# Ideatypics; or, an Art of Memory/Chapter 4

LOCALITY.
This is another important principle involved in my System of Mnemonics. The topical system of the ancients has been adverted to, so that only a few remarks will be made before I proceed to detail my arrangement of Localities. To preserve distinctness in the representation of this subject, I have reserved remarks on the local arrangements of other Mnemonists for another place. This is a subject of great interest, and its importance seems to be pretty well understood by old as well as more recent English writers. Addison, in his dialogue on the usefulness of the ancient medals, speaks of “The Medallist” that “upon the first naming of an Emperor, will immediately tell you his age, family, and life. To remember when he enters in the succession, they only consider in what part of the cabinet he lies, and, by running over in their thoughts such a particular drawer, will give you an account of all the remarkable parts of his reign.”
That locality, or, the connection of ideas with places, is a most efficacious medium of remem​brance, is understood by most people, and is quite sufficient to encourage us in the task of arranging our thoughts, and systematizing mental operations on sound principles. We have other valuable notices of the principle, which I have endeavoured to work out. Foster, in his Essays, page 12, says, “Places and things which have an association with any of the events or feelings of past life, will greatly assist the recollection of them. A man of strong association finds memoirs of himself already written in the places w here he had conversed with happiness or misery.”
“If an old man wished to animate for a moment the languid and faded ideas which he retains of his youth, he might walk with his crutch across the green, where he once played with his companions, who are now, probably, laid to repose in a spot not far off. An aged saint may meet again some of the effects of his early piety, in the place where he first thought it happy to pray. A walk in a meadow, the sight of a bank of flowers, perhaps even of some one flower, a landscape with the tints of autumn, the descent into a valley, the brow of a mountain, the house where a friend has been met or has resided, or has died, have often produced a much more lively recollection of our past feelings, and of the objects and events that caused them, than the most perfect description could have done.”
​Draw upon the wall an X, and you have the five local points of ancient usage.
| 2 | X | 4 | or | 1 | 3 | 2 |
| 1 | X | 5 | or | 4 | 3 | 5 |
As there are generally four walls to a room, we should thus have 20 compartments. This mode of division was made through all the rooms of a house until compartments enough were procured for any subject or particular scheme.
This division was of great importance, but not sufficiently extended for many purposes. By this arrangement, the 5, 10, 15, 20 places would be last points, and referred to directly for the purpose of recollecting an object or subject, placed there in the fancy. In like manner, 3, 8, 13, 18, 23, etc., would always be centres in the first, second, third wall, etc., in the order in which we chose to number those walls, beginning with the opposite wall, or rather with the left-hand one.
I am particular in my explanation, as ultimate success in the acquisition of any system must depend upon a perfect knowledge of the first principles.
By this time you are prepared to understand a more extended division of a space into nine compartments (vide Pl. 1, Fig. 11).
​When squares are divided into nine parts, I call each part a subsquare; as, the first subsquare, the second subsquare, etc.” And if one of the subsquares be divided into nine parts, (vide Pl. 1, Fig. 5,) call its divisions places; as, the first place, second place, etc.
There is a division of the floor and ceiling into subsquares: if these be again divided, they are called places. The walls are called subsquares, because they are formed, as will be seen, by the subsquares of the floor.
Mnemonists have used various divisions. A MS. in the Sloane Collection of the British Museum, dated 1583, by Thomas Watson, student of the law at Oxford, records his division of a wall into 5, 32, or 100 compartments, reckoning the latter by tens, with the same numerical division as Fig. 11. The division into ten parts is sometimes of limited application, because teachers of artificial memory have assigned the same relative external position, for every tenth place, i. e. they have chosen a part outside the second place in every subsquare for the Nos. 10, 20, 30, 40, etc. This greatly incommodes in many cases where numerical position is important, as in Chronology, and prevents our making one room a connected whole.
The following is an original contrivance for ar​ranging 100 distinct places in a room, with subsquares for tens arranged numerically, like all the rest of the figures. This arrangement is suited to every important purpose.
The divisions of a square into 5 and 9 subsquares, or 10, one being external, are useful, and may be frequently employed severally, or in combination, as the subject requires; but the method below presents advantages which the others cannot claim, and when rightly understood, becomes of easy application.
Plate I.
Fig. 1.
Fig. 2.
Fig. 3.
Fig. 4.
Fig. 5.
Fig. 6.
​Plate 4.
​opposite to the one where we are always supposed to stand,) containing places from 21 to 29; No. 20 place being in the second subsquare of the ceiling. No. 4 subsquare contains places from 41 to 49; No. 40 being in the fourth subsquare of the ceiling. So of the sixth and eighth subsquares.
Thus every locality is of easy reference. Look again at the floor containing subsquares 1, 3, 5, 7, 9, and four colored circles. The circles have only a negative value in a room, and serve the purpose of distinctly separating the subsquares 1, 3, 5, 7, 9. Each of the subsquares on the floor is divided into nine places or compartments.
