Earlier than either of these, Ettori commended it to the good rhetorician, "who in order that he may awaken images" must "familiarize himself with whatever is subject to bodily feeling" and "encounter the genius of imagination, which is a sensuous faculty," to these ends using "species rather than genera (since the latter, being more universal than the former, are less sensible), individuals rather than species, effects than causes, the number of the greater rather than the number of the less."[23] As far back as 1578 the Spaniard Huarte had maintained that eloquence is the product of imagination rather than of intellect or reason.[24] In England Bacon (1605) ascribed science to intellect, history to memory and poetry to imagination or fancy:[25] Hobbes inquired into the procedure of poetry:[26] Addison (1712) devoted several numbers of his _Spectator_ to analysis of the "pleasures of imagination."[27] Somewhat later, the importance of imagination was felt in Germany, where it found advocates in Bodmer, Breitinger and other writers of the Swiss school, who owed much to the influence of the Italians (Muratori, Gravina, Calepio) and the English: acting in their turn as teachers of Klopstock and the new German critical school.[28] [Sidenote: _Feeling._] It was at this same period that opposition became clearly marked between those accustomed "_à juger par le sentiment_" and those used to "_raisonner par principes_."[29] The Frenchman, Du Bos, author of _Réflexions critiques sur la poésie et la peinture_ (1719), upholds the theory of feeling; according to him art is simply a self-abandonment "_aux impressions que les objets étrangers font sur nous,_" setting aside all reflective labour. He laughs at those philosophers who deny the force of imagination, and Malebranche's eloquent discourse founded on this denial draws from Du Bos the remark, "_c'est à notre imagination qu'il parle contre l'abus de l'imagination._" He refuses to see any intellectual nucleus in the productions of the arts, saying that art consists not in instruction but in style: nor is he too respectful towards the probable: he says he finds himself unable to set limits between it and the marvellous, and leaves to "born poets" the task of thus miraculously uniting opposites. For Du Bos there is no criterion of art save feeling, which he calls a "_sixième sens,_" against which dispute is vain since in such matters popular opinion invariably wins the day over the dogmatic pronouncements of artists and men of letters: all the ingenious conceits of the greatest metaphysicians, though unimpeachable in themselves, will not in the slightest degree diminish the lustre of poetry or despoil it of one single attraction. Attempts to discredit Ariosto and Tasso in the eyes of Italians were as vain as those made against the _Cid_ in France. Other people's arguments can never persuade us of the contrary of what we feel.[29] These notions were adopted by many French writers: