Art of memory

The article examines the illustrated sources of «imaginary museums» or «paper museums», which are collections of homogenized and standardized photomechanical reproductions of works of art. A novel style emerges because of the new spatial proximity among them, one which was not present among the original works. This extensive reproduction generates a pervasive interest in art, a hallmark of the image society, and exerts a profound influence on its cultural structure. The analysis commences with an examination of an exemplary case, the Mosaic of the Archetypes of Antiquity by Jean-Philippe-Guy Le Gentil, which is interpreted according to Frances Yates as one of the artifacts of memory. A correlation is established between this mnemonic technique and the contemporary mass collections of the major publishing houses that have released encyclopedias of art history. It is determined that these paper museums are inadequate in their representation of the original artistic experience; nevertheless, they serve a social pedagogical function by facilitating cultural transmission, surely imposing it. This process is influenced by a variety of agents, including historians, museographers, and the public. The agents contribute to the process by organizing the works of art in such a way as to activate interpretations and meanings previously unknown, but which structure the prevailing culture. Finally, the process is compared with the use of AI to generate uniformed artwork with the new algorithmic style.

Christine de Léotard-Sommer : Thèse de Doctorat en Histoire de l'Art, soutenue le 11 janvier 2019 à l'Université Bordeaux-Montaigne.
Titre : « Sans Bacchus et Vénus, la Galerie se refroidit » : dispositif libérant le programme de l'intégralité du décor de la Galerie du Roi de Fontainebleau.
Cette thèse résout l'énigme du décor de la Galerie François 1er  de Fontainebleau par une solution inédite et opérationnelle, testée sur les 16 unités décoratives originelles.
Résumé de thèse en 1 page + 4 Figures reproduites + 8 tableaux de synthèse

The subject of this research focuses on an enigma, namely the two exceptional challenges of Camillo's theatre, promised to the user and the objects of its secret : becoming a genius of eloquence, and gaining access to superior knowledge.
Until this research, in order to explain these two exceptional challenges of theatre, a magical effect had been sought in the magical arts prized by 16th-century scholars, because of the powers they could give to images. The hypothesis I propose goes beyond all these logics.
It can be summarised as follows: Camillo's theatre embodied, in a wooden cabin and its decor, the concept of spiritus mundi developed by Marsilio Ficino in his De vita libri tres (1489). But Camillo completely departed from the medicine and transmutation of metals that claimed this concept in the 16th and 17th centuries.
His approach to spiritus mundi is unique both intellectually and practically: he was able to exploit its philosophical dimension very faithfully to construct his theatre and its painted images, and to use its alchemical dimension to give it a particular effect on the user placed inside it.
Beyond its operational relevance, demonstrated by its architecture and mechanism, this novel hypothesis can be supported by two different sources: L'idea del theatro written by Camillo before his death, and the perfectly contemporary décor of the François I Gallery in Fontainebleau, which references the theatre and rivals it.

Hacia las últimas décadas del XVII y en algunas obras escritas en español por personajes cercanos al obispo de Puebla, Manuel Fernández de santa Cruz y Sahagún (Palencia 1637-Puebla de los Ángeles 1699), el uso del término jeroglífico, ¿es en sí mismo el símbolo de un pensamiento religioso más abierto y flexible? Con relación al discurso escrito, el jeroglífico es la expresión de un sistema de correspondencias neoplatónico. Ésta fue la filosofía que gestó los llamados jeroglíficos durante los siglos IV y V en el Egipto helenizado, posteriormente reavivados durante el Renacimiento y finalmente en el XVII por el jesuita Athanasius Kircher, entre otros. La visión sincrética de la época (patrística y clásica) y su posible repercusión en una espiritualidad y religiosidad menos rígida podría percibirse en los textos aquí referidos.

The introduction of railway transportation to the Iberian Peninsula entailed the construction of a series of structures which were essential to its functioning, from the railway lines themselves to water deposits, workshops, and stations. The latter assumed varying degrees of importance, depending on their location along the lines: those which were located in cities, being the starting points of railway lines, were bigger-sized and more important. While some stations were little more than mere halts, very simply built, their urban counterparts in the big cities constituted great public works and are considered, as a group, to be among the most characteristic examples of industrial architecture. In the 19th century, railway stations were the most visible picture of the novel architectonic programmes using cutting-edge technology, regarding materials – iron, steel, and glass – and also lighting, through the use of electricity. This turned them into privileged spaces for applying and d...

Franciscae Moya, magistrae: modo arcana carminum enarrat callidaque suum solatur voce laborem * Este artículo se inscribe en el proyecto de investigación FFI2012-36255 (MICINN-MINECO) y es una versión ampliada de la ponencia leída en el VIII Congreso de la SELAT de 2016 dedicado a la Profesora Dra. Francisca Moya, a cuyos organizadores agradezco muy sinceramente su beneplácito para publicarlo en esta revista de la que ella fuera durante años directora y asidua colaboradora.

