more grew out of Olympia than the history of Thucydides out 
of the dramas of Aeschylus. Rather, it seems that the fifth-
century Greeks, having experimented in realistic art, began to 
find it more to their taste than formal art because they 
acquired a liking for verisimilitude.

A nomadic society cannot experience enclosed space.

*     Instead of using Seltman’s unique observations about Greek 
celature as a take-off strip for the medieval manuscript culture, 
I am going to enlarge the present mosaic of exhibits a little 
more. Before approaching the five centuries of the Gutenberg 
galaxy, it will be well to note how profoundly indifferent are 
nonliterate men to visual values in the organization of 
perception and experience. This indifference is shared by the 
artist “since Cézanne.” A great art historian like Siegfried