80. Since the laws of physics, not some arbitrary decision, have determined the general form of applied-art objects, they follow basic patterns, so much so that functional forms can vary only within certain limits.

81.What varies is not the basic form but the incidental details that do not obstruct the object's primary function. 

82. These are problems that must be overcome by the artist because they tend to intrude upon his or her

conception of the work.

83. In other words, the demands of the laws of physics, not the sculptor's aesthetic intentions, placed the ball there.

84. That this device was a necessary structural compromise is clear from the fact that the cannonball quickly disappeared when sculptors learned how to strengthen the internal structure of a statue with iron braces (iron being much stronger than bronze).

85. Even though the fine arts in the twentieth century often treat materials in new ways, the basic difference in attitude of artists in relation to their materials in the fine arts and the applied arts remains relatively constant.

86. It would therefore not be too great an exaggeration to say that practitioners of the fine arts work to overcome the limitations of their materials, whereas those engaged in the applied arts work in concert with their materials.

87. This "paper money aristocracy" of bankers and investors manipulated the banking system for their own profit, Democrats claimed, and sapped the nation's virtue by encouraging speculation and the desire for sudden, unearned wealth.

88. They wanted the wealth that the market offered without the competitive, changing society; the complex dealing; the dominance of urban centers; and the loss of independence that came with it.

89. Nor did the Whigs envision any conflict in society between farmers and workers on the one hand and business people and bankers on the other.