THE ART OF MEMORY, So far forth as it dependeth upon Places and Ideas. Written first in Latin, by john Willis Bachelor in Divinity: and now published in English by the said Author, with such alterations thereof as seemed needful. unaquaeque ars nobilissima ac Divinissima fuit: ita ad mortalium cognitionem tardissime pervenit. Cardanus. LONDON, Printed by W. jones, and are to be sold by Henry Seely in Paul's churchyard at the Tiger's head 1621. To the Reader. WHereas about some two or three years since, I published a Tractate in Latin called Mnemonia, concerning the Art of Memory: divided into three books, according to the threefold kinds of Artificial remembering, that are therein prescribed; and have been since importuned by diverse ●o publish it in English: I have answered their request, so fare as I judged it fit, by publishing the third book thereof, which is plain and easy for any man's understanding; whereas the two first books are for Scholars only, that are skilful in Logic and Poetry. Yet have I not tied myself to such strict laws as a Translator should, but have altered where I thought good, the precepts, examples, and method thereof, with all liberty, to make it the more easy for the understanding of the common sort Writings (I confess) are simply the most happy keepers of any thing in memory, and doth for speed and certainty go beyond any art of Memory: but a ma● cannot always write that which cometh into his mind, (as when he is riding upon a journey, or lieth awake in his bed, or is among company at dinner, or in a throng of people, or is otherwise hindered by any the like occasion) therefore it will be necessary for him then, to help his memory some other way, at least till he can set down that in writing, which he would remember. And to this purpose serveth this Art; which if you shall advisedly read through, and mark with diligence the precepts and examples, that you may well understand every Chapter, as you go along, without hastening to the end, before you come to it by due order, (like a man that would leap over a stile before he comes at it) I doubt not but you shall find it very plain and easy, and exceeding profitable for remembrance both of businesses and observations, and no way hurtful to the faculty of the natural memory; but rather very useful for the corroboration and strengthening thereof. For the memory being daily accustomed to the recalling of sentences forgotten, and that by one or two words thereof, (as this book directeth) is thereby much quickened in her duty, and the wit the more sharpened. For nothing requireth continual exercise more than the memory: neither is there any faculty that waxeth sooner dull for want of exercise, than the memory. This one thing I desire to be favourably censured, that if in the examples which I give for the illustration of the practice of this Art in the fourteenth Chapter, there appear aught to be fantastical, it may be excused by this reason, that in this Art I go about to instruct the fantasy, which is the servant of memory. In which respect it fitteth well, that I deliver some conceits which are fantastical. And thus have I ventured to put these my labours upon common construction, hoping they shall find no less favourable acceptance among the judicious, than the Art of Stenography, which long since I published, hath found. I. W. THE ART OF MEMORY. CHAP. I. Of the repository. THe Art of Memory, so fare forth as it dependeth upon Places & Ideas, consisteth of two parts: Reposition, and Deposition. Reposition is that part, whereby things to be remembered, are laid up in mind by their Ideas, bestowed in the places of Repositories. But before I come to the manner of bestowing or laying up Ideas in the places of Repositories, necessary it is that I should severally entreat, first concerning Repositories; secondly the places therein determined; and thirdly touching Ideas in those places bestowed. A repository is an imaginary house or building, the form and fashion whereof is as followeth: Let there be supposed a building of the best Cane stone to stand before us, the inside whereof is in length twelve yards, in breadth six yards, & in height seven yards, and the roof thereof flat, leaded above, and pargetted underneath, having no wall at all upon the hither side which is towards us, but the whole house lying wide open to our view. Let there be also supposed within the said building, a marble stage smooth and even, one yard high above the level of the ground, whereon we stand; extending itself the full length and breadth of the said building. And that all the three walls of the house (that is to say, the opposite wall, and the two side walls) are wholly lined on the inside with choice cypress boards, plain and smooth, and so close joined, that it beareth no mention thereof to be seen, unto a man standing upon this side of the stage. Furthermore, let there be imagined a groove or gutter to be cut in the just middle of the marble stage, three inches deep, and three inches broad, drawn from the opposite wall to the hither side of the stage, whereby it is exactly divided into two equal parts: And that upon the further end of the said gutter, there is erected a Corinthian or round pillar, one foot and an half thick, arising up to the roof of the building, which almost toucheth the opposite wall, and deuideth it exactly into two equal parts; as the groove divideth the stage. So that by the groove & the pillar the whole repository is parted in twain, and consisteth of two rooms siding each other, and being each of them six yards long, and six yards broad, and six yards high. But that you may the better perceive this description, behold here the type and fashion of the repository, limited by the letters contained therein; whose signification followeth after the Figure. plan of a repository a b sheweth the length of 〈◊〉 repository. a c and b d the height there●● a e and b f the height of the ●ge. e g h f the length & breadth 〈◊〉 the stage. c l m d the length & breadth 〈◊〉 the roof. g i k h the length & height 〈◊〉 the opposite wall. e c i g the side wall upon ●r l●ft hand. h k d f the side wall upon ●ur right hand. g i n o the wall belonging to ●●e first room. c g oh p the stage of the first ●●ome. r q k h the wall of the second ●●ome. s r h f the stage of the second room. n o the pillar dividing t●● opposite wall. oh p the groove wrought in the stage. And such a fashioned Rep●sitorie are we to prefix befo●● the eyes of our mind, as oft●● as we intent to commit thin● to memory, supposing o● selves to be right against t●● midst thereof, and in the d●stance of two yard's ther● from. Now although every Rep●sitorie which we feign to b● before us, must be of the sam● fashion and building; yet a● they to be distinguished on● from another, by the seueral● colours of their pillars. Fo● there are eighteen Repositori● in all, which are thus distinguished: The pillar of the first 〈◊〉 of gold; the pillar of the se●ond of silver: both of them ●ery bright and polished. The pillars of the next seven, must be supposed to be every of ●hem of one entire stone smooth and shining, and thus differenced one from another. The colour of the pillar in the third repository must be black; in the fourth repository, blue; in the fift, red; in the sixth, yellow; in the seventh, green; in in the eighth, purple; in the ninth, white: so that these first nine Repositories have but one pillar apiece in them; the other nine are supposed to have two, standing together, in the middle of the repository, close to the opposite wall; the one upon the one side of the groove, and the other upon the other side thereof, touching each other, and the opposite wall with their bases, diversified one from another, by a repetition of the nine former colours in the same order. For both the pillars in the tenth house or repository, must be imagined to be of gold: both pillars in the eleventh house, of silver; in the twelfth house of two entire black stones smooth and shining; in the thirteenth of two entire blue stones: and so likewise in the rest. And thus much concerning the Repositories or imaginary houses, and how