Planetary seals

Rudolf Steiner created seven metamorphic planetary seals as a symbolic expression of astral images representing cosmic and human development.

They represent the planetary stages of evolution, see Overview of solar system evolution.

The first five of these seven were printed in the program of the Munich Congress of the Theosophical Society in 1907. The planetary seals were also carved into the seven wooden columns in the first Goetheanum in Dornach, Switzerland (constructed 1913-1919, destroyed 1923).

Aspects

• Brian Gray observed/claims (see References below) that the second through fifth Planetary seals as printed in the program were incorrectly oriented and rotated out of their lawful relationship to the first seal.
• see also cymatics and the work of Hans Jenny for dynamic formation of similar forms. More on: Hints of future etheric force technology#Note 2 - Cymatics, Chladni patters and Visual audio

Seven columns of first Goetheanum

• The essential thing is the relation of one pillar to another and the change from one into another:  in this change the laws of world order are to be found. The motive of each pillar develops out of the one that has gone before in a living metamorphosis: one form, as a metamorphosis, emerges out of the previous form. (1920-01-24-GA288)
• In the seven pillars the this trend at first is towards more complicated forms but at the centre, when one has what is most complicated, this trend is reversed and turns again towards the simple. The later evolution develops its simplicity out of the complicated: simplicity is created from concealed complexity. (1920-01-24-GA288)
• relation with evolutionary sequence pattern of a human life, see Schema FMC00.237B

Illustrations

Schema FMC00.320 shows the planetary seals in a modern rendering.

Schema FMC00.320A: shows various representations of the planetary seals, including the initial drawings by Rudolf Steiner, and versions by Brian Gray.

Lecture coverage and references

1911-11-15

These figures are the means by which we are instigated to create in ourselves the thought-forms, that is, the movement-forms in our ether-body… in a rhythmic sequence, they form a complete whole, the sort of whole which corresponds to a particular stream of development in the outer etheric world. The sequence of forms which accord with the perfecting of our ether-body is shown in the sequence of these figures, one after the other.

..

When we place before us such symbolic figures and are able to look more deeply into them, they can be a help in attaining those goals toward which we are striving. And when, by means of such a correct sequence we create appropriate thought-forms, we can then deepen our understanding of the rhythms that hold sway among the seven parts of the human organism.

We have not placed these figures here merely as decoration, but because they are intimately connected with those goals toward which we are here to strive.

other undated reference showing the seals should be contemplated one by one.

When we rest our physical eyes upon any one of these figures, it is not the physical eye alone but the whole organism and, above all, the streams of the ether-body which are set into a special kind of motion by the course of these lines and by the form of these figures, so that the ether-body moves differently according to which of these figures one is contemplating.

1920-01-24-GA288

[on the seven wooden pillars in the First Goetheanum]

When we come from the terrace through the main entrance and step into the first Hall, turn round and then towards the West side, we see this picture. We have before our view that which shuts off the space above, the first two pillars to the left and the right. As we go a step further we see here the capital of the first column to the right and left, and above that the architrave. If you will notice that which is essential you will mark the progressive development in the configuration in the capitals of the columns as well as in the architrave over the capitals.

...

In the next picture (31) you see the first pillar and I want to call your special attention to the way in which the motive of every pillar develops out of the one that has gone before in a living metamorphosis.

In order to do this we must look at the next picture (32) where the second pillar develops out of the first and where also the architrave motive is transformed in a developing metamorphosis, every succeeding form springing after its own law from the form which precedes it. You see here how the second pillar develops itself out of the first—that is to say when you take the forms which reach up from below and those which reach down from above, and when you picture to yourself how each succeeding leaf of a plant issues through metamorphosis out of the foregoing leaf, then you will realise how the form of the second pillar develops out of the form of the first pillar. The whole of it is to be found in continuing metamorphosis.

If you would really get an understanding of what is meant, then you will of course be wrong if you attach exaggerated importance to the nomenclature which as a matter of fact only—relates to exterior conditions.

The first pillar has been called Saturn, the second pillar Sun and so forth. Well, that is conceivable and that nomenclature is from a certain standpoint justifiable. But to abide by such nomenclature would of course be most inartistic.

The essential thing is the relation of the second pillar to the first and the first to the second pillar. The essential thing is the change from one form into another for it is just in this change from one form into the other that the laws of world order are to be found, and ordain the change from Saturn formation into the Sun formation. I do not mean to say that these pillars are symbolic of Saturn and Sun, I simply mean that the law of change from Saturn to Sun is an inward law whose workings can be seen. This inner law whose workings can be seen has been expressed here in the sequence of the form.

We will now see the second pillar by itself.

In the next picture we show the second and third pillars together with their particular architraves.

You see how in the first place the capitals are pictured in progressive metamorphosis and also how the architrave motif progresses, each form building itself up out, of the form that has gone before. Whenever you see a curve or a turn you must realise that this is not to be considered only as regards its own form but always in relation with the form that has gone before and that which is to come after. Through the entire development here neither a capital nor an architrave motif can be understood by itself. They exist as a sequence. They exist in their relationship one to the other. That is what we chew here. That is the truth which expresses the life element. Now we shall see the third pillar by itself.

