  The diversity of arguments and positions on this broad particularist theme should be noted. For example, Ingarden reacts negatively to the prospect of a multiplicity of perfect replicas of the cathedral of Notre Dame de Paris: seeing such things side by side, he comments, would cause “the strongest displeasure, precisely because it belongs to the nature of the work of art to be an individual, in the sense of something qualitatively unique” (1989, 274; 1962, 278). O’Hear defends a “singularity thesis” to the effect that “works of distinction” are necessarily individual and unique, whereas Weh argues that artistic intentions constrained by the historical circumstances determine whether and when a work is reproducible or multiple. Wolterstorff’s line on this topic is that in the case of many paintings, the artist does not settle on a set of properties that establish criteria for correctness of instances or “occurrences” of the work (1980, 72). Genette maintains that the reproducibility of works of art is a matter of an institutionally codified consensus based on a balance between means and needs (1994, 101).