at successive moments this and that, is therefore at all times in diversity, change, movement. Matter of either kind is never without form, but all forms are in them in different ways--in the one in the instant of eternity, in the other in the instants of time; in the one all at once, in the other successively, in the one _complicitly_, in the other _explicitly_.[193] The same idea is attributed in the _De Immenso_ (Book V.) to the Platonists,--"that God has imbued celestial matter with all forms at once, but gives them to elemental matter in single moments, just as he has poured into the nature of the Gods all ideas once for all, but instils them into animal nature day by day. And as in the order of minds there is an ultimate principle which is incorruptible, so in the order of bodies. For the order of bodies follows that of intelligences as a footmark follows the foot, as a shadow follows the body; hence whatever order is proved to hold of minds, the same will be found to hold of "bodies."[194] It only remained to identify the two kinds of matter, the divine and the "elemental," the spiritual and the corporeal, to obtain the pure Pantheistic naturalism of the middle period of Bruno's philosophy: at that stage he was no longer in sympathy with the Neoplatonist psychology, and denied the doctrine of a _separate_ intelligence or understanding in man, an intelligence, that is, of different origin from sense, and therefore of different kind; he rejected also their view that the imagination which is the source of instinct in animals, differs from human imagination, and their assertion of a difference in kind between reason and intellect in man. For Bruno, as the order of nature was throughout the same in kind, constituted of similar elements, so the order of thought or knowledge was one in kind, from its lowest phase in sense, to its highest in the divine ecstasy. In the _Heroici Furori_ (as again in the posthumous _De Vinculis in genere_) the Platonic doctrine of the ascent to the ecstatic vision and love of divine beauty, from sense-perception and the material feeling for sensible beauty, is the essential topic throughout: and in both Bruno is largely indebted for his symbolism to the Neoplatonist mystics. [Sidenote: Averroes:--Ibn Roschd (1126-1198).]