But it was the method used everywhere, even by Percy 
Wyndham Lewis, the critical analyst of the return of auditory 
space to the twentieth century, in his Time and Western Man . 
And so, Seltman pursues an acoustic field approach, even to 
the story of the origins of perspective (p. 31):

     . . . Homer cannot be described as more childish than 
     Aeschylus, but as a different kind of poet; Plato is not 
     called a riper stylist than Thucydides, but a different kind 
     of writer with a different theme; St. Paul’s letters are not 
     more decadent than Cicero’s, merely different. For the 
     literature of the ancient world this Growth and Decay 
     Formula will not work. Are we justified in applying it to 
     Fine Art?

          “Well,” you may say, “why worry if people have this