The Most Famous

WRITERS from Italy

This page contains a list of the greatest Italian Writers. The pantheon dataset contains 7,302 Writers, 270 of which were born in Italy. This makes Italy the birth place of the 6th most number of Writers behind Germany, and Russia.

Top 10

The following people are considered by Pantheon to be the top 10 most legendary Italian Writers of all time. This list of famous Italian Writers is sorted by HPI (Historical Popularity Index), a metric that aggregates information on a biography’s online popularity. Visit the rankings page to view the entire list of Italian Writers.

1. Dante Alighieri (1265 - 1321)

With an HPI of 89.54, Dante Alighieri is the most famous Italian Writer. His biography has been translated into 187 different languages on wikipedia.

Dante Alighieri (Italian: [ˈdante aliˈɡjɛːri]; c. May 1265 – September 14, 1321), most likely baptized Durante di Alighiero degli Alighieri and widely known and often referred to in English mononymously as Dante (English: , US: ), was an Italian poet, writer, and philosopher. His Divine Comedy, originally called Comedìa (modern Italian: Commedia) and later christened Divina by Giovanni Boccaccio, is widely considered one of the most important poems of the Middle Ages and the greatest literary work in the Italian language. Dante is known for establishing the use of the vernacular in literature at a time when most poetry was written in Latin, which was accessible only to educated readers. His De vulgari eloquentia (On Eloquence in the Vernacular) was one of the first scholarly defenses of the vernacular. His use of the Florentine dialect for works such as The New Life (1295) and Divine Comedy helped establish the modern-day standardized Italian language. By writing his poem in the Italian vernacular rather than in Latin, Dante influenced the course of literary development, making Italian the literary language in western Europe for several centuries. His work set a precedent that important Italian writers such as Petrarch and Boccaccio would later follow. Dante was instrumental in establishing the literature of Italy, and is considered to be among the country's national poets and the Western world's greatest literary icons. His depictions of Hell, Purgatory, and Heaven provided inspiration for the larger body of Western art and literature. He influenced English writers such as Geoffrey Chaucer, John Milton, and Alfred Tennyson, among many others. In addition, the first use of the interlocking three-line rhyme scheme, or the terza rima, is attributed to him. He is described as the "father" of the Italian language, and in Italy he is often referred to as il Sommo Poeta ("the Supreme Poet"). Dante, Petrarch, and Boccaccio are also called the tre corone ("three crowns") of Italian literature.

2. Virgil (-70 - -19)

With an HPI of 84.57, Virgil is the 2nd most famous Italian Writer. His biography has been translated into 169 different languages.

Publius Vergilius Maro (Classical Latin: [ˈpuːbliʊs wɛrˈɡɪliʊs ˈmaroː]; traditional dates 15 October 70 BC – 21 September 19 BC), usually called Virgil or Vergil ( VUR-jil) in English, was an ancient Roman poet of the Augustan period. He composed three of the most famous poems in Latin literature: the Eclogues (or Bucolics), the Georgics, and the epic Aeneid. A number of minor poems, collected in the Appendix Vergiliana, were attributed to him in ancient times, but modern scholars consider his authorship of these poems to be dubious. Virgil's work has had great influence on Western literature, most notably Dante's Divine Comedy, in which Virgil appears as the author's guide through Hell and Purgatory. Virgil has been traditionally ranked as one of Rome's greatest poets. Since its composition, his Aeneid has been considered the national epic of ancient Rome.

3. Petrarch (1304 - 1374)

With an HPI of 83.61, Petrarch is the 3rd most famous Italian Writer. His biography has been translated into 108 different languages.

