 As a matter of fact, the simplistic formula Goodman attacks was never proposed by Charles Sanders Peirce or his followers, such as Suzanne Langer (1942) and John Hospers (1947), whose semiotic theories were Goodman’s immediate target, or by any other philosopher or theorist of art. Peirce described pictures as iconic signs, i.e., signs that signify objects by resembling them, and he contrasted iconic signs with indices, which signify objects by standing in spatial, temporal or causal relations to them, and with symbols, which signify objects by means of conventions (Peirce 1982, Vol. 2: 53–56). But this classification depends on the basic idea of signification, which Peirce holds is a three-termed relation between a sign, its object, and an “interpretant”, i.e., a thought of the object or a translation of the sign. Moreover, Peirce acknowledges that these three categories of sign are not mutually exclusive, and that the signification of a picture can also depend on iconographic conventions, and on its context of use.