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In Memory of Theo Faiss
German: Im Gedenken an Theo Faiss
ArtistEdith Maryon
Year1921 (1921)
MediumRelief in plaster and bronze
DimensionsVersion 1: 71.5 cm × 33.5 cm
(28.1 in × 13.2 in)
Version 2: 67 cm × 33.5 cm
(26.4 in × 13.2 in)

In Memory of Theo Faiss (German: Im Gedenken an Theo Faiss) is a 1921 relief by the English sculptor Edith Maryon. A close associate of Anthroposophical Society leader Rudolf Steiner, Maryon made the work to commemorate Theo Faiss, a seven-year-old boy who died in an accident in 1914. Faiss had been well liked in Dornach—the centre of the anthroposophical movement, and where the Society was building the Goetheanum as its headquarters. In the years afterwards, Steiner frequently invoked Faiss's death as a voluntary sacrifice that enveloped the Goetheanum with a protective spiritual sheath.

Maryon made two versions of the relief, which are seen in bronze and plaster. Both versions are approximately two feet tall and one foot wide. The central motif in each shows a guardian-angel figure cradling the spirit of Faiss in one arm, with the other arm reaching upwards to higher realms. The first version—so determined based on stylistic features—also includes three figures at the bottom of the relief: Faiss (in corporeal rather than spiritual form), his mother, and, depending on interpretation, either his father or Steiner. In the second version, the bottom area is blank.

Two interpretations of the relief have been suggested. In one—posited by Maryon's biographer Rex Raab—the relief depicts the moment of Faiss's sacrificial death. In the other—put forth by the anthroposophist and author Judith von Halle (de) and Steiner scholar Martina Maria Sam—it depicts a moment seven years later, when, according to anthroposophical belief, Faiss's karmic protection over the Goetheanum came came to its end.

The work is, to Raab, the "true monument" to Faiss and his death; it helps to keep Faiss alive in memory, and serves a dual role as a memento mori. He likewise notes its documentary value, as a representation of Faiss's karmic sacrifice—something about which there is little else recorded.

Background

Edith Maryon

Black-and-white photograph of Edith Maryon
Edith Maryon
Main article: Edith Maryon
See also: Works of Edith Maryon

Early life

Louisa Edith Church Maryon was born in London on 9 February 1872.[1][2] She was the second of six surviving children born to John Simeon Maryon, a tailor, and Louisa Maryon (née Church).[3][1] She was preceded by a brother, John Ernest, and followed by Herbert James, George Christian, Flora Mabel, Mildred Jessie, and Violet Mary—although Flora Maryon, born in 1878, died in her second year.[2][4] Edith Maryon attended the Maria Grey School for Girls near home, and was then sent to Geneva to finish her education.[5] Upon her return to London Maryon studied art, including at the Royal College of Art.[6]

Sculpture

By the end of the 1890s, Maryon had become established as a sculptor, and in 1904, she was accepted as an Associate of the Royal College of Art.[7] Between 1899 and 1912, when Maryon was approximately 27 to 40 years old, she exhibited numerous works, particularly at the Royal Academy of Arts.[8] These works, according to her biographer Rex Raab, tended to fall into five categories: first, the world of external physical being; second, references to the elemental world; third, motifs from the spiritual world; fourth, spiritual–allegorical works; and fifth, a combination of emotional and spiritual aspects.[9] The shift in focus away from the elemental world and towards the spiritual, he observed, appears to have taken place around 1905 to 1907.[10]

Anthroposophy

Colour photograph of Edith Maryon's sculpture The Dance of Anitra
Maryon's The Dance of Anitra (1909), termed by Raab a fifth-category work

On September 4, 1909, Maryon became a member of the Stella Matutina—an offshoot of the Golden Dawn—to which several of her friends already belonged.[11] In 1912, Maryon embarked on a long-planned trip to Egypt, by way of Italy.[12] Maryon abruptly broke the trip off, however, returning to England.[13][14] According to one story, though perhaps apocryphal,[15] Maryon did so because she learned that the anthroposophist Rudolf Steiner was speaking in Berlin, and traveled to go listen to him instead.[13] In any event, on 16 October 1912, Maryon wrote to Steiner for the first time, asking for an audience; after further letters and others reaching out of her behalf, she arrived in Berlin on 9 December; she met Steiner the following day, and likely stayed in Germany (including a trip to Cologne) through the end of the month.[16][17][18]

