[61] Lag. 223. 4.
[62] Vide infra, part ii. ch. 9.
[63] In the Aminta.
[64] Sigillus is really a diminutive of “Signum” in Bruno’s view; “Seal” therefore means much the same as “Sign.”
[65] “Venezia” on the title-page.
[66] Again “Venetia.” The Introduction is translated in A collection of several pieces, by Mr. John Toland, 2 vols., London, 1726.
[67] “Parigi.” Translated, except for the introductory letter to Sidney, in Sp. dalla Best. Triom., or the Expulsion of the Triumphant Beast, London, 1713; attributed to W. Morehead.
The Spaccio was in its outward form, no doubt, suggested by Lucian’s Parliament of the Gods. Fiorentino has pointed out that Niccolo Franco had made use of a similar idea in a dialogue published in 1539, in which he described a journey to heaven, where he was at first refused admittance; he had a parley with the Gods, until, with the aid of Momus, he obtained permission to enter, conversed with Jupiter, received some favours, and returned. Franco was impaled in 1565 by Pope Pius V., hence perhaps the absence of his name in Bruno. Perhaps the idea of the Spaccio was also determined by a prophecy of the Bohemian Cipriano Leowicz (“On the more signal great conjunctions of the planets,” 1564), that about the beginning of April 1584 would occur a reunion of almost all the planets in the sign of Aries, and it should be the last in that sign. It was inferred that the Christian religion would also come to an end then. This would agree with the reason given above for Bruno’s preface, viz. that he was leaving England in 1584, Mauvissière’s term having expired.
[68] Lag. 417.
[69] Ib. 408.