Abstract

The printed images in the frontispiece of modern philosophical books were not simply meant as decorations, but offered in remarkable cases a pictorial synthesis of the ideas expounded in the book. This is true not only of Bacon’s Instauratio magna, on the background of an explicit theoretical reflection on the use of fables and metaphors in the exposition of scientific truth, but also of Hobbes’ Leviathan, notwithstanding Hobbes’ own criticism of metaphorical language. One third impressive example is the “dipintura” of Vico’s La Scienza Nuova, which is the object of a lengthy hermeneutical analysis by the author himself. The paper argues that the prominent importance of the image in these modern classics reflects the search for a more immediate connection between words and things, whose actuality is still debated in XXthcentury philosophy