But since, among the antiques that have been unburied, there are specimens of both kinds, we should discriminate and call only those works of art which are the handiwork of the artist, purely as artist, those where he has been able to make beauty his first and last object. All the rest, all that show an evident religious tendency, are unworthy to be called works of art. In them Art was not working for her own sake, but was simply the tool of Religion, having symbolic representations forced upon her with more regard to their significance than their beauty. By this I do not mean to deny that religion often sacrificed meaning to beauty, or so far ceased to emphasize it, out of regard for art and the finer taste of the age, that beauty seemed to have been the sole end in view. If we make no such distinction, there will be perpetual strife between connoisseurs and antiquarians from their failure to understand each other. When the connoisseur maintains, according to his conception of the end and aim of art, that certain things never could have been made by one of the old artists, meaning never by one working as artist from his own impulse, the antiquarian will understand him to say that they could never have been fashioned by the artist, as workman, under the influence of religion or any other power outside the domain of art. He will therefore think to confute his antagonist by showing some figure which the connoisseur, without hesitation, but to the great vexation of the learned world, will condemn back to the rubbish from which it had been dug.[67]