This book is a journey into the heart of Renaissance magic through the prodigious intellect of Giordano Bruno- philosopher, poet and magus.
Shadows and Bonds explores the theoretical foundations and actual practices of Bruno’s magical philosophy, illuminating his effort to unify natural philosophy, psychology and metaphysics into a single operative vision of reality.
Drawing on the esoteric and operative traditions of figures such as Trithemius, Agrippa, and Della Porta, this volume engages directly with Bruno’s original writings on magic. It presents extracts alongside commentary to reveal Bruno’s magia as a coherent system, one in which imagination, memory, and willpower serve as active forces capable of shaping both inner and outer worlds.

This paper examines Leone Ebreo’s Dialoghi d’Amore (1535), a celebrated Renaissance work of Jewish thought renowned for its syncretic, enigmatic, and encyclopaedic character. The main objective of this paper is to explore love as an ontological principle, a cosmic and universal force that binds together all beings, both animate and inanimate. The analysis begins with Leone’s conceptualisation of love within animals and humans, including his classification of the various causes of love. The paper then considers his arguments for the existence of ‘love in inanimate entities’, examining the similarities and differences between animate and inanimate beings.

The article focuses on the Speculum theologiae miniatures, a distinctive collection of instructional illustrations that played a significant role in Catholic education from the 13th to 15th centuries. These illustrations feature a blend of abstract designs, such as tables and circular diagrams, alongside specific imagery including celestial beings like cherubs and seraphs, as well as trees and towers. Notably, many of these illustrations were created by Franciscan monks, suggesting their dual purpose: as tools for organizing and systematizing the creed and as mnemonic aids for sermons. The report aims to illustrate how these visual tables can serve as effective mnemonic guides for sermons, drawing on the recommendations for preachers found in Artes Praedicandi and analyzing specific miniatures from the Speculum theologiae. Additionally, the research will examine the influences of figures such as Hugo of Saint Victor, whose speculative reasoning, and Ramon Llull, known for his diagrams in The Great Art, have shaped the iconography and logic of certain illustrations in the Speculum theologiae. The research presented in the article involves reading and translating for the first time into Russian the tables from this manuscript, accompanied by an analysis of how the forms, images, and texts within the illustrations interact with one another. The study of visual diagrams opens a broad range of scholarly inquiries. However, there is a notable lack of comprehensive works that explore and analyze the diagrams of the Mirror of Theology, both in Russian and in the wider field of international historiography. This gap highlights the relevance and importance of the chosen topic for further academic exploration.


В центре внимания статьи находится Зерцало теологии (Speculum theologiae) — уни- кальный сборник иллюстраций-диаграмм, который представляет собой предельно кон- центрированное визуальное воплощение католической дидактики XIII–XV веков. В иллю- стративный ряд Зерцала входили миниатюры с изображениями как абстрактных таблиц и циркулярных диаграмм, так и вполне фигуративных образов: херувимов и серафимов, деревьев и башен. Бóльшая часть изображений была разработана францисканскими мо- нахами, поэтому есть все основания предполагать, что рассматриваемые иллюстрации мыслились средневековыми богословами не только как удобные схемы для хранения и си- стематизации вероучения, но и как мнемоническое подспорье для проповеди. На примере рекомендаций для проповедников в сборниках Artes praedicandi и некоторых миниатюр Зерцала теологии показан механизм работы иллюстративных таблиц в качестве мнемо- нических пособий. Помимо этого, в статье прослежено влияние умозрительных схем Гуго Сен-Викторского и диаграмм «Великого искусства» Раймунда Луллия на иконографию и принцип работы отдельных иллюстраций Speculum theologiae. Для выполнения этой работы необходимо было изучить таблицы-иллюстрации и впервые в русскоязычной науке перевести их. Это во многом помогло понять механизм, согласно которому функциониру- ют подобные схемы, и каким образом в них соотносятся формы, изображения и тексты. Визуальные диаграммы, будучи сугубо латинской средневековой формой создания книж- ной миниатюры, ставят перед исследователями широкий круг вопросов. Однако обоб- щающих исследований, в которых были бы охвачены и проанализированы все аспекты, связанные с диаграммами Зерцала теологии, в отечественной и зарубежной историо- графии, к сожалению, практически не существует. Это обстоятельство и подчеркивает актуальность выбранной темы.

The study explores the literary metaphors and mnemonic techniques linked to St. Anthony of Padua, extending into an iconological analysis of the sculptural reliefs in the Chapel of St. Anthony, with particular attention to the Renaissance renovations. The research demonstrates how the chapel was conceived as a pedagogical tool, leading pilgrims on a visual journey of moral and spiritual redemption. The recurring themes
of confession and forgiveness emphasise the chapel’s role in guiding pilgrims toward spiritual purification.

The history of mnemonic concepts encompasses utopian and sceptical views that produce either a hypertrophic memory or denounce any representation as false. Each literary text incorporates or stores other texts, thus mnemonic space unfolds between and within texts. In storing and accumulating cultural data, the literary text in its intertextual dimension functions as part of cultural memory. A fantastic text points to a silenced repressed memory, confronting culture with its oblivion. Yet the fantastic in restoring the displaced and vanished parts of culture is not merely a mnemonic memory: its speculative potential strives for arbitrary creations that erase the accepted mnemonic imagery.