Francis Petrarch (; 20 July 1304 – 19 July 1374; Latin: Franciscus Petrarcha; modern Italian: Francesco Petrarca [franˈtʃesko peˈtrarka]), born Francesco di Petracco, was a scholar and poet of the early Italian Renaissance and one of the earliest humanists. Petrarch's rediscovery of Cicero's letters is often credited with initiating the 14th-century Italian Renaissance and the founding of Renaissance humanism. 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 was later endorsed as a model for Italian style by the Accademia della Crusca. Petrarch's sonnets were admired and imitated throughout Europe during the Renaissance and became a model for lyrical poetry. He is also known for being the first to develop the concept of the "Dark Ages". Petrarch was born in the Tuscan city of Arezzo on 20 July 1304. He was the son of Ser Petracco (a diminutive nickname for Pietro) and his wife Eletta Canigiani. Petrarch's birth name was Francesco di Petracco ("Francesco [son] of Petracco"), which he Latinized to Franciscus Petrarcha. His younger brother Gherardo (Gerard Petrarch) was born in Incisa in Val d'Arno in 1307. Dante Alighieri was a friend of his father. Petrarch spent his early childhood in the village of Incisa, near Florence. He spent much of his early life at Avignon and nearby Carpentras, where his family moved to follow Pope Clement V, who moved there in 1309 to begin the Avignon Papacy. Petrarch studied law at the University of Montpellier (1316–20) and Bologna (1320–23) with a lifelong friend and schoolmate, Guido Sette, future archbishop of Genoa. Because his father was in the legal profession (a notary), he insisted that Petrarch and his brother also study law. Petrarch, however, was primarily interested in writing and studying Latin literature and considered these seven years wasted. Petrarch became so distracted by his non-legal interests that his father once threw his books into a fire, which he later lamented. Additionally, he proclaimed that through legal manipulation his guardians robbed him of his small property inheritance in Florence, which only reinforced his dislike for the legal system. He protested, "I couldn't face making a merchandise of my mind", since he viewed the legal system as the art of selling justice. Petrarch was a prolific letter writer and counted Boccaccio among the notable friends with whom he regularly corresponded. After the death of their parents, Petrarch and his brother Gherardo went back to Avignon in 1326, where he worked in numerous clerical offices. This work gave him much time to devote to his writing. With his first large-scale work, Africa, an epic poem in Latin about the great Roman general Scipio Africanus, Petrarch emerged as a European celebrity. On 8 April 1341, he became the second poet laureate since classical antiquity and was crowned by Roman Senatori Giordano Orsini and Orso dell'Anguillara on the holy grounds of Rome's Capitol. He traveled widely in Europe, served as an ambassador, and has been called "the first tourist" because he traveled for pleasure such as his ascent of Mont Ventoux. During his travels, he collected crumbling Latin manuscripts and was a prime mover in the recovery of knowledge from writers of Rome and Greece. He encouraged and advised Leontius Pilatus's translation of Homer from a manuscript purchased by Boccaccio, although he was severely critical of the result. Petrarch had acquired a copy, which he did not entrust to Leontius, but he knew no Greek; Petrarch said of himself, "Homer was dumb to him, while he was deaf to Homer". In 1345 he personally discovered a collection of Cicero's letters not previously known to have existed, the collection Epistulae ad Atticum, in the Chapter Library (Biblioteca Capitolare) of Verona Cathedral. Disdaining what he believed to be the ignorance of the era in which he lived, Petrarch is credited with creating the concept of a historical "Dark Ages", which most modern scholars now find inaccurate and misleading. Petrarch recounts that on 26 April 1336, with his brother and two servants, he climbed to the top of Mont Ventoux (1,912 meters (6,273 ft), a feat which he undertook for recreation rather than necessity. The exploit is described in a famous letter addressed to his friend and confessor, the monk Dionigi di Borgo San Sepolcro, composed some time after the fact. In it, Petrarch claimed to have been inspired by Philip V of Macedon's ascent of Mount Haemo and that an aged peasant had told him that nobody had ascended Ventoux before or after himself, 50 years earlier, and warned him against attempting to do so. The nineteenth-century Swiss historian Jacob Burckhardt noted that Jean Buridan had climbed the same mountain a few years before, and ascents accomplished during the Middle Ages have been recorded, including that of Anno II, Archbishop of Cologne. 