ABSTRACT
DURING the period in which occult memory was thus gathering momentum and becoming increasingly daring movement against the artificial memory—and I speak of it now as the rational mnemotechnic as a part of classical rhetoric—had also been growing much stronger. As mentioned in an earlier chapter, the influence of Quintilian on the humanists was not favourable to the art, and we have heard Erasmus echoing Quintilian's lukewarm attitude to places and images and his emphasis on order in memory.
