[91] Progress^a is tied up with the technical realm, and with no other realm. But since the technical realm APPEARS IN all other realms, there are elements of progress in all other realms also. But these elements of progress should not betray us into the belief that the essential nature of these realms has something to do with progress--I gave you, as an example, the art of the Sumerians and the art produced today in Boston: you cannot say it is "progress" from the one to the other. Some people say, with a strong romantic tendency, "There is only regression, and not progress at all." And when I was given the picture of one of the priestesses of the Sumerians, about 3000 years ago, and compared it even with the best GREEK things of the Archaic Greek period, I must say I am more inclined to say "regression" than "progress"! But I wouldn't say it [laughter]--it was only my immediate feeling! I come now again to the relationship of the visual arts and technique, and here I naturally emphasize architecture^b because in architecture the relation of the artistic and the technical element is especially important. Here again I want to answer a question I was asked by an architect who was in my lecture last time, as to whether it wouldn't be justified to take into consideration the desire of feeling at home in a room and, when you enter your house, to look at something which is beautiful-whatever this word may mean--but [be?] dependent on the feeling of this man; isn't it too strict (was the implication of this question) to demand a kind of honesty (which was my main demand in relationship of technical and artistic creation), so that many emotional values are sacrificed for the sake of architectural honesty. Now to this I would answer: It belongs to architectural honesty, and (as I said before) I believe that the human body feels surrounded by materials of the natural world which are adapted to the special character--let us say, of the skin--and from this point of view I would say: even if it is not architecturally necessary to have wood within a room, it is not against the principle of honesty to have it because it is warm and gives us a feeling like a good dress, which, ALSO, HAS to give a feeling to our body of adequacy of the material to the nature of the skin. Now these are considerations which enter the demand of honesty, and any puritan regresson [sic.], in THIS respect, would be far away from my own understanding.