- The Crisis of the Baroque
- Decentering the European Imaginary: A Baroque Taste for India
- Line and Trait of the Baroque River
- Water in The Baroque Garden
- Fashioning the Baroque Male
- Antinomies of the Twenty-First-Century Neobaroque: Cormac McCarthy and Demian Schopf
- The Automaton
- The Baroque City
- Surface and Substance: Baroque Dress in Spain and France, 1600–1720
- Baroque Dance
- Ibero-American Architecture and Urbanism
- Baroque Organ Music
- Ottoman Baroque
- Baroque Opera
- Machine Plays
- The Organization of Knowledge from Ramus to Diderot
- Experience and Knowledge in the Baroque
- Conversation and Civility
- The Philosopher’s Baroque: Benjamin, Lacan, Deleuze
- The Spanish Baroque Novel
- Baroque Tragedy
- The Baroque as a Literary Concept
- Baroque Discourse
- Classical Defense of the Baroque
- The Baroque and Philosophy
- The Baroque as Anti-Classicism: The French Case
- Is There a Baroque Style of Preaching in Early Modern France?
- Prayer, Meditation, and Retreat
- Baroque Sexualities
- Paradoxes: Baroque Science
- Baroque Diplomacy
- The End of Witch-Hunting
- Time and Chronometry
- Court Spectacle and Entertainment
- The Baroque State
Abstract and Keywords
Most histories of witchcraft used to emphasize either the irrational, religious, or ecclesiastical sources of witchcraft prosecution, or else they portrayed witches as dissident women, persecuted for their knowledge or assertiveness. Both rationalists and romantics imagined witchcraft as a conspiracy of some sort. From circa 1970, social historians showed that those accused were rarely dissidents or village healers. Most accusations originated in village fears of harmful magic rather than in the scholastic imaginations of inquisitorial prosecutors. The end of witchcraft trials, therefore, involved both a decline in belief in efficacious magic and changes in legal procedure. Changes came at different times and ways across Europe. Efforts to see the end of witchcraft trials as an expression of “the baroque” might focus on the growing effort among artists, authors, and intellectual leaders to maintain a comprehensive and unified world view, a task that was becoming more difficult by the eighteenth century.
Hans Christian Erik Midelfort is C. Julian Bishko Professor Emeritus of History and Religious Studies at the University of Virginia. He is a specialist of the German Reformation and the history of Christianity in Early Modern Europe. Among his many books are Witch Hunting in Southwestern Germany, 1562-1684 (Stanford, 1972), Mad Princes of Renaissance Germany (Virginia, 1994), A History of Madness in Sixteenth-Century Germany (Stanford, 1999), and Witchcraft, Madness, Society, and Religion in Early Modern Germany: A Ship of Fools (Ashgate, 2013).
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