 Bense saw the history of art and the history of mathematics as aspects of the history of mind [Geistesgeschichte]. In fact “style is given wherever the human imagination and the capacity of expression arrive to creation”. Bense was certainly prone to draw parallels between styles in the history of art and styles in mathematics (he especially treated the baroque and the romantic styles in his book) but he kept, in opposition to Spengler, the nature of art and mathematics separate. Indeed he recognized that a stylistic history of mathematics could not be reduced “to a coincidence between certain mathematical formal tendencies and the great artistic-worldviews-spiritual styles of single epochs such as the Renaissance, Classicism, the Baroque or Romanticism” (p.132; see Fleckenstein 1955 and Wisan 1981 for more recent parallels between the baroque in art and the mathematics of the seventeenth century). He referred to Felix Klein’s “Elementarmathematik vom höheren Standpunkte aus” to point out that certain lines of development characterized by Klein could be seen as pointing to styles in the history of the development of mathematics (see Klein 1924, 91).