from elements of the previous one. It was Steiner’s attempt to incorporate into the design the laws underlying all development from one form to another in the living world, as in Goethe’s theory of metamorphosis, and to give to these new forms of artistic expression.
Architecture thereby departs from the static, “dead” state and begins to take on elements of a path of animated development. The arts of architecture, sculpture, painting and stained glass windows were united to create a space for the other arts – music, drama and eurhythmy. The building represents an effort to assist what slumbers in each human being as a higher element into full fruition
The First Goetheanum: A Centenary for Organic Architecture
John Paull*
University of Tasmania, Hobart, Australia *Corresponding Author: j.paull@utas.edu.au, john.paull@mail.com
ABSTRACT
A century has elapsed since the inauguration (on 26 September, 1920) of a remarkable piece of architecture, Rudolf Steiner‟s Goetheanum, headquarters of the Anthroposophy movement, on a verdant hilltop on the outskirts of the Swiss village of Dornach, near Basel. The Goetheanum was an all timber structure, sitting on concrete footings and roofed with Norwegian slate. The building was begun in 1913, and construction progressed through the First World War. Rudolf Steiner‟s intention was to take architecture in a new and organic direction. On New Year‟s Eve, 31 December 1922, the Goetheanum hosted a Eurythmy performance followed by a lecture by Rudolf Steiner for members of the Anthroposophy Society. In the hours that followed, despite the fire-fighting efforts of the Anthroposophists and the local fire brigades, the building burned to the ground. The popular narrative is that the fire was arson but that was never proved. A local watchmaker and anthroposophist, Jakob Ott, was the only person to perish in the fire. He was falsely accused (in death) as „the arsonist‟ but the evidence is rather that he perished in his brave efforts at saving the Goetheanum. Rudolf Steiner saw the “calamity” as an opportunity “to change the sorrowful event into a blessing”. He promptly embarked on plans for a new building, Goetheanum II. This time there was to be “no wood”. The short-lived Goetheanum I had served as a placeholder for Goetheanum II. This new Goetheanum, Rudolf Steiner‟s finest work of organic architecture, is of steel reinforced concrete and today stands on the Dornach hill right on the site of the old Goetheanum.
Keywords: Rudolf Steiner, Anthroposophy, Goethe, Edith Maryon, Jakob Ott, Marie Steiner, fire, arson, disability, Dornach, Switzerland.
INTRODUCTION
The present Goetheanum building, located at Dornach, Switzerland, is one of the great buildings of the twentieth century (). The world has this building, Goetheanum II, because of three strokes of good luck (karma if you prefer), although they did not appear in that guise at the time. First, was a frustrating bureaucratic denial [1], second, was a catastrophic fire that Rudolf Steiner (1861-1925) described as a “calamity” [2], and third was the arrival of a talented English sculptor who became one of Rudolf Steiner‟s closest colleagues [3].
The original Goetheanum was opened on 26 September, 1920. It was designed by the New Age philosopher, Rudolf Steiner. The first plan was to build a centre for Rudolf Steiner‟s Anthroposophy movement in Munich, but the city authorities denied building approval [1, 4]. It was a source of frustration and disappointment at the time, although it was really a stroke of great good fortune. As the Nazi ideology took root in Germany, Rudolf Steiner was unwelcome and threatened in Germany. After two decades of
living in Berlin, Rudolf Steiner relinquished his Berlin apartment in 1923 and never revisited Germany [5].
Alfred Hummel, who served as a member of the Building Office for the Goetheanum, explains of the denial of building approval: “this could be seen as good providence because the building would have run into great difficulties after the outbreak of World War 1. Munich would have been a place of great danger after 1933” [4: 2]. If the Goetheanum had been raised in Munich, it would have stood a good chance of destruction during World War II since the city was carpet bombed, including with magnesium incendiary bombs, in Allied raids. Such an alternative reality was never tested because shortly after the Munich denial, Dr Emil Grossheintz offered a site for the Goetheanum in Switzerland and Rudolf Steiner took up the offer [1].
The first Goetheanum was a building of very short life. Opened in 1920, it was burned to the ground at the end of 1922. This was a blow to the aspirations of the Anthroposophists and the multinational contingent of dedicated workers
Journal of Fine Arts V3 ● I2 ● 2020
1
The First Goetheanum: A Centenary for Organic Architecture
who had laboured through the war, many as volunteers, to create this unique building. Rudolf Steiner described it as a “calamity” [1]. But, the destruction proved to be a blessing in disguise because it allowed a rethink of the design. In place of the original rather quaint structure of Goetheanum I, there is now Goetheanum II, which is a truly remarkable and timeless masterpiece.
The English sculptor, Edith Maryon (1872- 1924), arrived in Dornach a few months before the outbreak of war in 1914, to devote her talents to the service of Rudolf Steiner and his Anthroposophy movement. Here she found her spiritual home and she devoted herself forthwith to „the cause‟. Goetheanum I was already designed and under construction by the time Edith Maryon arrived in Dornach, but she was the sculptor on hand, and by then established as one of Rudolf Steiner‟s close collaborators when Goetheanum II was conceived.
On the occasion of the centenary of the opening of Goetheanum I, the present paper, considers the dharma of the building, its reception, and its passing
Methods
Goetheanum I is, a century on from the opening, beyond living memory. The present account draws on contemporary documents of the time, to throw light on the building, its reception, and its calamitous demise. Documents drawn on include eye witness accounts, personal published and manuscript accounts, newspaper accounts, correspondence, and Rudolf Steiner‟s own comments, explanations and lectures. The original sources are quoted where appropriate.
Results
The Goetheanum with which this paper is concerned is the first Goetheanum, Rudolf Steiner referred to it as the “old Goetheanum”[6], the present paper will refer to it generally as „Goetheanum I‟. When building approval was denied in Munich [4], a devotee of Rudolf Steiner‟s Anthroposophy, the Zürich dentist Dr Emil Grosheintz, offered a site on the outskirts of the Swiss village of Dornach, the site of a famous Swiss battle of 1499 where Swabian invaders were repulsed [7]. Dornach is a brief commute (train or tram, about 15 km) to the city of Basel, which sits in the north west of Switzerland near the junction of three country borders (France, Germany and Switzerland).
The Goetheanum was a project of the New Age philosopher and mystic Rudolf Steiner. He had honed his skills as an orator and lecturer as
leader of the German section of the Theosophy Society [8]. Emerging differences between the Theosophists and Rudolf Steiner led to the establishment of a breakaway movement, the Anthroposophy Society. The Goetheanum was to be the home of the new Society, an administrative centre, and a performance space for Steiner‟s Mystery plays.
Rudolf Steiner went on to design various buildings in the growing enclave of Anthroposophists at Dornach [9], but the monumental Goetheanum I was the first venture into Anthroposophical architectural design on a grand scale, and the Goetheanum II was the apogee of Rudolf Steiner‟s architectural manifestations .
THE GREAT WAR
An Australian soldier, arriving in Europe in 1916, sent a postcard home: “Dear Dave, We have seen a lot of ruined towns & villages since we have been in France. This must have been a nice building once, now ruins, Keith” [10].
In the Europe of the time, destruction on an industrial scale was the order of the day. However, Switzerland remained neutral throughout, and her neutrality was honoured by all the belligerents for the duration.
Construction of the Goetheanum at Dornach began in 1913. Construction carried on through the years of World War I (1914-1918). The Russian artist, Assya Turgeniev, recalled: “Already at the beginning of hostilities Dr Steiner tried to speak to us about the background to the events of the war ... The stirred up chauvinistic moods of his listeners thrown together from all quarters of the globe (we were from about 17 different nations) that did not allow him to continue” [11: 99].
Marie Steiner wrote that, as the war stretched on, the work force was depleted by call-up notices: “one after another our artists were called away to the scene of the war. With very few exceptions, there remained only those men who belonged to neutral countries, and the women” [in 12: vii].
The Goetheanum was built during the Great War using volunteer and paid labour. They came and went. Amongst the privations and avalanche of news of death and destruction of the war: “the work went on as best it could and as far as our strength allowed” [11: 136]. “From all quarters of the globe people gathered in Dornach to help with the building. It was a motley, many-sided, multilingual company”[11: 57]. “Our carving group grew to about 70 in number, not counting those who put in a short appearance ... All financial affairs were
2
Journal of Fine Arts V3 ● I2 ● 2020
The First Goetheanum: A Centenary for Organic Architecture
attended to by Miss Stinde. For those who needed it she arranged a modest remuneration” [11: 58].
The artist Assya Turgeniev remembered: “we were only a bunch of dilettantes ... Only the knowledge that we were working together on a great future task and Dr Steiner‟s helping guidance brought order into this chaos. It remains a wonder that the work progresses without any kind of organisation” [11: 59].
With the outbreak of war, “A heavy gloom settled over Dornach ... a European war, was now on our very doorstep [11: 68]. Goetheanum volunteers were called up to return to their respective countries: “Many friends had been recruited and had to depart” [11: 69]. “Our group of wood- carvers grew less and less as further friends were called up” [11: 79].
Figure 1. View of the Goetheanum with blossom trees [source: 13].
A NEW STYLE OF ARCHITECTURE
Rudolf Steiner spoke of the Goetheanum, “The Dornach Building”, in a lecture to Anthro- posophists at The Hague in February 1921: “I have said that the style of this Goetheanum has arisen out of the same sources that gave birth to spiritual science. The endeavour to create a new style of imperfections which must accompany such architecture is accompanied by inevitable risks, by all the a first attempt” [14: 150]. Steiner elaborated: “there is not a single symbol, not a single allegory, but rather we have attempted to give everything a truly artistic form [14: 151].
Organic Architecture
Rudolf Steiner explained his Goetheanum as a manifestation of a new organic architecture: “Concrete and wood are both employed to give rise to an architectural style that may perhaps be described as the transition from previous geometrical, symmetrical, mechanical, static- dynamic architectural styles into an organic style” [14: 153]. The plinth was concrete and the superstructure was timber.
The Goetheanum was organic but not imitative of nature: “Not that some sort of organic form has been imitated in the Dornach building. That is not the case” [14: 154]. Rudolf Steiner informed his audience that: “The least and the greatest in an organic whole has its place in the organism, its absolutely right form. All this has passed over into the architectural conception of the Dornach building” [14: 154]
Rudolf Steiner acknowledged the German writer and polymath, Johann Wolfgang von Goethe (1749 -1832): “it has been my aim, in accordance with Goethe‟s theory of metamorphosis, to steep myself in nature‟s creation of organic forms, and from these to obtain organic forms that, when metamorphosed, might make a single whole of the Dornach building. In other words, organic forms of such a kind that each single form must be in precisely the place it is” [14: 154].
Windows, as all the elements of the Goetheanum, were conceived of as part of an organic whole: “we are handing over this auxiliary building [the Glass House, Glashaus] ... in order that they
Journal of Fine Arts V3 ● I2 ● 2020
3
The First Goetheanum: A Centenary for Organic Architecture
may create something that in the fairest sense may be a living member in the whole organism of our building” [12: 15].