they are distinguished. CHAP. II. Of Places. A Place (as it is considered in this Art) is a room determined in the repository, 〈◊〉 for receiving the Ideas or ●ormes of things thereinto. In ●uery repository are two places ●r rooms, and no more: which resevered each from other, by ●he groove and pillar, according to the manner prescribed 〈◊〉 the former Chapter. For ●l that space, which occupieth ●he whole half part of the Re●ositorie upon the left hand, is ●ounted the first place thereof: ●nd all that space of the other ●alfe part of the repository vp●n the right hand, is counted the second place. And so muc● concerning the places. CHAP. III. Of Ideas in general. AN Idea is a visible representation of aught to b● remembered, bestowed by th● Imagination in one of th● places of a Repositarie, by th● remembrance whereof we ca● to mind that which was there by signified. Every Idea is to be accompanied with its proper circumstances, as the nature thereo● doth require. For as any writing, the fairer it is written the better it is read: so by ho● much the more lively the Ideas are set forth, according 〈◊〉 〈◊〉 exigence of their nature, much the sooner are they ●ed to mind, and by them, 〈◊〉 things also committed to ●mory. Therefore to the I●'s of things moving, the ●e same motion is to be a●bed; and to the Ideas of ings giving a sound, that self ●e sound is to be attributed. ●amples of Ideas whereun● motion is ascribed, are, an ●ificer at work in his shop, ●n and women dancing, wa● running from a spout, and ●ch like. Examples of Ideas ●hereunto sound is given, are ●ion roaring, a Falconer lu●g, a bell ringing, a Quirister aging, a noise of Musicians, ●d the like. Finally, every I●a ought to have such setting ●t, as seemeth in special manner appropriated thereun● that it may be the better 〈◊〉 prehended by the memory. In every Idea we have fo● things to be considered. Qu●titie, Position, Colour, 〈◊〉 Kind. Of which four I 〈◊〉 entreat in their order. CHAP. four Concerning the Quantity of Ideas. AN Idea, in respect of 〈◊〉 Quantity, is either Equ● Augmented, or Contracted. An Equal Idea is such, 〈◊〉 whereby the thing to be 〈◊〉 membered, being neither 〈◊〉 great, but that it may be contained in one of the places; 〈◊〉 so small, but being there ●●owed, it may easily be seen 〈◊〉 one that standeth two yard's 〈◊〉 this side the stage; is there●re placed in its equal and ●e quantity. Of which sort ●e a chair, a table, a bedsteed ●rnished, a heap of grain, a ●acke of wood, a duel fought between two combatants, ●nd the like. An Idea augmented, is such, 〈◊〉 whereby the thing to be remembered being so small, as ●eing it s●lfe alone bestowed 〈◊〉 one of the places of the Re●sitorie, cannot be seen of him 〈◊〉 at standeth two yards in this ●de the stage, must therefore ●e augmented by the increase ●f the number, of that which is 〈◊〉 be placed. ut Quae non pro●nt singula multa invent. As ●r example: if the Idea to be bestowed, be a pearl, a peni●● a grain of mustard seed, o●● spider: these things are 〈◊〉 themselves so small, as bei● disposed in one of the plac● of the repository, they cann● be seen in the foremention● distance. Therefore for o● pearl I suppose a bushel 〈◊〉 pearls to be heaped in t● middle of one of the places; 〈◊〉 one penny an heap of pen● new coined; for one grai● of mustardseed, a come 〈◊〉 mustardseed in like mann● heaped together: for one sp●der, I suppose a multitude 〈◊〉 spiders creeping close together in the midst of the oppose wall. An Idea Contracted is suc● as whereby the thing to be remembered being so great, th● ●annot be contained in so narrow limits, as the place of a ●positorie is; is therefore supposed to be painted in lively ●lours, upon that half of the ●posite wall which belongeth 〈◊〉 the place wherein this Idea 〈◊〉 to be bestowed. For all vi●le things in the world, ●ough never so great, and ne●r so fare disterminate, may ●ry easily be represented by a acture drawn upon the wall 〈◊〉 this contracted form. As if ●e thing to be remembered be 〈◊〉 Church, a City, a mountain, 〈◊〉 comet, or other prodigious ●●gne in the heaven, a field ●●ught, a fight at sea, a trium●ant passage in pomp & state, 〈◊〉 hunting or hawking through ●●e spacious forests, or any ●●her the like, whose Idea in the full bigness, cannot 〈◊〉 contained in a place of the R●positorie; All these are to be 〈◊〉 forth in a picture, occupyi● the one half of the oppose wall, that in this attenuate form it maybe fully expresse● within the bounds and limi● of its proper place. And 〈◊〉 much concerning the Qua●titie of Ideas: come we ne● to their Position. CHAP. V Of the Position of Ideas. LEt the position or situation of every Idea be su● as is most agreeable to t● thing signified thereby. F● those things which we commonly hang upon a wall, 〈◊〉 ●ten thereunto, are here also 〈◊〉 like manner to be used. As if ●e Idea be some picture of a ●an; because it is the use of a acture to be hung upon a wall, ●e must therefore suppose it 〈◊〉 hang upon the opposite 〈◊〉 all: if it be a Proclamation 〈◊〉 Title page of a book, that 〈◊〉 is pasted unto the wall; if it ●e a new Pamphlet, that it is ●stned to the wall with nails; 〈◊〉 it be a Tomb, we must fan●e it to be set up close to the 〈◊〉 all, and the streamers and pendants to be fastened aloft ●nto the opposite and side wall ●f the same room, wherein ●is Idea is to be placed. So the ●hings which are wont to be placed upon a court-cupboord ●r shelf, are to have like place ●ere: as a garnish of plate, or vessels of glass upon a court c●boord; books or merce● wares bestowed upon shelves Those things which be accustomed to be upon tables, 〈◊〉 imagined here also to ha● place upon a table: of whi●sort are a banquet, moneys to out into several heaps, pla●ing tables, etc. Things plac● upon the ground, are here likewise supposed to have pla● upon the marble stage, as a table, chest, cradle, or any living creature standing, sitting, g●ing or lying along, etc. Thin● which are commonly and usually under ground, are here supposed to be under the stag● For although they cannot b● seen of him that standeth o● this side the stage with his bodily eyes, yet they are no● ●dden from the eyes of his ●ind, which only are exercised in this Art. Examples of ●is kind are a grave, a well, a ●ine seller, a my of gold, sil●er, lead, etc. Finally, the selfe● me order is to be observed 〈◊〉 the site and position of all ●ther Ideas. CHAP. VI Of the Colours of Ideas. COme we now to the third thing belonging to Ideas, which is Colour. Every Idea ●n what repository soever it standeth, must have the colour of the same Repository in whole ●or in part attributed unto it. As if a black bull be to have the place of an Idea in any of the two rooms of the first repository, the horns thereof mu●● be supposed to be gilded; if i● any place of the second repository, the horns must be supposed to be tipped with silver: i● it be placed in the third repository, the proper colour there●● being black already, is sufficient of itself whereby to remember the house wherein it standeth. If he be bestowed in the fourth repository, than le● him have a garland of blue flowers about his neck; if in the fift repository, a garland of Damask roses: if in the sixth, of Marygolds: if in the seventh, a w●eath of Bays; if in the eight, of Clove july-flowers; if in the ninth, of Lilies. Furthermore, in attributing the colour of any repository 〈◊〉 an Idea therein placed, not participating it of itself, we ●ust have a care that it be applied as near as we can to that ●art which is most spectable ●nd conspicuous. As if the hilary of jonas the Prophet be ●ainted upon any half part of ●he opposite wall in the first ●epositorie, although therein ●e to be painted heaven, earth, ●a, land, a whale, a ship with mariner's in it; yet because Io●as being the subject of the hi●●ory, is the most spectable part ●f the picture, we may imagine ●he hems of his upper garment ●o be of gold: as we see it used ordinarily in pictures printed, wrought in distemper, and varnished. So if the picture of Io●as be an Idea in the second repository, the hems of his vesture may be silvered: if in the third repository, we may