The trip to Berlin solidified Maryon's view that her purpose lay in Steiner's work; in a letter she wrote on New Year's Day of 1913, she told him that "for some years I have always felt there is something definite for me to do, and, that some time I shall meet the master, who will tell me what it is and explain some of the things which have puzzled me so much. ... [W]hen I saw you in Berlin, I knew at last I was right about the Master."[19][20][21] After additional correspondence, and a visit to the Netherlands to attend a lecture series by Steiner, she wrote to him on 30 March that "I have now quite definitely decided in my own mind, that when I leave England in May it will be altogether, and with your permission I hope to entirely case in my lot with the [Anthroposophical Society]".[22][23][24]

Maryon traveled to Germany in May 1913, and in January 1914 to Dornach—the place where Steiner had resolved to center the anthroposophical movement, and build the Goetheanum as its central structure.[25][26] Although she returned to London around April 1914 due to ill health and limited finances, she travelled back to Dornach around June or July.[27][28]

Theo Faiss

Early life

Theodor Alberto Faiss was born in São Paulo or Porto Alegre, Brazil on 1 July 1907.[29][30][31][32] He was the first of four children born to Albert and Ida Faiss; Maria Magdalena ("Magda," b 1909), Arno (b. 1911), and Hansi (b. March 1914) would follow.[33][29][32] They had lived in Stuttgart in 1904, and knew Rudolf Steiner from that time.[29] Albert Faiss was deeply interested in theosophy, and Ida Faiss likewise joined these circles; Albert's father did not approve, however, which may have been one of the reasons for moving to Brazil.[34] They ran a nursery in southern Brazil from 1905 to 1911, before giving up and moving back to Europe.[31][29] Arno was born during the return trip.[35]

The months after the return to Europe were unsettled.[31] Albert Faiss stayed with Theo in Feuerbach, near Stuttgart, where he worked in the family's business; Ida Faiss spent much of her time with her brother's family in Oldenburg.[31] At some point, Albert Faiss reconnected with the circle of acquaintances connected with Steiner.[36] In late 1911 or early 1912 the family moved to Arlesheim, and in the first half of 1913 to Dornach in order to be near an anthroposophical institute.[29][36] They continued to farm a plot of land in Arlesheim, where Theo Faiss went to school.[36] In October 1913, they purchased the nursery directly below the grounds of the Goetheanum.[36][29]

By October 1914, Faiss—then seven years old—was well liked and considered to be responsible.[29] His father Albert had been called up to fight for Germany,[37] prompting the younger Faiss to respond that "Now that father is gone, I must work especially hard to be a support to my mother" (Jetzt, wo der Vater fort ist, muß ich besonders fleißig arbeiten, damit ich meiner Mutter eine Stütze bin).[38][39] He had a small wooden cart with which he would sometimes run errands, such as carrying vegetables and flowers, and Steiner himself would sometimes enlist his help.[29][35] Also by October, Albert Faiss was either in a military hospital or still at the front, having been slightly wounded there in late September;[35][29] his wife was informed of the injury by telegram on 5 October.[40]

Accident

On the afternoon of 7 October 1914, Steiner's housekeeper asked Faiss to pick up groceries from a canteen.[29][41] By dusk, however, he had not returned, and his mother began searching for him.[29] More and more neighbors soon joined the search, although Steiner, who was leading an evening program—a reading of poems by Christian Morgenstern, a speech, and a lecture—was not alerted until around 10 p.m.[29] They soon found that an overloaded wagon of furniture had overturned near the canteen; its driver—the artist Käthe Knetsch, who worked on the Goetheanum—had unharnessed the horses, then walked to Basel.[29][42] Righting the wagon took until around midnight, and revealed the body of Faiss underneath.[29]

Faiss's body was laid out in a corner of the canteen; Steiner visited daily, each time addressing Faiss as "You dear Sun-Boy, you" (Du lieber Sonnenknabe, du).[43][44] Steiner offered a eulogy at the funeral, held on 10 October, and, that evening, gave the first of his five-part lecture series The Dornach Building as a Symbol (Der Dornacher Bau als Wahrzeichen).[43]

Albert Faiss, meanwhile, was given a week's leave at the end of the month to visit his family.[40] Upon his return to the field in the cold and wet autumn, he contracted pneumonia and rib inflammation; he was taken to the hospital in Konstanz on 18 December, although the post was unreliable and the family was not informed.[35][29][40] He died five days later, and Ida Faiss left on Christmas Eve to collect his coffin.[35][29] Steiner delivered a eulogy on 27 December, stating that the Albert Faiss "will be received by the soul of the beloved child, with whom we know you to be united" (der Du empfangen wirst von der Seele des teuren Kindes, mit der vereint wir Dich wissen).[45][38]

Significance

Starting with his eulogy three days after the accident, Stainer repeatedly linked Faiss's death to the anthroposophical movement. The "harrowing event", he said then, highlighted "the connection between karma and seemingly external coincidence": "human lives that are taken away early, that have not gone through the worries and sorrows, nor the temptations of life, ... are forces in the spiritual world that have a certain relationship to the entire human life, that are there to have an effect on these human lives".[46][47] Steiner closed by reading a mantram adapted from one he read in honor of soldiers.[48]

Mantram to Faiss[49] Mantram to Faiss (original German)[50] Mantram to soldiers[note 1] Mantram to soldiers (Original German)[52]

Spirit of his soul, active guardian,
May your wings bring
Our souls' imploring love
To the human being in the spheres entrusted to your care,
So that, united with your might,
Our entreaties might ray forth to help
The soul they lovingly seek.

