“After Rudolf Steiner’s experience of the Christ mystery, which he
describes in his autobiography as ‘having stood in spirit before
the Mystery of Golgotha,’ the revealing of this mystery to all
people of good will—not only in the form of knowledge but
also through art, which makes it accessible to direct perception—
was one of the most important aims of his life.” —Sergei O. Prokofieff

Saved by good fortune from the flames that engulfed the first
Goetheanum, Rudolf Steiner’s wooden sculpture oe Holy Grail,
the etherization of the blood, the Seventh Apocalyptic Seal,
the Legend of the New Isis, and the being f the Christ,
 the Representative of Humanity, standing between the adversary
forces of Lucifer and Ahriman, remains intact, although
unfinished, and on display to this day. Unique in the history
of art, the Sculptural Group was deeply connected to
Steiner’s inner being. The great Christian initiate even
died by its side, having made efforts to work on the
sculpture days before he crossed the threshold. The
essential source from which this work was created,
says Sergei Prokofieff, “lay in Rudolf Steiner’s ego
[“I”], in his spirit.... It was only out of this intuitive
connection of his own ego with the Christ Being
that he was able to create this work of art.”

Beginning with the early history if the sculptural group and Steiner’s
collaboration on its creation with Edith Maryon, Prokofieff enters
deeply esoteric perspectives, studying the artwork’s relationship
with the mysteries of the Anthroposophia.