The gutenberg galaxy 145 Newton, who had wholly abstracted the visual sense from the interaction of the other senses. On the other hand, the suppression of the visual sense in favour of the audile-tactile complex, produces the distortions of tribal society, and of the configuration of jazz and primitive art imitations which 11 broke upon us with radio, but not just “because” of radio. 11Georg von Bekesy’s article on “Similarities between Hearing and Skin Sensations” (Psychological Review, Jan., 1959, pp. 1–22) provides a means of understanding why no sense can function in isolation nor can be unmodified by the operation and diet of the other senses. Gombrich not only has all the most relevant information about the rise of the pictorial mode; he has all the right difficulties. He ends his Art and Illusion by commenting (pp. 117–18): There is finally the history of Greek painting as we can follow it in painted pottery, which tells of the discovery of foreshortening and the conquest of space early in the fifth century and of light in the fourth…. Emanuel Loewy at the turn of the century first developed his theories about the rendering of nature in Greek art that stressed the priority of conceptual modes and their gradual adjustment to natural appearances…. But in itself it explains very little. For why was it that this process started comparatively so late in the history of mankind? In this respect our perspective has very much changed. To the Greeks the archaic period represented the dawn of history, and classical scholarship has not always shaken off this inheritance. From this point of view it appeared quite natural that the awakening of art from primitive modes should have coincided with the rise of all those other activities, that, for the humanist, belong to civilization: the development of philosophy, of science, and of dramatic poetry.