Partenio, like Minturno and some others, gave his thoughts on the subject to the world in both “vulgar” and “regular”;[143] [Sidenote: _Partenio._] but the two forms, while not identical, are closer together than is sometimes the case, though there is in the Latin a curious appended anthology of translation and parallel in the two languages. He is rather a formal person (as indeed may be judged from his particular addiction to Hermogenes as an authority), but he is not destitute of wits. Throughout he quotes Italian as well as Latin examples, and refers to Italian critics such as Trissino; while in one place he gives something like a regular survey of contemporary Latin poetry by Italians from Pontanus to Cotta. He lays special stress on the importance of poetic diction; he thinks that Art can and should improve nature; but he is as classical as the stiffest _perruque_ of the French anti-Romantic school in believing Aristotle and Horace to contain everything necessary to poetical salvation. ----- Footnote 143: _Della Imitatione Poetica_, Venice, 1560; _De Poetica Imitatione_, ibid., 1565. ----- [Sidenote: _Viperano._] Viperano[144] (who by a natural error is sometimes cited as Vi_tu_perano) somewhere makes the half-admission, half-boast, _scripsimus autem varios libros de variis rebus_, and is indeed a sort of rhetorical bookmaker who oscillates between instruction and epideictic. This character is sufficiently reflected in his _De Arte Poetica_. He had some influence—even as far as Spain (_v. inf._) ----- Footnote 144: His _De Arte Poetica_ seems to have first appeared at Antwerp in 1579: I know it in his _Opera_, Naples, 1606. -----