If, on the other hand, the commercial motive were eliminated, who can say what might not result, in each community, from the experimentation of men who could not make money but only honor and a living from the profession of providing people with interesting ways of spending their leisure. The increased efficiency of machine tool work will inevitably make possible a great reduction in hours of labor, when the workers themselves control industry for their own benefit rather than for that of a class bent on still further increasing its own wealth and power. It is entirely possible that the leisure of men will then absorb as much of their devoted energies as work does now, and that they will be educated for the one as well as for the other. It is not impossible to hope that, the machine tool supplanting the slave, the commonwealth of workers will develop as free and liberal a life as existed among the citizens of ancient Greece. Then perhaps each group will have its painters, actors, and musicians just as surely as it now has its judges, aldermen, and police. It is impossible to judge what art might do for people in a reorganized society by what it does for them now. Art has its roots in interests that are well nigh universal. Everybody loves to dance, to sing, to tell a story; everybody loves either to paint or be painted, to sculpture or be sculptured. Again, everybody is at least potentially sensitive to rhythm, harmony, and balance, and to the beauties of lines, colors, and tones. It is not native incapacity, but rather a failure in aesthetic education due to the one-sided emphasis on work rather than play, industry rather than leisure, success rather than happiness, that is responsible for much of the seeming lack of artistic appreciation among the masses. Under a different social system the people may come to recognize the artist as a fellow-worker, elaborating his products in exchange for other desirable things, and may accord him welcome rather than envy.