imagine his upper garment to b● of the colour of black; if i● the fourth, of blue; if in th● fift, of red, etc. And thus much concerning the attribution o● the colour of the Repositories to the Ideas therein contained▪ come we now to the several kinds of Ideas. CHAP. VII. Of Direct Ideas. AN Idea is simple or compound. A simple Idea i● uniform; and is either Direct or Obliqne. A Direct Idea is such, a● whereby a thing truly visible, or conceived under a visible form, is laid up in the same form under which it is conceived. So a goat is the direct Idea of a goat, a peacock of a peacock, a dove of a dove, a Church of a Church, a book of a book, etc. So the Idea of any friend or acquaintance, is his true proper shape. So good and evil Angels, although they be spirits incorporeal and invisible, yet since they are commonly conceived under visible forms, they are so to be expressed. Finally, of all things visible, or conceived under a visible form the mind itself doth presently offer direct or right Ideas, that we shall not need to invent any other, but to use them which are offered unto us. For if any shall make a narration unto us of a skirmish at sea, do we not presently suppose ourselves to see before the eyes of our mind, the sea ships, smoke of the guns discharged, & such like things as belong to a fight at sea? If any speak of mustering and training men, do we not fashion to our minds a certain form of a field, wherein soldiers march after their colours in a military order? Neither ●s there ought else h●re prescribed, then that which nature itself hath taught us, saving that for our better taking hold upon these natural Ideas, we observe an artificial order and manner in laying them up in mind, that we may the sooner find them. And so much for a Direct Idea. CHAP. VIII. Of Relative Ideas. AN obliqne Idea is such, as whereby the thing to be remembered, is obliquely or indirectly signified. An obliqne Idea is threefold: Relative, Subdit●●a l. or Scriptile. A Relative is a simple Idea, whereby the thing to be remembered, is expressed by his his Correlative; as, first, when the cause is signified by the effect: As when Melancholy is signified by a man very sad, who having his arms wreathed up, and his hat pulled down in his eyes, goeth up and down in a discontented manner. The Spring time, by the green fields, and the trees putting forth their leaves. Winter, by the nakedness of trees, and the lakes and rivers frozen up. Secondly, when the effect is signified by the cause. As if I should signify Oppression of the poor, by a covetous miser, who is every where ill spoken of for his violence and extortion: or Blasphemy, by a prodigious blasphemous wretch well known unto us, all whose speech is stuffed with dreadful oaths and blasphemies. Thirdly, when the Subject is noted by the Adjunct: As when the Imperial dignity is signified by a Crown and Sceptre. A wine Tavern by an ivy bush and red lattice, etc. Fourthly, when the Adjunct ●s noted by the Subject: As when Cold is signified by ice; Heat by fire; Light by a can●le; Affection by the heart, which is the seat of affections; Pride, by a Peacock; Gluttony ●y an Ostrich; Drunkenness ●y a drunken man; Impudence ●y an harlot; Covetousness, by 〈◊〉 rich man with his bags about him, and such like. Fiftly, when the like is put for the like: As Parallel circles (that is, circle's equally distant, including one another) for the world, because the world consisteth of spheres, including one another, as parallel circles do. A woman holding a broken pillar, for Fortitude. A virgin having her eyes covered with a veil, holding a sword in one hand, and a pair of balance in the other, for justice. An old man winged, having long hair in the forepart of his head, and being bald behind, for Time. And the like. Si● 〈◊〉 ●en a sentence is expressed 〈◊〉 a familiar example, whereby the truth of that sentence is manifested: as, if this sentence [Venture mero aestuans despumat in libidinem: that is, The belly overheated with wine, doth froth forth into lust,] should be expressed by the example of Lot, sporting with his daughters; in whose fa●l, this example was plainly verified. Finally, when any thing may fitly be resembled by its correlative, it must be so resembled. And so much for Relative Ideas. CHAP. IX. Of Subdititiall Ideas. A Subdititiall Idea is, whereby a proper name is committed to memory, by something placed in stead there of, wherewith it is supposed to 〈◊〉 have some agreement. This 〈◊〉 done two ways. First, when a man's name ●gnifieth something visible, it ●ay be laid up in memory by ●hat visible thing it signifieth: As if a man's name be Smith, his name may be remembered by ●hinking upon a Smith at work ●n one of the rooms of the repository, having forge and invile in it, as if it were a Smith's shop: if his name be Carpenter, by a Carpenter 〈◊〉 work: if Turner, by a Turne● if his name be Stone, by 〈◊〉 stone: if Lu●onne, by a Lute an● a Tun. Secondly, a man's name m● be remembered by the like name given to another ma● As if a man's name be Pete● we may remember it by another man called Peter, or b● the picture of Saint Peter hun● upon the opposite wall: if h● name be johnsonne, by another man of the same name: if a woman's name be Lucrece, it ma● be kept in mind by the pictur● of Lucrece: if Katherine, by th● picture of Saint Katherine. An● this may suffice for Subditia● Ideas. CHAP. X. Of Scriptile Ideas. A Scriptile Idea is, whereby the thing to be remembered, is supposed to be written ●n a plain white table hanged ●p in the midst of the opposite wall belonging to the room wherein it is placed, the frame ●r border whereof is of oak, very broad and chamfered. In every Scriptile Idea, 3 things are generally required. First, that the Table be not much bigger than will contain that which shall be written in it. Secondly, that the frame or border of the Table, be of the colour of the Repository, wherein it standeth. As if it stand in the first repository, that it be of the colour o● gold; if in the second repository, that it be of the colour of silver; if in the third, that it be black; if in the fourth, blue, etc. Thirdly, that the letters contained in the Scriptile Idea, be all of such bigness, as that they may plainly be read by him that standeth on this side of the repository; like unto the writings which we see in Churches. And thus much fo● that which is generally required in all Scriptile Ideas. Let us now see, what is further to be required in the several kinds of them. There are four kinds of Scriptile Ideas: A single word, a Quotation, a Phrase, and 〈◊〉 Sentence. A single word and quotation, must be written in a ta●let one foot and an half ●road, and a foot high; and ●heir first letter must be a great Roman capital letter of extraordinary bigness above the ●est, and the transcendencies of ●he small letters also, if there be any must be drawn much higher or lower then is usual ●n common writing. For by ●his means they are the more easily attracted by the visual faculty, and transferred to the memory. By the transcendencies of the small letters, I mean the upper and lower parts of those letters, which exceed the parallel lines between which we writ. For whensoever we writ, we writ, as it were, between two lines understood, though not expressed. And of the small letters, some are written wholly between the lines, as these, a c e m n o r s u v w, which for distinction sake may be called Interlineals, because they are written between the lines. All other small letters are extended further than the lines, whereof they are called Transcendents. And of these, some are extended above the upper line, as these, b d h i k l t: some beneath the lower line, as these, g p q x y z. Some both above the upper line and beneath the neither line, as these, f j s. As to give examples in single words: the word Canaan hath no transcendents in it; Naboth hath three, which extend above the upper line, b t and h. Spagyrus three, which are ●rawne beneath the neither ●ne, p g and y. josaphat hath ●hree transcendences above the ●pper line, in the letters s h and 〈◊〉 and two beneath the lower ●ne, in the letters s and p. When therefore we have fancied a single word to be ●ritten in a tablet hanging ●pon the opposite wall, we must apply our mind thereunto impensively to consider it, ●nd especially the length of it, ●he first letter, and the transcen●encies of the small letters if ●here be any, till by these considerations the word make some impression of itself in our ●inds. That, whereas a word ●arely written, is but feeble of 〈◊〉 self to stir up memory, yet ●y these considerations and stay made in bestowing it, 〈◊〉 may work some deeper impression in our memories. A Quotation must be written after the common manner thus, 2. Chron. 