PRODUCTOS DIVERSOS DE LAS INDUSTRIAS QUÍMICAS 3801 GRAFITO ARTIFICIAL; GRAFITO COLOIDAL O SEMICOLOIDAL;

J Leo Schradc w ill shortly publish a work on this performance, including an edition o f the m usic, in the scries L e Ct'osar d tt Atuses, directed by J, JacquOt for the Centre National de in Recherche Sciem iiiquc.

* Paolini, fk b d .y p. 221: , , perfectissimum omnium fuisse Orpheutn judicamus, i t hinc factum, ut propter adm ixtionis su^ excellentiam tantam sibi vim coitus vindicavit, quod si nostrates quoque Musici scirent dTiccrc, non minora praestarent, cum videam us quosdam pro su at perfectionis gradibus miranda effecisse, neminem vero Orpheo praestitisse m ajora/1

4 Paolini, H tbd., p, 445, 36S (quoting Pico, C on ci O rph.t Nos. 3, 4, 5, 13, 17, 20). v I,ib. VII o f the H tbd. is devoted to show ing “ quood Orpheus fuerit Theologus etiam th risd an u s, Christianos autem intclligo cos quoque q u i adventurum Christum crederent, antequam venisset'* (p, 364); o f Steuco Theologus praestantissimus” ) he says, quite truly, ''m anibus atque pedibus in hanc venit sententiam , u t omnium

PAOLINI AND THE UR ANICI

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in fact suggest that Orpheus produced his effects by singing his own Hvmns./

Although he was widely read in musical theory and a friend of Z arlino1, Paolini was evidently much more interested in oratory than in music, and, as far as the practical production of magical or other effects is concerned, one may say that for him oratory has taken the place of music. Orpheus too was an orator, and Paolini writes of the effects of his oratory in terms which are exactly those traditionally used to describe the effects of music; he also gives a long list of the effects of ancient orators 2. Moreover, he believed that, just as a proper mixture of tones could give music a planetary power, so a proper mixture of “forms” could produce “celestial power” in an oration. In one of his public beglnning- uf-term lectures Paolini described how this celestial power was obtained in oratory by attracting the amnia mundi, and his de­ scription is exactly parallel to his exposition of the Fidnian attraction of spiritm mundi by means of music \ The anima mundi contains seminal reasons, corresponding to the Ideas in the Divine Mind, and by means of these gives forms to things in the sensible world; by collecting together a suitable set of things one can attract into them the corresponding seminal reasons (or even the Ideas), by which they were originally shaped 4. But what is a

fere veterum Theologiam cum nostra congruere ostendilt, sed potissimum Orphei.” (p, 373); on Stuucu cJ. Walker, “ Orpheus” , pp, 116-7.

1 Y . supra p. 12S.

* Paolini, Hehd., pp. 7 seq., 46, 221-2 („IIac vi divina orationis mentes allicit, voluntates impellit Orator, quo vult, &: unde vult deducit . . . quid impia divinitatis argumentum, quam Hecterc animos pugnaces, di obstinature, & quocunquc velis detorquere?". On the effect? o f oratory ef. F. A . Yates, Frendi Academies, pp. 166, 170, 194.

! Paolini, J i r i r d . , pp. 202-3, sum m arizing F itino, D e T r, 17, III, Ϊ {Op. Ο η ιπ .Ύ

p. 531).

* Ibid., p. 47: “ Quod ecro ex ista formarum dicendi adm ixtione eloquentiae divina facultas com paretur, a me fuit demonstratum in ea, quam tertio abhinc anno habui, de litcraium divinitate, orationem in exordtjs studiorum , in qua ita disputavi, ut dicerem divinam quandam adhiberi vim posse orationi a coelesti illa, & divina eloquentiae forma per hailc adm ixtionem deductam, quia an iim mundi, cujus munere hoc assequim ur . , , totidem habet rationes rerum , & semina divinitus sibi data, quot exempla, &: species sunt in mente divina, per quae has inferiores in rebus specie? gign it, Sc hinc fluxa haec divinis iliis c regione singulis singula respondent,

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suitable set of what things? The set has something to do with the number seven, and some of the things are the sounds of words, figures of speech, and Hermogenes’ seven 'ISsat, i.e. general qualities of good oratory, such as clarity, gravity, truth 1.

Now Paolini was, of course, obsessed with the number seven to an almost psychotic degree, and it is dangerous to draw any inferences from any particular application of it. But it is true that he connects oratory with 7 with unusual earnestness and persistence; the connexion appears conspicuously in his otherwise normally rhetorical or philological Scholia on Cicero’s De Oratore 2. It is also, i think, true that the prime non-mathematical content of 7 is the planets, and the whole theory of planetary influences and correspondences. If we are right in supposing that Paolini considered oratory ro be closely parallel to music, that he was applying Ficinian magical theories to oratory instead of music, then it is obvious why 7 is so important in oratory, and what the sets of things are that will attract the anima wutidi and give a celestial force to an oration: on the model of Ficino’s planetary modes of music, Paolini is aiming at planetary modes of oratory. The general subject, the various topics, the figures of speech, the sounds and rhythms of words, will all correspond to a certain planet or combination of planets* Tt is of course normal that the seminal reasons of the amv/a mandi should be passed downwards through the planets. In Hermogenes’ Περί Ιδεών, for which he had a great admiration and on which he had written a com­ mentary 3, he found every aspect of rhetorical composition and style grouped under seven general types or forms (Ιίεαι) of oration; with very little juggling these forms could be made to fit the characters of the planets.4

sulphurea fax ad ignem exposita flammam repente concipit, ita optimi O ratoris meos, si divinum commode subsequatur exemplum vim trahit affectione, & in optime affectam, aptamque mentem tota ipsa ideae virtus affatim redundat, & influit.1'

J Hermogenes, Περί ’ Ιδεών, passim ; Paolini, H ebd., pp, 34 stq .

* Itt tunde ut Af. ftd iii Cit eronis, Diaiogi de Oratore Librum Prim usu. Fabii Pattimi

Utimmis Scholia, Vcnetiis, 1587 (together w ith Λ. M aioragius’ Coum, on the sam e; Paolini had lectured on this the previous vear), fos, 5vo, 7vo, Vru-vo, 18vo.