 Nelson Goodman’s (1906–1998) Languages of Art (1968) is both a product of the already established theory of symbols, exemplified by Langer and Ernst Cassirer (1874–1945), and a foundational work in the development of analytic philosophy of art (see  §2.6).  This is borne out by the tightly-knit weave of semiotics and ontology that characterizes the book: Goodman develops a general theory of notation that should account for the ontological status of works in different art forms. He introduces a crucial distinction between autographic and allographic arts. Painting and sculpture are autographic, as only a determination of the work’s history of production (that is, an attribution) guarantees the work’s authenticity. Music and literature are allographic, as work identity depends on the presence of essential features as determined by a notation—a word sequence in the case of a work of literature, and a score in the case of music. Forgeries of autographic works are works that claim a false history of production. Forgeries of allographic works are impossible, as notation provides a test for work-identity. If the candidate object meets it, it is an instance of the work, if not, it is a different work.