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. In Petrarch, this attitude is coupled with an aspiration for a virtuous Christian life, and on reaching the summit, he took from his pocket a volume by his beloved mentor, Saint Augustine, that he always carried with him. For pleasure alone he climbed Mont Ventoux, which rises to more than six thousand feet, beyond Vaucluse. It was no great feat, of course; but he was the first recorded Alpinist of modern times, the first to climb a mountain merely for the delight of looking from its top. (Or almost the first; for in a high pasture he met an old shepherd, who said that fifty years before he had attained the summit, and had got nothing from it save toil and repentance and torn clothing.) Petrarch was dazed and stirred by the view of the Alps, the mountains around Lyons, the Rhone, the Bay of Marseilles. He took Augustine's Confessions from his pocket and reflected that his climb was merely an allegory of aspiration toward a better life. As the book fell open, Petrarch's eyes were immediately drawn to the following words: And men go about to wonder at the heights of the mountains, and the mighty waves of the sea, and the wide sweep of rivers, and the circuit of the ocean, and the revolution of the stars, but themselves they consider not. Petrarch's response was to turn from the outer world of nature to the inner world of "soul": I closed the book, angry with myself that I should still be admiring earthly things who might long ago have learned from even the pagan philosophers that nothing is wonderful but the soul, which, when great itself, finds nothing great outside itself. Then, in truth, I was satisfied that I had seen enough of the mountain; I turned my inward eye upon myself, and from that time not a syllable fell from my lips until we reached the bottom again. ... [W]e look about us for what is to be found only within. ... How many times, think you, did I turn back that day, to glance at the summit of the mountain which seemed scarcely a cubit high compared with the range of human contemplation James Hillman argues that this rediscovery of the inner world is the real significance of the Ventoux event. The Renaissance begins not with the ascent of Mont Ventoux but with the subsequent descent—the "return [...] to the valley of soul", as Hillman puts it. Arguing against such a singular and hyperbolic periodization, Paul James suggests a different reading: In the alternative argument that I want to make, these emotional responses, marked by the changing senses of space and time in Petrarch's writing, suggest a person caught in unsettled tension between two different but contemporaneous ontological formations: the traditional and the modern. Petrarch spent the later part of his life journeying through northern Italy and southern France as an international scholar and poet-diplomat. His career in the Church did not allow him to marry, but he is believed to have fathered two children by a woman (or women) unknown to posterity. A son, Giovanni, was born in 1337, and a daughter, Francesca, was born in 1343. He later legitimized both. For a number of years in the 1340s and 1350s he lived in a small house at Fontaine-de-Vaucluse east of Avignon in France. Giovanni died of the plague in 1361. In the same year Petrarch was named canon in Monselice near Padua. 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 (the same name as Petrarch's mother), they joined Petrarch in Venice to flee the plague then ravaging parts of Europe. A second grandchild, Francesco, was born in 1366, but died before his second birthday. Francesca and her family lived with Petrarch in Venice for five years from 1362 to 1367 at Palazzo Molina; although Petrarch continued to travel in those years. Between 1361 and 1369 the younger Boccaccio paid the older Petrarch two visits. The first was in Venice, the second was in Padua. About 1368 Petrarch and Francesca (with her family) moved to the small town of Arquà in the Euganean Hills near Padua, where he passed his remaining years in religious contemplation. He died in his house in Arquà on 18/19 July 1374. The house now hosts a