In Capriano's _Della Vera Poetica_ (1555) poetry is given a preeminent place among all the arts, because it does not merely deal with actions or with the objects of any single sense. For Capriano, poetry is an ideal representation of life, and as such "vere nutrice e amatrice del nostro bene."[69] All sensuous or comprehensible objects are capable of being imitated by various arts. The nobler of the imitative arts are concerned with the objects of the nobler senses, while the ignobler arts are concerned with the objects of the senses of taste, touch, and smell. Poetry is the finest of all the arts, because it comprehends in itself all the faculties and powers of the other arts, and can in fact imitate anything, as, for example, the form of a lion, its color, its ferocity, its roar, and the like. It is also the highest form of art because it makes use of the most efficacious means of imitation, namely, words, and especially since these receive the additional beauty and power of rhythm. Accordingly, Capriano divides poets into two classes: natural poets, who describe the things of nature, and moral poets (such as epic and tragic poets), who aim at presenting moral lessons and indicating the uses of life; and of these two classes the moral poets are to be rated above the natural poets. But if all things are the objects of poetic imitation, the poet must know everything; he must have studied nature as well as life; and, accordingly, Lionardi, in his dialogues on poetic imitation (1554), says that to be a good poet, one must be a good historian, a good orator, and a good natural and moral philosopher as well;[70] and Bernardo Tasso asserts that a thorough acquaintance with the art of poetry is only to be gained from the study of Aristotle's _Poetics_, combined with a knowledge of philosophy and the various arts and sciences, and vast experience of the world.[71] The Renaissance, with its humanistic tendencies, never quite succeeded in discriminating between erudition and genius. Scaliger says that nothing which proceeds from solid learning can ever be out of place in poetry, and Fracastoro (1555) and Tomitano (1545) both affirm that the good poet and the good orator must essentially be learned scholars and philosophers. Scaliger therefore distinguishes three classes of poets,--first, the theological poets, such as Orpheus and Amphion; secondly, the philosophical poets, of two sorts, natural poets, such as Empedocles and Lucretius, and moral poets, who again are either political, as Solon and Tyrtaeus, economic, as Hesiod, or common, as Phocyllides; and, thirdly, the ordinary poets who imitate human life.[72] The last are divided according to the usual Renaissance classification into dramatic, narrative, and common or mixed. Scaliger's classification is employed by Sir Philip Sidney;[73] and a very similar subdivision is given by Minturno.[74]