  Questions have been raised (e.g., by Levinson 1992 and David Davies 2004) about Currie’s Lakatos-inspired notion of the artist’s heuristic path, beginning with the obvious query as to what is and is not included in the “way” the artist discovers the structure. Currie allows that the path can include facts unknown to the artist if they are deemed relevant to the appreciation of his or her achievement. For example, even if Virginia Woolf did not know of Marcel Proust’s work when she wrote Jacob’s Room, she could “in principle” have known about it, and so Proust’s prior inventions were part of her path and are relevant to our understanding of Woolf’s achievement.  Currie acknowledges that his notion of a heuristic path is vague, and he entertains the possibility that describing the heuristic of a work “starts to look like writing the history of the universe” (1989, 72). Yet he optimistically predicts that there “will be wide agreement about how the idea is to be applied in particular cases” (1989, 73). More specifically, he indicates that “case studies” in the analysis of such heuristics can be found in Michael Baxandall’s (1985).