Geist seiner Seele, wirkender Wächter,
Deine Schwingen mögen bringen
Unserer Seelen bittende Liebe
Deiner Hut vertrautem Sphärenmenschen,
Daß, mit Deiner Macht geeint,
Unsere Bitte helfend strahle
Der Seele, die sie liebend sucht.

Spirits of your souls, active guardians,
May your wings bring
Our souls’ imploring love
To the human beings on Earth entrusted to your care,
So that, united with your might,
Our entreaties might ray forth to help
The souls they lovingly seek.

Geister eurer Seelen, wirkende Wächter,
Eure Schwingen mögen bringen
Unserer Seelen bittende Liebe
Eurer Hut vertrauten Erdenmenschen,
Daß, mit eurer Macht geeint,
Unsre Bitte helfend strahle
Den Seelen, die sie liebend sucht.

Similarly, during the evening lecture, Steiner spoke of "a remarkable experience of karma" (merkwürdiges Karma) in which Faiss was "summoned back by spiritual powers" (zurückgefordert wurde von den geistigen Mächten), and added that, however heartrending, "We see clearly that, in order to bring about the fulfillment of this karma, the wagon was led co that spot, and then the wagon was overturned so that the karma of that particular individual might be fulfilled" (um die Verwirklichung dieses Karmas herbeizuführen, an jene Stelle der Wagen hingeführt worden ist, und daß der Wagen umgestürzt ist, um das Karma jenes Menschenlebens zu vollenden).[53][54][55]

Black-and-white drawing by Rudolf Steiner showing the boundaries of Theo Faiss's auro around the Goetheanum
Steiner's drawing showing the boundaries of Faiss's "etherial aura" around the Goetheanum[note 2]

Steiner continued to invoke Faiss in later years, referring to him in at least fourteen speeches and lectures.[62][63][64][note 3] In remarks made in 1915, Steiner expounded upon Faiss's death, explaining it as a karmically voluntary sacrifice that provided a protective spiritual sheath for the Goetheanum, then still under construction.[91] In the twelfth lecture from his fifteen-lecture series The Mystery of Death (Das Geheimnis des Todes), for example, Steiner declared that "ever since little Theodor's death, the work upon the Building became possible, because the boy's etheric body spreading over the Building supplied the mediating forces that were needed to draw down inspirations from the spiritual world" (die Arbeit seit dem Tode dieses kleinen Theodor Faiß mir dadurch möglich gemacht ist, daß Vermittlerkräfte für die Inspirationen in diesem über dem Bau ausgebreiteten Ätherleibe des Knaben gegeben sind.[92] The building, he added, "is enveloped by the greatly enlarged etheric body of this child, as if by an aura that reaches very far" (von dem vergrößerten Ätherleib dieses Kindes – bis in weitem Umkreis – unser Dornacher Bau wie von einer Aura eingehüllt ist).[57] Steiner made a drawing during the lecture, showing what he understood to be the boundaries of this "etheric aura" (Ätheraura).[61]

Maryon, who had returned to Dornach three or four months earlier, likely experienced these events firsthand.[91] She may also have known Theo Faiss and his mother; during her stay in Dornach at the beginning of the year, too, it is possible she met his father Albert.[93]

Description

Maryon created two versions of In Memory of Theo Faiss.[62] Both are dated 1921; based on stylistic characteristics, Maryon's biographer Rex Raab suggests that the second version is the later of the two.[62]

First version

The first version of the relief is 71.5 cm (28.1 in) tall and 33.5 cm (13.2 in) wide—a slightly elongated double square.[94] It is signed by Maryon and dated 1921; the date is partly damaged, leaving the month illegible.[62] The relief is divided horizontally into three stylistic elements.[95]

The bottom third depicts three individuals, suggested to be either Faiss and his parents, or Faiss, his mother, and Steiner.[96][97] Their upper bodies rise out of a motif that is both plant-like and flame-like.[94] A woman, likely Faiss's mother, is on the right; of the five figures depicted in the relief, hers is the only face that is concave.[98] On the left is the figure of a man—possibly Faiss's father or Steiner—with hands clasped to his chest in prayer.[96][97] A third figure, presumably Theo Faiss himself, is in the middle and slightly above them—still in physical form, with outstretched hands.[96][98]

