Ways of Knowing in Early Modern Germany: Johannes Praetorius as a Witness to His Time (review)
Science, and Witchcraft this interrelationship between art and science is argued only at the very end of the investigation, when it is too late to relate the epistemological analysis of de Gheyn’s works with other cogent themes to the understanding of the relationships between art and science — such as agency, social interactions, reception, and cognition — which are relegated to lists of rhetorical questions. Fundamentally unresolved is also the concluding, speculative suggestion that de Gheyn’s pictures articulate Rene Descartes’s philosophical debate on the credibility of images, a suggestion that would have deserved deeper scrutiny. Undoubtedly successful, however, is the author’s interpretation of specific works of art by de Gheyn and of the cultural context of their production. FRANCESCA FIORANI University of Virginia