2. _Artificium perorandi traditum a Jordano Bruno Nolano Italo, communicatum a Johan. Henrico Alstedio. In gratiam eorum qui eloquentiae vim et rationem cognoscere cupiunt._ Frankfort, 1612. (Also in Gfrörer, and State Edition, vol. ii. pt. 3, No. 3).--A summary of, or a commentary on, the spurious Rhetoric of Aristotle (_ad Alexandrum_), with the addition of a second part by Bruno, on which he himself lays no great stress, on elocution or adornment; he refers his readers, however, to the orators themselves for complete instruction. It contains chiefly lists of heads of arguments and of synonyms for rhetorical use. Apparently the work is printed from notes of Bruno's lectures in Wittenberg (1587), which came into the hands of the editor, Alsted, in 1610. 3. _Lampas Triginta Statuarum._--First published in the State Edition, vol. iii. pp. 1-258, from MSS. of the Noroff collection at Moscow. This is in the hand of Besler, Bruno's pupil and copyist, and was done at Padua in the autumn of 1591, although Besler had received the original, which he copied, in April 1590 at Helmstadt. Another MS. is in the Augustan Library, and is both more obviously correct and of earlier date than the copy of Besler (1587); in all probability the work was dictated by Bruno at Wittenberg, and is that referred to as _Lampas Cabalistica_ in the letter of dedication prefixed to the _De Specierum Scrutinio_ (Prague, 1588), and as shortly to be published.[150] It contains a finished study of philosophy from Bruno's standpoint, arranged under thirty and more headings, "Types," "Statues and Images," "Fields," etc. Under each heading are thirty "articles," "conditions," "descriptions," "contemplations." For example, we have first the two triads--Chaos, Orcus, Nox; and Pater, Intellectus Primus, Lux--typifying the lowest and the highest principles of things: the first three are Vacuum, Potency in Appetite, and Matter; the second three Mind or Reason, Understanding or Soul, and Love or Spirit. At the close of the _Statuae_ there follows the practical application of them to the scale of Nature--the outflow of the highest towards the lowest, the gradual transition from lowest to highest; an account of the thirty predicates of Substance and of "Nature" in the universal sense; and a logical or methodological illustration of the uses of the Art under the headings of Definition, Verification, Demonstration. The general purpose of the whole is to give an instrument for discovery ("_Invention_") of truth, after the model of the Lullian Art, just as some of the earlier works (e.g. _De Umbris_) contain a similar instrument for _remembering_ knowledge acquired.[151] Unfortunately the work is entirely marred by the artificial distinctions drawn, and the tying down (or expansion) of the ideas treated therein to the thirty fundamental notions and thirty applications of each. Thus subjects and predicates are thirty in number each, and the modes of predication are in classes of fifteen.