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indices are extended or flexed to indicate steps; similarly, prolongation on integration of painted arabesques serve as forms in the dialogue which the solitary poet assiduously carries on with himself, non-verbal discoveries which extend the written word. In our cursory summary of the phenomenology of the relations of Petrarch to the visual arts, we have already happened upon an answer to the primary question having to do with our problems, namely, which pictorial visualization is not closely related to that of Petrarch more of less in the direction indicated for French researches by Helmut A. Hatzfeld in his manual of 1952, literature through Art, in the sense in which it has been said that Petrarch was a collaboration with the brand, "natural- ismo unclear," Petrarchism appears as an obvious parallel to the so-called "unintentional Gothic" which takes it as a necessary precedent, an Elysium populated by creatures of pleasure like the Timbourg brothers, Stefano da Colonna and the other Stefano, da Pevio, Michelino da Besozzo up to Gentile. If "naturalismo" alludes