The article focuses on Greek and Latin interpretation of Egyptian hieroglyphs and its similarity and possible relation to the classical art of memory and the (almost lost) methods of Greek mnemonics. The first part points to the differences between the Egyptian and Greek view on script and written sources, based mostly on mythological stories about the origin(s) of writing. The next part briefly explains the ancient interpretation of Egyptian hieroglyphs, focusing on Horapollo's Hieroglyphica and other sources. The third and last part of the study considers a possible relation of that interpretation to the art of memory. The mechanisms of creating images in ars memoriae, of Egyptian hieroglyphs and the Greek interpretation of them are compared and possible a (re)-use of hieroglyphic signs in some form of Greek mnemonics is suggested.

In forma di dialogo accademico questo paper interpreta in chiave innovativa il pensiero di Giordano Bruno attraverso il concetto di “multidimensionalità”. Mentre gli studi tradizionali si concentrano sull’infinità estensiva dell’universo bruniano, questa ricerca propone che l’universo del Nolano sia infinito anche nel numero delle sue dimensioni. La multidimensionalità emerge come strumento ermeneutico capace di illuminare paradossi fondamentali del pensiero bruniano: la compresenza simultanea di tutte le forme nella materia incorporea, la natura dello spiritus phantasticus e la sua capacità di visualizzare infinite immagini, il rapporto tra Uno e Molti attraverso i processi di complicatio, explicatio e contractio. L’approccio mette in dialogo le intuizioni bruniane con teorie contemporanee della fisica (superstringhe) e della psicoanalisi (Ignacio Matte Blanco), rivelando sorprendenti convergenze. Particolare attenzione viene dedicata all’arte della memoria, interpretata come esplorazione di spazi mentali multidimensionali, e alla concezione bruniana della materia come grembo infinitamente fecondo. La ricerca dimostra come la multidimensionalità offra una “topologia dell’esperienza” che riconfigura i confini tradizionali tra fisico e psichico, permettendo di comprendere come materia e psiche possano essere entrambe “luoghi” capaci di contenere l’infinito in senso letterale, non metaforico.

This essay aims to show the connection between the two parts of the
Cantus. Starting from this unity, what becomes evident is the essence of
Bruno’s ars memoriae, that is, the link between memory, active thinking,
and the operative power of the philosopher (or magic). In this regard, it
is also fundamental to understand how Bruno moves beyond Neoplatonic
memory and conceptions of magic, proposing a dynamic and visual mode
of thinking that imitates the infinite creativity of Nature rather than a limited system of symbols with which to enclose a confined Universe.

Le même support pictural pour deux discours: l'un apparent et moralisateur qui fustige le mal éternel issu des femmes, l'autre subversif qui oppose la bonne et la mauvaise monarchie  et appuie son cryptage sur une utilisation plastique de l'Art de mémoire et des emprunts majeurs à l'Idea del theatro de Giulio Camillo édité en 1550.

This chapter introduces the volume by presenting key concepts and outlining contributions. Starting from the observation that various features of medieval manuscripts give material shape to the images of history with which manuscript makers worked, it explores the interrelation of concepts, medium, and practices in manuscripts dealing with history. In addition to being informed by ideas about history, manuscripts could serve to form and modify such ideas by drawing on the practices and conventions of making and using manuscripts of the milieus that produced and held them. With examples from Peter of Poitiers' Compendium historiae in genealogia Christi and the Grandes chroniques de France, it makes the case for the centrality of the manuscript medium and the makers of manuscripts in bringing into shape ideas about time, history, and meaning.

Il mio intento è quello di portare qualche elemento utile alla precisazione del ruolo che nel pensiero del giovane Pico ha l'astrologia, intesa come combinazione di due esigenze, quella conoscitiva e quella pratica. Ciò, nell'ambito di una generale visione unitaria del cosmo, per cui non vi è interruzione tra mondo celeste e mondo terrestre, aspetto che nella tradizione ellenica non è contraddetto né da Platone (Timeo) né da Aristotele (Meteorologica priora). Aggiungerei che laddove si sviluppa una tensione misticheggiante, si istaura un nesso solido tra astrologia e misticismo, se quest'ultimo è inteso come ricerca di una visione unitaria del mondo sulla base di elementi analogici ed intuitivi, quali la mistica dei numeri, la teoria delle armonie celesti e loro corrispondenza con valori etici; considerazione degli astri come enti animati, e così via. Allora i due aspetti tipici in cui l'astrologia abitualmente si estrinseca passano in secondo piano: tanto la dimensione esplicativo-causale dei fenomeni, attraverso l'osservazione ed il calcolo delle posizioni degli astri, quanto la dimensione divinatoria attraverso la congettura e la profezia assumono un'importanza secondaria. Ciò che prevale infatti è la figura divina, ed il suo rapportarsi al creato: è questo il caso del giovane Pico. Al contempo vorrei contribuire alla interpretazione del complesso delle DCCCC Conclusiones sive Theses, ove la vera astrologia è collocata in una posizione fondamentale, nell'ambito del progetto di pax unifica. Tutto il discorso pichiano infatti trova il suo coronamento nella tesi finale che argomenta: Sicut vera astrologia nos docet legere libro Dei, ita cabala docet nos legere libro legis 1 .

