Lullism

Notable Lullists were Nicholas of Cusa, Jacques Lefèvre d'Étaples, Francisco Jiménez de Cisneros, Gottfried Leibniz, Giordano Bruno, Johann Heinrich Alsted, Jožef Mislej, and Ivo Salzinger.

Some scholastic theologians saw in Llull's Art a new scientific and demonstrative method for theology, given that Aristotelian logic was not sufficient for acquiring knowledge of God (or proving the truths of the faith).

Like Llull's early Parisian proponents, Lavinheta sought to show that the Lullian Art laid the foundation for a general science.

[4] Other thinkers were attracted to the Lullian Art because its combinatorial, visual, and algebraic aspects allowed for new modes of theological language and imagery.

[7] Llull originally formulated his Art to prove the truth of the Christian faith to all the people of the world starting from general principles.

The Cardinal Francisco Jiménez de Cisneros who had spearheaded a reform in Spain had also mobilized an effort to edit many of Llull's works.

Bernard de Lavinheta also published his own Lullist-encyclopaedist works, notably the Explanatio compendiosaque applicatio artis Raymundi Lulli which explains how the Art is the introduction to all faculties: physics, mathematics, metaphysics, theology, ethics, medicine, and law.

This commentary seems to have influenced Giordano Bruno, who commented on the Lullian Art as early as 1582 in the work De compendiosa architectura et complemento Artis Lullii, in his search for a philosophical discourse which reflected the physical, intellectual, and metaphysical order of the universe.