permanent exhibition of Petrarch's works and curiosities, including the famous tomb of an embalmed cat long believed to be Petrarch's (although there is no evidence Petrarch actually had a cat). On the marble slab, there is a Latin inscription written by Antonio Quarenghi: Petrarch's will (dated 4 April 1370) leaves fifty 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; money for Masses offered for his soul, and money 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. This arrangement was probably cancelled when he moved to Padua, the enemy of Venice, in 1368. The library was seized by the lords of Padua, and his books and manuscripts are now widely scattered over Europe. Nevertheless, the Biblioteca Marciana traditionally claimed this bequest as its founding, although it was in fact founded by Cardinal Bessarion in 1468. Petrarch is best known for his Italian poetry, notably the Rerum vulgarium fragmenta ("Fragments of Vernacular Matters"), a collection of 366 lyric poems in various genres also known as 'canzoniere' ('songbook'), and I trionfi ("The Triumphs"), a six-part narrative poem of Dantean inspiration. 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, imaginary dialogue with a figure inspired by 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"); 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 translated seven psalms, a collection known as the Penitential Psalms. Petrarch also published many volumes of his letters, including a few written to long-dead figures 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, but several of his works are available in English translations. Several of his Latin 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. Petrarch collected his letters into two major sets of books called Rerum familiarum liber ("Letters on Familiar Matters") and Seniles ("Letters of Old Age"), both of which are available in English translation. The plan for his letters was suggested to him by knowledge of Cicero's letters. 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. On 6 April 1327, after Petrarch gave up his vocation as a priest, the sight of a woman called "Laura" in the church of Sainte-Claire d'Avignon awoke in him a lasting passion, celebrated in the Rerum vulgarium fragmenta ("Fragments of Vernacular Matters"). Laura may have been Laura de Noves, the wife of Count Hugues de Sade (an ancestor of the Marquis de Sade). 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. Laura and Petrarch had little or no personal contact. According to his "Secretum", she refused him because she was already married. He channeled his feelings into love poems that were exclamatory rather than persuasive, and wrote prose that showed his contempt for men who pursue women. Upon her death in 1348, the poet found that his grief was as difficult to live with as was his former despair. Later, in his "Letter to Posterity", Petrarch wrote: "In my younger days I struggled constantly with an overwhelming but pure love affair—my only one, and I would have struggled with it longer had not premature death, bitter but salutary for me, extinguished the cooling flames. I certainly wish I could say that I have always been entirely free from desires of the flesh, but I would be lying if I did". While it is possible she was an idealized or pseudonymous character—particularly since the name "Laura" has a linguistic connection to the poetic "laurels" Petrarch coveted—Petrarch himself always denied it. His frequent use of l'aura is also remarkable: for example, the line "Erano i capei d'oro a l'aura sparsi" may mean both "her hair was all over Laura's body" and "the wind (l'aura) blew through her hair". There is psychological realism in the description of Laura, although Petrarch draws heavily on conventionalised descriptions of love and lovers from troubadour songs and other literature of courtly love. Her presence causes him unspeakable joy, but his unrequited love creates unendurable desires, inner conflicts between the ardent lover and the mystic Christian, making it impossible to reconcile the two. Petrarch's quest for love leads to hopelessness and irreconcilable anguish, as he expresses in the series of paradoxes in Rima 134 "Pace non trovo, et non ò da far guerra;/e temo, et spero; et ardo, et son un ghiaccio": "I find no peace, and yet I make no war:/and fear, and hope: and burn, and I am ice". Laura is unreachable and evanescent – descriptions of her are evocative yet fragmentary. Francesco de Sanctis