Yates devoted a chapter in her The Art of Memory to Lull and attempts to locate him withing the tradition of ars memoria. However, she notes that Lull’s art is devoid of the dramatic images of the classical ars memoria because he conceives his Art as a means of recollecting Truth. We have seen that for Hegel Mnemosyne is the “absolute muse” because by hearing her voice the philosopher comes to speak the complete speech.
[…]
Lull’s Art belongs to the tradition of the search for pansophia, “universal wisdom.” As we saw in the introduction, the ideal of the “complete speech” or “perfect discourse” (teleeis logos) is a fundamental tenet of Hermeticism. Pansophia, encyclopedism, and Rosicrucianism were intimately entwined throughout the seventeenth century. It was a time of grand plans for encyclopedias synthesizing all human knowledge. Consider the case of Sir Francis Bacon (1561—1626). Bacon has long been revered by modern Hermeticists, who have attributed an almost universal wisdom to him — along with the works of Shakespeare and Robert Button, not to mention the King James Bible. Paolo Rossi and Frances Yates have, however, argued soberly and convincingly that Bacon’s thought must be understood in the context of Renaissance Hermeticism.*’ Yates even spies Rosicrucian imagery in Bacon’s New Atiantis.
– Hegel and the Hermetic Tradition (2001), p. 180-2