9.6. Math. 5.8. And besides the consideration of the first letter, and the tra●scendences of the small letters if there be any in it, we mus● observe also the numbers o● the Chapter and verse, but specially of the Chapter; whic● will be very easy to commi● to mind, in regard of thei● quantity. For things of quantity, next things visible, are be● remembered. A phrase and a short sentence of one line in length must be supposed to be written in a table three foot broa● and one foot high, and th● ●hiefe word therein, which is 〈◊〉 be accounted, that which ●ost expresseth the subject ●ereof, (whether it stand in ●●e beginning, middle or end) 〈◊〉 to be written after the man●er of words written alone; ●hat is, the first letter to be a ●●eat Roman capital letter, ●nd the transcendencies of the ●●all letters therein very large.) ●nd when we have once fan●ed a phrase or short sentence 〈◊〉 be written in the table, we ●ust apply ourselves to con●der the length of this whole ●criptile Idea, specially the ●hiefe word therein, and what ●ace it hath in the writing, 〈◊〉 whether in the beginning, ●iddle or end:) for by these considerations used in the Reposition of Scriptile Ideas, they are the better remembered. If a Scriptile Idea be a lon● sentence, which cannot be contained in a line, then let th● table be imagined to be bro●der or deeper, as the length 〈◊〉 the Idea doth require. An● let the form of writing, whic● every long Idea hath, be suc● as may most plainly set foot● what kind of sentence it do● express. Therefore Distrib●tions must be expressed by th● parts drawn to their whol● with braces in this manner. The feasts of the jews besides the Sabbaths, were either More solemn: to wit, The Passeover. Pentecost. The feast of Tabernacles. Less solemn: to wit, The feasts of their new Moons. The feast of blowing Trumpets. The feast of Expiation. So Syllogisms are to be distinguished into their Proposition, Assumption and Conclusion, as: If the first matter of all corporeal creatures be capable of any form; then though the bodies of all men were, dissolved into their first matter, they may be restored to their proper form again. But the first matter of all corporeal creatures is capable of any form: according to that Philosophical Axiom, Materia prima est omnium formarum susceptibilis. Therefore though the bodies of all men were dissolved into their first matter, they may be restored to their proper form again. So Objections with their Answers, are to be distinguished in this manner. Objection. Whatsoever every man must believe, is true. (For nothing false must be believed.) But every wicked man must believe that he shall be saved by Christ. (For not to believe this is infidelity, and therefore sin.) Therefore every wicked man must believe that he shall be saved. Answer. Every wicked man must believe that he shall be saved; yet not absolutely, but upon condition that he repent, and believe in Christ. Similitudes and all other comparisons both whose parts are explicated, are to have those parts siding one another in this sort: As there is great difference between the faculty of light and the act of seeing: (for the faculty is always present with him that hath his sight; but the act is often intermitted.) So there is a great difference between the faculty of faith and the act of believing: (for the faculty of faith is always in the Regenerate after their conversion; but the act of believing is sometimes interrupted.) So verses are to be distinguished by their several lines: and generally all other kinds of sentences which have or may have a peculiar kind of writing by itself, ought here in that manner to be written. Furthermore, it is requisite, that over a long Scriptile Idea, one or two of the chiefest words be written in some little distance therefrom, as if it were the title of it, their first ●etter being a great Roman capital, and the transcenden●ies of the small letters produced in length, after the manner of words written alone. As to give instance in the former examples: over the first Scrip●ile Idea, (which is a distribution) these words must be written, jewish Feasts. over ●he second, (which is a Syllogism) these, First Matter. O●er the third (which is an Objection with the solution thereof) these, Believe salvation. Over the fourth, (which is a similitude) these, Sight and Faith. And having in our conceits written any long Idea after this manner, we must apply ourselves intensively t● consider the length of the sentence, the manner of writing i● and the title thereof over i● together with the first letter● and transcendences of the title, letting our mind to wor● upon these considerations fo● a while, till the Idea be somewhat settled therein. CHAP. XI. Of compound Ideas. Having now gone thorough with all the simple Ideas, I come to Ideas that are compounded. A compound Idea, is compounde● of two simple Ideas; whereof the one is always a Scriptil● Idea, and the other is either 〈◊〉 Direct Idea, or a Relative. A compound Idea therefore is of two sorts. The first kind of compound ideas, is of them which consist partly of a Direct Idea, ●artly of a Scriptile. Of this ●ort are, an history painted in 〈◊〉 fair table, with verses underneath explaining it; a libel or Epigram, made upon some ●hing done, supposed to be written in a paper, and pasted upon the opposite wall, and ●he thing done expressed in action upon the stage; An armed Knight bearing his Scutcheon ●nd imprese written therein; and the like. The second kind of compound Ideas, is of them which consist partly of a Relative Idea, and partly of a Scriptile. Of this sort are innumerable examples in Emblems, written by Beza, Alciat, Peacham, and others. For in all Emblems, the picture occupying the upper part of the table, is 〈◊〉 Relative Idea; and that which is written underneath, a Scriptile. And thus much for compound Ideas, and so concerning all the several kinde● of Ideas. CHAP. XII. Of the choosing Ideas. IT is meet in the next place, to give such rules, whereby we may know at the first, with what Idea every thing that is to be remembered, must be expressed. Touching which, these six Rules following give infallible and certain direction. Rule 1. All histories, things done, fables, common businesses, finally whatsoever is visible or conceived under a visible form, and nor illustrated by aught written, aught to be ●ayd up in memory, by a Di●ect Idea in equal quantity, greater or less, as the nature of the Idea requireth. Rule 2. All histories, things done, fables, morals, and the ●●ke, explained by verses or other writing: as also all Epigrams, Epitaphs, Anagrams, ●mpreses, and libels, are to be expressed by an Idea compounded of a Direct Idea and a Scriptile. Rule 3. All Emblems and sentences exemplified by some notable instance, are to be expressed by a compound Idea, consisting of a Relative and Scriptile Idea. Rule 4. All Characters, solitary letters, bare numbers, and quotations, are to be laid up by a Scriptile Idea. Rule 5. All single words and proper names, expressible by a Subditiall Idea, ought so to be expressed. Rule 6. All sentences, phrases, words or names which can not presently be expressed by a Direct, a Relative, a Subdititiall, or a compound Idea, aught to be expressed by a Scriptile Idea. And this for the choice of Ideas shall suffice. CHAP. XIII. Of the manner of bestowing Ideas in their places. HItherunto I have entreated concerning Repositories, Places and Ideas severally. Now I come to the manner of bestowing Ideas in the places