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which is vulgarly referred to as "ingenuity". In
Camillo's "Theatro" each "image...will signify for us intelligible things that cannot fall under the senses, but that we can only imagine or intend illuminated by the acting intellect". While "Intellect is of the spirit", the "acting intellect" (Aristotle) is said to correspond to Plato's "mind" ("mente") and Augustine's "superior part" ("portion superiore"). In virtue of this intellect, we can "intend". The practical intellect, on the other hand, indicates "possessing" ("possedere") by "having already apprehended". In short, there are "three intellects" in us: 1) a "possible" ("possibile") or "passive" ("passibile") intellect, or ingenuity entailing the "ability" to intend; 2) the intellective faculty per se, or "intending" as "practical intellect"; and 3) the "active intellect" that makes us intend, just as the Sun allows us to see all things beneath it. Camillo argues against "philosophers ignorant of God" who identify the "active intellect" with human reason, insofar as this one is usually absent from men, who are merely capable of it. The "active intellect" must reside safely and eternally "in God", so as to safeguard man's capacity to reason. As other ancient mythic "images" or "symbols," that of the three "Gorgoni" is used to protect the verities of the mind, or "the mystery of truth" ("il mistero della verita") from being profaned. By casting the principle of reason in the authoritative form of God, philosophers who do
223:’; it is the material of all that is manifest. Camillo thought that by reducing knowledge into its constituent parts, you could come closer to comprehending hyle, the original essence, and consequently understand what makes the world tick. Likewise (but in reverse) through comprehending the universe, you would understand its essential ingredients. His key to this was in the creation of a symbolic system that both represented the essence of material, as well as the relationships between the essences that allowed the universe to maintain its being. The ‘idea of the Theatre’ was fundamentally a structure of conceptual relationships rather than a building of wood or stone, and it is on that level that Camillo's work bears most fruit. The Theatre is to be understood in terms of time and space - a spatial representation of chronology.
239:. The Banquet and the Cave, are the most ‘elemental’ of the levels; these are the levels where creation first began. The levels of the Gorgons, and Pasiphae, are where the ‘inner’ man is revealed in relation to the cosmos; these levels are part nature, part art. The levels of the Sandals of Mercury and Prometheus are concerned specifically with man as an active agent within the world, or art and man.
383:‘Amphiteatrum nae tu scite depinxisti, opus profecto tali Rege dignum. Nunc haud admiror si quosdam male habuit meus Ciceronianus. Hinc videlicet, hinc illae lacrymae. Equidem illis istam gloriam non inuideo, sed vereor ne molitores isti non leuiorem trageoediam excitent in studiis quam Lutherus excitauit in religione.’ Allen Ep:2682:8-13.
402:
Hughes, Ted, Shakespeare and the
Goddess of Complete Being (London: Faber & Faber, 1992). Caulfield, Carlota, trans. Mary G. Berg, The Book of Giulio Camillo, (InteliBooks Publishers, 2003). Dubuffet, Jean, Theatre De Memoire, unlimited edition print, 1977. Bill Viola.Theatre of Memory 1985. John
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Following the order of the creation of the world, we shall place on the first levels the more natural things…those we can imagine to have been created before all other things by divine decree. Then we shall arrange from level to level those that followed after, in such a way that in the seventh, that
209:
Camillo notes that L’Idea del
Theatro is concerned with ‘the eternal aspect of all things’. The book is arranged in seven sections that chart the creation of the world. Camillo speaks of a system that, as he says, makes ‘scholars into spectators’. He is imagining a theatre in its original sense – as
183:
The most ancient and wisest of writers have always been accustomed to recommending to their writings the secrets of God under obscure veils, so that they be not intended, unless by those who (as says Christ) have ears to hear--i.e. who by God are elected to intend his own most saintly mysteries. And
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Eventually, remuneration from
Francis I began to dry up and Camillo decided to return to Italy. During the latter part of 1543, or very early in 1544, he accepted an offer to go to Milan. Here, after much persuasion, Camillo finally dictated his plan of the Theatre. The manuscript was completed early
