But with the aesthetic sense there can never be any suspension of judgment, never any open question, never any antinomy of opposites, never the least shadow of the pragmatic, or "working" test. It is therefore natural enough that when persons possessed of any degree of cultivated taste hear other persons speak of "goodness" or "truth" they grow distrustful and suspicious, they feel uneasy and very much on guard. For they know well that the conscience of the ordinary person is but a blunt and clumsy instrument, quite as likely to distort and pervert the essential spirit of "goodness" as to reveal it, and they know well that the "truth" of the ordinary person's reason is a sorry compound of logical rigidity and practical opportunism; with but small space left in it for the vision of imagination. It is because of their primary importance in the sphere of practical action that the conscience and the reason have been developed out of all proportion to the aesthetic sense. And it is because the deplorable environment of our present commercial system has emphasized action and conduct, out of all proportion to contemplation and insight, that it is so difficult to restore the balance. The tyranny of machinery has done untold evil in increasing this lack of proportion; because machinery, by placing an unmalleable and inflexible material--a material that refuses to be humanized--between man's fingers and the actual element he works in, has interrupted that instinctive aesthetic movement of the human hands, which, even in the midst of the most utter clumsiness and grossness, can never fail to introduce some touch of beauty into what it creates. We have thus arrived at a definite point of view from which we are able to observe the actual play of man's aesthetic sense as, in its mysterious fusion with the energy of reason and conscience, it interprets the pervading beauty of the system of things, according to the temperament of the individual. It remains to note how in the supreme works of art this human temperamental vision is caught up and transcended in the high objectivity of a greater and more universal vision; a vision which is still personal, because everything true and beautiful in the universe is personal, but which, by the rhythm of the apex-thought, has attained a sort of impersonal personality or, in other words, has been brought into harmony with the vision of the immortals.