the town centre 6.4 Variation between different socio-cultural 180 groups in perceiving the distinctive elements 6.41 Variation according to ethnic background 181 6.42 Variation according to gender 187 6.43 Variation according to age group 190 6.44 Significance of variation in perception 196 of distinctive elements according to the socio-cultural group 6.5 Conclusions 198 CHAPTER SEVEN: QUALITIES ASSOCIATED WITH IDENTITY OF THE Activities associated with identity of the town centre Activities within a building (building use) Outdoor and on-street activities Meanings and association associated with identity of the town centre Qualities associated with identity between different parts of the town centre Physical characteristics of elements that are distinctive as perceived by different groups of residents Variation according to ethnicity Variation according to gender Variation according to age group Significance of variation in perception of qualities associated with identity between different socio-cultural groups Conclusions CHAPTER EIGHT: CONCLUSION 8.0 Introduction 8.1 Research agenda 8.2. Main research findings iii. 201 201 235 240 242• 261 264 264 272 277 283 285 289 289 290 8.21 Elements that are associated with identity 291 of the town centre as perceived by the residents 8.22 Qualities associated with identity of the 294 town centre 8.23 Variation in perception of distinctive element 297 and their characteristics between different socio-cultural group 8.24 Variation in perception of elements and qualities associated with identity between different parts of the town centre by residents 8.3 Planning and urban design implications 8.4 Contributions of the research 8.5 Suggestions for further research Ｘ ｾ Ｖ Conclusions BIBLIOGRAPY 312

Aquellas posiciones más encontradas de la crítica literaria romana mantuvieron siempre un punto de vista común sobre el reconocimiento del aspecto visualizador de la literatura, si bien la justificación de tal reconocimiento fue distinta. En efecto, para Cicerón, representante del punto de vista idealista 1 , los recursos literarios, productores de placer y emoción, se situaban no sólo en el plano acústico sino también visual 2 : de ahí la asociación constante en su obra re-

Hai un'idea specifica su cui vuoi lavorare? Dimmi di più e vediamo cosa possiamo realizzare insieme! Leon Vorrei scrivere la biografia del Dio di Einstein e di Spinoza, per mandarla al nuovo Papa, che certamente non l'ha letta, perché non è mai stata scritta. Mi puoi aiutare ? AI Bing Che idea affascinante! Il concetto di Dio secondo Einstein e Spinoza è profondamente filosofico e ha suscitato molte discussioni nel corso del tempo. Einstein dichiarò di credere nel "Dio di Spinoza", un'entità impersonale che si manifesta nell'ordine e nella bellezza della natura. Spinoza, dal canto suo, identificava Dio con la natura stessa, un principio universale che regola l'universo senza interventi diretti.

Giovedì 28 novembre ore 18.30-20.30
Libreria Modo Infoshop,
via Mascarella 24/b – Bologna

Presentazione del libro di Stefano Catucci (docente di Estetica UniSapienza)
Sul filo. Esercizi di pensiero materiale, Quodlibet, Macerata 2024
Ne discutono con l’autore Pierpaolo Ascari, Francesco Di Maio e Andrea Borsari (Estetica DA -Università di Bologna)

Da secoli ci riferiamo al filo per rappresentare l’azione del pensiero. Classicamente, infatti, è dal centro dell’io, dalla sua coscienza o dal suo cervello, che vediamo irradiarsi fili immaginari e metaforici di collegamento con il mondo esterno. A volte sono lineari, a volte aggrovigliati, oggi li si presenta spesso come nodi di una rete che raffigura le maglie del potere, le forme della resistenza e, più in generale, i fenomeni dell’interconnessione globale. Per quanto astratte, tutte queste immagini si basano sulle caratteristiche di fili reali, materiali, che continuano a orientare la nostra visione del pensiero anche se non ne siamo consapevoli. Si tratta allora di far emergere la materialità dei fili nascosta sotto gli strati delle abitudini e del linguaggio, di riportare le metafore alla lettera per superare la distanza che ci separa dalle cose e dagli altri. Sul filo dev’essere perciò letto in due modi. È un’indagine sulla concretezza dei fili che hanno dato vita a un vastissimo repertorio di metafore ed è un’analisi di esperienze del pensiero che dipendono proprio dal rapporto con fili reali. Funamboli, cordoni ombelicali, arti tessili, teatri di marionette, ragnatele e altri casi esemplari diventano così il tema di una serie di esercizi filosofici su attività antichissime e moderne che non hanno mai abbandonato l’opera degli esseri umani. Osservarle da vicino restituisce alle cose, all’alterità e al non-umano un ruolo decisivo nella formazione del e degli individui che siamo, senza più né un «io» né un «noi» al centro di tutto.

