[367] In all these men there was not the tendency to deny what is always present in expressionistic^a styles, namely the ultimate^b breaking into the surface of reality. But they believed that the surface of reality in its anticipatory form--as beauty^c, as perfection--is able to take into itself the ultimate itself. Now I leave, for a certain time, the artistic realm and come to the sociological reality which is expressed IN the artistic creativity. The naturalism that starts with the early Renaissance^d is an expression of the general attitude of industrial society. The naturalism of modern

art, starting with the Renaissance and interrupted only briefly in the Baroque period, is an expression of the ultimate self-interpretation of industrial^e society in the Western world. From here I want to characterize now this Western world in which we are living. First in a very general way, and then going down to many concrete elements which confirm this general statement. Now the general statement is: MAN CONTROLLING NATURE AND SOCIETY, IN THE POWER OF THE LOGOS^f. I avoid the word "reason," which I could use, if that deteriorization [sic.] of the word had not occurred, so that if I say "reason" today, you immediately think of the calculating businessman or the analytic philosopher. But I don't mean either of them--although they belong to it of course, and I will show this as clearly as I can--but I mean also critical reason of the revolutionary bourgeoisie of the 18th century, and I mean constructive reason in the romantic period of victorious bourgeoisie, etc. So reason is a much larger concept than it is usually used, and therefore I speak here of logos: man controlling nature and society in the power of the logos. This started around 1450 and went on till at least 1850 or 1900. Such periodizations