Abstract

This article aims at reconstructing some of the conceptual premises that explain the origin of Kant’s Transcendental Aesthetics, by focusing on Christian Wolff’s synthesis of two different traditions. The first one is the new geometry of the situation created by Leibniz and the second one emerges from the metaphysics of the Spanish philosopher Francisco Suarez. Although Kant strongly criticizes Leibniz’ and Wolff’s ‘intellectualism’, his own conception of space and time would not have been possible without the transformation introduced by Wolff in the concepts of similarity, order, space and time.