of Repositories. Wherein these rules following are to be observed. Rule 1. Every Idea is to be placed in order: that is to say, that which cometh first to mind, in the first place of the first repository: That which cometh next to mind, in the second place of the first repository; The third Idea in the first place of the second repository. The fourth, in the second place thereof. The fift, in the first place of the third repository. The sixth, in the second. And so forth in the rest of the Repositories, how many soever they be: always provided, there be but one Idea assigned to one place. Rule 2. Let due quantity, position, and the colour of the repository be rightly attributed to every Idea, and throughly observed and marked, as belonging thereunto. For it can not well be told, how much help and furtherance these 3 attributions, specially the assigning of the colour of the repository to every Idea, do bring to a deep imprinting in the memory, as well as the Ideas themselues, as also the order wherein they stand. For by this means the mind, when it cometh to repeat over the Ideas, hath one thing certainly known to belong to every Idea to work upon: that is to say, the colour of the repository, which in one respect or other he knoweth to be in the Idea. Rule 3. After the second Idea of any repository is bestowed in its proper place, let it be considered, whether by some proper fiction it may have some fit connexion with the former Idea, standing in the same repository, in respect of the action thereof, in some kind of manner affecting the former. As for example: imagine that the Idea placed in the first room of the repository, be an old man sleeping in a chairs by the fire side; and that the Idea in the second room o● the same repository, be a black S●ith or Farriar giving an● horse a drench: I fayn therefore, that the horse struggling and bounding up with his fore feet, doth awake the old man sitting by the fire in the former room. And this relation is, as it were, a knitting or chaining of this Idea with the former: so that if we remember one of them, we cannot lightly be forgetful of the other. If a fit relation be not presently found, by transferring the action of the latter unto the former; then let there be fought some other agreement, which the latter hath with the former: either in respect they do both concern ●he same subject, (as when the subject of them both is concerning war, peace, justice, ●●●ne, patience etc.) or second●y, in respect they are both Ideas of the same kind, (as when ●oth of them are direct Ideas, ●oth Relatives, both Subditi●iall, both Scriptiles, or both compound Ideas.) And if they agree neither in the subject, nor in the kind of Idea, than we are to fasten upon that relation, which they may have in respect of their situation or position, by considering their position to be like, if it be like; (as when both Ideas are placed upon the stage, both upon a table, both upon the opposite wall, etc.) or different if they be of a different situation, (as when one hath place upon the stage, and the other upon the wall:) for even by this consideration, both Ideas are the better remembered. Rule 4. When the latter Idea of any repository is bestowed, we must repeat in our mind (if time will give us leave) all the former Ideas of the other houses. For as a scholar by often reading over his lesson, getteth it without book: so by often repeating these Ideas in our mind, we shall the better retain them. Rule 5. We must take hee● that we overcharge not our memory with a multitude of Ideas: for as it is hurtful to load the stomach with more meat than it can digest at once; so is it also unprofitable to oppress the memory with too ●eat a multitude of Ideas. Let ●ch observations therefore ●sse as are common and trial, and let us commit such ●ly to memory, as are indeed memorable. The number of ●ings that may be committed 〈◊〉 once unto a man's memory 〈◊〉 this Art, are six and thirty, ●hich are abundantly suffici●t for the memory to be char●ed withal at once, and more ●y many peradventure then ●e shall have occasion at any ●me to use. And so much concerning the choice of Ideas, ●nd bestowing them in their places. CHAP. XIIII. Concerning the practice of th● Art of Memory. IT remaineth that now at 〈◊〉 I should illustrate all the fumer precepts of this Art by 〈◊〉 examples, that the use by t● practise thereof may be t● better seen. I will therefore show the use thereof: first 〈◊〉 remembering businesses; ●condly in remembering observations. First therefore concerning businesses. Suppose that a ma● riding alone towards a Fay● kept in some market Town for some especial business and that as he is upon his journey, diverse other business come into his mind there to 〈◊〉 done; he must then bestow ●m, and lay them up in order 〈◊〉 their places by their Ideas, ●hey come to mind. As for ●mple. The first business he thinks ●on, is to inquire the price ●seed wheat in the market. 〈◊〉 him therefore suppose in 〈◊〉 first place or room of the 〈◊〉 repository, that he seethe ●ers men standing together ●h sacks of corn, that it may ●y some face of a corn mar●; and that on the nearer side the stage, he seethe a country ●n clad in russet, with a pair 〈◊〉 high shoes on, pouring ●eate out of a sack into a 〈◊〉 shell, the ears or handles ●ereof are of pure gold; that 〈◊〉 this supposition the Idea may have the colour of the ●positorie which is gold, attributed unto it; according to t● rule of the sixth Chapter. The second business is 〈◊〉 procure mowers to cut do● meadow grass. Let theref●● be supposed in the seco● place of the first repository, or four husbandly men to 〈◊〉 whetting their scythes, the bla● whereof are of gold, agreeab● to the colour of the Repos●●rie; and that the sound also whetting their scythes is perfe●ly heard. The relation wh● this Idea hath unto the form● is in respect of situation: ●●cause both Ideas are pla● upon the stage of the first ●●positorie. The third business is, to squire out one whose name 〈◊〉 Fletcher, dwelling in that own, and unknown unto ●im. Let him therefore fancy ●hat the first part of the second repository is turned, as it were, ●nto a Fletcher's shop, wherein ●he Fletcher standeth close to ●is stall, having a great box of silver arrow heads by him, and ●hat he is busied in heading of arrows. The fiction of the ar●ow heads to be of silver, serves to attribute the colour of the repository to the Idea. The fourth business is to ●uy pepper. For the remem●rance of this, the second place of the second repository, must be supposed to be changed into the form of a Grocer's shop. And that the opposite wall is set forth with a nest of boxes, whereupon the names of spices are written, according to the common custom of Grocer's shops, and the side wal● also furnished with Grocery ware: and that two foot o● this side the opposite wall● there is a Counter or a shew-boord and the Grocer standing upon the further side of it, having a blue apron before him, is weighing of pepper in a pair● of balance, the scales whereo● are silver, (as is the pillar o● this repository.) The relation of this Idea to the former, consisteth in this, that both are shops: The first containing things saleable, that are prepared for men's destruction; and this, such things as whose use serveth for men's preservation. The fift business is to speak with a Councillor. Let that Councillor then be imagined to sit in a black gown lined with velvet, in a chair in the midst of the first place of ●he third repository, and to ●e turning over a book of some man's case, which he hath ●n his hand. Here needeth no attribution of colour, since the Councillor's gown is black of itself, which is the proper colour of this Repository, whose pillar is of jeat. The sixth business is to buy 〈◊〉 yard of black velvet. Wherefore the second room of the ●hird repository must be transformed, as it were, into a Mercer's shop, and upon the shew-boord there must be supposed ●o lie a piece of black velvet open, the Mercer being on the other side thereof praising an● commending it. This Idea hath also of itself the colour of the repository, as the former had▪ and may be