Rudolf Steiner was aware already that not all would be won over to his organic architecture: "I well know how much may be said against this organic principle of building from the point of view of older architectural styles. This organic style, however, has been attempted in the architectural conception of the building at Dornach ... You will therefore find in the Dornach building certain organic forms... carved out of wood, as embodied in the capitals of the columns at the entrance” [14: 154-6]
THE OPENING
The Italian artist Ernesto Genoni, who later spent a year with Rudolf Steiner at Dornach (in 1924) [15, 16] and was a member of Rudolf Steiner‟s First Class, wrote two (somewhat cryptic) accounts of his first visit to the Goetheanum on the occasion of the inauguration (26 September, 1920).
In one account Ernesto Genoni relates: “In Milan I came in touch with the Anthroposophical Society where I took part for a whole year in the study of Anthroposophy. Then my sister Mrs [Rosa] Podreider, for certain business reasons, sent me to Lausanne and said „While you are there you can go as far as the Goetheanum‟. Eventually I arrived in Dornach at the inauguration of the first Goetheanum. There Mrs [Charlotte] Ferreri introduced me to Dr Steiner and I was received by him with great warmth. Unfortunately he was speaking in German which I did not know, but by his long handshake
and smiling expression of the face I could feel his sincere welcome. Here I would like to add this - That was the only time among all the people I met at the Goetheanum that anyone gave me a feeling that I was truly welcome ... So much did I feel this isolation that I decided to return to Italy” [17: 7].
In another account of his Goetheanum inauguration visit, Ernesto Genoni writes: “In autumn 1920 Rosa sent me to Lausanne for selling some opossum skins and then I went to Dornach. What a strange impression I received from the first view of the Goetheanum building ... The short conversation with Fräulein Vreede ... chilly! Frau Ferreri ... the meeting with the Doctor ... the bewildering impression of the interior of the Goetheanum. I could not enter in such saturated life of the spirit and after a few days I left ... the reproach from Miss Maryon. In the following years it was a painful search to find my way in life” [18: 19] (author‟s note: ellipses are in the original handwritten manuscript).
ART OF THE TOUR
Rudolf Steiner wanted the art of the Goetheanum to speak directly to the viewer without intermediary explanations: “Sometimes I had occasion to show visitors the Goetheanum personally. Then I used to say that all „explanation‟ of the forms and colours was in fact distasteful to me. Art does not want to be brought home to us through thoughts, but should rather be received in the immediate sight and feeling of it” [1: 3]. The photographs in the present paper offer an insight into the experience of Steiner‟s visitors (Figs. 1, 2 & 3).
Figure 2. Rear view of the Goetheanum with Heizhaus to the right (postcard)
4 Journal of Fine Arts V3 ● I2 ● 2020
The First Goetheanum: A Centenary for Organic Architecture
NEWS IN THE ANTIPODES
The Register newspaper in Adelaide, Australia‟s city of churches, informed its readers in 1925 about Rudolf Steiner and the Goetheanum: “a man who built a building large enough to contain an audience of a thousand people, roofed by intersecting domes, the larger of them slightly greater span than St Peter‟s, earned a title of serious consideration from all who profess the art of architecture. The building owed nothing to traditional styles. No effect was made by its designer to present an intellectual conception of what the temples of ancient Greece could contribute to the art of modern Europe, nor were the forms of medieval Gothic borrowed and adjusted. In no sense was it a drawing board design.” [19].
The Register continued: “It was conceived and designed, as architecture should be and must be, in three dimensions, and it had to be seen in three dimensions to be understood ... as a first effort in a new presentation of architecture it has probably no rival in the history of art” [19].
Readers in South Australia were informed that the Goetheanum: “was built on the summit of one of the foothills of the Jura mountains, near the village of Dornach, standing out against a background of rugged hills and rocky cliffs ... He deliberately discards the limitations of squares, and one feels that his construction is organic rather than static” [19].
Figure 3. Interior of the Goetheanum [source: 13]. Journal of Fine Arts V3 ● I2 ● 2020
The Name
Even the name of the Goetheanum apparently drew offence. „Wokeness' is not such a twenty- first century phenomenon as some might suppose. Rudolf Steiner explained: “Many people were scandalised at the very name, „Goetheanum‟, because they failed to consider the fundamental reason for this name, and how it is connected with all that is cultivated there as Anthroposophy ... this Anthroposophy is the spontaneous result of my devotion for more than four decades to Goethe‟s world-conception” [2: 1].
Of the name, Rudolf Steiner explained: “this Goetheanum was first called „Johannesbau‟ by those friends of the anthroposophical world- conception who made it possible to erect such a building ... for me this building is a Goetheanum, for I derived my world-view in a living way from Goethe ... I have always regarded this as a sort of token of gratitude for what can be gained from Goethe, an act of homage to the towering personality of Goethe ... the anthroposophical world-view feels the deepest gratitude for what has come into the world through Goethe” [2: 2].
Second Thoughts
Less than a year after the opening of the Goetheanum, and even while the building remained incomplete (it was never entirely completed), Rudolf Steiner revealed that he was thinking of a Goetheanum Mark 2.
At a lecture in Berne on 29 June 1921 titled „The Architectural Conception of the Goetheanum‟ Rudolf Steiner told his audience that: “Naturally one can criticise in every possible way this architectural style which has been formed out of spiritual science. But nothing that makes its first appearance is perfect, and I can assure you that I know all its flaws and that I would be the first to say: If I had to put up this building a second time, it would be out of the same background and out of the same laws, but in most of its details, and perhaps even totally, it would be different” [20: 42]. As events played out just eighteen months later, it proved to be a remarkably prescient statement.
Bad Timing
For sheer bad timing (and perhaps prolixity), a fund raising letter dated 25 December 1922 by the British Anthroposophical Society in London would be hard to beat. The letter explained that: “the Goetheanum expresses in a language of line, form and colour those thoughts and ideas which a knowledge of higher spiritual worlds
5
The First Goetheanum: A Centenary for Organic Architecture
produces in the artist. As a work of art the Goetheanum can only be compared, in its tendency to the supreme artistic achievements of humanity, for it produces in the onlooker the perception of that interpenetration of object and idea of which the true world of art is the outcome, while it raises him to that point within his inner being where an ideal spiritual world is felt to be born into physical reality”.
Then the fund raising letter gets to the point: “The Goetheanum still remains to be completed. The funds at Dr Steiner‟s disposal are drawing to an end. Money is urgently needed to carry on the work. The work MUST NOT STOP ... Let each give what he or she can. In the old days ladies sold their jewellery to enable the foundation stone to be laid” [21].
Just six days after the date of the London fund raiser letter, the Goetheanum burned to the ground (on the night of 31 December 1922). Rudolf Steiner described the occurrence as a “dreadful calamity”. He reminded his audience of “The terrible catastrophe of last New Year‟s Eve, the destruction by fire of the Goetheanum, which will remain a painful memory” [2: 1].
Rudolf Steiner explained that the Anthroposophical Society was misunderstood and that there was calumny afoot: “That dreadful calamity was just the occasion to bring to light what fantastic notions there are in the world linked with all that this Goetheanum in Dornach intended to do and all that was done in it. It was said that the most frightful superstitions were disseminated there, that all sorts of things inimical to religion were being practiced; and there is even talk of all kinds of spiritualistic seances, of nebulous mystic performances, and so on” [2: 1].
The Fire
A local newspaper, the Basler Nachricten reported the news of the New Year fire at the Goetheanum: “The Goetheanum in Dornach-Arlesheim is on fire, was the terrible alarm message that flew like wildfire ... just before the bells sounded in solemn ringing ... On New Year‟s Eve ... at 7 pm , the Goetheanum had a presentation of Eurythmy and a lecture by Rudolf Steiner ... The last audience had left the lecture hall by 9.45 pm ... immediately after the seriousness of the situation was clear, the calls for help were despatched to the surrounding villages and to Basel ... The Dornachers were the first to arrive at 11:45 pm, followed by the Arlesheimers a quarter of an hour later ... Because of repair work, there was scaffolding where the fire was first seen” [22].
Rudolf Steiner put the fire as starting between 5:15 pm and 6:20 pm [23].
Rudolf Steiner related that: “one hour after the last word had been spoken, I was summoned to the fire at the Goetheanum. At the fire of the Goetheanum we passed the whole of that New Year night”. He stated that it was “exactly at the moment in its evolution when the Goetheanum was ready to become the bearer of the renewal of spiritual life”[6].
A newspaper gave an account of the events: “When the double cupolas fell in, there shot up heavenwards a giant sheaf of fire, and a torrent of sparks threatened the whole neighbor-hood so that fire-men had to be sent in all directions to prevent the spread of disaster” [24]. Later, on New Year‟s Day “The sky was veiled in clouds as if to check the great outpouring of people which took place from Basel and its neighbor- hood. For nearly the whole population there was one urge: Off to Dornach! Hour after hour unbroken streams of people climbed the muddy roads and slippery fields, whilst other streams, equally unbroken, flowed down again” [24].
Rudolf Steiner later referred to “the pain for which there are no words” [1: 7]. However, on the day, as Albert Steffen relates, Rudolf Steiner kept his nerve and declared the continuance of the New Year‟s programme: “In the morning Dr Steiner ... was still there ... „We will go on with our lectures as notified‟, he said, and gave instructions that the pools of water in the „Schreinerei‟ (the temporary shed used for lectures) and the dirt carried in by muddied shoes should be removed” [25: 13].
Seat of the Fire
Albert Steffen (1884-1963), Anthroposophist, writer and editor, wrote of the seat of the fire: “Unfortunately a scaffolding, necessary for certain work, had been put up just in the place where the fire was first noticed” [25: 12]. A local Basel newspaper had reported likewise: “Because of repair work, there was scaffolding where the fire was first seen” [22].
Ninety nine years later, accounts of the Notre Dame Cathedral fire of 2019 are reminiscent of accounts of the Goetheanum fire. “The fire began at about 18:43 local time on Monday (15 April). Pictures show flames shooting up around the spire, shortly after the doors were shut to visitors for the day. The blaze spread rapidly along the wooden roof as onlookers gathered on the ground below” [26]. Another account states
6
Journal of Fine Arts V3 ● I2 ● 2020
The First Goetheanum: A Centenary for Organic Architecture
that: “Flames that began in the early evening burst through the roof of the centuries-old cathedral and engulfed the spire, which collapsed, quickly followed by the roof” [27]. Builder‟s scaffolding for repair work are also a part of the Notre Dame story: “Much of the roof was covered in scaffolding as part of a big renovation programme, which is being investigated as a possible cause of the blaze” [26]. Two leading candidates for the cause of the Notre Dame fire are identified: “The catastrophic fire at the Notre Dame Cathedral could have been caused by a burning cigarette or an electrical malfunction, French prosecutors said ... Prosecutors are now looking at the possibility of negligence” [28].
Of the Goetheanum fire, a Basel newspaper reported: “Dr Steiner ... According to him,, who will probably know his way around the construction of the building, the fire must have started between 5:00 and 7:00 in the evening .... The smoke was noticed a little after 10 pm in the so-called „white room‟ on the third floor” [23]. The room, the apparent seat of the fire, was used by one or some Eurythmists as a change room [23]. It was reported that “there were no electrical systems at the fire site”[22].A discarded cigarette butt, a neglected candle or a portable camp stove or heater (the outside temperature would have been hovering around 0o C), or a flimsy Eurythmy costume draped carelessly on a hot light bulb are candidates as potential ignition sources.