Suite à l’iconographie du sujet apparent de ce tableau (Rosso- première partie), je montre ici en quoi cette œuvre est une image de mémoire exceptionnelle qui répond de façon très-chrétienne au « théâtre » de Giulio Camillo et soutient le programme secret de la Galerie François 1er de Fontainebleau, réservé aux princes Valois-Angoulême.

Der Beitrag stellt polnische Renaissance-Drucke aus dem Bestand der Staatsbibliothek zu Berlin vor und beleuchtet deren kulturellen Kontext. Im Fokus stehen Werke bedeutender Humanisten, Reformatoren, Dichter und Chronisten wie Modrzewski, Kochanowski und Kromer. Sie spiegeln das „Goldene Zeitalter“ Polens wider, das von Humanismus, Reformation und höfischer Kultur geprägt war. Die Sammlung dokumentiert die sprachliche Vielfalt der Epoche und zeugt vom historischen Interesse und der Sammelleidenschaft der Bibliothek für das östliche Nachbarland.

"Come pietre è un progetto di Noemi Mirata pensato per Mineo, ma chiamato a viaggiare altrove; è un gruppo di sculture sonore, ma anche una performance partecipata; è un’opera d’arte, ma anche un dispositivo per mettere insieme memorie intime e collettive; è un ponte per diventare grandi e poi, all’improvviso, tornare bambini. Questo piccolo volume contiene la descrizione approfondita del lavoro, ma anche il percorso di ricerca di Noemi Mirata, dal 2019 a oggi."
Il testo esplora l'ultimo progetto di Noemi Mirata attraverso la relazione con temi affini - la memoria, il territorio, la morte - e le parole di intellettuali soprattutto siciliani, tra cui Leonardo Sciascia, Salvatore Quasimodo, ma anche Sofocle e Italo Calvino.

Sztuka pamięci (łac. ars memorativa, ars memoriae), w podręcznikach retoryki ujmowana od czasów antycznych jako jej czwarta część, obecna jest w kulturze europejskiej w różnych przejawach co najmniej od czasów Symonidesa z Keos (VI wiek p.n.e.). Wzmiankowali o niej m.in. Arystoteles, rzymscy teoretycy sztuki wymowy (anonimowy autor Rhetorica ad Herennium, Cyceron, Kwintylian), a także liczni autorzy w wiekach średnich. Zagadnieniem pamięci zajmowali się m.in. Albert Wielki, św. Tomasz z Akwinu czy Hugon od świętego Wiktora 1 . Szczególną popularnością mnemotechnika cieszyła się w okresie późnego średniowiecza, jej rozkwit przypada na wiek XV oraz początek stulecia XVI. Liczne rękopiśmienne traktaty mnemotechniczne z XV wieku, ich genologię, wzajemne powiązania oraz treść omówiła szczegółowo Sabine Heimann--Seelbach 2 , natomiast zasięg oddziaływania oraz rola druku w okresie od wynalezienia czcionki ruchomej po ok. 1530 rok w rozprzestrzenianiu się klasycznej mnemotechniki zostały opisane w artykule Masters, Pupils, Friends, and Thieves. A Fashion of Ars memorativa in the Environment of the Early German Humanists 3 .

Este ensayo supone un acercamiento al Retablo de las maravillas desde los interesantes procesos imaginativos experimentados por los personajes, especialmente en la última escena del retablo: el baile de Herodías o Salomé. El carácter ecfrástico de este entremés cervantino ha sido ampliamente notado por la crítica. Sin embargo, para el análisis de la escena de Herodías, es además importante tener en cuenta la cultura visual, iconográfica y artística accesible a las clases populares en la Temprana Modernidad española, así como las prácticas festivas en la vida cotidiana de los campesinos de la España de los Siglos de Oro y la relación entre ellas. Existe, como veremos, una interesante conexión a través de los siglos entre la tradición artística y la cultura popular con respecto a los llamados 'bailes de Salomé.' Los estudios sobre la cultura visual, la écfrasis y la relación entre arte y literatura en Cervantes presentan un amplio campo aún en gran parte inexplorado a pesar de los méritos del trabajo académico existente.

Sztuka pamięci (łac. ars memorativa, ars memoriae), w podręcznikach retoryki ujmowana od czasów antycznych jako jej czwarta część, obecna jest w kulturze europejskiej w różnych przejawach co najmniej od czasów Symonidesa z Keos (VI wiek p.n.e.). Wzmiankowali o niej m.in. Arystoteles, rzymscy teoretycy sztuki wymowy (anonimowy autor Rhetorica ad Herennium, Cyceron, Kwintylian), a także liczni autorzy w wiekach średnich. Zagadnieniem pamięci zajmowali się m.in. Albert Wielki, św. Tomasz z Akwinu czy Hugon od świętego Wiktora 1 . Szczególną popularnością mnemotechnika cieszyła się w okresie późnego średniowiecza, jej rozkwit przypada na wiek XV oraz początek stulecia XVI. Liczne rękopiśmienne traktaty mnemotechniczne z XV wieku, ich genologię, wzajemne powiązania oraz treść omówiła szczegółowo Sabine Heimann--Seelbach 2 , natomiast zasięg oddziaływania oraz rola druku w okresie od wynalezienia czcionki ruchomej po ok. 1530 rok w rozprzestrzenianiu się klasycznej mnemotechniki zostały opisane w artykule Masters, Pupils, Friends, and Thieves. A Fashion of Ars memorativa in the Environment of the Early German Humanists 3 .