referred unto it by this imagination, that velvet (which is the subject o● this Idea) is also the facing o● the Lawyer's gown, which sitteth in the former room. But I shall not need to proceed any further in giving examples for remembrance o● businesses, since their Ideas for the most part are D●rect and such as nature itself offers to our mind: I will therefore now proceed to give examples of Observations to b● remembered, and show how their Ideas are to be bestowe● in the Repositories following. The first Observation. Diogenes the Cynic, when entered into Plato's hall, and 〈◊〉 the table therein covered ●th a fair carpet, and the cupboard to be furnished with plate, ●d the rest of his household stuff sumptuous and rich: He plucked 〈◊〉 the carpet in a kind of indignation, and trampled upon it ●●th his feet, saying; I spurn Plato's pride. Yea but (an●●●red Plato) with a greater ●●●de. The Reposition thereof. The Idea of this Apoph●gme is direct, and not so ●at, but that it may be con●ned in one of the memorial aces, nor so small, but being ●rein placed, it may be dil●ned by one which standeth this side of the stage: therefore I suppose the Idea to 〈◊〉 there laid up in equal qua●titie, according to the ru● Chap. 4. by imagining the fi● place of the fourth Repository (whose colour is blue) to ha● both the opposite and side w● hung with tapestry, and t●● close unto the opposite w●● there standeth a cupboard plate; and in the middle of 〈◊〉 room a fair table, cover with a carpet of blue silk; a● an old man with a long wh●● beard, sitting in a chair by 〈◊〉 side wall, as master of 〈◊〉 house, apparelled in an academical habit, to repress Plato the father of the Aca●micks. And further, that th● comes to the table ano●● man in a patched gown, a● beggarly apparel, which p● ●h off the carpet, and tread●● it under his feet. Which ●ato beholding, riseth out of 〈◊〉 chair, takes up the carpet, ●d taxeth his rudeness. The ●lour of the carpet is agree●le to the colour of the Repo●orie. The second Observation. ●aeterea, si nulla fuit generalis origo ●rrarum, & Coeli, sempérque aeterna fuêre, ●r supra bellum Thebanum, & funera Troja, ●on alias alij quoque res cecinêre Poetae. Lucretius. In English thus: moreover, if there never was of yore, beginning of the world; but that it was Always eternal: wherefore th●● before The wars of Thebes and Tr●● did come to pass, Did there no Poet write of oth●● things? The Reposition thereof. This is to be expressed by compound Idea, in this ma●ner. Imagine a fair large tab● about five or six foot square to hang upon the opposite w● of the second room in t● fourth Repository; whose c●lour being blue, causeth th● frame of the table to be so to In the upper part of the tab● I suppose to be painted in s●uerall squares, divided ea● from the other by a down right blue line 3 inches broa● the destruction of Thebes, a●● the destruction of Troy, whic● is a night piece: and that in the lower part of the table, those four verses before mentioned of the Poet Lucretia's, are fairly written. In this Idea the blue line of the partition is to be well marked, because it showeth the picture to consist of several histories. The relation which this Idea hath to the former, is taken from difference of position, that whereas the former Idea of this Repository hath place upon the stage, this is placed upon the opposite wall. The third Observation. Every thing which is just, is not agreeable to equity. For Manlius Torquatus did justice, but not equity, when he caused his valiant son to be bebeaded; for that he, contrary to his commandment, being mightily provoked by the insolence of the enemy, had fought with them in his absence, although he returned with victory. The Reposition. This is to be expressed by a direct Idea standing in the first place of the fift Repository, the colour of whose pillar is red. I fancy therefore to stand therein a big man in complete armour, his beaver up, of a dreadful and astounding countenance, having a plume of red feathers upon his crest, with a great chain of gold about his neck, (bearing the signification of his name Torquatus) and resting his right hand upon a red truncheon applied to his side; he seemeth earnestly to command some of the soldiers in red coats by him, to hasten a young man pinioned to execution. The fourth Observation. A man in some case may do damage unto his neighbour, though he know it, yet without injury. For if there be two victualling houses together in a town, the keeper of the one doth damage to the other, in as much as he seeketh to draw the guests to his house: yet is this damage without injury, and therefore not punishable by any law of the land. The Reposition. The Idea of this is also direct in equal quantity. For it is to be supposed, that in the opposite wall of the second place of the fifth repository, there is a door opening into a victualling house, adjoining unto the repository, on the back side, having a red lattice window, and rails before it: and that in the side wall upon the right hand, there is a door open, leading into another victualling house, adjoining to the end of the repository, having a red lattice also before the window. Further, let there be imagined some common drunkard to sit upon a bench on this side the further Alehouse, with a can of ale in his hand; who looking into the former room, and seeing Manlius his son ready to be carried away to execution, pointeth to his can, and seemeth to utter these words to Manlius his son, as he seethe him to pass along by him: Oh this were good for thee now, if thou mightest sit by it. For such like idle conceits as this, will make a matter the better to stick in mind. The fift Observation. There is no excellent wit, without some madness. The Reposition. The Idea hereof is Relative, committed to memory, by supposing well known, to be in the first place of the sixth repository, who through too much intention of mind upon his studies, is fallen into a deep frenzy; and that he having a great yellow feather in his hat, rideth up and down the stage upon an hobby-horse. The sixth Observation. Ilia, called also Rhea, being great with child by Mars, had at a birth two children, Romus and Remus; whom she delivered to a notable harlot, called Lupa, to be by her nurced and brought up: of whom all brothelhouses were after called in Latin, Lupanaria: (as the English word Harlot, was first derived from Arletta, concubine of Robert Duke of Normandy, father of William the Conqueror.) Hence grew that fable, that these twinne-borne brethren wee nurced by a she wolf, because Lupa in Latin signifieth a she wolf. Romus after being King, gave name to Rome: but was called by the people, in a kind of flattery, by the diminutive of his name, Romulus. The Reposition. This is to be laid up by a Direct Idea, supposing that in the second place of the sixth repository, there lieth upon a pad of straw a she wolf, having about her neck a yellow collar, with two infants sucking of her. And that the wolf setting out her throat, howleth so deernly, that the frantic man in the former room stops his dancing to look at her. The seventh Observation. Milo of Croton, a famous wrestler, who was the first crowned at Olympia, when being old be traveled along through the woodland countries of Italy, espied an oak near the way side, rifted in the midst. Then intending (as I think) to try, whether as yet there remained any strength in his arms, thrusting his hands into the rift of the tree, he rend it down a little way: but the oak being thus bowed, and drawn into two parts, closed again upon his hands, as he was still tugging thereat, and held him there fast, to become a prey to the wild beasts. Aul. Gellius Attic. Noct. 15. 