The Goetheanum was insured for CHF 3,800,000 and with a further CHF 500,000 for furniture and equipment [22]. A proof of contributory negligence would have voided or severely prejudiced an insurance claim. This, combined with the prevailing persecution complex of the Anthroposophists, was a great motivation for fuelling suspicions of arson. To this day, the cause of the Goetheanum blaze remains an open question [29]. The timely payout of the insurance facilitated the rebuild of the Goetheanum, and the local Building Insurance Act was revised “to protect the state institution against such disasters” [30].
Jakob Ott
One person lost their life in the fire. That was Jakob Ott, a watchmaker from nearby Arlesheim, and a member of the Anthroposophy Society.
Assya Tergeniev recorded that: “When the glowing ashes had cooled, some days later, a human skeleton with a deformed spine was found therein. This deformity was the same as
that of a watchmaker who had disappeared at the time of the fire. It was officially announced that he had come to grief while helping with the rescue work” [11: 129].
A Basel newspaper reported that “Human remains were found in the rubble of the burned- down Goetheanum on Wednesday [10 January]. It is not yet certain whether it is the missing watchmaker Ott ... These are the bones of a single person, who presumably fell from the floor of the dome into the depth of the basement. The skull was smashed ... no one apart from the watchmaker Ott has been missing since that fateful night ... the bone remains were almost completely covered with slate residue from the roof of the dome. The casualty must have plunged into the stage basement below the collapsing dome at 12 midnight. Although all fire-fighting teams had withdrawn at 11:30 pm in view of the building, which was at risk and could no longer be saved, it is easily possible that, due to the thick smoke, a person who might already have been stunned had not been noticed” [31].
Conspiracy theorists of the day, and later commentators, have attributed the fire to arson, but that is not proven, and even named the supposed arsonist as Jakob Ott, and that is proven false. Research of Günther Aschoff has established: “the 28-year-old watchmaker Jakob Ott from Neu-Arlesheim had died in the fire. But he could not have been the arsonist, because he was home all New Year's Eve, then in the evening at a choir rehearsal and at the year-end service in the Reformed Church. (He was a member of the Reformed Church and of the Anthroposophical Society, he procured many advertisements for the magazine "Das Goetheanum" and had also collected signatures for the naturalization of Rudolf Steiner). At about 22.30 he was on the tram on the way home. When he saw the clouds of smoke at the Goetheanum in the moonlit night, he ran up the mountain, to help, which he used to do whenever he was needed. He was present when the fire was extinguished in the small dome at the top of the building, but when the others had already retreated because of all the smoke”. Jakob Ott failed to evacuate likely because he was overcome by smoke or that he lost his footing [32].
Jakob Ott was reportedly just 1.5 metres tall, and a hunchback with “a backbone curvature due to an accident” [31]. Another account simply sated: “Ott had a hump” [30]. He was a man of modest means and lacking influential friends. As a disabled figure, Jakob Ott was a
Journal of Fine Arts V3 ● I2 ● 2020
7
The First Goetheanum: A Centenary for Organic Architecture
ready candidate for „othering‟ and he made a convenient scapegoat for the smug. A Basel newspaper reported: “Dr Steiner, whom we also interviewed regarding Ott ... He himself has no suspicion of Ott” [23]. Rudolf Steiner subsequently attended Jakob Ott‟s funeral [33].
It appears that Rudolf Steiner never referred to the fire as „arson‟. Albert Steffen wrote of „The destruction of the Goetheanum by fire”, he did not write of „by arson‟ [25]. Arson does not rate in the top ten causes of house fires [34]. Arson does not rate as one of the nominated “leading causes of warehouse structure fires” [35]. If the arson conspiracy theory fails, then the quest for „the arsonist‟ is extinguished.
The demonising of Jakob Ott has been an unworthy episode propagated by some who should have known better. One hysterical account about Jakob Ott appears to be mere flights of fancy, ungrounded in fact, and owes more to a fertile imagination than sound research [e.g. 36]. It appears that Marie Steiner has fuelled conspiracy theories: “One of the suspects was the watchmaker Jakob Ott from Allesheim , whose skeleton was found ten days after the fire in the ashes of the Goetheanum which had burned down. It was identified by a spinal defect. Later Marie Steiner wrote „From a skeleton that was discovered, it can be established that the arsonist was burned‟‟ [quoted in 33: 904].
Jakob Ott (1895-1923) died a miserable death by incineration, in a worthy cause of trying to save the Goetheanum. Whether he was overcome by smoke and/or lost his footing, the action of entering a burning building is the act of a brave man.
A Blessing
Exactly a year on from the fire, Rudolf Steiner reflected on the events of New Year‟s Eve, 1922, at the Goetheanum. The venue for the lectures was now the much less salubrious (and cold) Schreinerei, the carpentry workshop, adjacent to the site of the remnants of the fire [37].
Rudolf Steiner referred to the “painful memory” of the final lecture that he had delivered at the Goetheanum, what he now called “our old Goetheanum” [6]. Remembering the night, Rudolf Steiner reminded his listeners that; “the flames bust from our beloved Goetheanum ... but out of the very pain we pledge ourselves to remain loyal to the Spirit to which we erected the Goetheanum, building it up through ten years of work” [6].
Changing tack, Rudolf Steiner urged his audience to move on from the “tragedy” and offered them the recipe for doing just that: “if we are able to change the pain and grief into the impulses to action then we shall also change the sorrowful event into a blessing. The pain cannot thereby be made less, but it rests with us to find in the pain the urge to action ... Let us carry over the soul of the Goetheanum into the Cosmic New Year, lets try to erect in the new Goetheanum a worth memorial to the old!” [6: 4].
Beyond Wood
Goetheanum I was an all-timber construct. One of the building officers related that: “our first director had implored us not to use any iron nail, coach screw or sheet metal in the main wooden structure. These artificial building materials were not to be brought in connection with the noble organic timber” [4: 15]
A few months after the fire, Rudolf Steiner, writing in the April 1923 issue of the periodical „Anthroposophy‟, was quick to rule in a rebuild, that was never in doubt in his mind, while at the same time he ruled out rebuilding in timber: “In rebuilding the Goetheanum we shall probably need to think on different lines ... There can, of course, be no question of a second Building in wood” [38: 38].
In 1923 Rudolf Steiner wrote to the Central Administration of the local Swiss Canton Solothurn: “The new building will stand directly on the site of the old. With regard to the construction of the building as a whole, we bring to your attention that it is to be executed as a solid structure and that all its structural parts, all floors and bearing walls, as well as the roof trusses will be carried out in reinforced concrete. We plan to employ a purely steel construction for the support of the floor of the main stage alone. Timber will be used nowhere as a constructional element in the new building, but exclusively for doors, windows, flooring and floor construction over solid slab floors, for rafters and for fixtures and cladding. As roof material the same Norwegian slate as was used on the old Goetheanum is to be employed. ... We are convinced that the entire building, when completed in this type of construction, will be able to meet all requirements as to fire safety to an unusual degree” [39: 52].
Concrete
By the time of Goetheanum II, Rudolf Steiner already had some experience of reinforced
8
Journal of Fine Arts V3 ● I2 ● 2020
The First Goetheanum: A Centenary for Organic Architecture
concrete as a building medium. The rather fanciful Heizhaus (Boiler House) of 1914 [9], located nearby the Goetheanum, and still standing today, is a creative exercise in concrete. Rudolf Steiner described it as “a remarkable structure” and so it is [14] (Fig.2).
Rudolf Steiner was well aware of criticism of his first adventure in concrete, the Boiler House. He proffered this rejoinder: “This is what is subject to the most severe criticism from some quarters ... I undertook to create ... a shell of concrete - a material which is extremely difficult to mould artistically. Those who criticise this structure today do not pause to reflect what would stand there if no endeavour had been made to mould something out of concrete - a material so difficult to mould. There could be nothing but a brick chimney. I wonder if that would be more beautiful than this, which of course is only a first attempt to give a certain style to something made of concrete. It has many defects, for it is only a first attempt to mould something artistic out of materials such as concrete” [14: 157].
Edith Maryon, Sculptor
Edith Maryon (1872-1924) stepped into Rudolf Steiner‟s life in 1914. It was just before the outbreak of World War I and she quickly became one of his closest confidants. Edith Maryon was an English sculptor trained at the Royal College of Arts in London.
As a trained and skilled sculptor, Edith Maryon brought new skills into the inner sanctum of Rudolf Steiner‟s bevy of talented women, which included the mathematician Elizabeth Vreede and medical doctor Ita Wegman. Goetheanum I was already under construction when Edith Maryon arrived at Dornach. Edith Maryon however quickly proved her skills in collaborative architectural design not just of sculptural elements within Goetheanum I. Together they created the Eurythmy Houses I, II and III (Eurythmiehäuser), a little way down the Dornach hill from the Goetheanum [9].
Edith Maryon brought a feminine influence and a sculptor's panache. Under the collaborative influence of Edith Maryon, Rudolf Steiner was liberated from the overt Freudian features of his earlier creations with his phallic Boiler House and the double-breasted Glass House (Glashaus) and Goetheanum I.
The clay models for Goetheanum II were constructed during 1923, the year of closest
collaboration between Rudolf Steiner and Edith Maryon. At the end of the year, at the Christmas Conference of 1923 Rudolf Steiner appointed Edith Maryon as the head of the Sculpture Section (plastic arts) of the School of Spiritual Science of the Goetheanum [40]. Sadly, by then her health was deteriorating and she passed away four months later. Rudolf Steiner‟s own health took a blow at the close of the Christmas Conference on 31 December 1923. He struggled on through nine months of 1924, before retreating to his sick bed in September, and he passed away six months later.
It could be regarded as fortuitous that Goetheanum I was destroyed during Rudolf Steiner‟s own lifetime and that he and Edith Maryon had developed a close collaborative working embrace that could bring the clay sculptural models of Goetheanum II quickly to fruition. Goetheanum II is Rudolf Steiner‟s final contribution to his portfolio of Anthroposophic buildings and to organic architecture, and more than any of his prior works, it is a monumental and masterful work of sculpture.
CONCLUSION
The first Goetheanum was both success and failure. It was a bold experiment in organic design, a proof of concept that such a vision could be translated into reality, that despite the disruption of war, work could proceed, funds could be raised, a distinctive building could be manifested, and the enthusiasm and talent of a multitude of volunteers could be harnessed. However, an all timber building is a conflagration waiting to happen, it is just the timing of the conflagration that is the uncertainty. In the case of Goetheanum I, the conflagration came quickly, before even the building was completed, before a Mystery Play was ever performed in the space, remembering that a dedicated performance space for such plays had been a large part of the rationale for the building.