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Camillo
Delminio, Giulio, Due Trattati ... l'uno delle Materie, che possono uenir sotto lo stile dell'eloquente: l'altro della Imitatione, (Venice: Nella stamperia de Farri, 1544). See Testo di Dell'imitazione, trattato di Giulio Camillo detto Delminio). For an English translation, see Robinson, ‘A
373:
Cum Petro
Phaedra, cuius eloquentiam tum Roma pro Cicerone mirabatur, mihi fuit propinqua familiaritas, cum Iulio Camillo me nonnunquam eadem iunxit culcitra. Opus Epistolarum Des. Erasmi Roterdami, Ed. H.M. Allen, (Oxford: Oxford University Press, 1937) Ep 3032: 219-222. See also Yates, pp. 129-34;
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See
Bolzoni, Lina, Il teatro della memoria:studi su Giulio Camillo (Padua: Liviana, 1984); Bolzoni, Lina, trans. Jeremy Parzen, The Gallery of Memory: Literary and Iconographic Models in the Age of the Printing Press, (University of Toronto Press, 2001), pp.23-82; Yates, Frances, The Art of Memory
79:
in the years around 1500, and subsequently taught eloquence and logic at San Vito, an academy in Friuli. In 1508 he was involved in the short-lived
Accademia Liviana at Pordenone. The academy attracted an eclectic mix of brilliant and radical thinkers. Here, Camillo would have come in contact with
196:
At the end of the chapter titled "Le
Gorgoni", Camillo identifies the faculty of "intending" with the "practical intellect" ("intelletto prattico"), which is elsewhere explicitly distinguished from the "acting intellect" ("intelletto agente"), as well as from Cicero's "the force of intelligence,"
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The entire
Theatre, says Camillo, rests on Solomon's Seven Pillars of Wisdom. On the Seven Pillars rest the planets, which govern, or administrate, ‘cause and effect’. Camillo names these planets: the moon, Mercury, Venus, Mars, Jupiter and Saturn. He omits the name of the earth. Arranged in an
192:"By the ancients thus it was custom that those same philosophers who taught and showed to dear disciples profound doctrines, having clearly declared them, would cover them with fables, so that the covers they made would keep the doctrines hidden: so that they would not be profaned".
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ascending order from the planets, and affected by their influence, are a further six levels, which, broadly speaking, represent a gradual development from nature to art. These upper levels are named: The Banquet, The Cave, The
256:(1528). Erasmus was scathing of Camillo's work, and in a letter dated 5 July 1532 talks about the Theatre in terms of it being able to excite as great a "tragedy in study" as that which "Luther produced in religion".
329:(London: Routledge & Kegan Paul, 1966), chapters 6 & 7; Robinson, K., A Search for the Source of the Whirlpool of Artifice: the cosmology of Giulio Camillo (Edinburgh: Dunedin Academic Press, 2006).
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and his family. During this time, Camillo spent considerable care in charting regional differentiations in the Friulian dialect and was a champion of the local use of Italian, rather than
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in 1530, for Francis, in which his ideas for the Theatre were outlined. He impressed Francis and was given funds to develop his ideas, remaining in France till around 1537.
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is, the last and highest level shall sit all the arts… not by reason of unworthiness, but by reason of chronology, since these were the last to have been found by men.
75:. He took his family name, Delminio, from the birthplace of his father, in Dalmatia (in present-day Croatia). He studied philosophy and jurisprudence at the
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250:, the philologist, probably met Camillo in Venice around 1506–9. Erasmus mentions "sharing a mattress" with Camillo as well naming him in his satirical
95:, where he was in close contact with some of the most influential writers and artists of Europe. He stayed near the house of the famous printer,
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Melissus says that the eyes of vulgar wills cannot suffer the rays of divinity. That is confirmed with the example of Moses...
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in 1519 and is believed to have held a chair of Dialectics at the University of Bologna from around 1521 to 1525.
