 Goodman relates the issue of identity of works to whether a work’s history of production is integral to the work or not. In brief, it appears that in painting and related art forms, such as drawing, watercolor, and the like (where there is only one instance of a work), but also in etching, woodcut, and the like (where there can be multiple instances of the same work), aspects of the work’s history of production are indeed essential to the identity of the work. Only the actual canvas that was painted by Raphael in 1505 counts as the Madonna del Granduca, and only those prints that come from the original plate used by Rembrandt for his Self-Portrait with a Velvet Cap with Plume (1638) count as the originals of that work—anything else is a copy, however apparently indistinguishable from the original. Art forms like painting and etching are for this reason named by Goodman “autographic” arts: “a work of art is autographic if and only if the distinction between original and forgery of it is significant; or better, if and only if even the most exact duplication of it does not thereby count as genuine” (1976, 113). You are looking at Raphael’s Madonna or at Rembrandt’s Self-Portrait only if you are looking at specific items properly connected, historically, to the artist who produced them. By contrast, music, dance, theater, literature, architecture seem to allow, although in different ways, for instantiations of the work that are independent of the work’s history of production. You can listen to a performance of Beethoven’s Fifth Symphony even if it is performed (as it would normally be) from a contemporary print of the score. Art forms like music, dance, etc., accordingly, can be called “allographic.”