The iconic praxis plays a vital role in Giordano Bruno’s gnoseological process. Bruno considers the image to be both sensitive and intelligible according to its faculty of Phantasia, which traditionally is condemned as the umbra (shadow) or false reflection of the idea. Through the cognitive practice in the art of memory, Bruno’s shadows symbolically take on those iconic forms and the mental schemas, and then the mnemotechnic shadows become a psychological vehicle, which can raise the human gradually up to the Divine glow. The theological rhythm of ascent and descent is also related to the operations of natural magic that can exert sympathetic links between the micro and the macrocosms. Hence the function of Bruno’s illustrations does not lie in the mechanical interpretation but depends on the private experience of the people who practice them. By means of the interior contractio (contraction) of the soul, Bruno is able to collect the celestial influences with his theurgic xylographs, which make him unique among the Renaissance and early modern philosophers.

标志性的实践在佐丹奴布鲁诺的认知学过程中起着至关重要的作用。布鲁诺认为根据其幻想曲的能力，图像既敏感又易懂，传统上被谴责为本影。（阴影）或对想法的错误反映。通过记忆艺术中的认知实践，布鲁诺的阴影象征性地呈现出那些标志性的形式和心理图式，然后记忆术阴影成为一种心理载体，可以将人逐渐提升到神圣的光芒。上升和下降的神学节奏也与自然魔法的运作有关，它可以在微观世界和宏观世界之间产生共鸣。因此，布鲁诺插图的功能并不在于机械的解释，而是取决于实践者的个人经验。通过内收缩（收缩）灵魂，布鲁诺能够用他的魔法木版画收集天体的影响，这使他在文艺复兴时期和早期现代哲学家中独树一帜。