The middle portion of the relief also depicts Theo Faiss, this time in spiritual form.[99] Smaller than the physical Faiss below, the spiritual version is doll-like, and rises upwards.[99] Its head is bowed slightly forward, and its hands are raised; the whole body is held by, and rests against the chest of, a spiritual being, seemingly a guardian angel.[99]

The upper third of the relief shows this guardian angel.[99] One hand cradles the spiritual Faiss; the other gestures upwards, towards higher realms.[99]

Second version

The second version of the relief is a variant of the first.[100] The width is the same—33.5 cm (13.2 in)—but the height, 67 cm (26 in), is slightly shorter, making the work an exact double square.[100] Like the first, it is signed and dated 1921.[62]

The second version contains only the two upper elements of the first: The guardian spirit lifting up the spiritual form of Faiss.[100] These figures appear more relaxed than in the first.[100] The bottom portion, where the earthly Faiss and his parents were depicted, is absent.[100]

Themes

Two thematic interpretations of the relief have been offered.[101][102] In the first, the relief is related to the moment of Faiss's death.[101][103] In the second, it relates to the end of Faiss's spiritual protection over the Goetheanum.[102][42]

The first interpretation was put forth by Raab.[101][104][103] According to him, the relief depicts the moment of Faiss's sacrificial death and his passage into the spiritual world.[101][104][103] Faiss's outstretched arms suggest that he is ready for sacrifice; he is to be reborn in the spiritual world like a butterfly.[101] His father clasps his arms as if in prayer, meanwhile, as if to say "I too am ready, oh God, to bring this sacrifice, if it is your wise will!" (Auch ich bin bereit, oh Gott, dieses Opfer zu bringen, wenn es Dein weisheitsvoller Wille ist!)).[101] The angel figure, for its part, appears as a messenger from heaven sent to retrieve Faiss's soul, just as Mercury guided souls to the underworld.[99] Taken as a whole, under this view the relief is the sculptural embodiment of the mantram with which Steiner eulogized Faiss, asking that his soul be entrusted to the spirits.[105]

The anthroposophist and author Judith von Halle (de) and the Steiner scholar Martina Maria Sam, by contrast, interpret the relief as relating to events years later.[106][102][42] To von Halle, it shows a moment seven years after Faiss died: when he passed into another part of the spiritual world, and his protective sheath over the Goetheanum came to an end.[106][102] The interpretation relies on Steiner's belief that humans form and develop in seven-year cycles: forming an etheric body over the first seven years, an astral body from seven to fourteen, and the remainder of its terrestrial being from fourteen to twenty-one.[98][107][108][109] Faiss's death in October, shortly after his seventh birthday in July, meant that his etheric body had only just become fully formed.[98] In death, as it would have done in life, Faiss's body continued to "age" through his astral cycle, during which time he offered protection to the Goetheanum.[98] When Faiss would have turned fourteen in October 2021—the month when, according to von Halle, Maryon likely created the work—he passed to the next cycle, and the protection ended.[98][110] To von Halle, the concavity of Faiss's mother's face shows that she is grieving in the earthly sphere.[98] Unlike Raab, who sees the male figure on the left as Faiss's father, von Halle identifies it as Steiner—with convex face, operating beyond the threshold of the spirit world—offering his thanks to Faiss, on the one hand, and expressing concern and praying for continued protection, on the other.[111] The lack of continued protection, however, is to von Halle why the Goetheanum was able to burn as it did at the end of 2022.[98][110] Similarly, Sam suggests that the relief "is directly connected to the fire" (direkt mit dem Brandgeschehen zusammenhängt).[42] Stating that Maryon would have designed the relief in consultation with Steiner, she suggests that it may represent the "metamorphosis of Theo’s task in an artistic form" (Metamorphose der Aufgabe Theos in künstlerischer Art).[42]

Beyond the specific event depicted, Raab terms the relief the "true monument" (eigentliche Denkmal) to Faiss and his death, helping to keep it alive in memory, while serving a dual role as a memento mori.[112] He also notes that has documentary value, as a representation of Faiss's karmic sacrifice—something about which there is little recorded.[112]

Provenance

The first version, wrote Raab, "nearly disappeared into oblivion" (Beinahe wäre ... verlorengegangen.).[112] It was discovered as thirteen dusty plastic fragments by Emil Estermann; he gave them to A. John Wilkes, an English sculptor who restored many of Maryon's and Steiner's original models and casts around 1965.[113][114] He reassembled the pieces, after which a new cast was made, with the break lines barely visible.[112]

