His residence in Paris was marked by an extraordinary literary activity. He published in succession _De Umbris Idearum_ (Shadow of Ideas), dedicated to Henry III, (this included the Art of Memory just mentioned) _Cantus Circaeus_ (Incantation of Circe) dedicated to Prince Henry; _De Compendiosa Architectura et Complemento Artis Lulli_ (Compendious Architecture); _Il Candelaio_ (The Torchbearer); these all appeared in 1582. These varied greatly in character. The first was devoted to the metaphysics of the art of remembering, with an analysis of that faculty, and these second was given up to the same general topic. It was all obscure, hence perhaps its popularity. Brunnhofer says that it was "a convenient means of introducing Bruno to strange universities, gaining him favor with the great, or helping him out of pressing need of money. It was his exoteric philosophy with which he could carefully drape the philosophy of a religion hostile to the Church, and ride as a hobby horse in his unfruitful humors." Nevertheless we must believe in his sincerity. The "Compendious Architecture" is the first of his works in which Bruno deals with the views of Raymond Lully, a "logical calculus and mnemonic scheme in one" (McIntyre) that had many imitators. For Lully Bruno seems to have the greatest regard, this appearing in many ways. Lully, by the way, was a Spanish scholastic and alchemist, who was born on one of the Balearic Islands in 1235. He went as a missionary to the Mahommedans, and spent much time in Asia and Africa. He figures largely in the history of the alchemists and as a practitioner of the occult. The "Torchbearer" was a work of very different character. It was described as a "Comedy" by one who described himself as "Academico di nulla academia, ditto il fastidito: In tristitia hilaris, hilaritate tristis." It is essentially a satire on the predominant vices of pedantry, superstition and selfishness or sordid love. Though lacking in dramatic power it is regarded as second to nothing of its kind and time. Its _dramatis personae_ are personified types, not individuals. It was realistic even in its vulgarity, for obscenity was prevalent in the literature of those days. But in it Bruno struck at what seemed to him his greatest enemy, i. e. pedantry.