16. The Reposition. The Idea of this observation is a Direct Idea, and must be placed in the first room of the seventh repository, the colour whereof is green. I suppose therefore a young oak with green leaves: and acorns upon it, to grow up out of the middle of the stage, being rifted in the midst: and that a big man, broad shouldered, and apparelled like a Champion, after the ancient guise, with a garland of green law●ell upon his head, hath both his hands in such manner enclosed in the oak, who casting back his head and body, crieth aloud for help; so that me thinks, I see not only the bowing back of his body, and his striving to get lose, but even to hear with mine ears the outcry which he maketh. The eight observation. To drive forward the night with old wife's fables. The Reposition. This Phrase may be committed to mind by a Direct Idea, in this manner. Let there be supposed in the opposite wall a chimney, with a goo● fire in it, about which som● half a dozen women sit: among the rest, one being 〈◊〉 very old woman, and yet cla● in green (the colour of th● house) (like an ape in purple● telleth a tale to the rest, lifting up her hands as she speaks with such ridiculous and antic gesture and action, as be sitteth a beldame gossip: wher● upon the whole choir of th● gossips burst out into low● laughing, and holding thei● hips, with laughter and coughing, make such a confused noise, that the cry of Milo i● the former room cannot b● heard. And hence is derived th● relation which this Idea hath unto the former, because they ●re both of them loud sounding Ideas: though the first ●●und be a lamentable outcry; ●nd the latter, a sound of mirth ●nd joy. The ninth Observation. Men are certainly more ancient than the gods of the heathen: because men were the makers of ●hem. The Reposition. This is expressible by a Di●ect Idea; by fancying a statuary in a purple waistcoat, to be ●n the first place of the eight repository (whose colour is purple) fashioning a marble ●mage. The tenth Observation. The snow falling whole, and not melting as it falleth, is always of a six-angled figure; setting forth unto us the wondrous worl● of the Creator. The Reposition. The Idea of this obseruatio● is direct, but in an augmente● quantity. For since one flak● of snow is so small, that bein● bestowed in a memorial plac● it cannot be seen of him tha● standeth on this side the repository: therefore a great heap● of snow is to be placed in th● midst of the stage of the secon● room of the eight repository whose colour being purple, admonisheth that some part o● the Idea must be purple: an● therefore I suppose a purple pendant to be stuck in th● heap of snow. The relation of this Idea to the former, i● in respect of the subject. For each of them hath great show of Art, though this being the work of God, be ten thousand times more admirable than the other, which is but the work of man's hands. The eleventh Observation. There are three most beautiful mothers of three most deformed daughters: Familiarity, which bringeth forth Contempt; Truth which bringeth forth Hatred; and Peace, which bringeth forth Sloth. The Reposition. I lay it up by a direct or right Idea in the first place of the ninth Repository, (whose colour is white) after this manner. I suppose three most beautiful women, ●lad in white satin, with chapplets of white Roses upon their heads, sitting upon three low stools, and giving suck to their three daughters, which to look upon, are most foul and hard favoured. The twelfth Observation. Astrologia judiciaria est negotiocissima vanitas. Basil. that is, judicial Astrology is a most busy vanity. The Reposition. The Idea hereof is Relative. For it is exemplified by the history of Thales the Philosopher; who taking the altitude of a star with his Quadrant in the night season, taking little heed unto his footing, fell in●o a ditch; and was well laughed at by a woman then seeing him; and objecting unto him his folly, that was so curious in looking after things above, that he minded not the ditch before him. This is to be expressed in an action upon the second part of the stage belonging to the ninth Repository; whose colour being white, I suppose his Quadrant to be covered with white paper pasted upon it. Also, that there may be a connexion of this Idea with the former, I conceit it, that the woman runneth to the other three women in the former room, to show them of Thales his fall. The thirteenth Observation. Whosoever devoureth that which is consecrate to the worship of God, bringeth destruction to his own family. Prou. 20.25. But whosoever that seizeth into his hands any part of the glebe belonging to the Minister, and leaveth it to his posterity, he devoureth that which is consecrated unto God. Ezech. 45.4. Therefore whosoever seizeth any part of the glebe belonging to the Minister, and leaveth it to his posterity, he bringeth destruction to his own family. The Reposition. This Syllogism is to be bestowed by a compound Idea in the first place of the tenth repository, (both the pillars whereof are supposed to be of gold, according to the last rule ●f the first Chapter.) First therefore I suppose this Syllogism ●o be fairly written in a white ●able, four foot square, whose ●order is gilded, and distinguished into the several parts ●hereof by several sections, ●hat is to say, into the Proposition, Assumption and Conclusion; and that the table is ●ung up, upon the opposite 〈◊〉 all in the first room. I suppose further, that underneath his table, close to the opposite 〈◊〉 all, there sitteth in a chair of ●old, some sacrilegious and corrupt patron, fast asleep; ●hom death coming unto, ●auing a crown of gold upon ●is head, to signify his monarchy, striketh with his dart, ●●d awakeneth him, showing him the writing over his hea● that he may consider it and repent, and make a timely restitution unto the Church, le● he damn his own soul, an● bring destruction upon his family. The fourteenth Observation. Anger is a short madness. The Reposition. The Idea of this sentence 〈◊〉 Relatine. For it may fitly 〈◊〉 expressed by the history 〈◊〉 Saul, 1 Sam. 20.33. who bein● enraged with anger, threw 〈◊〉 iavelin at his son and hei● jonathan to kill him. Therefore I suppose a man of extraordinary height, apparelled with 〈◊〉 royal robe of state, having 〈◊〉 crown of pure gold upon his head, and holding a javelin ●n his hand, to ●it upon a princely throne; and that he representing Saul, upon the ●udden starteth up, & casteth it ●t a young man, standing before ●im in the same room, apparelled as befitteth a Prince. ●here needeth no attribution ●f the colour of the repository 〈◊〉 this Idea, because Sauls ●owne being of gold, is agreeble to the proper colour of the ●nth Repositorie. Also death 〈◊〉 the former place hath a 〈◊〉 own of gold, as Saul also ●th in this, and thereby both ●ea●s are conjoined. The fifteenth Observation. Magnus Aristoteles, trutinando cacumina rerum, In duo divisit, quicquid in ●rb● fuit. In English thus: Great Aristotle weighing well in mind, The essence of this universe; did find, That two things only were in i● combined. that is, Substances and Accidents. The Reposition. This is to be expressed by 〈◊〉 compound Idea, feigning a tab●● to hang upon the opposite wa● four foot square, the bord●● whereof is silver, (so suppose● because it is placed in the eleventh repository, both who pillars are of silver.) And th● in the upper part of this tabl● are drawn two great parallel circles (being the Stenographical Character of the world) in the midst whereof is the figure of two: and that underneath it is drawn a line, and beneath the line, that distichon written. The sixteenth Observation. Dic ubi tunc esset, cum praeter eum nihil esset? Tunc ubi nunc in se: quoniam sibi sufficit ipse. In English thus: Say, where was God, when save himself, no kind of thing had being? There, where he is, still in himself, and so for ever: seeing Himself alone unto himself is all sufficient. The Reposition. This likewise is to be expressed by a compound Idea: feigning a table to hang upon the wall of the second place of the eleventh repository, of the same bigness with the former, and in like manner bordered with a silver frame. And that in the upper part thereof is written in great Hebrew letters, the name of God jehovah, and nothing else; because the subject of this Idea is Gods being, when nothing else was; with a line drawn under it, and those two verses beneath the line. Both Ideas of this repository are the same in kind, that is to say, both Compound, and by this relation fitly joined one with an