Balzac was the first to speak of the ruins of the bourgeoisie. But it was Surrealism that first opened our eyes to them. The development of the forces of production shattered the wish symbols of the previous century, even before the monuments representing them had collapsed. In the nineteenth century this development worked to emancipate the forms of construction from art, just as in the sixteenth century the sciences freed themselves from philosophy. A start is made with architecture as engineered construction. Then comes the reproduction of nature as philosophy. The creation of fantasy prepares to become practical as commercial art. Literature submits to montage in the feuilleton. All these products are on the point of entering the market as commodities. But they linger on the threshold. From this epoch derives the arcades and intérieurs, the exhibition halls and panoramas. They are residues of a dream world. The realization of dream elements, in the course of waking up, is the paradigm of dialectical thinking. Thus, dialectical thinking is the organ of historical awakening. Every epoch, in fact, not only dreams the one to follow but, in dreaming, precipitates its awakening. It bears its end within itself and unfolds it - as Hegel already noticed - by cunning. With the destabilizing of the market economy, we begin to recognize the monuments of the bourgeoisie as ruins even before they have crumbled.