Now then, we will see the third and fourth pillars together with their architraves. We shall see as we continue that things become more and more complicated. That is in accordance with the nature of evolution. Evolution proceeds from the simple forms to the more complicated. You see here that the fourth motif is really very complicated in relation to the one that has gone before and especially the architrave motif is becoming more and more complicated.

We will now see the fourth pillar by itself.

As I have said before this pillar and this motif must be seen in their relation to all the rest. That is the essential thing in all the ideas expressed in this Building. Whereas elsewhere one finds repetition, here one has a progressive evolution. This is really the essential new element that has been brought into the idea of this Building. Whereas elsewhere the dynamics of Geometry are put before us in repetition so that like balances like here one is concerned with the growth of the one out of the other. Look at them again - this pillar and the following one—together with their own architraves. Here we see how the moss complicated motif will be found in the capital of the fifth pillar and how the architrave motif becomes extremely complicated as it develops from the simple form which was there at the beginning to these very complicated forms.

We will now look at the fifth capital by itself.

Perhaps the form of this capital suggests to you the staff of Mercury wound about with snakes but you must not regard it as though it stood by itself - you must look at it as though it were veritably a living metamorphosis from that which precedes it—as a composition that has not come into being as an isolated idea. You will see if you once again change this form according to law and also according to the principle of progressive change the next form will develop out of this one.

We will now see this with the next once more and the contents of its capital. You have only to notice how certain lines which wind themselves about this Mercury motifs branch out from one another, how the Mercury motif with its small top and its points directed downwards appears to be growing larger, and notice how that which you see there at the edge grows to meet what is underneath it and is united with the Mercury motif. Then you will understand how forms which are in living movement grow through and grow out of each other, and that the succeeding motive is developed from that which has gone before.

[principle of evolution]

But I must draw your attention to one thing.

Just now when we have passed the middle point and we look at the next motive and compare it with the one that has gone before you might be inclined to say that this is more simple than the previous one. This is a point which must be quite clearly stated. If you follow the idea merely intellectually it may seem to you as if evolution consists in the fact that beginning from the most simple forms it proceeds to more and more complicated forms so that the last form will be a perfection of complexity. That is however not the case. A wholly false idea of evolution has come into being in modern times owing to this mistake. It is just when we follow the idea of evolution in Art as I had to do in order to model these capitals and architraves one from another that we identify ourselves with the real principle of evolution in nature and indeed in the world. You have then to model things after the pattern of evolution in the world and in nature, then you get an inner vision of what evolution really is. The marvellous and significant thing is that this trend at first is towards the more complicated forms but just about at the centre, just when you have what is most complicated, this trend is reversed. and turns again towards the simple.

Thus it has been shown in an artistic manner out of its own nature that when the most complicated stage has been achieved there come; a return to the simple and the complicated has to appear again in its most simple manifestations

I should like very specially to explain to you this principle of evolution.

• Granted we had to follow the course of evolution through any form of metamorphosis we should say this here is a simple form (see drawing 1st form)
• Now we go a little further and see how a subsequent form can grow out of this one. Now let us understand how the following form grows out of this one. Here we have an illustration of the complicated which has grown out of the simple (the second form).
• The next still more complicated form could be moulded in this way (see 3rd form). Now you have the third form having grown out of the previous one. Follow the development further so that it becomes apparent to you what is organic and growing and in this way you will feel yourself forced from a certain point onward.
• Through this relationship (or connection) in which you come with the living principle of evolution you feel yourself forced onward to mould not something apparently more complicated but something like this (see drawing 4th form and the next you would feel obliged to mould in this way (see 3th form); that is if you are really immersed in that which in nature is the origin of the principle of evolution and the power of evolution.

Then you would get a development which is really modelled from nature—that is, from the simple to the complicated, then again to the simple. But this simple form which one now achieves has a certain quality It is indeed apparently simple but if you compare this simple form with the simplicity of the first form you will say to yourself “here is a simple roughly drawn line” (referring to the first one) “but here is a change” and one has the feeling that one can see in it what has gone before so that in a certain sense what has gone before is actually included in it and so you feel that out of the complicated comes the simple, in so far as this simple form builds itself up on a mysteriously complicated element (see the red line). So that the later evolution develops its simplicity out of the complicated.

It is marvellous how if one traces evolution through art we identify ourselves with what evolution really is in nature. You see how we are led in this way to something that I have often pointed out If we follow the principles of evolution merely intellectually, then it is easy to believe that humanity is the most perfect result in the development of the organic creation and that it is also the most complicated. This is not true. If we contemplate a human organ—say the eye—we find that the human eye as seen from outside is certainly not the most complicated eye. The eyes of certain lower organisms are much more complicated. They grow organs like the sword appendix; the fan of lower organic beings which if; like the continuation of the blood vessels in the eye.

In Man these organs have apparently entirely disappeared and the human eye has returned to a simpler form, but simpler according to the principle of that which I have here shown in art.

