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In the fifteenth century everything changes

Hu itself, not onlythan architecture, but still 's letters of lead are about to supersede Orpheus's letters of stone

The book is about to kill the edifice

The invention of printing is the greatest event in history It is the mother of revolution It is the mode of expression of hu off one fore of skin of that symbolical serpent which since the days of Adaht is more imperishable than ever; it is volatile, irresistible, indestructible It is led with the air In the days of architecture it made a mountain of itself, and took powerful possession of a century and a place Now it converts itself into a flock of birds, scatters itself to the four winds, and occupies all points of air and space at once

We repeat, who does not perceive that in this form it is far more indelible? It was solid, it has become alive It passes from duration in time to immortality One can demolish a mass; bow can one extirpate ubiquity? If a flood co disappeared beneath the waves, while the birds will still be flying about; and if a single ark floats on the surface of the cataclysht upon it, will float with it, will be present with it at the ebbing of the waters; and the neorld which e, the thought of the world which has been sub

And when one observes that this mode of expression is not only the most conservative, but also the most simple, the most convenient, the most practicable for all; when one reflects that it does not drag after it bulky baggage, and does not set in ht forced, in order to transform itself into an edifice, to put in old, a whole mountain of stones, a whole forest of timber-work, a whole nation of workht which becomes a book, and for which a little paper, a little ink, and a pen suffice,--how can one be surprised that hu? Cut the primitive bed of a river abruptly with a canal hollowed out below its level, and the river will desert its bed