The dharma of Goetheanum I was to serve as a placeholder for Goetheanum II. The new Goetheanum took the money from the insurance of the demise of the old Goetheanum, and embraced the lesson that an all-timber construction is not a recipe for longevity. Goetheanum II harnessed the sculptural skills by then on hand, and brought them to the fore to create what is not only a magnificent sculpture in concrete, but is also a functioning building and a delight to work in. Flushed away is the quaintness of Goetheanum I. The new Goetheanum is a bold twentieth
Journal of Fine Arts V3 ● I2 ● 2020
9
The First Goetheanum: A Centenary for Organic Architecture
century building worthy of the twenty first century and beyond.
ACKNOWLEDGEMENT
Thank you to to members of the Goetheanum Archive (Dokumentation am Goetheanum Bibliothek Kunstsammlung Archiv) for kind
assistance in navigating the collection and to DeepL.com/Translator and Google Translate for assistance with various translations.
REFERENCES
[1] Steiner, R., The Goetheanum in the ten years of its life, I. Anthroposophy, 1923. 2(1-2): p. 2-10.
[2] Steiner, R., What was the purpose of the Goetheanum and what is the task of Anthroposophy, A lecture at Basel, 9 April, 1923. 1923, Fremont, IL: Rudolf Steiner Archive, .
[3] Paull, J., A portrait of Edith Maryon: Artist and Anthroposophist. Journal of Fine Arts, 2018. 1(2): p. 8-15.
[4] Hummel, A., A Diary: Life and Work During the Building of the First Goetheanum. 2003, (Trans. Friedwart Bock from c.1955 German original), Aberdeen: Camphill Architects.
[5] Paull, J., Rudolf Steiner: At Home in Berlin. Journal of Biodynamics Tasmania, 2019. 132: p. 26-29.
[6] Steiner, R., World History in the Light of Anthroposophy, A lecture at Dornach, 31 December 1923. 1923, Fremont, IL: Rudolf Steiner Archive, .
[7] Fahrni, D., An Outline History of Switzerland From the Origins to the Present Day. 1997, Zürich: Pro Helvetia Arts, Council of Switzerland.
[8] Steiner, R., The Story of My Life. 1928, London: Anthroposophical Publishing Co.
[9] Kugler, J., ed. Architekturführer Goetheanumhügel die Dornacher Anthroposophen-Kolonie. 2011, Verlag Niggli: Zurich.
[10] Keith, Postcard (with handwritten message on rear): Ypres - La Salle Pauwels (Halles d'Ypres) avant et après le Bombardment. The Pauwels Gallery (Halles of Ypres) before the Bombard- ment and after. 1916, Paris: Visé Paris (private collection).
[11] Turgeniev, A., Reminiscences of Rudolf Steiner and Work on the First Goetheanum. 2003, Forest Row, UK: Temple Lodge.
[12] Steiner, R., Ways to A New Style in Architecture: Five lectures by Rudolf Steiner given during the building of the First Goetheanum, 1914. 1927, London: Anthroposophical Publishing Company.
[13] Uehli, E., Rudolf Steiner als Künstler. 1921, Stuttgart: Der Kommnede Tag.
[14]
[15] [16] [17] [18] [19] [20] [21]
[22] [23]
[24]
[25] [26] [27]
[28]
[29] [30] [31]
Steiner, R., The Dornach Building, Lecture at The Hague, 28 Feb 1921, in Rudolf Steiner Architecture, A. Beard, Editor. 2003, Sophia Books: Forest Row.
Paull, J., Ernesto Genoni: Australia's pioneer of biodynamic agriculture. Journal of Organics, 2014. 1(1): p. 57-81.
Paull, J., The Anthroposophic Art of Ernesto Genoni, Goetheanum, 1924. Journal of Organics, 2016. 3(2): p. 1-24.
Genoni, E., Personal memoir. c.1970, 9 pp., typewritten manuscript, last date mentioned is 1966, A4. Private collection.
Genoni, E., Personal memoir. c.1955, 26 pp., handwritten manuscript, last date mentioned is 1952, school exercise book. Private collection.
The Register, Modernity in Art - New Architectural Forms. The Register (Adelaide, Australia), 1925. 31 December: p. 5.
Biesantz, H. and A. Klingborg, The Goetheanum: Rudolf Steiner's Architectural Impulse. 1979, London: Rudolf Steiner Press.
Metaxa, G., Typed letter, Dear Friends and fellow members. 2 pages. 25 December. Anthroposophical Society. 1922, 46 Gloucester Place, London.
Basler Nachrichten, Das Goetheanum niedergebrannt. Basler Nachrichten, 1923. 2 January.
Basler Nachrichten, Zum Brand im Goetheanum - Ott in Verdacht als Brandstifter oder Mitwisser. Basler Nachrichten, 1923. 5 January.
National Zeitung, The account of the burning of the Goetheanum from the National Zeitung. Anthroposophy, 1923. 2(1-2, January- February): p. 18-19.
Steffen, A., The destruction of the Goetheanum by fire. Anthroposophy, 1923. 2(1-2): p. 10-13.
BBC News, Notre-Dame: The story of the fire in graphics and images. BBC News, 2019. 16 April.
ABC News, Notre Dame fire: Paris cathedral spire collapses as blaze tears through landmark. ABC News, 2019. 16 April.
Vandoorne, S., A. Crouin, and B. Britton, Notre Dame fire could have been started by a cigarette or an electrical fault, prosecutors say. CNN, 2019. 26 June.
Balzer, M., The unsolved Goetheanum case: A play is devoted to the fire of New Year'ds Eve 1922. Aargauer Zeitung, 2019. 2 May.
Basler Nachrichten, Zur Untersuchung über den Goetheanum-Brand. Basler Nachrichten, 1923. 11 January.
Neue Zürcher Nachrichten, Ein wichtiger Fund bei den Aufräumungsarbeiten am Goetheanum. Neue Zürcher Nachrichten, 1923. 13 January.
10
Journal of Fine Arts V3 ● I2 ● 2020
The First Goetheanum: A Centenary for Organic Architecture
[32] Aschoff, G., Neues vom Goetheanum-Brand. Das Goetheanum, 2007. 1-2.
[33] Prokofieff, S.O., May Human Beings Hear It!: The Mystery of the Christmas Conference. 2014, Forest Row, UK: Temple Lodge.
[34] Real Insurance, The most common causes of house fires. 2013, Sydney: Real Insurance.
[35] Campbell, R., Structure Fires in Warehouse Properties. 2016, Quincy, MA: National Fire Protection Association.
[36] Ravenscroft, T., The Spear of Destiny: The Occult Power Behind the Spear Which Pierced the Side of Christ and how Hitler inverted the Force in a bid to conquer the World. 1982, York Beach, ME: Samuel Weiser Inc.
[37] Paull, J., Dr Rudolf Steiner's Shed: The Schreinerei at Dornach. Journal of Bio-Dynamics Tasmania, 2018. 127(September): p. 14-19.
[38] Steiner, R., The Goetheanum in the ten years of its life, VI. Anthroposophy, 1923. 2(4): p. 37-41.
[39] Raab, R., A. Klingborg, and A. Fant, Eloquent Concrete: How Rudolf Steiner Employed Reinforced Concrete. 1979, London: Rudolf Steiner Press.
[40] Steiner, M., Proceedings of the Founding Conference of the General Anthroposophical Society. 1944, Roneoed publication. "As edited and published by Marie Steiner in 1944. Translated by Frances E Dawson": "For Members of the General Anthroposophical Society".
Synthesis of CsPbBr3 perovskite cubes are arranged side by side through out the wire like a buildings
Courtesy of Mr. Durga Prasad Muvva , UGC-Networking Resource Centre, School of Chemistry and The Centre for Nanotechnology, University of Hyderabad
Image Details
Instrument used: Tecnai
Magnification: 19.5 kx
Voltage: 200 kV
Spot: 1
Working Distance: 3
Artist: Ample Projects. Experience the science and magic behind a heritage listed Moreton Bay Fig Tree in the Royal Botanic Gardens.
Celebrating these magnificent organisms, and the role they play in ecosystems around our world, this intricately 3D mapped projection show will explore the beauty and function of these ancient wonders.
El Palacio de Schönbrunn, también conocido como el Versalles vienés, es uno de los principales edificios históricos y culturales de Austria, desde el siglo XIX ha sido una de las principales atracciones turísticas de la ciudad de Viena y ha aparecido en postales, documentales y diversos filmes cinematográficos. Dentro de la iglesia hay importantes pinturas del pintor Giambattista Pittoni que muestran la educación de María y San Juan Nepomuceno, durante su época fue el pintor más solicitado por todos los tribunales reales europeos.
El palacio, junto con sus jardines, fue nombrado Patrimonio de la Humanidad de la Unesco en 1996.
En 1559 el emperador Maximiliano II hizo construir un pequeño palacio de caza que sería destruido completamente en el segundo sitio de Viena (1683). A raíz de ello, el emperador Leopoldo I encarga a Johann Bernhard Fischer von Erlach la construcción de un palacio para su hijo José (futuro José I). El arquitecto presenta un plan cuya realización, de una manera muy reducida a sus pretensiones iniciales, comenzaría en el año 1696 y finalizaría entre los años 1699 y 1701, aunque no existe consenso en este punto. De esta primera construcción sólo queda la Capilla de Palacio (Schlosskapelle) y la Escalera Azul (Blaue Stiege) con un fresco de Sebastiano Ricci.
Carlos VI no mostró especial interés en Schönbrunn, pero será su hija, María Teresa quien convertiría el palacio en residencia veraniega de los Habsburgo; estatus que conservaría hasta el final de la monarquía en 1918. Durante el gobierno de María Teresa se procede además a una ampliación importante del palacio bajo la batuta de Nikolaus von Pacassi, quien ya había trabajado también para la familia imperial en Hofburg. La mayor parte de la decoración interior tiene su origen en esta época y es una de las pocas muestras existentes del llamado rococó austríaco
Hacia 1765 Johann Ferdinand Hetzendorf von Hohenberg, asume la dirección de los trabajos de construcción del palacio. Su obra más significativa es la Glorieta que completa ópticamente el gran parque palaciego.
Entre 1817 y 1819 Johann Aman lleva a cabo una unificación y simplificación de la fachada siguiendo ya claramente los dictados del clasicismo. De esa época es también el color amarillo tan característico de la fachada, que hasta el siglo XX constituiría una de las "marcas" de la monarquía habsburga, pues todos los edificios oficiales estaban pintados con el mismo color.
Se puede llegar hasta el Palacio de Schönbrunn con la línea U4 del Metro de Viena. La parada del Palacio es Schönbrunn y la de su zoo Tiergarten (el más antiguo del mundo) es Hietzing. En Hietzing está también la estación de tranvías.
es.wikipedia.org/wiki/Palacio_de_Schönbrunn
Schönbrunn Palace (German: Schloss Schönbrunn; Central Bavarian: Schloss Scheenbrunn) was the main summer residence of the Habsburg rulers, located in Hietzing, Vienna. The 1,441-room Rococo palace is one of the most important architectural, cultural, and historic monuments in the country. Since the mid-1950s it has been a major tourist attraction. The history of the palace and its vast gardens spans over 300 years, reflecting the changing tastes, interests, and aspirations of successive Habsburg monarchs.
