 Goodman’s theory of symbol systems, as composed of schemes of characters that are governed, depending on the sort of system, by different syntactical rules, and correlated to their extensions according to differing semantic rules, is at the basis of his claims on the identity conditions of works of art of different kinds. Given the syntactic and semantic characteristics of notational systems, the different art forms can be arranged on a spectrum made of the sorts of systems that stand between a pure notation—where there is perfect preservation of identity between replicas (or performances) of the work—and fully dense pictorial systems—where every work is an original.