anticipatory reconciliation. Now this is the reason for the idealistic art, and although for ecclesiastical reasons I have to fight against this art most vehemently, because they believe that this is religious art – which is not, as I will show later on – I must say there is also truth in this understanding of art. If you experience the infinite beauty of artistic expressions in the idealistic period – for instance the great painting of the early and high Renaissance – then you can say: here something is fulfilling of human potentialities by artistic anticipation which cannot be fulfilled in reality. It is anticipation. I just heard a few days ago again Mozart^f's Don Juan, and here again I had the feeling it is dance in Heaven, so to speak: the melodies are transcending the empirical possibilities of existence; it is a reality in these melodies which in its beauty and in its power of anticipating fulfilment is the rest of the soul – even the day before a lecture! Now this shows the truth of the idealistic interpretation of art: the element of anticipation. And this element is in all art; no naturalistic work of art is a work of art if there is not this element, which is usually called beauty. Now we must be very cautious today with the word beauty, and I realize that not only I myself but most people avoid it carefully, because the word is one of those which have been deteriorized to cheap beauty, to a beautified naturalism which is the worst distortion of what art really is. Nevertheless the word beauty – in Greek kalos, which is always identified with agathos, with good – this shows there is an inner relationship between the good and the beautiful, for Greek thinking – and they knew something about these things. Therefore what the Greeks called kalos is something which is forever valid, even if the word “beautiful” and “beauty” have been badly deteriorized.