In 1569, Holy Roman Emperor Maximilian II purchased a large floodplain of the Wien river beneath a hill, situated between Meidling and Hietzing, where a former owner, in 1548, had erected a mansion called Katterburg. The emperor ordered the area to be fenced and put game there such as pheasants, ducks, deer and boar, in order for it to serve as the court's recreational hunting ground. In a small separate part of the area, "exotic" birds such as turkeys and peafowl were kept. Fishponds were also built.
The name Schönbrunn (meaning "beautiful spring") has its roots in an artesian well from which water was consumed by the court.
During the next century, the area was used as a hunting and recreation ground. Eleonora Gonzaga, who loved hunting, spent much time there and was bequeathed the area as her widow's residence after the death of her husband, Ferdinand II. From 1638 to 1643, she added a palace to the Katterburg mansion, while in 1642 came the first mention of the name "Schönbrunn" on an invoice. The origins of the Schönbrunn orangery seem to go back to Eleonora Gonzaga as well. The Schönbrunn Palace in its present form was built and remodelled during the 1740–50s during the reign of empress Maria Theresa who received the estate as a wedding gift. Franz I commissioned the redecoration of the palace exterior in the neoclassical style as it appears today.
Franz Joseph, the longest-reigning emperor of Austria, was born at Schönbrunn and spent a great deal of his life there. He died there, at the age of 86, on 21 November 1916. Following the downfall of the Habsburg monarchy in November 1918, the palace became the property of the newly founded Austrian Republic and was preserved as a museum.
After World War II and during the Allied Occupation of Austria (1945—55), Schönbrunn Palace was requisitioned to provide offices for both the British Delegation to the Allied Commission for Austria, and for the headquarters for the small British Military Garrison present in Vienna. With the reestablishment of the Austrian republic in 1955, the palace once again became a museum. It is still sometimes used for important events such as the meeting between U.S. president John F. Kennedy and Soviet premier Nikita Khrushchev in 1961.
Since 1992 the palace and gardens have been owned and administered by the Schloss Schönbrunn Kultur-und Betriebsges.m.b.H., a limited-liability company wholly owned by the Republic of Austria. The company conducts preservation and restoration of all palace properties without state subsidies. UNESCO catalogued Schönbrunn Palace on the World Heritage List in 1996, together with its gardens, as a remarkable Baroque ensemble and example of synthesis of the arts (Gesamtkunstwerk).
The sculpted garden space between the palace and the Neptune Fountain is called the Great Parterre. The French garden, a big part of the area, was planned by Jean Trehet, a disciple of André Le Nôtre, in 1695. It contains, among other things, a maze.
The complex however includes many more attractions: Besides the Tiergarten, an orangerie erected around 1755, staple luxuries of European palaces of its type, a palm house (replacing, by 1882, around ten earlier and smaller glass houses in the western part of the park) is noteworthy. Western parts were turned into English garden style in 1828–1852.
The area called Meidlinger Vertiefung (engl.: depression of Meidling) to the west of the castle was turned into a play area and drill ground for the children of the Habsburgs in the 19th century. At this time it was common to use parks for the military education of young princes. Whereas the miniature bastion, which was built for this purpose, does not exist anymore, the garden pavilion that was used as shelter still does. It was turned into a café in 1927 and is known as Landtmann’s Jausen Station since 2013.
At the outmost western edge, a botanical garden going back to an earlier arboretum was re-arranged in 1828, when the Old Palm House was built. A modern enclosure for Orangutans, was restored besides a restaurant and office rooms in 2009.
The Great Parterre of Schönbrunn is lined with 32 sculptures, which represent deities and virtues.
The garden axis points towards a 60-metre-high (200 ft) hill, which since 1775 has been crowned by the Gloriette structure (Fischer von Erlach had initially planned to erect the main palace on the top of this hill).
Maria Theresa decided the Gloriette should be designed to glorify Habsburg power and the Just War (a war that would be carried out of "necessity" and lead to peace), and thereby ordered the builders to recycle "otherwise useless stone" which was left from the near-demolition of Schloss Neugebäude. The same material was also to be used for the Roman ruin.
The Gloriette was destroyed in the Second World War, but had already been restored by 1947, and was restored again in 1995.
The Gloriette today houses a café and an observation deck which provides panoramic views of the city.
Abstract
Alchemy was the synthesis or transmutation of all elements in perfect balance to obtain the philosopher’s stone, the key to health. Just as alchemists sought this, so health practitioners always seek the best possible practice for optimal health outcomes for our patients. Best practice requires full knowledge—a little information can be dangerous. We need to serve our apprenticeship before we master our profession. Our profession is about improving health care. While the journey may start at medical school, the learning never ceases. It is not only about practising medicine, it is about the development of the practitioner. Professional practice requires systematic thinking combined with capacity to deal morally and creatively in areas of complexity and uncertainty appropriate to a specific context. It requires exemplary communication skills to interact with patients to facilitate collaborative decision making resulting in best practice. The synthesis of scientific and contextual evidence is a concept which applies to all disciplines where theoretical knowledge needs to be transferred to action to inform best practice. Decisions need to be made which take into account a complex array of factors, such as social and legal issues and resource constraints. Therefore, journey towards best practice involves transmutation of these three elements: scientific knowledge, the context in which it is applied and phronesis, the practical wisdom of the practitioner. All science has its limitations and we can never know all possible contextual information. Hence, like the philosopher’s stone, best practice is a goal to which we aspire but never quite attain.
Evidence-based practice, lifelong learning, postgraduate education
Issue Section: Editorial
Introduction
Alchemy was the synthesis or transmutation of all elements in perfect balance to obtain the philosopher’s stone. It was about the creation of a ‘panacea’, the elixir of life, a remedy to cure all diseases, the key to health. Just as alchemists sought this, so health practitioners always seek the best possible practice for optimal health outcomes for our patients.
Best practice requires full knowledge—a little information can be dangerous. We need to serve our apprenticeship before we master our profession. Our profession is about improving health care. While the journey may start at medical school, the learning never ceases. It is not only about practising medicinebut also about the development of the practitioner.
Professional practice requires systematic thinking combined with capacity to deal morally and creatively in areas of complexity and uncertainty appropriate to a specific context. It requires exemplary communication skills to interact with patients to facilitate collaborative decision making resulting in best practice. The synthesis of scientific and contextual evidence is a concept applies to all disciplines where theoretical knowledge needs to be transferred to action to inform best practice. Decisions need to be made which take into account complex array of factors, such as social and legal issues and resource constraints. Therefore, journey towards best practice involves transmutation of these three elements: scientific knowledge, the context in which it is applied and phronesis, the practical wisdom of the practitioner.
Clinical practice can be considered to be the sum of scholarship and professionalism. Scholarship is about empirical knowledge, research evidence, science and logic. We need to know how to assess the quality of evidence, judge the relevance and value of new knowledge to our own practice and determine whether this new knowledge is practice confirming or practice changing. Thus, the basis of our practice is scientific scholarship but we also need to learn the art. Professionalism is about the understanding and application of contextual knowledge and professional expertise, it is about artistry and judgement. We need both clinical reasoning and ethical decision making.
Alchemy was about integration across domains. The basic elements of water, fire, air and earth and core processes of decomposition, sublimation, distillation, amalgamation, fermentation and purification needed to be precisely combined and balanced to attain the philosopher’s stone. Similarly, clinical practice involves the domains of both scholarship and professionalism. For best practice, we must consider the prevalence of a condition, its diagnosis and treatment and its likely prognosis. However, in our management of patients, we must also consider the interplay of many other factors—the law, human rights and dignity, issues of equity for all patients, the potential benefits and harms of intervening or not intervening, the role of the professional and the emotional responses of all involved (Fig. 1).
FIGURE 1
Domains of alchemy and domains of clinical practice
Open in new tabDownload slide
Domains of alchemy and domains of clinical practice
Alchemy involves finding perfect combination of planetary metals (such as silver, copper and mercury) and mundane elements (such as potassium and sulphur) to transmute matter into the elixir of life. The alchemist studied and practised for many years striving to reach this goal. In the same way, to determine best practice, we need to know the scientific evidence. Randomized controlled trials can demonstrate whether intervention is effective. This knowledge may be strengthened if we combine trials in systematic reviews and meta-analyse. We need to know how well a test will pick or miss a diagnosis. Case-controlled studies help us identify factors, which contribute to a particular disease. Qualitative research brings narrative to our numbers, adds the why and how to our results (Fig. 2).
FIGURE 2
Types of matter and types of evidence
Open in new tabDownload slide
Types of matter and types of evidence
However, in practice, evidence needs to be assessed from perspective of a particular patient. Many things contribute to what decisions are actually made. These include both the patient and the practitioner’s values, numerous attributes of the patient (such as their age and their co-morbidities), their family and the community in which they live, their culture and local policy. Limited resources may mean that the ideal test or treatment is not affordable. For example, evidence indicates that heart failure should be diagnosed on basis of an echocardiogram, but if patient does not have access to this test, then the clinician may rely on symptoms and signs. Best management might include use of beta blockers, but if the patient has asthma, which this drug exacerbates, alternative treatments must be chosen. A child with bacterial pneumonia requires antibiotics, but relatives of elderly demented and chronically ill person with this condition may decline such treatment for their family member.
Best practice is the transmutation or synthesis of knowledge. However, all science has its limitations. What has been found to be true for particular population may not be generalizable to another. Furthermore, we can never know all possible contextual information. For example, we may not be able to predict that a person will have allergic reaction to drug we give them. Hence, like the philosopher’s stone, best practice is a goal to which we aspire but never quite attain.
Scientific knowledge is incomplete. It is always undergoing change and being added to. We need skills to access and critically appraise new knowledge as research progresses. Likewise, the context changes with every patient, and patient’s needs and values change over time. Professional expertise also requires self-reflection and evaluation of the outcomes of our decisions. All this evidence goes back into the mix and contributes to future decision making (Fig. 3). This is the process of lifelong learning—how the apprentice achieves mastery.
FIGURE 3
Synthesis of knowledge into best practice
Open in new tabDownload slide
Synthesis of knowledge into best practice
The principle of the synthesis of scientific and contextual knowledge, funnelled through the wisdom of the practitioner, applies to health care in the realms of clinical and forensic practice, research, education and dissemination of information.
Clinical practice
Cecil Lewis, the founding Dean of my Medical School, emphasized that most health care takes place in the community not in the hospital and that doctors should treat patients holistically—body, mind and spirit. He believed it important for doctors to be well-rounded people and their education should include both science and humanity. He introduced a 3-month elective in the final year for students to spend 3 months doing whatever they passionate about, something to feed their soul, be it music, art, science or medicine. Combining theoretical knowledge with real life situations begins with clinical practice.
