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.

He did not undertake further missions for Florence until 1365, and traveled to Naples and then on to Padua and Venice, where he met up with Petrarch in grand style at Palazzo Molina, Petrarch's residence as well as the place of Petrarch's library.

In the 16th century, Pietro Bembo created the model for the modern Italian language based on Petrarch's works, as well as those of Giovanni Boccaccio, and, to a lesser extent, Dante Alighieri.

Petrarch's sonnets were admired and imitated throughout Europe during the Renaissance and became a model for lyrical poetry.

Petrarch's will ( dated April 4, 1370 ) leaves 50 florins to Boccaccio " to buy a warm winter dressing gown "; various legacies ( a horse, a silver cup, a lute, a Madonna ) to his brother and his friends ; his house in Vaucluse to its caretaker ; for his soul, and for the poor ; and the bulk of his estate to his son-in-law, Francescuolo da Brossano, who is to give half of it to " the person to whom, as he knows, I wish it to go "; presumably his daughter, Francesca, Brossano's wife.

The will mentions neither the property in Arquà nor his library ; Petrarch's library of notable manuscripts was already promised to Venice, in exchange for the Palazzo Molina.

Petrarch's quest for love leads to hopelessness and irreconcilable anguish, as he expresses in the series of oxymorons in Rima 134 " Pace non trovo, et non ò da fa guerra ": " I find no peace, and yet I make no war :/ and fear, and hope: and burn, and I am ice "

The Romantic composer Franz Liszt set three of Petrarch's Sonnets ( 47, 104, and 123 ) to music for voice, Tre sonetti del Petrarca, which he later would transcribe for solo piano for inclusion in the suite Années de Pèlerinage.

In November, 2003, it was announced that pathological anatomists would be exhuming Petrarch's body from his casket in Arquà Petrarca, in order to verify 19th-century reports that he had stood 1. 83 meters ( about six feet ), which would have been tall for his period.

When the tomb was opened, the skull was discovered in fragments and a DNA test revealed that the skull was not Petrarch's, prompting calls for the return of Petrarch's skull.

This custom, first revived in Padua for Albertino Mussato, was followed by Petrarch's own crowning ceremony in the audience hall of the medieval senatorial palazzo on the Campidoglio on the 8th of April 1341.

Délie ( sometimes understood as an anagram for l ' idée ) is the first French " canzoniere " or poetic collection modeled after Petrarch's Canzoiere, a series of love poems addressed to a Lady.

Francis Petrarch became a friend of Simone's while in Avignon, and two of Petrarch's sonnets ( Canzoniere 96 and 130 ) make reference to a portrait of Laura de Noves that Simone supposedly painted for the poet ( according to Vasari ).

Many worked for the organized Church and were in holy orders ( like Petrarch ), while others were lawyers and chancellors of Italian cities-like Petrarch's disciple, Salutati, the Chancellor of Florence-and thus had access to book copying workshops.

Circa 1382-1389, Philippe de Mézières translated Petrarch's Latin text into French, adding a prologue which describes Griselda as an allegory of the Christian soul's unquestioning love for Jesus Christ.

The dialogue then turns to the question of Petrarch's seeming lack of free will, and Augustine explains that it is his love for temporal things ( specifically Laura ), and his pursuit of fame through poetry that " bind his will in adamantine chains ".

One of the earliest known records of taking pleasure in travel, of travelling for the sake of travel and writing about it, is Petrarch's ( 1304 – 1374 ) ascent of Mount Ventoux in 1336.

Many worked for the organized Church and were in holy orders ( like Petrarch ), while others were lawyers and chancellors of Italian cities, like Petrarch's disciple, Salutati, the Chancellor of Florence, and thus had access to book copying workshops.

Together, Wyatt and Surrey, due to their excellent translations of Petrarch's sonnets, are known as " Fathers of the English Sonnet ".

Text of Petrarch's Secretum I dialogue in English.

