[Sidenote: _Relation of the activity of externalization to utility and morality._] Finally, it is only from the point of view of a clear and rigorous distinction between the true and proper æsthetic activity and the practical activity of externalization that we can solve the complicated and confused questions as to the relations between _art and utility_ and _art and morality._ We have demonstrated above that art as art is independent both of utility and of morality, as also of all practical value. Without this independence, it would not be possible to speak of an intrinsic value of art, nor indeed to conceive an æsthetic science, which demands the autonomy of the æsthetic fact as its necessary condition. But it would be erroneous to maintain that this independence of the vision or intuition or _internal expression_ of the artist should be simply extended to the practical activity of externalization and communication which may or may not follow the æsthetic fact. If by art be understood the externalization of art, then utility and morality have a perfect right to enter into it; that is to say, the right to be master in one's own house. Indeed we do not externalize and fix all the many expressions and intuitions which we form in our spirit; we do not declare our every thought in a loud voice, or write it down, or print, or draw, or paint, or expose it to the public. We _select_ from the crowd of intuitions which are formed or at least sketched within us; and the selection is ruled by the criteria of the economic disposition of life and of its moral direction. Therefore, when we have fixed an intuition, we have still to decide whether or no we should communicate it to others, and to whom, and when, and how; all which deliberations come equally under the utilitarian and ethical criterion. Thus we find the concepts of _selection,_ of the _interesting,_ of _morality,_ of an _educational end,_ of _popularity,_ etc., to some extent justified, although these can in no way be justified when imposed upon art as art, and we have ourselves rejected them in pure Æsthetic. Error always contains an element of truth. He who formulated those erroneous æsthetic propositions in reality had his eye on practical facts, which attach themselves externally to the æsthetic fact and belong to economic and moral fife.