Thanks to Petrarch's sonnets we know that the poet and the painter became very good friends. Simone must undoubtedly have been influenced by the proto-Humanist cultural world of Petrarch, and we can see clearly how the manuscript illumination of Petrarch's Virgil in the Biblioteca Ambrosiana in Milan, with its classical and naturalistic overtones (sophisticated gestures, white cloth drapery, the delicate figures of the shepherd and the peasant), anticipates the typical style of early 15th-century French manuscript illumination.

The Italian poet and scholar Francesco Petrarca, known as Petrarch (1304-1374;, is seen as the first critic of modern art. A personal friend of Simone Martini, he commissioned a portrait of his beloved Laura from the Sienese master (this is now-lost, but is mentioned in one of his sonnets). A great collector of classical manuscripts, he also commissioned the artist to illuminate the frontispiece of a priceless Virgilian manuscript. While being a great judge of Gothic painting, Petrarch seems to have preferred Martini's elegant works, with their refined patterns of colour, such as those in the San Martino Chapel in the Lower Church of Assisi (c.1320). A narrative account in decorative shades, it was an intensely lyrical work, like the poetry of Petrarch's own masterpiece, Canzoniere, At this time, classical manuscripts were being recovered and Petrarch was the first to propose new standards of realism for paintings and sculptures based on criteria drawn from these classical texts. The great architect and humanist Leon Battista Alberti (1404-72) was the successor to this style, which was later seen as a critical moment in the history of art.

Works

Petrarch is best known for his Italian poetry, notably the Canzoniere ("Songbook") and the Trionfi ("Triumphs"). However, Petrarch was an enthusiastic Latin scholar and did most of his writing in this language. His Latin writings include scholarly works, introspective essays, letters, and more poetry. Among them are Secretum ("My Secret Book"), an intensely personal, guilt-ridden imaginary dialogue with Augustine of Hippo; De Viris Illustribus ("On Famous Men"), a series of moral biographies; Rerum Memorandarum Libri, an incomplete treatise on the cardinal virtues; De Otio Religiosorum ("On Religious Leisure") and De Vita Solitaria ("On the Solitary Life"), which praise the contemplative life; De Remediis Utriusque Fortunae ("Remedies for Fortune Fair and Foul"), a self-help book which remained popular for hundreds of years; Itinerarium ("Petrarch's Guide to the Holy Land"); a number of invectives against opponents such as doctors, scholastics, and the French; the Carmen Bucolicum, a collection of 12 pastoral poems; and the unfinished epic Africa.

Petrarch revived the work and letters of the ancient Roman Senator Marcus Tullius Cicero

Petrarch also published many volumes of his letters, including a few written to his long-dead friends from history such as Cicero and Virgil. Cicero, Virgil, and Seneca were his literary models. Most of his Latin writings are difficult to find today. However, several of his works are scheduled to appear in the Harvard University Press series I Tatti. It is difficult to assign any precise dates to his writings because he tended to revise them throughout his life.

In addition, Petrarch collected his letters into two major sets of books called Epistolae familiares ("Familiar Letters") and Seniles ("Of Old Age"), a plan suggested to him by knowledge of Cicero's letters. He kept out of Epistolae familiares a special set of 19 controversial letters called Liber sine nomine that contained much criticism of the Avignon papacy. These were published "without names" to protect the recipients, all of whom had close relationships to Petrarch. The recipients of these letters included Philippe de Cabassoles, bishop of Cavaillon; Ildebrandino Conti, bishop of Padua; Cola di Rienzo, tribune of Rome; Francesco Nelli, priest of the Prior of the Church of the Holy Apostles in Florence; and Niccolò di Capoccia, a cardinal and priest of Saint Vitalis. His "Letter to Posterity" (the last letter in Seniles) gives an autobiography and a synopsis of his philosophy in life. It was originally written in Latin and was completed in 1371 or 1372 - the first such autobiography in a thousand years (since Saint Augustine).

While Petrarch's poetry was set to music frequently after his death, especially by Italian madrigal composers of the Renaissance in the 16th century, only one musical setting composed during Petrarch's lifetime survives. This is Non al suo amante by Jacopo da Bologna, written around 1350.