works (the _De Arte Combinatoriâ_, _v._ Dutens, ii. 367), and perhaps the mathematical articles (_adv. Mathematicos_, _ib._ iii. 147). Apart from these works, which could have no reference to his own philosophy, he was acquainted with Bruno only by hearsay, as a reputed forerunner of Descartes; even as librarian of the Brunswick Library, although some of Bruno's works were in his guardianship, he is not likely to have read them until his attention was called to them by their alleged resemblance to his own theory. And then, as we learn from the letter to Lacroze (11th April 1708),[650] he hardly appreciated them at their true value--"Mr. Toland has not spoken to me of the _Specchio_ (_i.e._ _Spaccio_, an error that does not show much familiarity with Bruno) _della Bestia trionfante_ of Giordano Bruno. I think I have seen the book at some time, and that it is against the Pope. I have two works of his on the Infinite, one in Latin, the other in Italian. The author is not wanting in genius, but is not very profound (_ne manque pas d'esprit, mais il n'est pas trop profond_)." Elsewhere he speaks of Bruno only as believing in "innumerable worlds" with Leucippus and Democritus, and as having been burnt, not, as he believes, on account of his book the _De Immenso_, but for other opinions.[651] There is therefore little reason to suppose that Leibniz had great interest in Bruno, or that he had read his works so carefully as to have derived any sustenance or advancement for his philosophy from them. Stein has in any case shown that the term "Monad" came to Leibniz, not from Bruno at all, but from the younger Van Helmont, in whose theory it plays almost as important a part as in Leibniz--although the difference between the two "Monads" was greater than the resemblance.[652] Meanwhile literature in France and England had not lost sight of Bruno.[653] In 1633 there was published in the former a play, _Boniface et le Pédant_, which has been described as a refined and Gallicised imitation of the _Candelaio_; in its turn it suggested, perhaps, the _Pédant Joué_ of Cyrano de Bergerac, and some of the pedant-scenes in Molière.[654] In 1634 in England a masque by Thomas Carew--the _Coelum Britannicum_--was played in English by Charles I., which was based, partly at least, upon the _Spaccio_, with Charles I. in the place of Truth.[655] [Sidenote: Bayle.] [Sidenote: Budgell.] [Sidenote: Toland.]