our world, such as Ireland or the Old South.

     The kind and degree of literate experience of the Greek 
was not intense enough to enable him to translate his audile-
tactile heritage into the “enclosed” or “pictorial” space that 
was only widely available to human sensibility after printing. 
Between the extreme visuality of perspective and the flat 
planes of Greek and medieval art there is a further degree of 
abstraction or dissociation of our sense lives which we quite 
naturally feel to be the difference between the ancient-medieval 
and the modern worlds. Since new, empathic methods of art 
and cultural analysis give us easy access to all modalities of 
human sensibility we are no longer limited to a perspective of 
past societies. We recreate them.

     There is entire consistency in the effects of the emergent