Until the 18th century, the word “art” meant the product of the artisan (not the artist) and, by extension, also meant the product itself. Objects manufactured by craftsmen had, first of all, a useful function, although they might also have had a symbolic or aesthetic meaning. The concept of aesthetics is actually much older, considering the antiquity of Rome and Greece. And in Egypt, 3,500 years ago, at Saqqara, the first stone pyramid was engraved by scribes expressing their admiration for it.

These artisans were famous for the quality of their work, for their genius in mastering their knowledge. One is reminded of Phidias in Athens, Michelangelo and Julius II, or Leonardo da Vinci and Francois the 1st.

However, the social status of such artists was probably not very different from the status of other exceptional artisans in fields such as jewelry, metallurgy, clothing, music, etc. “Ĺart pour l'art,” a tenet which ignored the function of the object, arose only during the last century. In other words, almost all objects or artifacts in museums were originally devised and built to achieve a very specific and useful function.