Neither the original nor the mould of the second version is still present in the Goethaneaum's studio.[115] It was unknown to Raab—who had already written the chapter of Maryon's biography discussing the relief—until April 1991.[62] At this point he became aware of a bronze version located in the Netherlands, although the owners did not know how it ended up there.[62] Raab noted that Maryon's surviving correspondence indicated that she had friendly contacts in the Netherlands, as well as Dutch friends in Dornach, and speculated that it she may have offered it as a gift, such as in exchange for hospitality.[115]

Notes

  1. ^ A translation of the original German was published in Steiner 1987b. It has been adjusted here to more closely align with the translation in Steiner 2011 of the mantram to Faiss.[51][49]
  2. ^ Bau is the Goetheanum; Heizhaus is the boiler house;[56] Haus für Glasfenster is where the glass windows of the Goetheanum were cut;[57][58] Villa Hansi is Steiner's house;[59][41][60] Wald is the forest; and Umgrenzung der Aura is the boundary of the aura.[61] According to Steiner, "we may even determine the limits of this enveloping aura. If you contemplate the Dornach Building you will know (and those who have seen it know this) that it is a double cupola building. (A drawing is made). Here is a separate fire-box building, constructed in a special way, according to principles dictated by spiritual science, and here is another building, where the glass windows for the Goetheanum are cut. Casually I might also add that here you may see the so-called “Haus Hansi”, the house in which I live. Now it is strange to see that little Theodor Faiss' aura, enveloping the whole Building, reaches as far as this spot, near the woods; then it goes past the fire-box building and through the very midst of the building where the windows are cut, and finally past Haus Hansi, but without enclosing it. Consequently, when we enter the Goetheanum, we actually enter this etheric aura." (Es ist möglich, wirklich zu bestimmen, wie weit diese Einhüllung geht. Wenn Sie den Dornacher Bau sehen werden — diejenigen, die ihn schon gesehen haben, wissen es —, es ist ein Doppelrundbau (siehe Zeichnung). Hier haben wir ein Heizhaus, in einer besonderen Art nach Grundsätzen der Geisteswissenschaft angelegt, und hier haben wir dann ein anderes Haus angelegt, wo die Glasfenster für den Bau geschliffen werden. Nur nebenbei will ich erwähnen, daß etwa hier das sogenannte «Haus Hansi» ist — das ist das Haus, in dem wir wohnen. Nun ist es merkwürdig, daß bis hier, gegen den Wald hinauf, dann gerade an dem Heizhaus vorbei, mitten durchschneidend diesen Bau, wo die Fenster geschliffen werden, und hier an diesem Haus vorbei, Haus Hansi, dieses nicht einschließend, diese Aura des kleinen Theodor Faiß einhüllt den ganzen Bau. So daß man in der Tat, wenn man den Bau betritt, diese Ätheraura betritt.
  3. ^ This included the 10 October 1914 eulogy of Theo Faiss;[65][46] the 27 December 1914 eulogy of Albert Faiss;[66][38] a 6 February 1915 lecture;[67][68] a 7 February 1915 lecture;[69][70] a 14 February 1915 lecture;[71][72] the 19 February 1915 lecture "The Passing of a Human Being through the Gate of Death—a Transformation of Life" (Der Durchgang Des Menschen Durch Die Todespforte – Eine Lebenswandlung);[73][74] the 22 February 1915 lecture "Personal and Supersensible Aspects (Relating to Certain Individuals)" (Persönlich-Übersinnliches);[75][76] the 13 March 1915 lecture "The Entry of the Christ Impulse into Historical Events—The Bridging of the Gulf between the Living and the Dead" (Das Eingreifen Des Christus-Impulses In Das Geschichtliche Geschehen – Die Überbrückung Der Kluft Zwischen Lebenden Und Toten);[77][78] the 7 May 1915 lecture "Cosmic Influences upon the Members of Man's Being – The Occult Foundation of the Christmas Festival – The Significance of Sacrificial Death" (Kosmische Einwirkungen auf die menschlichen Wesensglieder während des Schlafes – Die okkulte Grundlage des Weihnachtsfestes – Der Sinn der Opfertode);[79][80] the 13 May 1915 lecture "The Relationship of the Human Being to the Realms of Nature and the Hierarchies – Spirits of the Ages and Folk-Souls – The Admonishing Voices of the Dead" (Die Beziehung Des Menschen Zu Den Naturreichen Und Den Hierarchien - Zeitgeister Und Volksgeister - Die Mahnenden Stimmen Der Toten);[81][82] the 18 May 1915 lecture "Christ in Relation to Lucifer and Ahriman—The Threefold Nature of this Form" (Christus im Verhältnis zu Luzifer und Ahriman - Die dreifache Wesensgestaltung);[83][84] the 13 June 1915 lecture "Spiritual Science as a Conviction—The Etheric Body as a Reflection of the Universe" (Geisteswissenschaft als Gesinnung - Der Ätherleib als Abspiegelung des Weltenalls);[85][86] the 16 February 1916 lecture "Life Between Death and Rebirth" (Das Leben Zwischen Tod und Neuer Geburt);[87][88] and the 18 February 1916 lecture "The Elements of Our Being between Death and Rebirth" (Die Wesensglieder des Menschen im Leben Zwischen Tod und neuer Geburt).[89][90]

