  Rudner brought up the type-token distinction in the context of a critique of Lewis’s (1946) idea that a work of art is a contextualized abstract entity. Rudner conjectured that what Lewis had in mind in talking about the relationship between an abstract entity and its renditions or instances was the type-token relation. This conjecture makes sense given that Lewis was one of the first American philosophers to read his way through the Peircean Nachlass, which he found stored in cartons in the first office he was assigned at Harvard. Lewis indeed refers to Peirce at times in his (1946), but he did not endorse Peirce’s theses about the nature of types; nor did Lewis use the idiom of types and tokens in the passages where he tried to identify what he took to be the special character of the relations between aesthetic essences and their concrete vehicles, one of his main proposals being that some kinds of works of art depend more than others on concrete objects.