Abstract

The article aims to highlight the metaphysical, epistemological and practical implications of some terms used by Bruno in magical and mnemotechnical works, showing the analogies with the Italian Dialogues. In the Spaccio de la bestia trionfante and in the Cabala del cavallo pegaseo, in particular, the search of the first and true good passes through the moral elevation of the human race, from a semi-feral condition to one of ‘civil conversation’, thanks to the careful use of the arts of Dissimulation and the supernatural intervention of some divinities, to whose personifications Bruno associates a heuristic function, as well as a specific place in the art of memory. Thanks to the wise use of the constellation of images and ‘inner statues’ that populate the mind of the hero in search of the divine, it is possible to raise the gaze of knowledge from the sensitive reality to the supersensible world, until reaching the first Principle of everything, as some passages show in the De vinculis in genere and in the De imaginum, signorum et idearum compositione. The first Principle, that Bruno also calls ‘superessential’, represents the culmination of spiritual elevation, and, at the same time, a prefiguration of the Hegelian Absolute.