was a convenient means of introducing Bruno to strange universities, gaining him favour with the great, or helping him out of pressing money troubles. It was his exoteric philosophy with which he could carefully drape his philosophy of religion hostile to the Church, and ride as a hobby horse in his unfruitful humours."[33] There can be no question of Bruno's own belief in it; it was not, for example, a cipher language by which he covered his real thoughts: the Copernican theory is not, as Berti says, absent from the Parisian writings, rather it is forced obtrusively into them.[34] [Sidenote: _De Compendiosâ Architecturâ, etc._] [Sidenote: _Il Candelaio._] In Paris was published also the "Compendious Architecture" (_De Compendiosâ Architecturâ et Complemento Artis Lullii_), 1582, dedicated to Giovanni Moro, the Venetian Ambassador in Paris. It is the earliest of the Lullian works in which Bruno expounds or comments upon the art of Raymond Lully, a logical calculus and mnemonic scheme in one, that attracted many imitators up to and after Bruno's time. In the same year appeared a work of a very different stamp, _Il Candelaio_, or "The Torchbearer," "a comedy by Bruno of Nola, _Academico di nulla academia, detto il fastidito: In tristitia hilaris, hilaritate tristis_." It is a satire upon some of the chief vices of the age--in the forefront pedantry, superstition, and sordid love. Without great dramatic power--the characters are personified types, not individuals--it has been judged to be second to none of the comedies of the time, in spirit, wit, and pert comedy. It certainly excels in many respects the _Cortegiana_ of Aretino, to which it is similar in character. It is equally realistic in the sense that it "calls a spade a spade," and does not shrink from representing vice as speaking in its own language. Bruno is not, however, to be blamed for an obscenity which was _de rigueur_ in the literature of the time. But although the humour is broad and occasionally amusing, there is no grace, no lighter touch; the picture is all dark. The attack upon the pedant, however, strikes a keynote of Bruno's life; in him he saw the greatest enemy his teaching had to face, and therefore he struck at him whenever the opportunity offered. [Sidenote: The University.]