 Interpretations of the Disputationes metaphysicae over the last decades have all attempted to fit Suárez into a kind of theoretical history (Darge 2004: 7–26). Gilson (1949) identified an essentialism (according to the Thomist distinction between ens and essentia) that neglects the act of being in favor of a purely abstract conceptualization and that can be traced in a line of thinkers from Avicenna through Duns Scotus and Suárez to Wolff and Kant. Honnefelder (1990) sees Suárez as dependent on the same earlier philosophers, but he does not present it as a history of decadence from a Thomist perspective, as Gilson did, but rather as a success story for the transcendental Scotist approach. Scotus uses a univocal instead of an analogous concept of being for created and uncreated substance (i.e., God) and individuates the realm of what may be meant by “being” based on the most general understanding of being as “id cui non repugnat esse”, i.e., the existence of which does not imply logical contradictions. Furthermore, he gives a modal explication of the different grades of finite and infinite being including the existence of finite and infinite substance. Courtine (1990) and Boulnois (1999) share this “Scotist perspective”, but they see it more as a move from the science of what is to the science of what can be thought, that is, an onto-logic. Precisely in the years when the term “ontology” was coined by Rudolf Goclenius (Lamanna 2013), it no longer referred to the “furniture of the universe”, as Putnam (1985: 28) called it, but instead to ways of thinking and speaking about the things in the world—a process that ends with the determination of what is through our speaking about it. Darge, finally, tries to free Suárez from this purely logicistic interpretation and from the Scotist perspective, in order to emphasize his innovative merits against his classification as an intermediate figure between Duns Scotus and Thomas, on the one hand, and Wolff and Kant, on the other. There is no doubt, however, that “Renaissance and Baroque scholastic culture”, to which Suárez doubtlessly belongs, has finally become an object of serious research (Novák 2014: 2). This research is not only providing a general systematization and historical integration of Suárez’s metaphysics, but also investigating particular aspects of his extremely rich theory (Hill and Lagerlund 2012); Novák 2014).