The sheer increase in the quantity of information movement 
favored the visual organization of knowledge and the rise of 
perspective even before typography.

*     As the literal or “the letter” later became identified with 
light on rather than light through  the text, there was also the 
equivalent stress on “point of view” or the fixed  position of the 
reader: “from where I am sitting.” Such a visual stress was 
quite impossible before print stepped up the visual intensity of 
the written page to the point of entire uniformity and 
repeatability. This uniformity and repeatability of typography, 
quite alien to manuscript culture, is the necessary preliminary 
to unified or pictorial space and “perspective.” Avant-garde 
painters like Masaccio in Italy and the Van Eycks in the North 
began to experiment with pictorial or perspective space early in 
the fifteenth century. And in 1435, a mere decade before