Origin of the work:
1639 – 1643 Leszno
1643 (Gdansk), place of publication not given
1893–1894 Prague in the journal Komenský, Czech translation by J. Šmaha
1974 Prague, J.A. Comenii Opera omnia, vol. 14
This is a pansophic treatise, setting out the programme for a planned work on pansophy (universal wisdom). It was evidently among the material that Comenius took with him to England. It comprises three sections: l. Templi sapientiae ichnographia aphorismis comprehensa (A plan of the Temple of Wisdom summarised into short points [= definitions]); 2. Templi pansophici delineatio orthographica structurae ejus faciem externam cum partium numero, ordine, situ et usu spectanda exhibens (An outline of the facade of the Temple, showing a view of the outer shape of its structure and an enumeration of the order, location and use of the parts); 3. De scenographia operis pansophici admonitio (An admonition on the model of the pansophic work).
The first part, the Plan (the ichnographia) sets down the definition of a book on pansophy (the temple of wisdom) and shows the need for such. This definition runs as follows: Pansophy like a book enables a person to consider all things, which are, will be and were, that through the medium of organisation by category all of these things will lead to God and to eternal bliss. The book will obtain the fixed foundations of all things. That it might be termed pansophy, these comprise material, form, medium and purpose. The material of this book will be everything, the form panharmony, i.e. universal agreement, the medium the common principles of observation and the purpose the use of all things for all. To this end clear methods will be required, that using this book all might be attainable, that it become a remedy for the disagreements in the world.
The second part, the Facade (the orthographia), sets out the number, arrangement and purposes of the parts of the pansophic work, that temple of wisdom. The method should have three characteristics: 1. unending connection to everything; 2. unending advance in stages, and 3. a morphology always the same.
The third part, the Model (the scenographia), was not yet thoroughly worked through. The main cause for this is ascribed by the author to a lack of collaborators, a lesser reason being that he had been taken away from the work by the philological demands. This work was expanded by later supplements – see the entries on the Delineatio scenographica and the Scenographia.
For further study, see also:
J. A. Comenii Opera omnia, vol. 14. Prague 1974, pp262-266
J. V. Novák & J. Hendrich, Jan Amos Komenský, jeho život a spisy. Prague 1932, pp354-356
Jan Kumpera, J. A. Komenský, poutník na rozhraní věků. Prague & Ostrava 1992, pp281-282