Pisa they turned their attention to Fiesole's pupil, Gozzoli. Those became their great teachers in art. "Just as ardent Christians wander to the grave of the princes of the apostles in order to confirm their faith and quicken their zeal, so should zealous young artists derive strength and illumination from the silent and yet so eloquent speech of the sublime geniuses of art. An artist of real worth will find in the masterpieces of painting at Rome everything necessary for him in order to reach the right path. But, to be sure, a well-made plait of hair does not certainly constitute one a Raphael, because Raphael, too, arranged his hair with feeling. Study alone leads to nothing. If since Raphael's age, as one can almost declare, there has been no painter, that is the fault of nothing else than of the fact that art has been vanquished by workmanship. One learnt at the academies to paint excellent drapery, to draw a correct figure, learnt perspective, architecture--in short, everything, and yet no painter was produced. There is one want in all recent painting--heart, soul, sentiment. Let the young painter then watch, before everything, over his sentiments: let him allow neither an impure word on his lips nor an impure thought in his mind. But how can he guard himself from that? By religion, by study of the Bible, the one and only study which made Raphael. This view now certainly contradicts the accustomed principles that everything must be systematically learnt; mere learning produces certainly an instructed but also a cold artist. On that ground it is not good either to study anatomy from dead bodies, because one dwarfs thereby certain fine sensibilities, or to work from female models, for the same reason. Let the painter be inspired by his subject as those of old were, and the result will be the same. Like those old painters, let every artist remind himself that the truest use of art is that which leads it heavenwards, its one function that of having a moral effect upon men." "How pure and holy," cries Cornelius to Xeller, as late as 1858, "was the end at which we aimed! Unknown, without encouragement, without aid, except that of our loving Father in heaven." [Illustration: FÜHRICH. FROM THE "LEGEND OF ST. GWENDOLIN."] It is obvious that between the ascetics of the monastery and the Classicists direct friction must ensue. To them the "ever repeated and pale reflexions of Greek sculpture" said nothing, while the Classicists scoffed at the religionists, for whom the sarcastic brawler, Reinhart, invented the nickname of "Nazarenes," which has since become a watchword. The opposition was historically immortalised when Bunsen, the Prussian envoy, invited the whole colony to the christening of his little daughter, and Niebuhr touched glasses with Thorwaldsen "to the health of old Jupiter." Only Cornelius joined in; the others started and looked upon the young Düsseldorfer as a heretic.