Alchemists were early doctors, in search of potions to promote healing. This is an intent that doctors still seek, applying scientific knowledge within a particular context to assist our patients to heal. My first general practice experience job was as a locum in Blaengwynfi, a mining village in South Wales. I shared the on-call roster with Dr Julian Tudor-Hart, a GP from the neighbouring village Glyncorrwg. I found him to be a truly inspirational GP. Julian was working with his patients to make their lives healthier through systematically checking their blood pressures and helping them to change their lifestyles—getting them to look at their diet, their smoking and exercise or lack of it. These Welsh villages very impoverished and the GPs who worked there did twice as much work for half pay of those working in more affluent areas. Julian taught me that the people most likely to need health care were the least likely to receive it. It was only many years later that I learned that Julian is an icon of general practice in the UK and that his ‘inverse care law’ is famous.1
I worked as a doctor in Jamaica for 2 years, where the health need was great. There I experienced first-hand how best practice has to be tempered by the circumstances and what is available. I ran a health centre just out of Kingston where there had been no doctor for a number of years and ∼20 000 people in the catchment area. However, there was a great team of auxiliary staff whom I trained to deliver health talks to the large group of people who would sit in shade of the mango trees waiting to see the doctor. The staff would also write labels, count pills and put into bottles the drugs I used to wheedle from the Ministry depot in downtown Kingston. After every 20 patients, I would stop consulting and dispense my own prescriptions. Patients were instructed to bring back pill bottles for recycling. I used to estimate patients’ haemoglobin levels by the strength of copper sulphate solution in which a drop of their blood would float. While a public laboratory was available at the downtown hospital, generally this was not an accessible option due to resource constraints (most patients could not afford the bus fare) and the potential associated harms (gun wars in ghettos made travelling there dangerous).
Forensic practice
Transmutation of scientific and contextual knowledge also applies to forensic practice. This involves examining all available evidence about the circumstances, applying what we know from scientific literature and then assessing whether the evidence may confirm or refute that alleged events occurred or were committed by person accused. Both the presence and the absence of evidence need to be considered. Sometimes evidence points to guilt. The accused may then plead guilty or be found guilty at trial. Sometimes evidence points to innocence. The charges may then be dropped or the accused found not guilty. Other times, it provides an estimate of probability or improbability. Crimes do not have to be proved; only that person is guilty beyond reasonable doubt.
The roles of the clinical and forensic practitioner are different, and you cannot serve Hippocrates and Hammurabi at the same time. The clinician serves Hippocrates, the Healer. This role is to relieve suffering, provide treatment and prevent further illness or injury and the duty of care is to the patient. The forensic physician serves Hammurabi, the lawgiver. Here, the role is one of evidence gathering with the basic tenet of impartiality. The role is to provide expert opinion and the duty of care is to the Court. While both roles require the synthesis of scientific and contextual evidence, clinicians called upon as expert witnesses need to make this distinction between their therapeutic and forensic responsibilities. Before a hearing, there is a complainant not a victim and a defendant not an offender. Both clinical and forensic practitioners should treat complainants with compassion and respect, and this treatment should also be afforded to the accused.
Research
The alchemist was researcher, constantly experimenting to find philosopher’s stone. He was looking for the perfect balance not only of ingredients but also of processes. Primary care research needs to study not only the prevalence, diagnosis, management and prognosis of disease but also issues such as how to communicate our knowledge to our patients. Clinical decisions may require the complex weighing up of the potential benefits and harms of each course of action. There are numerous ways to communicate this—as relative or as absolute risk, odds, numbers needed to treat or natural frequencies, positively or negatively framed, as numbers or in pictures.2 Our methods of communication will influence how well our patients understand the possible consequences of a management decision and may also actively encourage or discourage them from making particular choices. Using only relative risk may be manipulative. For example, if we tell a patient that one drug has double the chance of a particular side-effect compared to another, the impact of this information is likely to be very different if the risk changes from 1 in 20 to 1 in 10, than if the risk increases from 1 in 20 000 to 1 in 10 000. There is no single optimal method of communicating information on potential benefits and harms, but research can assist us to find the best way to impart knowledge to ensure truly collaborative decision making.
Education
Because knowledge is always changing, clinicians need to embark on a journey of lifelong learning and those with knowledge need to pass it on to others. A network of schools of alchemy existed for over millennia, starting in ancient Egypt and Mesopotamia, spreading to India, Persia and the Far East, on through classical Greek and Roman civilizations to the medieval Islamic world and then medieval Europe. The science and art of alchemy were passed down to students by master alchemists.
Postgraduate education needs to follow the same model of combining scholarship and professionalism. In all clinical disciplines, practitioners need the tools to access and critically appraise new knowledge as research progresses to assess the quality of evidence and its relevance to their own practice. This knowledge can then applied in context of individual patients. Professional expertise also requires self-reflection and the assessment of outcomes of decisions. Postgraduate students need to be able to look at research knowledge from populations and ask:
Should this confirm or change my practice?
Are these findings realistic—is this test or intervention available, will it be used and will it be worthwhile?
Is it relevant to this particular patient?
How does it apply to patients with other conditions and preferences?
What are relative gains and risks for my patient?
They can explore their own and other colleagues’ clinical reasoning and decision making in specific scenarios. This enables them to reflect on the weight they give different components, such as exploring and explaining relative benefits and harms of intervening or not intervening and issues relating to the law, equity and human rights and dignity.
Publication
Finally, our ever-growing body of knowledge needs to circulated. The philosophy of alchemy persisted for >2000 years. The findings of alchemists were recorded in texts and scrolls and disseminated in their schools and libraries. The best way to disseminate primary health care knowledge is via our peer-reviewed indexed medical journals. Primarily, this is the publication of original research. However, while scientific evidence can help inform best practice, sometimes there is no evidence available or applicable for a specific patient with his or her own set of conditions, beliefs, expectations and social circumstances. Evidence needs to be placed in context. General practice is art as well as a science. Quality of care lies also with nature of clinical relationship, with communication and truly informed decision-making. We also need to publish editorials, viewpoints, commentaries and reflections that explore areas of uncertainty, ethics, aspects of care for which there is no one right answer.
Conclusions
In the journey from apprentice to master, we gain knowledge and practical wisdom along way. As clinicians, researchers and teachers, we are all on a journey of lifelong learning, constantly adding and re-evaluating knowledge to practice the best that we can.
The wonderful heritage listed Moreton Bay Fig tree used as a canvas for Vivid Botanical Gardens
Synthesis by Artist Ample Projects
View from Aker Brygge district, Oslo, Norway
H 10.35 pm, 7'C
Canon Eos 700D, Olympus OM Zuiko 24mm f2.8
location: North America, Europe
edibility: Deadly
fungus colour: White to cream, Green
normal size: 5-15cm
cap type: Convex to shield shaped
stem type: Ring on stem, Volva on stem, Bulbous base of stem
spore colour: White, cream or yellowish
habitat: Grows in woods, Grows on the ground
Death Cap Amanita phalloides (Fr.) Link in Willd. Cap 6-15cm across, convex then flattened; variable in color but usually greenish or yellowish with an olivaceous disc and paler margin; also, paler and almost white caps do occur occasionally; smooth, slightly sticky when wet, with faint, radiating fibers often giving it a streaked appearance; occasionally white patches of volval remnants can be seen on cap. Gills free, close, broad; white. Stem 60-140 x 10-20mm, solid, sometimes becoming hollow, tapering slightly toward the top; white, sometimes flushed with cap color; smooth to slightly scaly; the ball-shaped basal bulb is encased in a large, white, lobed, saclike volva. Veil partial veil leaves skirt-like ring hanging near the top of the stem. Flesh firm, thicker on disc; white to pale yellowish green beneath cap cuticle. Odor sickly sweet becoming disagreeable. Spores broadly ellipsoid to subglobose, amyloid, 8-10.5 x 7-9µ. Deposit white. Habitat singly or in small groups on the ground in mixed coniferous and deciduous woods. Quite common in Europe, formerly rare in north America but seemingly spreading and becoming frequent, especially in northern California. Found in eastern North America, the Pacific Northwest, and California. Season August-November (November-January in California), Deadly poisonous. Comment This is the most deadly fungus known, and despite years of detailed research into the toxins it contains, no antidote exists against their effects on the human body. Poisoning by Amanita phalloides is characterized by a delay of between six and twenty-four hours from the time of ingestion to the onset of symptoms, during which time the cells of the liver and kidneys are attacked. However, if a gastroirritant has also been consumed-e.g., as the result of eating a mixed collection of mushrooms-gastric upset may occur without the characteristic delay, masking this vital diagnostic evidence. The next stage is one of prolonged and violent vomiting and diarrhea accompanied by severe abdominal pains, lasting for a day or more. Typically this is followed by an apparent recovery, when the victim may be released from the hospital or think his ordeal over. Yet within a few days death may result from kidney and liver failure. Although Amanita phalloides contains many poisonous compounds, it is believed that only the group known as amatoxins are responsible for human poisoning; the others (phallotoxins) are thought to be rendered harmless by being neutralized by other compounds or not being absorbed from the intestinal tract, by being present in very low concentrations, or by being so unstable as to be destroyed by cooking or digestive juices. The amatoxins, however, are fully active orally. The main constituent of this group is a-amanitin, which through its effect on nuclear RNA in liver cells causes the end of protein synthesis, leading to cell death. When filtered through the kidneys, it attacks the convoluted tubules and instead of entering the urine is reabsorbed into the bloodstream and recirculated, causing repeated liver and kidney damage. As with any hepatic disease, treatment relies on the monitoring of blood chemistries, urine output, and so on, and the maintenance of fluid and electrolyte balance. In cases of amatoxin poisoning, mortality is 50 to 90 percent, and any chance of survival depends on early recognition.
Amanita phalloides var. alba (Vitt.) Gilbert. differs from the type in being entirely white throughout; like Amanita phalloides, it is also deadly poisonous.
info by Roger Phillips:
Shot from the archives, newly processed ...
This image is a synthesis of two shots: a sportscar and a blurred christmas tree :-)
Nice: View On Black (nicer as Flickr darkgray I think).
This one could be a bit controversial. Aimed to show the fusion of religion and technology to create technoreligions or the worship of incredibly advanced technology. Another of my bleak outlooks on the future. Don't pay this one much attention.
Created with cold cathode stick and LED brush. Lighting by Alex Heath and myself, model is Tom Bridge.
Westerbork, Drenthe province of Netherlands.
It is now a site of a powerful radio telescope (en.wikipedia.org/wiki/Westerbork_Synthesis_Radio_Telescope).
In WWII a transit concentration camp lied on this site
Brief synthesis
Bryggen is a historic harbour district in Bergen, one of North Europe’s oldest port cities on the west coast of Norway which was established as a centre for trade by the 12th century. In 1350 the Hanseatic League established a “Hanseatic Office” in Bergen. They gradually acquired ownership of Bryggen and controlled the trade in stockfish from Northern Norway through privileges granted by the Crown. The Hanseatic League established a total of four overseas Hanseatic Offices, Bryggen being the only one preserved today.
Bryggen has been damaged by a number of fires through the centuries and has been rebuilt after every fire, closely following the previous property structure and plan as well as building techniques.
Bryggen’s appearance today stems from the time after the fire in 1702. The buildings are made of wood in keeping with vernacular building traditions. The original compact medieval urban structure is preserved with its long narrow rows of buildings facing the harbour, separated by narrow wooden passages.
Today, some 62 buildings remain of this former townscape and these contain sufficient elements to demonstrate how this colony of bachelor German merchants lived and worked, and illustrate the use of space in the district.