Divide thus for the purpose of forming a distinct idea of the whole; nevertheless, the fifth place or centre in each of the subsquares 1, 3, 5, 7, 9, might be called the centres of association, round which, by rules before given, might be arranged all that is required to be located on the floor.
To make greater clearness in the division of compartments, place the initial letter of the subject studied on the floor, as in Fig. 4. Put c for Chemistry, and it will serve us with places of association or attachment on the floor, which is most of all available for the purposes of Locality.
If we have filled one room with any subject whose initial letter is c, in using another room, ​there is a distinction to be made: call the firsts the c of gold; the second, the c of silver, of iron, and so on; or, lay on the floor, if it should be preferred, a symbol of the letter as given in the alphabetical and numerical symbols. We shall thus effect a complete distinctness of division for the most extended subject. Let what has been said be well thought of, then what follows will be easily applied.
The fifth subsquare in the centre, with its nine places, (vide Fig. 3 & 4) is to be viewed as the floor of a little open temple, whose pillars are of gold, silver, iron, stone, marble, wood, brass, etc. This may serve to distinguish the rooms also. If we suppose the pillars to be of gold, they must be all of gold, etc. This renders the fifth subsquare in every room a separate and distinct locality. There is no change of the form of the central object, which may always be preserved, but a change of the materials of the pillars, which are associated with the objects located there. Individuals may often vary these minute details with advantage to themselves.
Some so multiply rooms, or squares, as to form an unconnected whole; and some so crowd one room as to have 1000 places by subdivision; but none systematize as shewn above, either in respect of 100 places, or the arrangement of the ceiling ​with its subsquares for tens, or the fifth subsquare, which is on the floor, with its miniature temple, and which is distinguished, as well as the room, by the nature of its pillars, or the sliding subsquares which give numbers to the walls, etc.
The sides and floor, then, being arranged, for all cases, the ceiling must be noticed; and this matter is soon disposed of. Divide the whole square of the ceiling into nine subsquares—1, 2, 3, 4, 5, 6, 7, 8, 9, for the Nos. 10, 20, 30, 40; then let the subsquare 5 be divided into nine places for the Nos. up to ten; then continue with the Nos. 60, 70, 80, 90, as in Fig. 5, Pl. I. The fifth subsquare, which is divided in Fig. 5, is opposite the floor of the temple, and occupies the same space, so as to correspond with it. But you might ask. Where is No. 50 to be placed, as the fifth subsquare of the ceiling is occupied by Nos. 1 to 9? I answer, The temple has a pediment, that is, a triangular space at the top, (vide Fig. 6) in which No. 50 can be placed with advantage.
We will now enumerate the subsquares, etc. in their order, and the numbers contained in them. Remember, each number is represented by one place, by agreement, for ever; and the places once learnt, are ready for every subject.
Suppose yourself to be standing at the entrance of the room, anywhere in that line which has the ​dot, (vide Pl 1, Fig. 3) as the entrance to the room is always supposed to be in that line, or, rather, you are supposed to stand at the entrance of the room, and count your places according to the following Table.
To understand this Table, you have only to remember that the floor and ceiling of a room, as squares, are divided into nine subsquares. Then, that all the subsquares of the floor are divided, each into nine parts, and that four of these subsquares, viz. 2, 4, 6, 8, serve as walls, by being drawn out from the floor. There is only one suhsquare of the ceiling that is divided, that is the central one, No. 5, for the Nos. 1 to 9
| | Nos. | Pl. | Fig. | |
| | 1 to 9 | 1 | 5 | Fifth subsquare in the ceiling, divided into nine places. (Taking the top of the room first.) |
| $\scriptstyle {\left\{{\begin{matrix}\ \\\\\ \\\ \ \end{matrix}}\right.}$ | 10 | 1 | 5 | First subsquare of the ceiling that corresponds with the first subsquare on the floor. |
| $\scriptstyle {\left\{{\begin{matrix}\ \\\\\ \\\ \ \end{matrix}}\right.}$ | 11 to 19 | 1 | 3 | First subsquare on the floor, divided into nine places. |