Sir Thomas Wyatt and Henry Howard, Earl of Surrey are both known for their translations of Petrarch's sonnets from Italian into English.

Shakespeare also popularized the English sonnet which made significant changes to Petrarch's model.

It is from Petrarch's treatise " De Remediis utriusque Fortunae ".

In the Middle Ages Dante's Convivio ( book IV ) and Petrarch's De remediis utriusque fortunae ( I. 16 ; II. 5 ) take up the subject, and Chaucer's Wife of Bath's Tale.

Some of the lost works of Suetonius ' " illustrious people " and Boccaccio's De Casibus Virorum Illustrium are a mixture of women and men, where others like Petrarch's De Viris Illustribus and Jerome's De Viris Illustribus are biographies of exclusively men.

Boccaccio himself even says this work was inspired and modeled on Petrarch's De Viris Illustribus.

* Petrarch's De viris illustribus

There is little definite information in Petrarch's work concerning Laura, except that she is lovely to look at, fair-haired, with a modest, dignified bearing.

It plays this role in Petrarch's Triumph of Chastity, and on the reverse of Piero della Francesca's portrait of Battista Strozzi, paired with that of her husband Federico da Montefeltro ( painted c 1472-74 ), Bianca's triumphal car is drawn by a pair of unicorns.

By this hypothesis, creation of the fictional poetess capitalized on the period's literary fascination with the classical poet Sappho and on a publication ( 1533 ) of poems attributed to Petrarch's " Laura " ( Laura de Sade ; the poems were in fact the work of a descendant of Laura ).

< center > Petrarch's Secretum book cover 1470Petrarch, Veritas ( Truth ), Augustine and Abbot Crabbe with two attendants

Delage-Toriel also notes that the names of Laura and Flora, possibly refer to well-known High Renaissance portraits of women by Titian and Giorgione, both evoking the Italian sonneteer Petrarch's unconsummated obsession with a woman named Laura.

Petrarch even offered to purchase Boccaccio's library, so that it would become part of Petrarch's library.

The conception of a " rebirth " of Classical Latin learning is first credited to an Italian poet Petrarch, the father of Humanism, a term that was not coined until the 19th century, but the conception of a rebirth has been in common use since Petrarch's time.

Petrarch's younger brother was born in Incisa in Val d ' Arno in 1307.

Scholars note that Petrarch's letter to Dionigi displays a strikingly " modern " attitude of aesthetic gratification in the grandeur of the scenery and is still often cited in books and journals devoted to the sport of mountaineering.

The later part of Petrarch's life he spent in journeying through northern Italy as an international scholar and poet-diplomat.

Francesca married Francescuolo da Brossano ( who was later named executor of Petrarch's will ) that same year.

In 1362, shortly after the birth of a daughter, Eletta ( same name as Petrarch's mother ), they joined Petrarch in Venice to flee the plague then ravaging parts of Europe.

Petrarch's Virgil ( title page ) ( c. 1336 ) Illuminated manuscript by Simone Martini, 29 x 20 cm Biblioteca Ambrosiana, Milan.

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.

Petrarch's is a world apart from Dante and his Divina Commedia.

In contrast, Petrarch's thought and style are relatively uniform throughout his life – he spent much of it revising the songs and sonnets of the Canzoniere rather than moving to new subjects or poetry.

The strong moral and political convictions which had inspired Dante belong to the Middle Ages and the libertarian spirit of the commune ; Petrarch's moral dilemmas, his refusal to take a stand in politics, his reclusive life point to a different direction, or time.

Finally, Petrarch's enjambment creates longer semantic units by connecting one line to the following.

The vast majority ( 317 ) of Petrarch's 366 poems collected in the Canzoniere ( dedicated to Laura ) were sonnets, and the Petrarchan sonnet still bears his name.

Petrarch's influence is evident in the works of Serafino Ciminelli from Aquila ( 1466-1500 ) and in the works of Marin Držić ( 1508-1567 ) from Dubrovnik.