It is characterized by the construction of buildings along the narrow passages running parallel to the docks. The urban units are rows of two- to three-storey buildings signified by the medieval name “gård”. They have gabled facades towards the harbour and lie on either one or both sides of the narrow passages that have the functions of a private courtyard.
The houses are built in a combination of traditional timber log construction, and galleries with column and beam construction with horizontal wooden panel cladding.
The roofs have original brick tiling or sheets, a result of fast repairs after an explosion during World War II. Towards the back of the gård, there are small fireproof warehouses or storerooms (kjellere) built of stone, for protection of special goods and valuables against fire.
This repetitive structure was adapted to the living conditions of the Hanseatic trading post. The German merchants took up winter residence in the small individual wooden houses and the storerooms were used as individual or collective warehouses.
A true colony, Bryggen enjoyed quasi-extraterritoriality which continued beyond the departure of the Hanseatic merchants until the creation of a Norwegian trading post in 1754, on the impetus of fishermen and ship owners of German origin. Today, Bryggen is a significant part of the historic wooden city of Bergen.
Criterion (iii): Bryggen bears the traces of social organization and illustrates the use of space in a quarter of Hanseatic merchants that dates back to the 14th century. It is a type of northern “fondaco”, unequalled in the world, where the structures have remained within the cityscape and perpetuate the memory of one of the oldest large trading ports of Northern Europe.
Integrity
Only around a quarter of the original buildings that existed in Bryggen remained after demolitions at the turn of the 19th century and several fires in the 1950s; the property is comprised of these remaining buildings.
Notwithstanding, the medieval urban structure is maintained and the buildings include all elements necessary to demonstrate how Bryggen functioned: offices and dwellings at the front, warehouses in the midsection and assembly rooms (“Schøtstuer”), kitchen facilities and fireproof stone cellars at the back.
Bryggen can be experienced as an entity within a larger harmonious urban landscape. It is connected more closely to the areas of small wooden dwellings beyond Bryggen and in the medieval city centre than to the larger 20th century buildings in its close proximity.
The risk of fire, excessive numbers of visitors as well as global climate changes with more extreme weather and possibly higher sea levels are some of the potential risks Bryggen faces today.
Authenticity
The Hanseatic period at Bryggen ended long ago, but the Hanseatic heritage is documented through buildings, archives and artefacts which are well preserved for posterity. There are also series of architectural surveys of the buildings from 1900 onwards.
The preservation of the buildings commenced on a larger scale in the 1960s and had made major progress by 1979, the year of inscription on the World Heritage List.
Some buildings at the back were moved in 1965 to create an open area for fire emergencies, but no further changes have been made to the urban structure since.
The solutions and methods chosen have been well documented, and limiting the replacement of original materials has been an objective. Bryggen is built of wood, which is subject to rot, insect attack and ageing. Since 2000, there has been an increased focus on maintaining original methods and building materials in the restoration, with careful consideration given to the choice of material, paint, plugs,nails, etc. and the use of original tools as far as possible.
As the activity at Bryggen decreased after 1900, the buildings became derelict. However, from the 1960s the former trading in stockfish and commodities was gradually replaced by small arts and crafts businesses. An increase in the number of visitors has led to the establishment of restaurants and tourist businesses. This has resulted in inevitable changes in the spirit of the place, particularly along the front facades, whereas the atmosphere of the Hanseatic period can still be sensed in the more secluded area further back.
Protection and management requirements
Bryggen, including its cultural deposits, is listed pursuant to the Norwegian Cultural Heritage Act and is also protected through the Norwegian Planning and Building Act. The adopted protection plan includes an extensive area that functions as a buffer zone.
Bryggen is privately owned and the majority of the buildings are owned by the Bryggen Foundation, which was established in 1962 with the objective of preserving Bryggen. The remaining owners have established a separate association to secure their interests. The stakeholders at Bryggen collaborate in different constellations of owners and authorities.
"The Bryggen Project" was established formally in 2000. This is an extensive and long-term project for monitoring, safeguarding and restoring Bryggen, including both archaeological deposits and standing buildings.
Bryggen is managed according to a management plan that is revised regularly. A fire protection system with detection and suppression has been installed and is continually being improved. Climate conditions are a key issue and measures have been taken to prepare for future changes. Possible impacts resulting from tourism are monitored.
There is ongoing pressure for urban development in the vicinity of Bryggen. Any development which may have visual impact on the World Heritage property is monitored closely by the cultural heritage authorities.
Colors are considerably deformed. This "color infidelity" and slight image contrast create the illusion of a very old one... Forgotten... But very kind…
Filmed in May 2019
Old DDR film Orwo chrom UT18( process of Sovcolor) + Nikon f5 + Nikkor 24-70/2.8G
The emulsion expired in 1992
Zanino di Pietro (Giovanni Charlier di Francia)
1380-1448 à Venise et Bologne
Vierge à l'Enfant irgin and Child ca 1410-1430
Ferrara Pinacoteca Nazionale
LA PEINTURE EUROPEENNE : UNE HISTOIRE EN IMAGE (3bis)
Une des caractéristiques de l'Europe qui transparaît au travers de l'histoire de sa peinture est une nette tendance, à l'instabilité, à l'impermanence culturelle et idéologique. Une difficulté à pérenniser et a contrario une propension au changement qui caractérise cette société en comparaison d'autres civilisations. Fernand Braudel a très bien cerné ce phénomène avec l'acuité de son esprit de synthèse comparative :
"Les civilisations d'Extrême Orient se présentent comme des ensembles qui auraient atteint très précocement une maturité et un développement remarquable mais pour rendre quasi immuables certaines de leurs structures essentielles. Elles en ont tiré une cohésion remarquable mais aussi une difficulté à se transformer elle mêmes, à vouloir et pouvoir évoluer. En Extrême Orient où les monuments se détériorent comme en Chine et au Japon car bâtis en matériaux légers, l'homme, le social, le culturel semblent au contraire d'une permanence indestructible. Pérennité religieuse, philosophique, sociale et politique sont sa marque, au contraire de l'Occident" (Grammaire des civilisations)
L'Europe a connu dans son histoire plusieurs ruptures de valeurs spirituelles et morales, et de civilisations, dont l'Art, et la peinture en particulier, témoignent très clairement. Quatre ruptures plus ou moins brutales et plus ou moins sensibles :
- La fin de la civilisation gréco-romaine et l'avènement du christianisme. (1)
- La "Renaissance" (2)
- La "Réforme" (3)
- Les "Lumières" (4)
A chacun de ces stades, l'art européen - la peinture en particulier- a changé, plus ou moins vite, plus ou moins profondément.
Contrairement à la Renaissance, la Réforme est un événement qui constitue une rupture idéologique brutale, sanglante, dans l'histoire de l'Europe, qui va concerner directement la vie des peuples.
Dans l'art de la peinture ce sont les Pays Bas du Nord, de tendances protestantes calvinistes, c'est à dire très orientées vers un retour à la vision du monde proposée par l'Ancien Testament, qui vont le plus clairement exprimer les nouvelles orientations idéologiques, et les mettre en oeuvre, dès la fin du 16è siècle et le début du 17è siècle.
En résumé :
- Disparition presque totale de la peinture religieuse. Sauf quelques exceptions notables, comme Rembrandt et ses élèves. Dans le cadre de la religion protestante calviniste la représentation de la Vierge et l'Enfant, et des Saints disparaît totalement.
- Absence totale d'intérêt pour la mythologie grecque et l'histoire romaine. La Réforme s'impose d'ailleurs dans l'Europe qui n'avait pas été soumise à l'Empire Romain.
- Les Paysages sont peints sans aucuns thèmes mythologiques ou historiques ajoutés. Même quand le paysage est inspiré par l'Italie, c'est la nature qui est peinte, la population, très peu la civilisation antique. Apparition de la peinture de paysages marins, les "marines".
- Apparition et développement de nouveaux thèmes de peinture, inspirés par la vie profane, la vie quotidienne des hommes en société : Peintures des moeurs de la société, description précise de la vie des paysans, des artisans, et de la petite bourgeoisie.
- Développement important de la nature morte, et célébration sans complexe des richesses matérielles d'une société qui est une des plus développées de l'Europe de cette époque. Même si sous le prétexte de "vanités", c'est en réalité une réconciliation avec la richesse qui est encouragée. Dans l'esprit de l'Ancien Testament, et pas du tout du Nouveau.
- Développement du portrait, individuel ou de famille, mais concernant les classes sociales de la bourgeoisie, grande ou petite, et non plus seulement l'aristocratie.
Ces nouvelles tendances, matérialistes, rationalistes et réalistes, ne se répandent dans l'Europe du sud que lentement, avec une certaine réticence, au cours du 18è et même seulement du 19è siècle. En dehors des Pays Bas la peinture européenne demeure très orientée par l'idéologie catholique et l'esprit humaniste apparu à la fin du 15è et au début du 16è siècle. Les tableaux ont donc essentiellement pour thème la religion et la mythologie ou l'histoire de l'antiquité. La peinture de moeurs, le paysage ont leur place, mais elle demeure relativement mineure.
Quand en France, Courbet peint l"Enterrement à Ornans" (1850) ou "les Baigneuses"(1853), et quand Manet peint "le Déjeuner sur l'herbe" ou "l'Olympia" (1863) c'est cette peinture réaliste et matérialiste, née aux Pays Bas, qui cherche à s'imposer contre "l'Académisme" qui triomphe encore au Salon annuel de Paris. De même les peintres de Barbizon et les Impressionnistes ne seront reconnus que difficilement, parce que leur peinture aborde le paysage pour lui même, sans motif mythologique ou historique. Outre bien sûr leur style pictural propre, qui n'était pas reconnu comme constituant un travail bien fini.
THE EUROPEAN PAINTING: A STORY IN PICTURE (3bis)
One of the characteristics of Europe, which is reflected in the history of its painting is a clear tendency towards instability and cultural and ideological impermanence. A difficulty in perennializing and, on the contrary, a propensity for change that characterizes this society in comparison with other civilizations. Fernand Braudel has very well described this phenomenon with the acuity of his mind of comparative synthesis:
"The civilizations of the Far East present themselves as groups that would have reached remarkable maturity and development very early on, but to make some of their essential structures almost immutable. They have achieved remarkable cohesion but also a difficulty in transforming themselves, in wanting and being able to evolve. In the Far East, where monuments are deteriorating as in China and Japan because they are built of light materials, man, society and culture seem to be indestructible. Religious, philosophical, social and political sustainability are its hallmark, unlike the West" (Grammar of Civilizations)
In its history, Europe has experienced several failures of its spiritual and moral values. Several ruptures of civilizations, whose the Art, and painting in particular, demonstrate very clearly. Four breaks, more or less brutal and more or less sensitive:
-The end of the Greco-Roman civilization and the advent of Christianity. (1)
-The "Renaissance" (2)
-The "Reform" (3)
-The "Lights" (4)
At each of these stages, the European art - painting in particular - has changed, more or less quickly, more or less deeply
Unlike the Renaissance, the Reformation is an event that constitutes a brutal ideological break, bloody in the history of Europe, which will directly affect the lives of peoples.
