In Fracastoro's _Naugerius, sive de Poetica Dialogus_ (1555), there is the completest explanation of the ideal element in the Aristotelian conception of imitation. The poet, according to Aristotle, differs from other writers in that the latter consider merely the particular, while the poet aims at the universal. He is, in other words, attempting to describe the simple and essential truth of things, not by depicting the nude thing as it is, but the idea of things clothed in all their beauties.[46] Here Fracastoro attempts to explain the Aristotelian conception of the type with the aid of the Platonic notion of beauty. There were, in fact, in the Renaissance, three conceptions of beauty in general vogue. First, the purely objective conception that poetry is fixed or formal, that it consists in approximating to a certain mechanical or geometrical form, such as roundness, squareness, or straightness; secondly, the Platonic conception, ethical rather than aesthetic, connecting the beautiful with the good, and regarding both as the manifestation of divine power; and, thirdly, a more purely aesthetic conception of beauty, connecting it either with grace or conformity, or in a higher sense with whatever is proper or fitting to an object. This last idea, which at times approaches the modern conception that beauty consists in the realization of the objective character of any particular thing and in the fulfilment of the law of its own being, seems to have been derived from the _Idea_ of the Greek rhetorician Hermogenes, whose influence during the sixteenth century was considerable, even as early as the time of Filelfo. It was the celebrated rhetorician Giulio Cammillo, however, who appears to have popularized Hermogenes in the sixteenth century, by translating the _Idea_ into Italian, and by expounding it in a discourse published posthumously in 1544.