praises the powerful music of his verse in his Storia della letteratura italiana. Gianfranco Contini, in a famous essay ("Preliminari sulla lingua del Petrarca". Petrarca, Canzoniere. Turin, Einaudi, 1964), has described Petrarch's language in terms of "unilinguismo" (contrasted with Dantean "plurilinguismo"). Petrarch is very different from Dante and his Divina Commedia. In spite of the metaphysical subject, the Commedia is deeply rooted in the cultural and social milieu of turn-of-the-century Florence: Dante's rise to power (1300) and exile (1302); his political passions call for a "violent" use of language, where he uses all the registers, from low and trivial to sublime and philosophical. Petrarch confessed to Boccaccio that he had never read the Commedia, remarks Contini, wondering whether this was true or Petrarch wanted to distance himself from Dante. Dante's language evolves as he grows old, from the courtly love of his early stilnovistic Rime and Vita nuova to the Convivio and Divina Commedia, where Beatrice is sanctified as the goddess of philosophy—the philosophy announced by the Donna Gentile at the death of Beatrice. 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. Here, poetry alone provides a consolation for personal grief, much less philosophy or politics (as in Dante), for Petrarch fights within himself (sensuality versus mysticism, profane versus Christian literature), not against anything outside of himself. 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. The free commune, the place that had made Dante an eminent politician and scholar, was being dismantled: the signoria was taking its place. Humanism and its spirit of empirical inquiry, however, were making progress—but the papacy (especially after Avignon) and the empire (Henry VII, the last hope of the white Guelphs, died near Siena in 1313) had lost much of their original prestige. Petrarch polished and perfected the sonnet form inherited from Giacomo da Lentini and which Dante widely used in his Vita nuova to popularise the new courtly love of the Dolce Stil Novo. The tercet benefits from Dante's terza rima (compare the Divina Commedia), the quatrains prefer the ABBA–ABBA to the ABAB–ABAB scheme of the Sicilians. The imperfect rhymes of u with closed o and i with closed e (inherited from Guittone's mistaken rendering of Sicilian verse) are excluded, but the rhyme of open and closed o is kept. 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 is often referred to as the father of humanism and considered by many to be the "father of the Renaissance". In Secretum meum, he points out that secular achievements do not necessarily preclude an authentic relationship with God, arguing instead that God has given humans their vast intellectual and creative potential to be used to its fullest. He inspired humanist philosophy, which led to the intellectual flowering of the Renaissance. He believed in the immense moral and practical value of the study of ancient history and literature—that is, the study of human thought and action. Petrarch was a devout Catholic and did not see a conflict between realizing humanity's potential and having religious faith, although many philosophers and scholars have styled him a Proto-Protestant who challenged the Pope's dogma. A highly introspective man, Petrarch helped shape the nascent humanist movement as many of the internal conflicts and musings expressed in his writings were embraced by Renaissance humanist philosophers and argued continually for the next 200 years. For example, he struggled with the proper relation between the active and contemplative life, and tended to emphasize the importance of solitude and study. In a clear disagreement with Dante, in 1346 Petrarch argued in De vita solitaria that Pope Celestine V's refusal of the papacy in 1294 was a virtuous example of solitary life. Later the politician and thinker Leonardo Bruni (1370–1444) argued for the active life, or "civic humanism". As a result, a number of political, military, and religious leaders during the Renaissance were inculcated with the notion that their pursuit of personal fulfillment should be grounded in classical example and philosophical contemplation. Petrarchism was a 16th-century literary movement of Petrarch's style by Italian, French, Spanish and English followers (partially coincident with Mannerism), who regarded his collection of poetry Il Canzoniere as a canonical text. Among them, the names are listed in order of precedence: Pietro Bembo, Michelangelo, Mellin de Saint-Gelais, Vittoria Colonna, Clément Marot, Garcilaso de la Vega, Giovanni della Casa, Thomas Wyatt, Henry Howard, Joachim du Bellay, Edmund Spenser, and Philip Sidney. Thus, in Pietro Bembo's book Prose of the Vernacular Tongue (1525) Petrarch is the model of verse composition. 