References

  1. ^ a b Raab 1993, p. 21.
  2. ^ a b Maryon 1895, p. 10.
  3. ^ Maryon 1895, pp. 9–10.
  4. ^ Raab 1993, p. 22.
  5. ^ Raab 1993, p. 23.
  6. ^ Raab 1993, pp. 26–28.
  7. ^ Raab 1993, p. 34.
  8. ^ Raab 1993, pp. 40–41.
  9. ^ Raab 1993, pp. 41–42.
  10. ^ Raab 1993, p. 42.
  11. ^ Raab 1993, pp. 55.
  12. ^ Raab 1993, p. 87.
  13. ^ a b Raab 1993, pp. 87–88.
  14. ^ Selg 2022, p. 12.
  15. ^ Selg 2022, p. 12–13, 216–217 n.22.
  16. ^ Raab 1993, pp. 91–93.
  17. ^ Selg 2022, pp. 20–23.
  18. ^ Steiner 1990, pp. 11–12.
  19. ^ Raab 1993, pp. 93–95.
  20. ^ Selg 2022, pp. 24–28, 216–217 n.22.
  21. ^ Steiner 1990, p. 13.
  22. ^ Raab 1993, pp. 97–98.
  23. ^ Selg 2022, pp. 28–30.
  24. ^ Steiner 1990, pp. 14–16.
  25. ^ Raab 1993, pp. 53, 96, 102–114.
  26. ^ Selg 2022, pp. 32–46.
  27. ^ Raab 1993, pp. 117–121.
  28. ^ Selg 2022, pp. 49–52.
  29. ^ a b c d e f g h i j k l m n o p Raab 1993, p. 246.
  30. ^ Steiner 1995, p. 225.
  31. ^ a b c d Kottmann-Solinger & Wanner-Faiss 2011, p. 3.
  32. ^ a b Sam 2007, p. 8.
  33. ^ Kottmann-Solinger & Wanner-Faiss 2011, pp. 3, 5.
  34. ^ Kottmann-Solinger & Wanner-Faiss 2011, pp. 3–4.
  35. ^ a b c d e Kottmann-Solinger & Wanner-Faiss 2011, p. 5.
  36. ^ a b c d Kottmann-Solinger & Wanner-Faiss 2011, p. 4.
  37. ^ Steiner 1980, p. 108.
  38. ^ a b c Steiner 2011, pp. 92–95.
  39. ^ Steiner 1984, p. 105.
  40. ^ a b c Sam 2007, p. 9.
  41. ^ a b Paull 2018.
  42. ^ a b c d e Sam 2007, p. 10.
  43. ^ a b Raab 1993, p. 247.
  44. ^ Petersen 2001, pp. 186–187.
  45. ^ Steiner 1984, p. 107.
  46. ^ a b Steiner 2011, pp. 90–91.
  47. ^ Steiner 1984, p. 101.
  48. ^ Raab 1993, pp. 250–252.
  49. ^ a b Steiner 2011, p. 91.
  50. ^ Steiner 1984, p. 102.
  51. ^ Steiner 1987b, p. 1.
  52. ^ Steiner 1981, p. 15.
  53. ^ Steiner 1985, pp. 10, 18.
  54. ^ Steiner 2017a, pp. 2–3, 15.
  55. ^ Raab 1993, pp. 247–248.
  56. ^ Paull 2013, p. 5.
  57. ^ a b Steiner 1980, p. 282.
  58. ^ Paull 2013, pp. 4–5.
  59. ^ Steiner 1980, pp. 282–283.
  60. ^ Paull 2013, p. 3.
  61. ^ a b Steiner 1980, pp. 281–283.
