    No doubt with Aristotle in mind, in his Summa Theologica (1912, I-II, 57, 4c) Thomas Aquinas defined ‘art’ as right reason in the making of things (ars est recta ratio factibilium). In (1744, 7) James Harris identified art as “an habitual power in man of becoming the cause of some effect, according to a system of various and well-approved precepts.” Kant in turn identified a work or opus as the product of a doing [Tun] (facere), to which he contrasted the effects of nature, such as a beehive. Only what is the product of the exercise of a capacity to choose [eine Willkür] is art (2000 [1790], 182–183, paragraph 43). (For commentary on Kant’s definitions of art and fine art, see Paul Guyer 1997.) Bolzano’s (1849) essay on the nature and classification of works of art similarly begins with an emphasis on the necessity of the artist’s intentional activity to the creation of a work. Various philosophers have more recently classified works of art (or at least some works of fine art) as artifacts; examples include Marcia Eaton (1969), Gary Iseminger (1973), Denis Dutton (1979), Risto Hilpinen (1992, 1993), Thomasson (1999), and Levinson (2007) (for background, see the entry on artifacts). The next section is devoted to Levinson’s influential proposal.