We must distinguish from artificial beauty those instruments of reproduction called _writings_, such as alphabets, musical notes, hieroglyphics, and all pseudo-languages, from the language of flowers and flags, to the language of patches (so much the vogue in the society of the eighteenth century). Writings are not physical facts which arouse directly impressions answering to aesthetic expressions; they are simple _indications_ of what must be done in order to produce such physical facts. A series of graphic signs serves to remind us of the movements which we must execute with our vocal apparatus in order to emit certain definite sounds. If, through practice, we become able to hear the words without opening our mouths and (what is much more difficult) to hear the sounds by running the eye down the page of the music, all this does not alter anything of the nature of the writings, which are altogether different from direct physical beauty. No one calls the book which contains the _Divine Comedy_, or the portfolio which contains _Don Giovanni_, beautiful in the same sense as the block of marble which contains Michael Angelo's _Moses_, or the piece of coloured wood which contains the _Transfiguration_ are metaphorically called beautiful. Both serve for the reproduction of the beautiful, but the former by a far longer and far more indirect route than the latter. [Sidenote] _The beautiful as free and not free._ Another division of the beautiful, which is still found in treatises, is that into _free and not free_. By beauties that are not free, are understood those objects which have to serve a double purpose, extra-aesthetic and aesthetic (stimulants of intuitions); and since it appears that the first purpose limits and impedes the second, the beautiful object resulting therefrom has been considered as a beauty that is not free. Architectural works are especially cited; and precisely for this reason, has architecture often been excluded from the number of the so-called fine arts. A temple must be above all things adapted to the use of a cult; a house must contain all the rooms requisite for commodity of living, and they must be arranged with a view to this commodity; a fortress must be a construction capable of resisting the attacks of certain armies and the blows of certain instruments of war. It is therefore held that the architect's field is limited: he may be able to _embellish_ to some extent the temple, the house, the fortress; but his hands are bound by the _object_ of these buildings, and he can only manifest that part of his vision of beauty in their construction which does not impair their extrinsic, but fundamental, objects.