Now as I have said, if one contemplates this simplicity which develops out of the complicated—one has the feeling that this. line has to be completed in thought (dotted line). Simplicity is created from concealed complexity. Simplicity is what is seen outwardly, that is actually to in nature. Man has no appendix in the eye, and apparently no fan but if one could add to the physical eye the etheric, then there should be added that which in the lower organic beings is developed physically. Just in the same way as (see drawing) I had to add, the dotted line here, just as I had to build up that which is externally visible on the foundation of this by the dotted line, so the human eye in its simplicity, in its physical; simplicity is formed out of a complicated etheric eye-formation: the apparently simple physical out of the complicated etheric.

This is a proof to you that when we really grow into the inner form in the way that the metamorphosis of forms demands, we grow into the creative principle of nature herself. For then we understand for the first time how evolution progresses in nature, and here, dear friend; you can see how necessary it is in order to understand a certain inward power of development that we must learn to know nature not only in intellectual ideas but to grasp her forms with the imagination of the artist. This is the thing that you must realise as most important in every sense of the word. If one is to try in the way that science till now has done to get at nature with ideas and conceptions of an intellectual kind one will never grasp nature in her fullness of evolution. One will, only grasp nature in her fullness of evolution when one has built up in pictures and in imaginations what are otherwise intellectual ideas and so-called natural laws, for nature creates not in intellectual ideas but in pictures and in imaginations. This is the main impression produced by our Building that it indicates to what kind, of representation we must progress if we would come to a satisfactory view of the world especially, in relation to the social future of mankind. The old world beliefs were developed from imaginations. You know the root of world beliefs is not to be found in intellectual ideas hut in pictures, in legends, in myths, and through pictures and images man sought to understand the forces which work in human life. And pictures and images were transformed into social impulses. All that originally came from the old pictures is to-day in a process of transformation and has to-day changed into intellectual conceptions; and intellectual conceptions cannot suffice for life. From this comes the present conception of the world with its dead element, with its destructive element containing within it the seed of death. And the conceptions of the world which appear new and young make nothing but sentimental and vogue claims.

...

[other section]

...

We will now continue further with the pictures.

This is then the [fifth] pillar by itself in which you can see how when Man comes to this perfection he comes outwardly to the perfection of simplicity.

Now here you see the last two pillars with their architraves. Everything has become simple although it has arrived at perfection.

You see the marvellous thing about this is that through the harmony between nature and creative Art other harmonies now manifest themselves that have not been noticed before.

• If you take the capital of the first pillar you can place that which was convex into the concave form of the last pillar and vice versa. This was not intentional. This is something which has been born out of itself. The convexity of the first Pillar fit into the concavity of the seventh.
• The convexity of the third pillar in the concavity of the fifth, and
• the centre pillar with its capital stands quite independently alone.

These are things which are born, just as in nature certain realities are born in progressive metamorphosis which do not need to be foreseen at all but seem like a kind of crux of the experiment which one discovers only at last when one has been creating in the same way as nature herself creates.

Here you see also the most perfect, and apparently also the most simple pillar of all.

[sequence]

We will now let the seven pillars follow one after another so that we can see how one forms as a metamorphosis emerges out of the other form—from the simple, the imperfect to the most complicated middle one, then back again to the most simple and the most perfect.

The first pillar. You have only to imagine the principle of growth transforming this pillar and you will get the next, the second pillar, then the third, the fourth, the fifth, the sixth and then the last.

Now for the next picture. Here you see the last pillar and the point where the great cupola impinges upon the small cupola. So that you have a glimpse here of the meeting point of the two cupolas, where the architrave of the big cupola impinges upon the architrave of the small cupola, only separated by the aperture in which.the curtain will drop. The little cupola is supported in the same way with pillars and architraves of which I can show you only a little. We have not been able to get good photographs of the others, but this juncture we shall see again in the next picture.

Related pages

• Evolution
• Overview of solar system evolution

References and further reading

• Friedrich Kempter: 'Rudolf Steiner's seven signs of planetary evolution' (1980, original 1960 in DE as 'Rudolf Steiners sieben Zeichen der planetarischen Entwicklung'
• Daniel Boillat: 'Die sieben Planetensiegel : nach den Vignetten von Rudolf Steiner' (1985)
• Maurice Le Guerrannic: 'Les sceaux des planètes de Rudolf Steiner'
• Beate Rust: 'Die Planeten-Siegel Rudolf Steiners. Urbilder der Evolution und ihre Signaturen im Planzenreich. Ein Weg zum Lesen im Buch der Natur' (1999)
• Brian Gray
  • 'Rudolf Steiner's Planetary Seals: Highlighting Their Metamorphosis By Correcting Their Orientation'(Nov 2015) - also on youtube
  • Planetary Seals and Columns - Lesson 2
• Yvan Rioux: 'The seat of the soul. Rudolf Steiner's Seven Planetary Seals. A biological perspective.' (2019)
• Urs Schwendener: 'Planeten-Siegel und Planeten-Säulen nach Rudolf Steiner'
• Planetary seals in Eurythmy