Aristotelians rather in the physical qualities. The Averroist, Agostino Nifo, amid much chatter and many inconclusive remarks, demonstrated the existence of the beautiful in nature by describing the supremely beautiful body of Joan of Aragon, Princess of Tagliacozzo, to whom the book is dedicated.[15] Torquato Tasso, in the "Mintumo,"[16] imitated the uncertainties of the _Hippias_ of Plato, not without making a free use of the speculations of Plotinus. A chapter of the _Poetica_ of Campanella possesses greater importance, where he describes the good as _signum boni_ and the ugly as _signum mali,_ understanding by good the three prime forces of Power, Wisdom and Love. Although Campanella was still tied to the Platonic idea of the beautiful, the conception of a sign or symbol, here introduced by him, represents progress. By this means he succeeded in perceiving that material things or external facts are neither beautiful nor ugly in themselves. "Mandricard called the wounds in the bodies of his friends the Moors beautiful, for they were large and gave evidence of the great strength of Roland who dealt them; Saint Augustine called the gashes and the dislocations in the body of Saint Vincent beautiful, because they were evidence of his endurance, but they were on the other hand ugly in so far as they were signs of the cruelty of the tyrant Dacianus and of his executioners. It is beautiful to die fighting, said Virgil, for it is the sign of a strong soul. The pet dog of his mistress will seem beautiful to the lover, and doctors call even urine and fæces beautiful, when they indicate health. Everything is both beautiful and ugly" (_quapropter nihil est quod non sit pulcrum simul et turpe_).[17] In such observations as these we have not a mere state of mystical exaltation, but to some extent a movement in the direction of analysis. [Sidenote: _The pedagogic theory of art and the Poetics of Aristotle._]