  62. ^ a b c d e f g Raab 1993, p. 253.
  63. ^ Selg 2008, pp. 58–64.
  64. ^ Selg 2011, pp. 52–56.
  65. ^ Steiner 1984, pp. 101–102.
  66. ^ Steiner 1984, pp. 103–107.
  67. ^ Steiner 1999, pp. 103–105.
  68. ^ Steiner 2018, pp. 122–123.
  69. ^ Steiner 1999, pp. 141–142.
  70. ^ Steiner 2018, pp. 86–88.
  71. ^ Steiner 1994, pp. 76–77.
  72. ^ Steiner 2024, pp. 55–56.
  73. ^ Steiner 1980, pp. 41–43.
  74. ^ Steiner 2023, pp. 30–31.
  75. ^ Steiner 1981, pp. 163–165.
  76. ^ Steiner 1987b, pp. 125–126.
  77. ^ Steiner 1980, pp. 108–111.
  78. ^ Steiner 2023, pp. 89–92.
  79. ^ Steiner 1980, pp. 173–175.
  80. ^ Steiner 2023, pp. 145–147.
  81. ^ Steiner 1980, pp. 223–226.
  82. ^ Steiner 2023, pp. 190–193.
  83. ^ Steiner 1980, pp. 266–269.
  84. ^ Steiner 2023, pp. 228–231.
  85. ^ Steiner 1980, pp. 279–283, 290–291.
  86. ^ Steiner 2023, pp. 239–243, 249.
  87. ^ Steiner 1995, pp. 21–22.
  88. ^ Steiner 2017b, pp. 11–12.
  89. ^ Steiner 1995, pp. 46–47.
  90. ^ Steiner 2017b, pp. 31–33.
  91. ^ a b Raab 1993, p. 248.
  92. ^ Steiner 1980, p. 283.
  93. ^ Raab 1993, pp. 248–249.
  94. ^ a b Raab 1993, pp. 249, 251. Cite error: The named reference "FOOTNOTERaab1993249, 251" was defined multiple times with different content (see the help page).
  95. ^ Raab 1993, p. 249.
  96. ^ a b c Raab 1993, pp. 249–251.
  97. ^ a b von Halle 2011c, pp. 19–20.
  98. ^ a b c d e f g h von Halle 2011c, p. 19.
  99. ^ a b c d e f Raab 1993, pp. 250–251.
  100. ^ a b c d e Raab 1993, pp. 251, 253.
  101. ^ a b c d e f Raab 1993, pp. 249–250.
  102. ^ a b c d von Halle 2011c, pp. 18–19.
  103. ^ a b c von Halle 2011c, p. 18.
  104. ^ a b von Halle 2010, p. 108.
  105. ^ Raab 1993, pp. 250, 252.
  106. ^ a b von Halle 2010, pp. 108–109.
  107. ^ Steiner 1983, pp. 157–173.
  108. ^ Steiner 1987, pp. 129–142.
  109. ^ Steiner 1987a, pp. 309–346.
  110. ^ a b von Halle 2011b, p. 26.
  111. ^ von Halle 2011c, p. 20.
  112. ^ a b c d Raab 1993, p. 252.
  113. ^ Raab 1993, pp. 15–16, 155, 163, 252.
  114. ^ Consortium Wilkes.
  115. ^ a b Raab 1993, pp. 253–254.

