The Greco-Latin doctrine of the divine origin of poetry was available to medieval authors through the writings of Horace (on Orpheus) and others, but it was the Latin translations and commentaries by the neo-platonic author Marsilio Ficino of Plato's dialogues Ion and (especially) Phaedrus at the end of the 15th century that led to a significant return of the conception of furor poeticus.
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At the same time, he satirized "inspired" radical Protestant ministers who preached through "direct inspiration." In his prefatory materials, he describes the ideal dissenter's pulpit as a barrel with a tube running from the minister's posterior to a set of bellows at the bottom, whereby the minister could be inflated to such an extent that he could shout out his inspiration to the congregation.
In Old Irish, Imbas imeans "inspiration," and specifically refers to the sacred poetic inspiration believed to be possessed by the fili (Old Irish: inspired, visionary poets) in Early Ireland.
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It was a costly and complex masterpiece of gold forging executed by the brothers Johann Melchior and George Christoph Dinglinger; it took as its artistic inspiration the duke's preference for the hunt.
In doing so he joined a number of other artists also using these motifs as artistic inspiration at the time including Theo Schoon, A. R. D. Fairburn, and Gordon Walters.
Speaking of his artistic inspiration, he said, “I am not conscious of having imitated or been influenced by any one particular painter, but every painting contains the experiences of many previous painters. No artist can paint without being influenced by masters like Raphael, Michelangelo, Titian, and outside Italy by artists like Rembrandt and Renoir.”