Los secretos pierden su valor; la profanación destruye la gracia. Así pues, no arrojes perlas a los puercos ni hagas lechos de rosas para los asnos. 1 1 Ver Mateo VII-6. "No déis las cosas santas a los perros ni arrojéis vuestras perlas a los puercos, no sea que las pisoteen con sus pies y, revolviéndose, os destrocen". Recibe el nombre de Rosa-Cruz una hermandad oculta de buscadores espirituales que surgió en Alemania hacia el siglo XVII; sin embargo, las primeras noticias de unos "Hermanos de la Rosa-Cruz" en Europa son fechables en el siglo XIV 1 . Por otra parte, la primera manifestación pública de la Rosa-Cruz como escuela constituida parece haber tenido lugar en París cuando, en agosto de 1623, aparecieron fijados en algunas paredes de esta ciudad unos carteles que decían: "Nosotros, diputados del Colegio principal de los Hermanos de la Rosa † † Cruz, tomamos morada visible e invisible en esta ciudad por la Gracia del Altísimo, hacia el que se vuelve el corazón de los Justos. Enseñarnos sin libro ni máscara a hablar toda clase de lenguas de los países donde queremos estar, para liberar a los hombres nuestros semejantes de errores de muerte." 2 "Nosotros, diputados del Colegio de la Rosa † † Cruz, asesoramos a todos aquellos que deseen entrar en nuestra Sociedad y Congregación. enseñándoles el perfecto conocimiento del Altísimo [...], advertirnos al lector que conocemos sus pensamientos, que si su voluntad es vernos únicamente por curiosidad, nunca comunicará con nosotros; pero si la voluntad le lleva realmente a inscribirse en el registro de nuestra confraternidad, nosotros, que juzgamos los pensamientos, le haremos ver la verdad de nuestras promesas, de tal modo que no damos la dirección de nuestra morada, ya que los pensamientos unidos a la voluntad real del lector serán capaces de hacer que nos conozca y de que le conozcamos." 3 Nueve años antes de estas manifestaciones públicas había aparecido en Cassel un curioso opúsculo de unas 15 páginas in l2° que trataba de la Rosa-Cruz: La Fama Fraternitatis. 4 El término latino "fama" designa un rumor público, una voz común, 1 "Lo que en Occidente se han llamado Rosa-Cruces a partir del siglo XIV, y que ha recibido otras denominaciones en otras épocas y en otros lugares, porque el nombre no posee aquí más que un valor puramente simbólico y tiene él mismo que adaptarse a las circunstancias, no es una asociación cualquiera, es la colectividad de los seres que han alcanzado un mismo estado superior al de la humanidad ordinaria, un mismo grado de iniciación efectiva... Por esta razón, no tienen otro lugar de reunión que 'El Templo del Espíritu-Santo, que está en todas partes'". René Guénon, Aperçus sur l'Initiation, París 1976.

Pope Alexander VII (Fabio Chigi, 1599–1667) extensively annotated a copy of the 1499 incunable Hypnerotomachia Poliphili (hereafter ‘HP’), printed by Aldus Manutius, which is in the Biblioteca Apostolica Vaticana. The HP, an architectural dream narrative crossed with an encyclopedia, has attracted scholarly attention primarily due to its elaborate architectural woodcuts and to speculation as to the identity of its anonymous author. This study reorients the focus towards its readership, reframing the HP as a used text as evidenced by the Pope’s marginalia. Prior studies have noted the resemblance of a woodcut of an elephant-andobelisk in the HP to the last sculpture by Bernini in Chigi’s lifetime, outside Santa Maria sopra Minerva. This paper, the first extended study of Chigi’s marginalia, shows that the Pope’s engagement with the HP went beyond this one sculpture. Chigi thought of his journey through the architectural dreamspace by analogy with his own actual progresses through Baroque Rome under construction. The Pope marked the locations of characters and objects within the HP’s three-dimensional diegetic space. Moreover, Chigi also took interest in the rhetorical structure of the HP’s descriptions of its visual marvels, drawing on the traditions of imprese and
acutezze.

