 The Universal Intellect was, however, simultaneously separate from the corruptible things that it engendered in that it was immutable. Spatial language—“above”, “within”, “separate” and so forth—was, as Bruno recognized, inappropriate when describing intelligible realities. By definition, something intelligible had no location or dimensions. To clarify what he meant by the immanent and transcendent roles of the Universal Soul and its faculty, the Universal Intellect, Bruno appropriated a distinction formulated in Thomas Aquinas’s On the Principles of Nature. Principles were constituents of something. The marble of the statue and its form were constituents; hence, they were principles, the marble being the material, the form the formal principle. Causes, by contrast, were extrinsic. A sculptor was the efficient cause of a statue, and he made it with an end, a final cause, in mind. Neither the sculptor nor his purpose were constituents of the finished piece. Analogously the Universal Soul and Universal Matter were the two principles immanent in all things, whereas the Universal Intellect was the efficient cause of all things and so extrinsic to them. It also operated in accordance with a final and therefore extrinsic cause: the perfection of the universe.