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And whither did the example of Dante beguile those who imitated him? The visionary 'Trionfi' of Petrarch were the last of the works written under this influence which satisfy our taste. The 'Amorosa Visione' of Boccaccio is at bottom no more than an enumeration of historical or fabulous characters, arranged under allegorical categories.
While he was at Padua, the great work of Fabricius, "De Visione, Voce et Auditu" was published, then the "Tractatus de Oculo Visusque Organo" , and in the last year of his residence Fabricius must have been busy with his studies on the valves of the veins and with his embryology, which appeared in 1604.
The Amorosa Visione, written about the same time, is not only an allegory but an acrostic, the initial letters of its fifteen hundred triplets composing two sonnets and a ballade in honour of Fiammetta, whom he here for once ventures to call by her true name.
The 'Divine Comedy, the 'Trionfi' of Petrarch, the 'Amorosa Visione' of Boccaccio all of them works constructed on this principle and the great diffusion of culture which took place under the influence of antiquity, had made the nation familiar with this historical element.
Boccaccio, for example, in his 'Visione Amorosa, names among the heroes in his enchanted palace Tristram, Arthur, Galeotto, and others, but briefly, as if he were ashamed to speak of them; and following writers either do not name them at all, or name them only for purposes of ridicule.
Galat. vi. 14: "In cruce Jesu Christi: per quem mihi mundus crucifixus est, et ego mundo." Sections 9 and 12. Daniel x. 16: "In visione tua dissolutae sunt compages meae." See St. John of the Cross, Spiritual Canticle, st. 14, vol. ii. p. 84, Engl. trans.; and also Relation, viii. section where this is repeated. Ch. v. section 18. Section 12. See section 11. See Relation, viii. section 8.
Sensus autem non potest esse nisi præsentium, quamvis magis a longinquo sentire possint corpora gloriosa, quam non gloriosa: nec tamen per motum aliquid deperibit eorum beatitudini quæ consistit in Dei visione, quem ubique præsentem habebunt. S. Thom., Suppl., q. 84, art. 2.
Sone eftir, the king returnit to his castell; and in the nicht following, he was admonist, be ane vision in his sleip, to big ane abbay of channonis regular in the same place quhare he gat the croce. Als sone as he was awalkinnit, he schew his visione to Alkwine, his confessoure; and he na thing suspended his gud mind, bot erar inflammit him with maist fervent devotion thairto.
Essentiam beatitudinis formalis primo ac principaliter consistere in clara Dei visione, in qua, quasi in fonte ac radice tota beatitudinis perfectio continetur.
Cotal son to, che quasi tutta cessa mia visione ed ancor mi distilla nel cuor lo dulce che nacque da essa like snow that melts in the sun cosi la neve al sol si disigilla. That is to say, that the vision, the intellectual content, passes, and that which remains is the delight, the passione impressa, the emotional, the irrational in a word, the corporeal.
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