Aristotle, Horace, Vida, and Minturno are thus his acknowledged models and sources. Nearly the whole of Horace's _Ars Poetica_ he has translated and embodied in his poem; and he has borrowed from Vida a considerable number of images and metaphors.[332] His indebtedness to Aristotle and to Minturno brings up several intricate questions. It has been said that Vauquelin simply mentioned Minturno in order to put himself under the protection of a respectable Italian authority.[333] On the contrary, exclusive of Horace, Ronsard, and Du Bellay, the whole of whose critical discussions he has almost incorporated into his poem, Minturno is his chief authority, his model, and his guide. In fact, it was probably from Minturno that he derived his entire knowledge of the Aristotelian canons; it is not Aristotle, but Minturno's conception of Aristotle, that Vauquelin has adhered to. Many points in his poem are explained by this fact; here only one can be mentioned. Vauquelin's account, in the second canto of his _Art Poetique_, of the origin of the drama from the songs at the altar of Bacchus at the time of the vintage, is undoubtedly derived from Minturno.[334] It may have been observed that during the Renaissance there were two distinct conceptions of the origin of poetry. One, which might be called ethical, was derived from Horace, according to whom the poet was originally a lawgiver, or divine prophet; and this conception persists in modern literature from Poliziano to Shelley. The other, or scientific conception, was especially applied to the drama, and was based on Aristotle's remarks on the origin of tragedy; this attempt to discover some scientific explanation for poetic phenomena may be found in the more rationalistic of Renaissance critics, such as Scaliger and Viperano. Vauquelin de la Fresnaye, the disciple of Ronsard and the last exponent of the critical doctrines of the Pleiade, thus represents the incorporation of the body of Italian ideas into French criticism.