But the political influence of antiquity, visible at first, made way for a purely literary influence. The desire for good Latin became injurious to Italian, and Petrarca censured Dante for his error in composing the Divine Comedy in the vulgar tongue. He even regretted that the Decamerone was not written in Latin, and refused to read what his friend had written for the level of uneducated men. The classics became, in the first place, the model and the measure of style; and the root of the Renaissance was the persuasion that a man who could write like Cicero had an important advantage over a man who wrote like Bartolus or William of Ockham; and that ideas radiant with beauty must conquer ideas clouded over with dialectics. In this, there was an immediate success. Petrarca and his imitators learnt to write excellent Latin. Few of them had merit as original thinkers, and what they did for erudition was done all over again, and incomparably better, by the scholars who appeared after the tempest of the Reformation had gone down. But they were excellent letter writers. In hundreds of volumes, from Petrarca to Sadolet and Pole, we can trace every idea and mark every throb. It was the first time that the characters of men were exposed with analytic distinctness; the first time indeed that character could be examined with accuracy and certitude. A new type of men began with Petrarca, men accustomed to introspection, who selected their own ideals, and moulded their minds to them. The medieval system could prepare him for death; but, seeing the vicissitudes of fortune and the difficulties of life, he depended on the intellectual treasures of the ancient world, on the whole mass of accessible wisdom, to develop him all round. To men ignorant of Greek, like the first generation of the Renaissance, the fourteenth-century men, much in ancient philosophy was obscure. But one system, that of the Stoics, they studied deeply, and understood, for they had the works of Seneca. For men craving for self-help and the complete training of the faculties, eager to escape from the fixed types of medieval manhood, minted by authority, and taught to distrust conscience, when it was their own, and to trust it only in others, Seneca was an oracle. For he is the classic of mental discipline, vigilant self-study, and the examination of conscience. It is under these influences that the modern type of individual man took shape. The action of religion, by reason of the divided Church, and the hierarchy in partibus, was at a low point; and no age has been so corrupt, so barbarous in the midst of culture. The finished individual of the Renaissance, ready for emergencies equal to either fortune, relying on nothing inherited, but on his own energy and resource, began badly, little recking rights of others, little caring for the sanctity of life.