Gulio Camillo

Giulio Camillo was a sixteenth-century Italian philosopher,is still remembered for his concept of the "Theater of Memory.". Camillo's Memory Theater is however a twisting of the arrangement of the genuine Vitruvian theater. His performance is based on the classical art of memory. In any case, his memory building is to speak to the request of interminable truth; in it the universe will be recollected through natural relationship of every one of its parts with their underlying order. The theatre resembles the ancient theatres. In ancient theatres the most sublime people sat in the lowest seat, also in this theatre the greatest and the most important things will be placed in the lowest row.
The seven sections were divided according to the seven planets known at the time:

The second grade of the performance center is extremely the principal day of creation, imaged as the dinner given by Ocean to the divine beings, the rising components of creation, here in their straightforward unmixed frame.

 The third grade will have portrayed on every one of its entryways a Cave, which we call the Homeric Cave to separate it from that which Plato depicts in his Republic.

 The fourth stage is related with the figure of man. This review as the main picture to be delineated on every one of its entryways as the Gorgon Sisters, the three sisters portrayed by Hesiod who had just a single eye between them.

 On the fifth grade, the spirit of man joins his body. This is connoted under the picture of Pasiphe and the Bull which is the main picture on the doors of this review.

 The 6th grade of the Theater has on every one of the entryways of the planets, the Sandals, and different trimmings, which Mercury puts on when he goes to execute the will of the divine beings, as the writers imagine.

 The seventh grade is doled out to every one of expressions of the human experience, both honorable and detestable, or more each door is Prometheus with a lit light. The Prometheus review incorporates every one of human expressions and sciences, as well as religion, and law.

From Vitruvius’ theatre he takes the material and time-bond resistance. Then he refers to Plato’s Timaeus in explaining the hierarchy of numbers. The number harmony of Plato’s universe can be seen in the use of the harmonic number  7.
As indicated by Viglius the Theater it created the impression that under the pictures there were drawers, or boxes, or coffers or something to that affect containing masses of papers, and on these papers were addresses, in light of crafted by Cicero, identifying with the subjects reviewed by the pictures. This framework is as often as possible suggested in L'Idea del Theatro, for instance in the announcement cited in the content that the pictures on the doors on the fifth level will have joined to them 'volumes containing things and words having a place with the inside man as well as to the outside man.' According to Erasmus "the engineering is of wood, set apart with numerous pictures and loaded with little boxes… he calls this auditorium of his by numerous names saying that it is a fabricated or built personality and soul."

How about we go to another point: the clarification of woods (human world), slope(heaven) and slope (divine god). The summit provide us the insight, how to manage our life. From this tallness we can have an unmistakable vision of the universe of the nature, along these lines the auditorium is this universe of nature, which can be seen additionally from the stars and from supercestial text styles of intelligence past them.

It was the Hermetic impacts which influenced Camillo's and renaissance state of mind all in all, which comprises on the making of man is in two phases. To start with there is the presence of the 'inside man' on the review of the Gorgon Sisters, the most respectable of God's animals, made in his picture and comparability. At that point on the review of Pasiphe and the Bull man goes up against a body the parts of which are under the mastery of the zodiac. This is the end result for man in the Pimander; the inside man, his men, made celestial and having the forces of the star-rulers, on falling into the body goes under the control of the stars. This again confirms the eternality of man, and that he has a place with an indistinguishable race from the inventive star-evil presences.

We can see about propensities of renaissance in Camillo's theater. He has translated the enchantment of the Egyptian statues in an imaginative sense: a consummately proportioned statue winds up energized with the soul, turns into an enchantment statue. Renaissance hypothesis of extent depended on the "general congruity", the amicable extent of the world, the universe, reflected in the assemblage of man, the microcosm. Camillo brings the specialty of memory into line with the new streams now going through the Renaissance. He transforms the traditional specialty of memory into a mysterious craftsmanship. The pictures of Camillo's Theater appear to should have in them something of this power, empowering the 'observer' to peruse off at one look, through 'investigating the pictures' the entire substance of the universe.