  Turning now to Wollheim’s influential application of a type-token distinction (1968, 1980), what is most noteworthy about his articulation of the idea that at least some works of art are best categorized as types is the reason he gives for saying that types are different from other “generic entities,” and in particular, universals. The relation between a type and its tokens is, according to Wollheim, “more intimate” than the relation between a universal (e.g., a property) and its instances. Whereas the property being white is not itself white, all and only those properties that a token has by virtue of its being a token of a given type are “transmitted” to that type as well: as no bit of cloth that is not rectangular can be a correctly formed token of the type The Union Jack, it follows that the property of being rectangular also belongs to the type The Union Jack. This idea is endorsed by Oswald Hanfling (1992, 80–82), Linda Wetzel (2009), and others.