According to the doctrine of their master in theory, Ruskin, the decline of art for pre-Raphaelites begins with Raphael--and for obvious reasons. To copy Cimabue and Giotto is comparatively easy. In order to imitate Raphael it is necessary to be able to draw and paint to perfection, and this was just what the first members of the Brotherhood could not do. Moreover, Raphael lived in the most glorious period of the Renaissance. The rosy dawn of the New Thought shone in his being and his work. With the liberal-mindedness of an enlightened Cinquecentist, he no longer painted only religious subjects, but mythological and historical, or, as the mystics say, profane, subjects as well. His paintings appealed not only to the devotion of faith, but also to the sense of beauty. They are no longer exclusively divine worship; consequently, as Ruskin says, and his disciples repeat, they are devil-worship, and therefore to be rejected. Finally, it is consistent with the tendency to contradiction, and to the repudiation of what is manifest, which governs the thoughts of the weak-minded, that they should declare as false those tenets in the history of art which others than themselves deemed the most incontestable. The whole world for three hundred years had said, ‘Raphael is the zenith of painting.’ To this they replied, ‘Raphael is the nadir of painting.’ Hence it came about that, in the designation which they appropriated, they took up a direct allusion to Raphael, and to no other master or other portion of the history of art. Consistency of sequence and unity are not to be expected from mystical thought. It proceeds after its kind in perpetual self-contradiction. In one place Ruskin says:[90] ‘The cause of the evil lies in the painter’s taking upon him to modify God’s works at his pleasure, casting the shadow of himself on all he sees. Every alteration of the features of nature has its origin either in powerless indolence or blind audacity.’ Thus the painter should reproduce the phenomenon exactly as he sees it, and not suffer himself to make the smallest alteration in it. And a few pages further on:[91] ‘There is an ideal form of every herb, flower, and tree; it is that form to which every individual of the species has a tendency to attain, freed from the influence of accident or disease.’ And, he continues, to recognise and to reproduce this ideal form is the one great task of the painter.