In this paper we will try to identify the concrete ways in which John Locke describes the limits of toleration between different types of faith and its metaphysical foundations. From the beginning of his text A Letter Concerning Toleration, John Locke specifies that toleration is, first and foremost, a practical ideal and, secondly, a moral one. As such, toleration must be the essential feature of the true Church because in the field of religious faith any claimed superiority is in fact (...) only the expression of the struggle for power and domination. A theoretical perspective on the idea of religious toleration is also recalled from Lockeˈs radical empiricism, which correlates man's identity with his appearance at birth, for the first time in the world, as a different form from others. Such a view is contrary to metempsychosis which could lead to innate ideas in the human soul about moral principles and especially about God, as Plato or Descartes believed. Starting from the principles of toleration, John Locke's idea was to find those elements through which a fundamental separation between the Church and the State could be achieved. But toleration ceases when the Church and the State merge discreetly until they can no longer distinguish the boundaries between them. We consider that the fundamental principle of religious toleration is based on the idea of reciprocity, i.e. toleration-to-toleration and intolerance-to-intolerance, as Locke stated. This principle is also an essential landmark for a moral law on religious toleration in the contemporary, global world. (shrink)

This article aims to present the philosophical perspective upon the birth of the idea of the individual and the consequences of the discovery of the self-image on the techniques of image reproduction from the Renaissance to the present day. The process of projecting the self-image into the public space acquires a special importance with the elaboration of the portrait technique in the Italian painting of the 15th century. Through Leonardo da Vinci's paintings, this technique of reproducing self-image reaches a certain (...) perfection. Following the evolution of this kind of projections and reproductions of the self-image, it is found that there is an obvious tendency by which the individual tends to free himself from certain patterns, or rather canons, which a certain epoch imposes. This process manifested in the visual arts corresponds to a new philosophical perception of man opened by the works of Ficino and Pico della Mirandola. The assertion of a new type of dignity, correlated with the idea of the microcosm, of the Renaissance man will lead to an affirmation of his own personality and especially to an increase of the will to power reflected more and more in the works of art. With the resurgence of the Italian renaissance, artists and philosophers experienced a decline, but found a favorable space for their development at the court of Elizabeth I, Queen of England. The art of portraiture, but also the philosophy of renaissance survives and is even more flourishing at the court of this queen. But the most important moment of this renaissance is marked by Dutch art after its liberation from Spanish rule. From this moment on, the emancipation of the individual will occur on an unimaginable scale until then. (shrink)

In his writings on mnemonics, Bruno established a complex affinity between magic and Kabbalah on the one hand, and between Lullism and the art of memory on the other. The Nolan is no stranger to the hermetic text of the Renaissance, based on the Corpus Hermeticum and especially on the Kore Kosmu, which pursued value purification of exteriority through interiority.In The Expulsion of the Triumphant Beast, Bruno picks up on the hermetic exercise of pattern conversion, from the sense-related vices towards (...) the reason-related virtues, operating thus a reorientation from the exterior toward the noetic interior. One recognized here the same technique Plato used in his Republic, when he amassed all the gods of Homer into one alone, the embodiment of Truth, Justice and Good.The purpose of The Expulsion dialogue is to grant a return to unity to the intellect. Thus, Bruno unveils the fact that the magical religion of the Egyptians becomes his own, seeking, by way of magical rituals, to attain divine loftiness, that condition in which things acquire their meaning and significance, making thus possible the acknowledgement of their existence. (shrink)