matter and soul (to use Dante’s terms) has become so 
     complete that we feel it is about to be reversed. . . . A 
     slow dissociation of these three qualities has been at 
     work for centuries, and we are reduced to admire, as if in 
     separate wings of a gallery, the flesh according to 
     Matisse, the mind according to Picasso, and the heart 
     according to Rouault.

A sculpturally contoured universalism of experience such as 
Dante’s is quite incompatible with the unified pictorial space 
which houses the Gutenberg configuration ahead. For the 
modalities of mechanical writing and the technology of movable 
types were not kind to synesthesia or “the sculpture of rhyme.”