These arguments were incorporated into Renaissance criticism; they were emphasized, as we shall see, over and over again, and they formed the basis of the justification of poetry in modern critical literature. At the same time, this purely aesthetic conception of art did not prevail by itself in the sixteenth century, even in those for whom Aristotle meant most, and who best understood his meaning; the Horatian elements, also, as found in the early humanists, were elaborated and discussed. In the _Poetica_ of Daniello (1536), these Horatian elements form the basis for a defence of poetry[34] that has many marked resemblances to various passages in Sir Philip Sidney's _Defence of Poesy_. After referring to the antiquity and nobility of poetry, and affirming that no other art is nobler or more ancient, Daniello shows that all things known to man, all the secrets of God and nature, are described by the poets in musical numbers and with exquisite ornament. He furthermore asserts, in the manner of Horace, that the poets were the inventors of the arts of life; and in answer to the objection that it was the philosophers who in reality did these things, he shows that while instruction is more proper to the philosopher than to the poet, poets teach too, in many more ways, and far more pleasantly, than any philosopher can. They hide their useful teachings under various fictions and fabulous veils, as the physician covers bitter medicine with a sweet coating. The style of the philosopher is dry and obscure, without any force or beauty by itself; and the delightful instruction of poetry is far more effective than the abstract and harsh teachings of philosophy. Poetry, indeed, was the only form of philosophy that primitive men had, and Plato, while regarding himself as an enemy of poets, was really a great poet himself, for he expresses all his ideas in a wondrously harmonious rhythm, and with great splendor of words and images. This defence of Daniello's is interesting, as anticipating the general form of such apologies throughout the sixteenth century. Similarly, Minturno in his _De Poeta_ (1559), elaborates the Horatian suggestions for a defence of poetry. He begins by pointing out the broad inclusiveness of poetry, which may be said to comprehend in itself every form of human learning, and by showing that no form of learning can be found before the first poets, and that no nation, however barbarous, has ever been averse to poetry. The Hebrews praised God in verse; the Greeks, Italians, Germans, and British have all honored poetry; the Persians have had their Magi and the Gauls their bards. Verse, while not essential to poetry, gives the latter much of its delightful effectiveness, and if the gods ever speak, they certainly speak in verse; indeed, in primitive times it was in verse that all sciences, history, and philosophy were written.[35]