| $\scriptstyle {\left\{{\begin{matrix}\ \\\\\ \\\ \ \end{matrix}}\right.}$ | 20 | 1 | 5 | Second subsquare on the ceiling that corresponds to the second subsquare on the floor. |
| $\scriptstyle {\left\{{\begin{matrix}\ \\\\\ \\\ \ \end{matrix}}\right.}$ | 21 to 29 | 1 | 3 | Second subsquare on the floor, drawn out and fixed against the front wall, divided into nine places. |
| $\scriptstyle {\left\{{\begin{matrix}\ \\\\\ \\\ \ \end{matrix}}\right.}$ | 30 | 1 | 5 | Third subsquare on the ceiling that corresponds to the third subsquare on the floor. |
| $\scriptstyle {\left\{{\begin{matrix}\ \\\\\ \\\ \ \end{matrix}}\right.}$ | 31 to 39 | . | 3 | Third subsquare on the floor, divided into nine places. |
| $\scriptstyle {\left\{{\begin{matrix}\ \\\\\ \\\ \ \end{matrix}}\right.}$ | 40 | . | 5 | Fourth subsquare on the ceiling corresponding to the fourth subsquare on the floor. |
| $\scriptstyle {\left\{{\begin{matrix}\ \\\\\ \\\ \ \end{matrix}}\right.}$ | 41 to 49 | 1 | 3 | Fourth subsquare on the floor, drawn out and fixed against the left-hand wall, divided into 9 places. |
| $\scriptstyle {\left\{{\begin{matrix}\ \\\\\ \\\ \ \end{matrix}}\right.}$ | 50 | . | 6 | ON THE PEDIMENT OF THE TEMPLE. |
| $\scriptstyle {\left\{{\begin{matrix}\ \\\\\ \\\ \ \end{matrix}}\right.}$ | 51 to 59 | 1 | 3 4 | Fifth subsquare on the floor, the base of the temple, divided into nine places. |
| $\scriptstyle {\left\{{\begin{matrix}\ \\\\\ \\\ \ \end{matrix}}\right.}$ | 60 | . | 5 | Sixth subsquare on the ceiling corresponding to the sixth subsquare of the floor. |
| $\scriptstyle {\left\{{\begin{matrix}\ \\\\\ \\\ \ \end{matrix}}\right.}$ | 61 to 69 | . | 3 | Sixth subsquare on the floor, drawn out and fixed against the right-hand wall, divided into 9 places. ​ |
| $\scriptstyle {\left\{{\begin{matrix}\ \\\\\ \\\ \ \end{matrix}}\right.}$ | 70 | . | 5 | Seventh subsquare of the ceiling corresponding to the seventh subsquare of the floor. |
| $\scriptstyle {\left\{{\begin{matrix}\ \\\\\ \\\ \ \end{matrix}}\right.}$ | 71 to 79 | . | 3 | Seventh subsquare on the floor divided into 9 places |
| $\scriptstyle {\left\{{\begin{matrix}\ \\\\\ \\\ \ \end{matrix}}\right.}$ | 80 | . | 5 | Eighth subsquare on the ceiling corresponding to the eighth subsquare on the floor. |
| $\scriptstyle {\left\{{\begin{matrix}\ \\\\\ \\\ \ \end{matrix}}\right.}$ | 81 to 89 | . | 3 | Eighth subsquare on the floor drawn out and fixed against the wall in which you are supposed to stand, and divided into nine places. |
| $\scriptstyle {\left\{{\begin{matrix}\ \\\\\ \\\ \ \end{matrix}}\right.}$ | 90 | . | 5 | Ninth subsquare on the ceiling corresponding to the ninth subsquare on the floor. |
| $\scriptstyle {\left\{{\begin{matrix}\ \\\\\ \\\ \ \end{matrix}}\right.}$ | 91 to 99 | . | 3 | Ninth subsquare on the floor divided into 9 places. |
Again I say each No. has that locality assigned it which it must always keep.
Thus I have arranged 100 places. When you understand how to divide one room, you have a sample for all rooms, and for locating every thing you may have to learn of Chronology, History, Grammar, Systematic Tables, the Divisions of Natural History, Botany, etc.; first putting it under some Mnemonical form, (vide association) according to the nature of the subject. It will be found, in practice, that the minutest details can be at once referred to with the greatest certainty. The task of learning this localizing system will amply repay the student in the saving of months and years of labour.
Any subject may be first located on what I have designated natural points. This is a most important and original part of this Local System. It possesses great capabilities, and is of very easy ​application. It may be used with the previous local arrangements, or separately.
EXERCISES ON THE LOCALITIES.
Standing at the entrance of a room, or what you might choose to call the entrance, find the Localities
| 010 | 020 | 030 | 040 | 050 | 060 | 070 | 080 | 090 | 100 |
| 3 | 13 | 23 | 33 | 43 | 53 | 63 | 73 | 83 | 93 |
| 5 | 15 | 25 | 35 | 45 | 55 | 65 | 75 | 85 | 95 |
| 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 0 |
| 9 | 19 | 29 | 39 | 49 | 59 | 69 | 79 | 89 | 99 |
| 11 | 22 | 33 | 44 | 55 | 66 | 77 | 88 | 99 | 1 |
| 7 | 28 | 39 | 50 | 61 | 72 | 83 | 94 | 5 | 16 |
| 19 | 39 | 59 | 79 | 98 | 23 | 49 | 69 | 89 | 9 |
| 55 | 64 | 73 | 82 | 91 | 80 | 72 | 63 | 54 | 43 |