Bibliography

  • "John Wilkes". Consortium Book Sales & Distribution. Retrieved 2 October 2025. Free access icon
  • Kottmann-Solinger, Beatriz & Wanner-Faiss, Raphaela (February 2011). "Rudolf Steiner im Umkreis der Familie Faiss" [Rudolf Steiner in the Circle of the Faiss Family] (PDF). Der Europäer (in German). 15 (4): 3–8.
  • Maryon, John Ernest (1895). Records and Pedigree of the Family of Maryon of Essex and Herts. London: Self-published.
  • Paull, John (2013). "Dornach: In the Footsteps of Rudolf Steiner". Studies in Art and Architecture. 2 (4): 1–11.
  • Paull, John (2018). "The Home of Rudolf Steiner: Haus Hansi". Journal of Biodynamics Tasmania (126): 19–23.
  • Petersen, Adelheid (2001). "Dornach in den Jahren 1914/1915" [Dornach in the Years 1914/1915]. In Beltle, Erika & Vierl, Kurt (eds.). Erinnerungen an Rudolf Steiner. Gesammelte Beiträge aus den "Mitteilungen aus der Anthroposophischen Arbeit in Deutschland" 1947–1978 [Memories of Rudolf Steiner: Collected Contributions from 'Communications from the Anthroposophical Work in Germany' 1947–1978] (in German) (New ed.). Stuttgart: Verlag Freies Geistesleben. pp. 184–196. ISBN 3-7725-1979-2.
  • Raab, Rex (1993). Edith Maryon: Bildhauerin und Mitarbeiterin Rudolf Steiners [Edith Maryon: Sculptor and collaborator of Rudolf Steiner]. Pioniere der Anthroposophie (in German). Vol. XI. Dornach: Philosophisch-Anthroposophischer Verlag am Goetheanum. ISBN 3-7235-0648-8.
  • Sam, Martina Maria (29 June 2007). "Theo Faiss und das Erste Goetheanum" [Theo Faiss and the First Goetheanum]. Das Goetheanum (in German). 86 (26): 8–10. LCCN 51016931.
  • Selg, Peter (2008). Rudolf Steiners Toten-Gedenken [Rudolf Steiner's Commemoration of the Dead] (in German). Arlesheim: Verlag des Ita Wegman Instituts. ISBN 978-3-9523425-2-7.
  • Translated into English as Selg, Peter (2011). The Path of the Soul After Death. Translated by Creeger, Catherine E. Great Barrington, Massachusetts: SteinerBooks. ISBN 978-0-88010-724-2.
  • Translated into English as Steiner, Rudolf (2023). Dietler, Urs (ed.). The Mystery of Death: The Nature and Significance of Central Europe and the European Folk-Spirits. Collected Works of Rudolf Steiner. Vol. 159. Translated by Blaxland de-Lange, Simon. London: Rudolf Steiner Press. ISBN 978-1-85584-608-1.
  • Published online in part with translations as "The Mystery of Death: GA 159". Rudolf Steiner Archive. Steiner Online Library. Retrieved 30 September 2025. Free access icon
  • Translated into English as Steiner, Rudolf (1987b). Leinhas, Emil; Wiesberger, Hella & Wispier, Caroline (eds.). The Destinies of Individuals and of Nations: A course of fourteen lectures given in Berlin from 1 September 1914 to 6 July 1915. Collected Works of Rudolf Steiner. Vol. 157. Translated by Meuss, Anna R. London: Rudolf Steiner Press. ISBN 0-85440-556-9.
  • Published online in part with translations as "Human Destinies and the Destinies of Nations: GA 157". Rudolf Steiner Archive. Steiner Online Library. Retrieved 12 October 2025. Free access icon
  • Translated into English as Steiner, Rudolf (2011). Our Dead: Memorial, Funeral, And Cremation Addresses 1906–1924. Collected Works of Rudolf Steiner. Vol. 261. Translated by Seiler, Sabine & Bamford, Christopher. Great Barrington, Massachusetts: SteinerBooks. ISBN 978-0-88010-650-4.
  • Published online in part with translations as "Our Dead: GA 261". Rudolf Steiner Archive. Steiner Online Library. Retrieved 30 September 2025. Free access icon
  • Translated into English as Steiner, Rudolf (2017a). Architecture as Peacework: The First Goetheanum, Dornach, 1914. Collected Works of Rudolf Steiner. Vol. 287. Translated by Amrine, Frederick. Great Barrington, Massachusetts: SteinerBooks. ISBN 978-1-62148-099-0.
  • Published online in part with translations as "The Building at Dornach: GA 287". Rudolf Steiner Archive. Steiner Online Library. Retrieved 5 October 2025. Free access icon
  • Translated into English as Steiner, Rudolf (2024). The Spiritual Background to the First World War. Collected Works of Rudolf Steiner. Vol. 174b. Translated by Blaxland de-Lange, Simon. London: Rudolf Steiner Press. ISBN 978-1-85584-661-6.
  • Published online in part with translations as "GA 174b". Rudolf Steiner Archive. Steiner Online Library. Retrieved 12 October 2025. Free access icon
  • Translated into English as Steiner, Rudolf (2017b). The Connection Between the Living and the Dead: Eight Lectures Held in Various Cities Between February 16 and December 3, 1916. Collected Works of Rudolf Steiner. Vol. 168. Translated by Jackson, Aria. Great Barrington, Massachusetts: SteinerBooks. ISBN 978-1-62148-075-4.
  • Published online in part with translations as "The Connection Between the Living and the Dead: GA 168". Rudolf Steiner Archive. Steiner Online Library. Retrieved 12 October 2025. Free access icon
  • von Halle, Judith (2010). Die Christus-Begegnung der Gegenwart und der Geist des Goetheanum [Encountering Christ Today and the Spirit of the Goetheanum] (in German). Dornach: Verlag für Anthroposophie. ISBN 978-3-03769-026-0.
  • Translated into Italian, with chapter available online, as von Halle, Judith (2011a). "Theo Faiss e la protezione sacrificale della dimora dei Misteri" [Theo Faiss and the sacrificial protection of the dwelling of the Mysteries]. L'incontrare il Cristo oggi e lo spirito del Goetheanum [Encountering Christ Today and the Spirit of the Goetheanum] (in Italian). Translated by Cammerinesi, Piero. San Lazzaro di Savena: CambiaMenti. pp. 77–86. ISBN 978-88-96029-12-1.
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