In the art of painting, it is the Low Countries of the North, of Protestant Calvinist tendencies, that is to say, very oriented towards a return to the vision of the world proposed by the Old Testament, which will most clearly express the new Orientations, and to implement them, from the end of the 16th century and the beginning of the 17th century.
In summary :
- Almost total disappearance of religious painting. With some notable exceptions, such as Rembrandt. In the context of the Protestant religion (calvinist) , the representation of the Virgin and Child and Saints disappears completely.
-Total Lack of interest to Greek mythology and Roman history. The Reformation also triumph in the Europe that had not been subjected to the Roman Empire.
- The landscapes are painted without any mythological or historical themes added. Even when the landscape is inspired by Italy, is the nature that is painted, the population of the time, very little the ancient civilization. Appearance of the painting of the seascape
- Appearance and development of new paint themes, inspired by secular life, the everyday life of men in society: Paintings of mores of society, accurate description of the lives of farmers, artisans and petty bourgeoisie
- Significant development of the still life, and celebration, without complex, of material wealth of a society that is more developed in Europe of that time. Even under the pretext of "Vanities", is actually a reconciliation with the Wealth that is encouraged. In the spirit of the Old Testament, not at all, of the New.
- Development of the portrait, individual or family, but concerning social class of the bourgeoisie, big or small, and not just the aristocracy.
These new trends, materialists, rationalists and realists, spread throughout southern Europe slowly, with some reluctance, in the 18th and same of the 19th century only. Outside the Netherlands, the European painting remains highly oriented by the Catholic ideology and the humanist spirit that emerged at the end of the 15th and the beginning of the 16th century. The tables therefore have essentially the theme of religion and mythology or history of antiquity. The painting of manners, the landscape have their place, but it remains relatively minor
When in France, Courbet painted the "Burial at Ornans" (1850) or "The Bathers" (1853), and when Manet painted "The Luncheon on the Grass" and "Olympia" (1863). It is the painting realistic and materialistic, born in the Netherlands, which seeks to impose himself, against "Academicism" that still triumph in the annual Paris Salon.
Similarly the Barbizon painters and the Impressionists will be recognized only with difficulty, because their painting depicts landscape for themselves, without mythological or historical grounds. And besides of course their own pictorial style, which was not recognized as constituting a well finished work.
Coventry's Cathedral is a unique synthesis of old a new, born of wartime suffering and forged in the spirit of postwar optimism, famous for it's history and for being the most radically modern of Anglican cathedrals. Two cathedral's stand side by side, the ruins of the medieval building, destroyed by incendiary bombs in 1940 and the bold new building designed by Basil Spence and opened in 1962.
It is a common misconception that Coventry lost it's first cathedral in the wartime blitz, but the bombs actually destroyed it's second; the original medieval cathedral was the monastic St Mary's, a large cruciform building believed to have been similar in appearance to Lichfield Cathedral (whose diocese it shared). Tragically it became the only English cathedral to be destroyed during the Reformation, after which it was quickly quarried away, leaving only scant fragments, but enough evidence survives to indicate it's rich decoration (some pieces were displayed nearby in the Priory Visitors Centre, sadly since closed). Foundations of it's apse were found during the building of the new cathedral in the 1950s, thus technically three cathedrals share the same site.
The mainly 15th century St Michael's parish church became the seat of the new diocese of Coventry in 1918, and being one of the largest parish churches in the country it was upgraded to cathedral status without structural changes (unlike most 'parish church' cathedrals created in the early 20th century). It lasted in this role a mere 22 years before being burned to the ground in the 1940 Coventry Blitz, leaving only the outer walls and the magnificent tapering tower and spire (the extensive arcades and clerestoreys collapsed completely in the fire, precipitated by the roof reinforcement girders, installed in the Victorian restoration, that buckled in the intense heat).
The determination to rebuild the cathedral in some form was born on the day of the bombing, however it wasn't until the mid 1950s that a competition was held and Sir Basil Spence's design was chosen. Spence had been so moved by experiencing the ruined church he resolved to retain it entirely to serve as a forecourt to the new church. He envisaged the two being linked by a glass screen wall so that the old church would be visible from within the new.
Built between 1957-62 at a right-angle to the ruins, the new cathedral attracted controversy for it's modern form, and yet some modernists argued that it didn't go far enough, after all there are echoes of the Gothic style in the great stone-mullioned windows of the nave and the net vaulting (actually a free-standing canopy) within. What is exceptional is the way art has been used as such an integral part of the building, a watershed moment, revolutionising the concept of religious art in Britain.
Spence employed some of the biggest names in contemporary art to contribute their vision to his; the exterior is adorned with Jacob Epstein's triumphant bronze figures of Archangel Michael (patron of the cathedral) vanquishing the Devil. At the entrance is the remarkable glass wall, engraved by John Hutton with strikingly stylised figures of saints and angels, and allowing the interior of the new to communicate with the ruin. Inside, the great tapestry of Christ in majesty surrounded by the evangelistic creatures, draws the eye beyond the high altar; it was designed by Graham Sutherland and was the largest tapestry ever made.
However one of the greatest features of Coventry is it's wealth of modern stained glass, something Spence resolved to include having witnessed the bleakness of Chartres Cathedral in wartime, all it's stained glass having been removed. The first window encountered on entering is the enormous 'chess-board' baptistry window filled with stunning abstract glass by John Piper & Patrick Reyntiens, a symphony of glowing colour. The staggered nave walls are illuminated by ten narrow floor to ceiling windows filled with semi-abstract symbolic designs arranged in pairs of dominant colours (green, red, multi-coloured, purple/blue and gold) representing the souls journey to maturity, and revealed gradually as one approaches the altar. This amazing project was the work of three designers lead by master glass artist Lawrence Lee of the Royal College of Art along with Keith New and Geoffrey Clarke (each artist designed three of the windows individually and all collaborated on the last).
The cathedral still dazzles the visitor with the boldness of it's vision, but alas, half a century on, it was not a vision to be repeated and few of the churches and cathedrals built since can claim to have embraced the synthesis of art and architecture in the way Basil Spence did at Coventry.
The cathedral is generally open to visitors most days. For more see below:-
Synthesis of digital and organic. Workflow of my brain. Don't get wet, when binary waterfall breaks loose
Folhas que encontrei caídas no chão.
Fallen leaves that found on the floor. (Google Translate)
A edicao foi feita em menos de 2 minutos e a foto foi feita apenas pra matar a vontade de fotografar. Sabem como é...fotografar é maravilhoso vicio.
---------------------------------------
Add Flickr Explore #463 em 9/3/2008
ZnO nanoparticles obtained by hydrothermal synthesis using microwave heating.
Courtesy of FRANCISCO RANGEL
Image Details
Instrument used: Quanta Family
Magnification: 13000x
Horizontal Field Width: 23 μm
Vacuum: 80 Pa
Voltage: 20 kV
Spot: 3.0
Working Distance: 10.1
Detector: LFD
Charcoal.
Arcangelo Ianelli (São Paulo, 1922 - idem 2009). Painter, sculptor, illustrator and initially self-taught draughtsman. In 1940, he studied perspective at the Associação Paulista de Belas Artes [São Paulo Association of Fine Arts], and in 1942, received guidance in painting from Colette Pujol. Two years later, he attended the studio of Waldemar da Costa, with Lothar Charoux, Hermelindo Fiaminghi and Maria Leontina. During the 1950s, was a member of the Grupo Guanabara [Group Guanabara], with Manabu Mabe, Yoshiya Takaoka, Jorge Mori, Tomoo Handa, Tikashi Fukushima and Wega Nery, among others. From the 1940s onwards, produced everyday scenes, urban landscapes and seascapes which revealed a major formal synthesis and a chromatic range in subdued tones. During the 1960s, he returned to informal abstraction, producing canvases with a density of material and dark colours. By the end of the 1960s, his work had become both linear and pictorial, with a notable use of graphisms. From 1970 onwards he has returned to geometric abstraction, most notably using rectangles and squares, presented as superimposed and interpenetrating planes. He has also worked as a sculptor since the mid-1970s, when he began to execute works in marble and wood, in which he returned to constant questions in his painting. In 2002, he celebrated his 80th birthday with a retrospective at the Pinacoteca do Estado de São Paulo - Pesp [State Art Gallery of São Paulo].
Note. This new plot (2021-02-17) uses a revised spectrometer UV flux calibration that reduces the difference between the sun and the sun+sky fluxes in the critical region around 310nm. It also reduces the irradiance of UVb lamp at this wavelength. The new calibration, based on my deuterium lamp and the NIST measurements of similar devices, should result in a significant increase in accuracy.
This plot illustrates the comparison between direct winter sunlight (solar altitude 22°), skylight, and an Hg fluorescent UVb lamp for vitamin D synthesis in the skin. It was made as part of my efforts to understand the conditions necessary to synthesise the precursor chain that results in calcitriol, which is the hormone that circulates in the body to produce the multiple beneficial of the vitamin.
This is based on just a single measurement and I consider it to be just a starting point for further investigations.
The black line spectrum on the left with a peak close to 300nm shows the action spectrum (inverse dose in cm^2/J, peak at 10.5) for the conversion of 7-dehydrocholesterol to previtamin D3 in human skin when illuminated by UV-b radiation (Reproduced in "Sunlight and Vitamin D, A global perspective for health" Matthias Wacker and Michael F. Holick (2013) from Holick M F. Vitamin D status: measurement, interpretation, and clinical application. Ann Epidemiol 2009; 19:73-8; PMID:18329892; dx.doi.org/10.1016/j.annepidem.2007.12.001.)
The blue and the red-dashed lines show measurements of the solar irradiance measured on a plane perpendicular to solar direction from a sky with some high level thin cirrus from Bath, UK on 2021-02-12. The blue-line spectrum extending into the UV is from a Maya2000Pro spectrometer using a cosine corrector with a relative but not absolute flux calibration. The red-dashed line is an intensity calibration from a visible light Sekonic C-7000 spectro-radiometer extending only as far as 380nm.
Parts of the horizon were obscured for these observations and so the irradiance measurements should be considered as upper limits.
The thin red line is a predicted solar radiance, using an extinction model with Rayleigh and aerosol scattering and ozone absorption elements, for an altitude of 22°. This is for direct sunlight and does not include any sky radiation. The blue shading then shows the contribution of the sky to the available effective UVb radiation.
The violet and green-dashed lines are measurements made with the same devices of a 13W UVB 10.0 mercury fluorescent lamp (Desert Terrarium Compact Fluorescent Lamp) measured from the side at a distance of 10cm.
These spectra illustrate the very marginal availability of direct solar UVb radiation capable of synthesising vitamin D in winter. The only effective radiation at this time comes from the sky, principally from light that is Rayleigh scattered above the ozone layer and follows a path to the ground from close to the local zenith that minimises the ozone absorption.
The calibrated UVb lamp spectrum shows that it is straightforward to provide more vitamin D effective UV radiation than that from winter Sun + skylight by using appropriate simple, relatively cheap, mercury discharge lamps that are sold to illuminate pet tortoises!
Westerbork, Drenthe province of Netherlands.
It is now a site of a powerful radio telescope (en.wikipedia.org/wiki/Westerbork_Synthesis_Radio_Telescope).
In WWII a transit concentration camp lied on this site