Other examples are taken from what is called art applied to industry. Plates, glasses, knives, guns and combs can be made beautiful; but it is held that their beauty must not be pushed so far as to prevent our eating from the plate, drinking from the glass, cutting with the knife, firing off the gun, or combing one's hair with the comb. The same is said of the art of typography: a book should be beautiful, but not to the extent of being difficult or impossible to read. [Sidenote: _Criticism of non-free beauty._] In respect of all this we must observe in the first place that the extrinsic purpose is not necessarily, precisely because it is such, a limit or impediment to the other purpose of being a stimulus to æsthetic reproduction. It is therefore quite false to maintain that architecture, for example, is by its nature imperfect and not free, since it must also obey other practical purposes; in fact, the mere presence of fine works of architecture is enough to dispel any such illusion. In the second place, not only are the two purposes not necessarily contradictory, but we must add that the artist always has the means of preventing this contradiction from arising. How? by simply making the _destination_ of the object which serves a practical end enter as material into his æsthetic intuition and externalization. He will not need to add anything to the object, in order to make it the instrument of æsthetic intuitions: it will be so, if perfectly adapted to its practical purpose. Rustic dwellings and palaces, churches and barracks, swords and ploughs, are beautiful, not in so far as they are embellished and adorned, but in so far as they express their end. A garment is only beautiful because it is exactly suitable to a given person in given conditions. The sword bound to the side of the warrior Rinaldo by the amorous Armida was not beautiful: "so adorned that it may seem a useless ornament, not the free instrument of war," or it was beautiful, if you will, but to the eyes and imagination of the sorceress, who liked to see her lover equipped in that effeminate way. The æsthetic activity can always agree with the practical, because expression is truth. It cannot however be denied that æsthetic contemplation sometimes hinders practical usage. For instance, it is a quite common experience to find certain new objects seem so well adapted to their purpose, and therefore so beautiful, that people occasionally feel scruples in maltreating them by passing from their contemplation to their use. It was for this reason that King Frederick William of Prussia showed such repugnance to sending his magnificent grenadiers, so well adapted to war, into the mud and fire of battle, while his less æsthetic son, Frederick the Great, obtained from them excellent service. [Sidenote: _Stimulants of production._]