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indices are extended or flexed to indicate steps; similarly, prolongations 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 problem, namely, which pictorial visualization is most closely related to that of Petrarch more of less in the direction indicated for French researchers by Helmut A. Hatzfield in his manual of 1952, Literature through Art. In the sense in which it has been said that Petrarch was a collaborator in the bund, "natural- ismo avignonese," Petrarchism appears as an obvious parallel to the so-called "international Gothic" which takes it as a necessary precedent, an Elysium populated by creatures of pleasure like the Limbourg brothers, Stefano da Colonna and the other Stefano, da Zevio, Michelino da Besozzo up to Gentile. If "naturalismo" alludes