Since antiquity, there had been close ties between imagined movement through built spaces and organising knowledge. Philosophers and rhetorical theorists had argued that one remembered most effectively by imagining a sequence of places, including built spaces, and storing images of what should be recalled in those places. Authors of medieval pilgrimage narratives had led their readers on tours of sacred sites beginning in the twelfth century. From the late fifteenth century, however, imagined movement became more insistently physical and increasingly deployed to communicate, rather than simply store, knowledge: built memory spaces were for the first time categorised according to size; volumes began to present pre-designed memory structures devoted to a particular topic; guidebooks to Rome started to lead readers on tours similar to those of pilgrimage narratives; and university botanic gardens offered the lived equivalent of sequences of memory places. By the seventeenth century, tours with sequences of spaces that stored information were a familiar technique across discourses from natural philosophy to architecture. This article examines the increasing physicality of imagined movement through these spaces and its connection to
communicating knowledge as well as to shaping the attitudes of readers. I focus on mnemonic treatises and volumes presenting pre-designed spaces, the books where imagined movement was especially apparent, alongside guidebooks and botanic gardens. Consequently, built memory spaces, which have been little studied, are highlighted, and two rich
but usually discrete strands of early modern history are brought together: history of memory and studies of movement through the built environment.

Artykuł omawia zagadnienie umiejscowienia senatu w systemie ustrojowym Księstwa Warszawskiego i Królestwa Polskiego i nawiązania do modelu tradycyjnego polskiego sejmu oraz innowacje w tym systemie. Wynikały one z narzucenia modelu francuskiej legislacji w  1807    r., a    potem konieczności podporządkowania się ustaleniom kongresu wiedeńskiego 1815 r. Obie konstytucje – Księstwa Warszawskiego i Królestwa Polskiego, narzucone z  zewnątrz, miały na celu stworzenie ustroju odpowiedniego dla niesuwerennego państwa, wpisywanego w porządek tworzony przez mocarstwa europejskie. Mimo to w konstytucjach pojawiły się pewne odniesienia do polskiej tradycji ustrojowej, co miało raczej wymiar propagandowy wobec polskich poddanych.

The article discusses the place of the senate in the constitutional systems of the Duchy of Warsaw and the Kingdom of Poland, with references to the traditional model of the Polish Sejm, and the innovations in this system. These resulted from the imposition of the French model of legislation in 1807 and next from the need to comply with the regulations of the Congress of Vienna of 1815. Both constitutions of the Duchy of Warsaw and of the King-dom of Poland, were imposed from the outside and aimed at creating a system suitable for a  non-sovereign state, consistent with the order created by European powers. Nevertheless, some references to the Polish constitutional tradition appeared in the constitutions, which had a rather propaganda dimension towards Polish subjects.

Des Cabinets dont le décor participait, par ses 2 unités en ovale couché, y compris le cadre,  au "miroir du prince" secret organisé sur les 16 unités originelles de la Galerie. Ils traitaient tous les deux de la Sapience Valois-Angoulême, au Nord la Sapience contemplative (spirituelle), au Sud la Sapience utile au prince Valois-Angoulême, celle du monde et celle des arts secrets (d'où sa fermeture). Le dispositif très-chrétien était centré dans le Bacchus et Vénus de l'extrémité Ouest, et faisait un usage plastique de l'Art de mémoire permettant la verbalisation du discours réservé.

Bibliografische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.dnb.de abrufbar.

This essay tells the story of how nineteenth-century artificial memory systems came to be understood as autonomous machines that produced random-access memory. It examines how the 1730 creation of a new hexametric mnemonic system sparked a philosophical crisis by popularizing an alternative means of remembering via nonsense associations. Tracing this discourse reveals that Samuel Taylor Coleridge's Biographia Literaria (1817) offers the first modern conceptualization of external mechanical random-access memory (RAM). Coleridge represents mnemonics as destroying the innate memory and replacing it with a separate machine, the artificial memory system. He describes mnemonics as enacting a form of recall that 1950s computer scientists would later term "random access." By the 1840s, Victorian proponents and critics universally understood mnemonics as 'memory machines': autonomous recall technologies that were embedded in the mind but not of it. Freed from the constraints of logical relations between ideas, artificial memory systems created a new form of recall that was instantaneous, virtually infinite, and readily purchasable. Yet surprisingly, this new mnemonic technology was lauded by radical working-class liberation movements-Chartism in Britain and abolitionism in the United States. For them, artificial memory systems offered a revolutionary means of democratizing knowledge to produce greater socioeconomic and racial equity. This new picture positions mnemonics as an exciting new literary dimension in the expanded "histories of computing(s)." Recovering the historical existence of more democratic alignments with emerging artificial technologies also provides valuable strategies for today's humanists as they formulate critical responses to the contemporary AI boom.

