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Carrara, who wanted frescoes in the Hall of the Giants of his palace in Padua, (now destroyed so completely that it is useless to attempt to distinguish the parts done by Guariento, Altichiero, or Avanzo), inspired by events of Roman history. It was then that he went back to his tormented work, Die viris illustribus, developing the edition known as the epithoma, with [consisting of] thirty-six biographies ranging from Romulus to Traiano. Thus Petrarch became the originator of one of the great cyclic motifs of Renaissanc painting, namely, Homini Ilustri, another being Trionfi (already assembled in the tradition of the Die viris), for the Trionfi della Famae which adorns two Carrarese manuscripts scores? of the opera, I Latini (6069 J? and F of the Bibliothèque Nationale).

 So small incursions into the patrimony left by Petrarch, collector, is legitamate) which one is always tempted to attack in the modern manner on a strictly pictoral basis

on a basis of strict craftmanship