283:. More recently, his work has been interpreted in terms of a tradition of ‘Theatres of Memory’, for example, in
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Due Trattati ... l'uno delle Materie, che possono uenir sotto lo stile dell'eloquente: l'altro dell’ Imitazione
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Buller. Proenca/Theatre of Memory. Sarah Walker. BBC Symphony Orchestra. Cond. Mark Elder. 2003. B00009W8NZ.
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Search for the Source of the Whirlpool of Artifice’ (University of Glasgow PhD thesis, 2002), pp. 182-205.
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Camillo suggests that the world was made of ‘primary matter’. This primary matter was sometimes called ‘
293:(1966). This tradition has inspired artists from many disparate disciplines, amongst them the writers
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ignore God defend reason from being turned into an instrument of the physical senses below it.
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Giulio Camillo, posthumously, was referred to by a number of artists and writers, including
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The Gallery of Memory: Literary and Iconographic Models in the Age of the Printing Press
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A Search for the Source of the Whirlpool of Artifice: the cosmology of Giulio Camillo
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Camillo, Giulio, L’Idea del Theatro (Florence: Lorenzo Torrentino, 1550), pp.10-11.
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did not show much affection for Camillo's mysticisms) and worked with the painter
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Clavis Universalis: arti della memoria e logica combinatoria da Lullo a Leibniz
419:, (Florence: Lorenzo Torentino, 1550); also available through www.liberliber.it
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179:), opens with a warning concerning an ancient tradition of esoteric writing:
67:, now in the north-east of Italy, and probably spent his childhood in either
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263:, written in Paris, was published in the year of Camillo's death, 1544.
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47:(ca. 1480–1544) was an Italian philosopher. He is best known for his
127:. Throughout this time he also worked on his ideas for the Theatre.
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Around the first decade of the sixteenth century Camillo lived in
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479:(London: Routledge & Kegan Paul, 1966), chapters 6 & 7.
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in February 1544. Three months later, on 15 May, Camillo died.
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In 1530, Camillo journeyed to Paris at the invitation of
425:(Venice: G. Giolito de Ferrari, & Fratelli, 1552).
455:, (University of Toronto Press, 2001), pp. 23–82
111:. He was part of the cultural circle that included
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442:Il teatro della memoria: studi su Giulio Camillo
437:, Ed. Lina Bolzoni, (Turin: Edizioni RES, 1990).
153:was finally published in 1550, in Florence, by
51:, described in his posthumously published work
435:L’idea del Teatro e altri scritti di retorica
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431:, (Venice: Nella stamperia de Farri, 1544).
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462:(Edinburgh: Dunedin Academic Press, 2006)
119:and had personal ties with the architect
167:Camillo's published output is small and
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297:(1992), Carlota Caulfield (2003), and
210:a place in which a spectacle unfolds:
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84:, and the poets, Giovanni Cotta and
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469:(Milano; Napoli: Ricciardi, 1960).
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506:16th-century Italian male writers
501:16th-century Italian philosophers
496:15th-century Italian philosophers
63:Camillo was born around 1480 in
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188:Elsewhere Camillo notes that:
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80:astronomer and physician,
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45:Giulio "Delminio" Camillo
364:L’idea del Theatro, p14.
301:(2009); visual artists
177:The Idea of the Theater
143:Theatro della Sapientia
447:Bolzoni, Lina, trans.
444:(Padua: Liviana, 1984)
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340:"L'idea del Theatro"
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151:L’ Idea del Theatro
139:Francis I of France
82:Girolamo Fracastoro
77:University of Padua
16:Italian philosopher
417:L’idea del Theatro
248:Desiderius Erasmus
173:L'Idea del theatro
169:L'Idea del Theatro
162:L’Idea del Theatro
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101:Desiderius Erasmus
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477:The Art of Memory
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305:(1977) and
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295:Ted Hughes
237:Prometheus
132:Charles V
59:Biography
313:(2003).
233:Pasiphae
229:Gorgons
105:Viglius
109:Titian
93:Venice
65:Friuli
343:(PDF)
317:Notes
125:Ladin
73:Udine
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