![]() ![]() This discussion will center on the use of prints depicting sixteenth-century kunst-und-wunderkammers as visual representations of mnemonic systems of organization. Essentially, the cabinet was a physical manifestation of the art of memory, the prints serving to outline the kunst-und-wunderkammer for the viewer to help them understand and mentally organize the collection. This method was part of a mnemonic practice called the “art of memory.” It is a memory device that allowed an individual to remember a large amount of information and retain it. These prints also served as a tool to assist viewers in learning the organization of the cabinet, allowing them to access the knowledge of the collector himself. The cabinet is best represented in prints as a way of visualizing the collection. ![]() It is also important to note that this practice was embraced not only in Northern Europe but also in Italy, where it was known as a studiolo. ![]() The kunst-und-wunderkammer or as it is known now, Cabinet of Curiosities, is a practice by aristocratic Northern European collectors to create an assemblage of artifacts from a collector’s travels as well as objects they commissioned for their collections. By analysing this apparently ‘hybrid’ system, this article aims at assessing the delicate moment in the history of scholarly knowledge management in which the art of memory ‘in decline’ and the humanist methods of learning ‘in rise’ fuse inextricably and collaborate creatively to assist the realization of the ideal encyclopedic knowledge in our mind. Illustrating how to construct the nearly unrealizable memory palaces consist of millions of loci, Schenkelius introduces at a certain point a kind of “methodus studiendi”, based on the division of materials and the dichotomic diagrams, to learn by heart quickly all the scholastic disciplines. The latent phase is generally considerably longer and less predictable with regard to the rate of cervical change than is observed in the active phase. During the latent phase, the cervix dilates slowly to approximately 6 centimeters. From this point of view the Dutch mnemonist Lambertus Thomas Schenkelius (1547–c.1630), author of De memoria (1593), represents an emblematic figure (position?) that symbolizes on one hand the summit of the development of the art of memory, and on the other hand a transformation (or, even a collapse) of this intellectual device. The first stage of labor contains a latent phase and an active phase. This process, in a certain sense, invited the intellectuals to abandon the purely mental based method of traditional mnemonic and to utilize the so-called secondary memories such as commonplace books, index cards and Ramistic dichotomic diagrams. Toward the end of the century, then, this art reached the limit becoming almost impracticable just because of its extremely refined regulations that overloaded the mind. The classical art of memory, based on the Ciceronian system of loci and imagines, after its vigorous revival in the Renaissance, highly developed during the course of the Sixteenth century to satisfy various demands of the times. ![]()
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