This overwhelming example of print as visual, sequential, 
uniform, and lineal was not lost on human sensibility in the 
sixteenth century. But before turning to its more dramatic 
manifestations it is necessary to indicate, as Ong has done, 
that the obsession with “method” in the Renaissance finds its 
archetype in “the process of setting up type taken from a font. 
In each instance, the composition of continuous discourse is a 
matter of building up discourse by arranging pre-existing parts 
in a spatial pattern.” (p. 168) And it is obvious that Ramus 
exercised his extraordinary appeal by being close to the new 
patterns of sensibility that people experienced in their contact 
with typography. The new “typographic man” who shot into 
prominence with printing will get full attention a little later on in 
connection with individualism and nationalism. Here we are 
concerned to find out the ways in which print structured ideas 
of applied  knowledge by separation and division, moving always