 How could an individual soul endowed with human body, one that encouraged the development of its rational and intellectual potential, ensure a prosperous reincarnation? By turning, as many before Bruno had urged, from the world of sense data to the intelligible principles underlying it. From sensibilia the soul composed intelligibilia by virtue of the intelligible light of the Universal Intellect, in which all souls, as indeed all other things to some degree (see Section 5), participated. These intelligibilia were “shadows of the Ideas” rather than the Ideas of the Universal Intellect themselves. The philosopher’s soul yearned to pass beyond these shadows to the Ideas of which the Universal Intellect was the unity and so “attune its thoughts and deeds to the symmetry of the law inscribed in all things” (BOI II, 557). The final step that he could take was to understand the Ideas, not discretely, but as a unity. He came, in other words, to understand the Universal Intellect. Given that, following an almost universally accepted principle going back to Aristotle, intellection entailed the identification of the intellectual subject with the object of intellection, the philosopher at this juncture lost his individual intellectual identity. He was taken out of himself and, identified with Nature (in the first of the senses mentioned in  Section 5), knew himself as part of the divine presence in the universe. Beyond this, he could not pass. He could discover God’s “shadow”, an allusion to Corinthians (I 13:12; II 3:18), that is, “the world, the universe and Nature that is in things”, the “monad” that “proceeds from the monad that is divinity”. He could gaze upon this “image of  him”, but not his “absolute light” (BOI II, 694–697). God as the One Being, both in his inner and external aspect (see  Section 5), remained unknowable. The few who aspired to perfection in this way were “divine”, “heroic”, “rare” men, inspired by “a superior light” (BOI I, 453, 475, 525; II, 595). These aspirations inspired Bruno’s doctrine of  “love” in his prose-poem masterpiece, The Heroic Frenzies (Nelson, 1958), and his interpretation of creative genius (BOI II, 528). His art of memory and Llullism, in their theoretical applications, were additional resources in this pursuit of self-fulfillment. By constructing a memory palace that mirrored the hierarchical structure of the intelligible universe, the soul could move from the accidental multiplicity of the universe to the unity of the Universal Intellect and vice versa (Sturlese 1994). With the same purpose in mind, Bruno designed and cut the wood engravings of ontological realities that feature, like proto-Jungian mandala, in several of his works.