In 1722 he founded the first German musical journal, _Critica Musica_,[57] and all his life he waged a vigorous war for good sense, real musical intelligence, music which speaks to the heart and not to the ear, moving and strengthening the soul of the intelligent man with beautiful thoughts and melodies.[58] He saw in music a religious idea.[59] By his wide culture, his knowledge of the artistic theories of the past, his familiarity with all the important French and Italian works, his relationships with the principal German masters, with Keiser, Handel, J. S. Bach, by his rich practical experience, his acute critical sense, his ardent patriotism, his virile and flowing language, he was well fitted to be the great musical educator of Germany, and he accomplished his task well. In the dispersion of German artists which took place then, in addition to the many vicissitudes of their work, there was chiefly lacking a support of political solidarity which could cause music to rise above the fluctuations of the tastes of little towns and the small coteries. Mattheson was then for half a century the sole tribune of German music, the intellect where thoughts concentrated from all quarters, and from him radiated an influence over all the country in return. It was thus that he preserved the ideas of Keiser, which apart from him would have fallen into oblivion without leaving any traces of their existence. It was these traces that he rescued out of the _débâcle_ and preserved for us--a multitude of imperishable souvenirs for the musical history of the eighteenth century--which Mattheson gathered together and published in his monumental _Ehrenpforte_.[60] He acted powerfully on his times. His books laid down the law for the Kapellmeisters, the Cantors, the organists, and the teachers.