It is plain that there was in liturgy precisely the same drive 
towards cinematic reconstruction by visual segmentation that 
we have seen in Huizinga’s story of The Waning of the Middle  
Ages  and in the Italian princes and their great Hollywood sets 
of antiquity. And segmentation equals sentimentality. The 
isolation of the sense of sight quickly led to the isolation of one 
emotion from another, which is sentimentality. “Sophistication” 
today is a negative version of sentimentality, in which 
conventionally appropriate feelings are simply anesthetized. But 
the due interplay of the emotions is not unrelated to 
synesthesia or interplay of the senses. So that Huizinga is quite 
justified in opening his story of the later Middle Ages as a 
period of emotional violence and decay, as well as a period of 
intense visual stress. Separation of the senses would be 
sensuality, as the separation of the emotions is sentimentality. 
Bouyer nowhere refers to the operation of typography in