other. The seventeenth Observation. Damascus in the time of the Prophet Isai, was the chief city of Syria, as appeareth, Isai. 7.8. In the time of our Saviour Christ ●nd long after, Antiochia was the ●ead city; but now Aleppo is the chiefest city of Syria. The Reposition. This is to be expressed by a direct Idea, in a contracted ●orme. For since the Province ●f Syria (which is the subject ●f this sentence) is so great, ●hat a direct Idea thereof can ●ot be contained in a memorial place in full quantity, ●herefore I suppose the opposite wall of the first place of the ●welfth Repositories, to have a ●●●ge piece of Landscape in ●●ely colours painted thereupon: wherein are contained in a far distance one from an other, three goodly cities, over which the several names of Damascus, Antiochia and Aleppo, are written in several compartments limited by black lines very big, because black is the colour of this repository. But it is not necessary that I should proceed any further, in giving more examples, because by that which hath already been delivered, it is evident enough with what Idea every thing memorable is to be expressed, and in what place to be bestowed. And now, if you shall try with yourself, whether you can repeat over al● the Ideas in their order, without sight of the book, tha● are contained in this Chapter so that you throughly well understand what you have read; I doubt not but you will freely confess, that there is great certainty in this Art. CHAP. XV. Of the Anomaly of Reposition. THere is but one Anomaly or irregularity in laying up Ideas: that is to say, when in stead of a feigned Repository; a true place really seen with our eyes is used, This Anomaly is admitted upon two occasions offered. First, when the thing itself is bestowed really in some place, to be, as it were, the memorial Idea of itself. As if a scholar sitting in his study, lighteth upon a book, one of whose sheets is sown out of order, and purposeth to have it that day mended; let him lay it down then at the door of his study, that when he goeth forth, he may by the sight thereof be put in mind to take it with him, and so to put it forth to mending. Secondly, when presently after we have laid up the Idea in our mind, we must put it out again. As for example: if a man be talking with a rich man, and whiles he is in speech with him, it cometh into his mind, to speak unto him in the behalf of a poor neighbour of his, the rich man's tenant: let him then suppose that neighbour of his to be there present, standing or sitting in some place, which his eye hath designed, and that he standeth there still in sight, till he be entered into talk concerning him. Or, if again before he part from him, it cometh into his mind to buy wood of him; and that because they are yet still in sad talk upon other matters, time serveth him not to speak of it; let him then imagine himself to see a small stack or pile of wood, in some certain place which he designeth with his eyes, and keep still in mind what Idea he hath there placed, that he may speak of it when he seethe his time. CHAP. XVI. Of Deposition. HItherunto I have spoken only of the first part of the Art of Memory, called Reposition: it remaineth to speak somewhat concerning the second part, called Deposition. Deposition is, whereby things before committed to memory, are called to mind again, and either committed to writing, or otherwise dispatched, that so it may be put out of our mind: and the memorial places after such deposition of the Ideas being left empty, may be the fit to receive new Ideas into them. This deposition or putting things out of mind, must be undertaken as soon as conveniently we can; that the mind may not be charged with the burden of them longer than needs must; and that we may the sooner call them to mind, seeing they were but a little before laid up in our remembrance. But if it falleth out, that when we go about to call to mind any thing that was before committed to memory, the Idea thereof being more negligently laid up, appeareth not; then we must assay to call it to mind, by following this course. First, it is known for certainty, that every Idea which lieth hid, hath in some part the colour of the repository attributed unto it; we must therefore first inquire, in what manner the colour of the repository was ascribed unto it. For by this very consideration commonly all Ideas that are obscure, are brought forth to light. Secondly, if the Idea will not by this means be called to mind, than next we must try, whether we can bring it into remembrance, by the relation which it had unto the other Idea placed in the same repository, in respect of the quantity, situation, subject, kind, or of the action of the latter Idea transferred unto the former. For one Idea of the repository being certainly known, will not suffer the other to lie hidden, but by the mutual relation of them one to another (whereby they are as it were chained together) it shall be compelled to come forth, except the Reposition hath been too slothful. Thirdly, if neither by this means, we can bring the Idea to remembrance, we must bethink us of what kind it was, (that is, whether it were a direct Idea, a Relative, Subdititiall, or compound Idea,) or in what quantity it was laid up, (that is, in an equal, augmented, or contracted quantity,) or what position or situation it had, (that is, whether it was placed upon the wall, upon a table, upon a cupboard or shelf, upon the stage, or underneath it:) or last, whether it had any motion or sound ascribed unto it. For by such questions the Idea is often found out. Fourthly, if we know, that the Idea which we seek, was indeed a Scriptile Idea; but what the writing itself was, we have forgotten: then we must search it out, by bethinking us of the bigness of the table, whether it were one foot and an half broad, for three foot broad, or of a bigger size, that hereby we may know, whether it were the Idea of a single word, Quotation, Phrase, short Sentence or long. If it be found to be a long sentence, than we are to examine the fashion and manner of writing it; that so we may come to know, what kind of sentence it was that we seek for; as that it was a Distribution, a Syllogism, the answer of some objection, a similitude, or other kind of ●entence, distinguishable by ●he parts thereof. Now if by ●his means we find what kind of Scriptile Idea that was which now lieth hid, as that ●t was a Quotation, short sentence, Syllogism, similitude, etc. but yet we know not in particular any word thereof; ●hen we must seek out the ●hiefe word of the Idea, by ●alling to mind, if we can, ●he first letter thereof; which ●s to be found out by repea●ing the Alphabet in order, ●nd well expending and considering what letter ou● mind will fasten upon. For it will certainly fasten upon the right letter, if a reposition hath not gone before. Now when we have found out the first letter, than we must apply the other letters of the Alphabet that will follow that better thereunto, to find what is the second letter; and when we have the two first letters, it is an easy matter by the length of the word, the transcendencies therein, and the two first letters, to find out the whole first word, and thereby to come to the knowledge of the sentence. To conclude, if by none of these means you can find out the Idea which you seek for, let it pass, and trouble not yourself any further about the search of it. For if you read or hear the same word spoken by any the same day, or the next day after, it is very likely that the whole sentence will come then to memory. For as a book, which a man hath negligently bestowed in his study, is not peradventure found when he seeks it, though he remove ●he most of his books in his study; when notwithstanding ●fterwards, taking forth the ●ooke next it, he findeth that also which before was missing: ●o sometimes it cometh to ●asse, that a sentence which ●ath been carelessly committed to memory, cannot be ●ound when it is sought for; ●hich notwithstanding when ●e notion lying next vn●o it in the store-house of the memory is called forth, it self also will come to mind therewith. FINIS.