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The development of seicento criticism in Italy and Spain was conditioned by need for a fresh theory of poetry after exhaustion of the concept of imitation, a need analogous to that felt by creative writers during an epoch of imitation of classics. Among the few kinds of poetry free from the weight of tradition during the Renaissance were romantic Christian epic and the vernacular epic, both modern creations for which no classical precedents existed. Pallavicino reaffirmed the non-utilitarian nature of poetry by repeating that its only purpose is the adornment of the intellect with images of great beauty and splendour. However, even ingegno and formal study together were not enough, for furore or poetic madness was also required. Tesauro, wishing to escape from the threat of a purely intellectualistic and cognitive view of poetry, introduced the furor poeticus alongside the concept of ingegno thereby supporting the view that poetry is the result of a special state of the human spirit.
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