Memory Machines: Mnemonics, Victorian Poetics, and the Invention of Modern Computing" proposes that the interplay between literary and memory discourses between 1730 and 1930 helped theorize many of the computer's core concepts. I analyze how poetic debates about the use of popular verse-based 'artificial memory' systems (better known today as mnemonics) conceptualized mechanical random-access memory, universal machine languages, Boolean algebra, and logarithmic encryption. I reclaim this mnemonic literary tradition as a key theoretical source for early computing insights and show how it developed alongside the mathematical and technological genealogies that traditional studies foreground. This project is grounded in my discovery of a crucial but previously unrecognized computational paradigm shift: unlike their classical predecessors, nineteenth-century mnemonics were conceived as autonomous memory machines. They overturned the Aristotelian principles of associative memory, which emphasized the content and hierarchical nature of connections between ideas. As these Victorian systems of artificial memory developed, they conceptualized and performed random-access recall. They operated as universal machines that executed symbolic algorithms. They produced a form of mechanical symbol-play that paralleled the invention of Boolean algebra (the mathematical basis for binary code). They enacted logarithmic encryption. And, in the first decades of the twentieth century, they became source material for the reconceptualization of computing machines as weapons of war. This new picture of artificial memory systems as foundational to the Victorian history of computing challenges the traditional siloed focus on Charles Babbage and Ada Lovelace's 1843 invention of the Analytical Engine. I position mnemonics as an exciting new literary dimension in the expanded "histories of computing(s)" for which seminal historian Michael Mahoney famously advocated.

The theory of measurement that Giordano Bruno develops in his early mathematical writings (1586-1588) is based on an original interpretation of geometry in an atomistic sense, which in turn is an expression of a conception of matter that was, in those very years, being renewed. The assimilation of concepts such as the geometric point, the physical atom, the minimum and the infinitesimal thus becomes the theoretical axis around which a new conception of nature-and not just a different technique for astronomical measurements-can be elaborated.

Giordano Bruno’s Articuli adversus mathematicos (Prague 1588) is an emblematic text for more than one reason: it contains a harsh critique of the astronomical measurement techniques in use at the time, but also a radical attack on the theoretical foundations of geometry itself, proposing a discrete notion of basic geometric objects such as the point, the line, the plane, and solid figures. Moreover, Bruno enriches the text with some important references to the art of memory, not only to make his argument easier to understand, but also to offer concrete mnemotechnical tools to help the reader perceive and remember the geometric constructions he proposes. In this sense, the three archetypal images are a unique attempt to construct graphic schematisations to illustrate and memorise (by means of a technical tool called sigillus) the main propositions of Euclidis Elements, as well as the particular theoretical approach that Bruno gives to his geometry.

Aquellas posiciones más encontradas de la crítica literaria romana mantuvieron siempre un punto de vista común sobre el reconocimiento del aspecto visualizador de la literatura, si bien la justificación de tal reconocimiento fue distinta. En efecto, para Cicerón, representante del punto de vista idealista 1 , los recursos literarios, productores de placer y emoción, se situaban no sólo en el plano acústico sino también visual 2 : de ahí la asociación constante en su obra re-

Starting from the Corpus Hermeticum the intersection between philosophical-theological speculation and magical-civil action, embodied by animated simulacra, was of fundamental importance. The close link between the divine measurements of the animated statues and the poetic song, modulated according to specific linguistic proportions, was strongly codified. The hermetic teachings were deeply used by Marsilio Ficino. Following this line of investigation, the aim of this contribution is also to examine the relationship between statuary art and poetical magic within the Hermetic-Platonic trend, in particular regarding two great protagonists of it in Italy, after Ficino: Giulio Camillo and Francesco Patrizi da Cherso.

The highly suggestive but also emblematic relationship between the art of memory and rhe-torical  ecphrasis  has  often  been  noted  and  investigated  since  the  earliest  studies  devoted  to  ars memorativa. Indeed, the so-called imagines agentes require strong psychic representations capable of strongly mobilizing the passions of the memory artist, effects comparable to those that are provoked by ecphrastic descriptions (enargeia). However, there are few studies that deal in depth with loci memoriae from the perspective of ecphrasis. So this contribution aims to reconsider the relationship between the art of memory and ekphrasis through the reread-ing of a series of early modern mnemonic treatises focusing especially on their peculiar ways of  illustrating  the  composition  of  architectural  mental  places,  described  in  a  clear,  detailed  and effective way so that readers can compose them by oneself. From such an approach I be-lieve it is possible to thoroughly highlight the synergy of words, images and spaces. Main texts to  be  analyzed  are  chosen  from  mnemonic  treatises  that  present  compressed  architectural  mental places such as theaters, palaces, cities, gardens, including Utriusque Cosmi, Maioris sci-licet et Minoris (...) by Robert Fludd, Thesaurus artificiosae memoriae by Cosma Rosselli, etc.

The aim of this study is to highlight the links between rhetorical-mnemotechnical, magical-alchemical and anatomical investigation, starting with the works of Giulio Camillo Delminio (c. 1480-1544). Through this reconstruction, it is possible to observe how for Camillo and for others in his milieu, especially the Venetian academies of the 16th century, these arts were conceived in terms of profound interdisciplinarity, thereby moving towards a new encyclopedia of knowledge. The key to this knowledge was memory and its ars, through which the homo loquens was able to dominate both the natural and transcendental worlds by rediscovering the innate traces of knowledge dormant in their soul. We will also observe the profound links between this cultural paradigm and the parallel birth of new tools used in anatomical investigation, including anatomical tables and, above all, anatomical theatres, paying particular attention to the case of the Anatomical Theatre of Bologna.