Abstract

In this paper, we show how the discovery of the circulation of the blood by William Harvey sheds new light on traditional models of creativity in science. In particular, the example illustrates where both the enlightenment and the romantic view on creativity go astray. In the first section, we sketch the two views and present a list of problems for both. In the remainder of the paper, we demonstrate how William Harvey’s discovery, as a historical case study of creativity in science, gives firmer ground to these objections.