 Goodman invites us to recognize elements of style in a work’s content, in its form, and in the feelings it expresses. His proposal is that the stylistic features of a work make up a subset of the features “of what is said, of what is exemplified, or of what is expressed” (Goodman 1978a, 32). In particular, stylistic features are those symbolic properties of a work that allow us to place the work in a certain place, time period, and artist’s oeuvre. That is, style properties help in answering questions as “where?”, “when?”, “who?” with respect to a work—they function, metaphorically, as a signature for a work: “style consists of those features of the symbolic functioning of a work that are characteristic of author, period, place, or school” (1978a, 35). Given what Goodman has said, when discussing the issue of authenticity, regarding the aesthetic importance of historical properties of a painting, knowing the style of an artwork is aesthetically relevant, since “knowledge of the origin of a work […] informs the way the work is to be looked at or listened to or read, providing a basis for the discovery of nonobvious ways the work differs from and resembles other works” (1978a, 38). It is in virtue of stylistic properties’ link to the symbolic functions of a work of art that identifying a work’s style, especially when complex and challenging and even difficult to identify, is integral to “the understanding of works of art and the worlds they present” (1978a, 40).