Where the sphere of practical objects ends, and that of "art" begins, depends, then, on the "intention" of the
creators. This "intention" cannot be absolutely determined. In the first place, "intentions" are, per se, incapable of
being defined with scientific precision. In the second place, the "intentions" of those who produce objects are
conditioned by the standard of their period and environment. Classical taste demanded that private letters, legal
speeches and the shields of heroes should be "artistic" (with the possible result of what might be called fake
beauty), while modern taste demands that architecture and ashtrays should be "functional" (with the possible
result of what might be called fake efficiency). Finally our estimate of those "intentions" is inevitably influenced by
our own attitude, which in turn depends on our individual experiences as well as on our historical situation. We
have all seen with our own eyes the transference of spoons and fetishes of African tribes from the museums of
ethnology into art exhibitions.