The coinage of fantastic titles, of which _Lo Spaccio della Bestia Trionfante_ contributed in some appreciable degree to Bruno's martyrdom, should be ascribed to the same influence.

The source of these literary affectations was a bad one.

Aretino, Doni, and such folk were no fit masters for Giordano Bruno even in so slight a matter as artistic form.

Yet, in this respect, he shared a corrupt taste which was common to his generation, and proved how fully he represented the age in which he lived.

It is not improbable that the few contemporary readers of his works, especially in euphuistic England, admired the gewgaws he so plentifully scattered and rendered so brilliant by the coruscations of his wit.