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. 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. Liszt also set a poem by Victor Hugo, "Oh! quand je dors" in which Petrarch and Laura are invoked as the epitome of erotic love. While in Avignon in 1991, Modernist composer Elliott Carter completed his solo flute piece Scrivo in Vento which is in part inspired by and structured by Petrarch's Sonnet 212, Beato in sogno. It was premiered on Petrarch's 687th birthday. In 2004, Finnish composer Kaija Saariaho crafted a miniature for solo piccolo flute titled Dolce tormento, in which the flutist whispers fragments of Petrarch's Sonnet 132 into the instrument. In November 2003, it was announced that pathological anatomists would be exhuming Petrarch's body from his casket in Arquà Petrarca, to verify 19th-century reports that he had stood 1.83 meters (about six feet), which would have been tall for his period. The team from the University of Padua also hoped to reconstruct his cranium to generate a computerized image of his features to coincide with his 700th birthday. The tomb had been opened previously in 1873 by Professor Giovanni Canestrini, also of Padua University. 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. The researchers are fairly certain that the body in the tomb is Petrarch's due to the fact that the skeleton bears evidence of injuries mentioned by Petrarch in his writings, including a kick from a donkey when he was 42. He is credited with being the first and most famous aficionado of Numismatics. He described visiting Rome and asking peasants to bring him ancient coins they would find in the soil which he would buy from them, and writes of his delight at being able to identify the names and features of Roman emperors. Otium Bartlett, Kenneth R. (1992). The Civilization of the Italian Renaissance; a Source Book. Lexington: D.C. Heath and Company. ISBN 0-669-20900-7 Bishop, Morris (1961). "Petrarch." In J. H. Plumb (Ed.), Renaissance Profiles, pp. 1–17. New York: Harper & Row. ISBN 0-06-131162-6 . Hanawalt, A. Barbara (1998). The Middle Ages: An Illustrated History pp. 131–132 New York: Oxford University Press James, Paul (2014). "Emotional Ambivalence across Times and Spaces: Mapping Petrarch's Intersecting Worlds". Exemplaria. 26 (1): 81–104. doi:10.1179/1041257313z.00000000044. S2CID 191454887. Kallendorf, Craig. "The Historical Petrarch," The American Historical Review, Vol. 101, No. 1 (Feb. 1996): 130–141. Minta, Stephen (1980). Petrarch and Petrarchism: the English and French Traditions. Manchester; New York: Manchester University Press; Barnes & Noble. ISBN 0-719-00745-3. Bernardo, Aldo (1983). "Petrarch." In Dictionary of the Middle Ages, volume 9 Celenza, Christopher S. (2017). Petrarch: Everywhere a Wanderer. London: Reaktion. ISBN 978-1780238388 Hennigfeld, Ursula (2008). Der ruinierte Körper. Petrarkistische Sonette in transkultureller Perspektive. Würzburg, Königshausen & Neumann, 2008, ISBN 978-3-8260-3768-9 Hollway-Calthrop, Henry (1907). Petrarch: His Life and Times, Methuen. From Google Books Kohl, Benjamin G. (1978). "Francesco Petrarch: Introduction; How a Ruler Ought to Govern His State," in The Earthly Republic: Italian Humanists on Government and Society, ed. Benjamin G. Kohl and Ronald G. Witt, 25–78. Philadelphia: University of Pennsylvania Press. ISBN 0-8122-1097-2 Nauert, Charles G. (2006). Humanism and the Culture of Renaissance Europe: Second Edition. Cambridge: Cambridge University Press. ISBN 0-521-54781-4 Rawski, Conrad H. (1991). Petrarch's Remedies for Fortune Fair and Foul A Modern English Translation of De remediis utriusque Fortune, with a Commentary. ISBN 0-253-34849-8 Robinson, James Harvey (1898). Petrarch, the First Modern Scholar and Man of Letters Harvard University Kirkham, Victoria and Armando Maggi (2009). Petrarch: A Critical Guide to the Complete Works. University of Chicago Press. ISBN 978-0-226-43741-5. A. Lee, Petrarch and St. Augustine: Classical Scholarship, Christian Theology and the Origins of the Renaissance in Italy, Brill, Leiden, 2012, ISBN 978-9004224032 N. Mann, Petrarca [Ediz. orig. Oxford University Press (1984)] – Ediz. ital. a cura di G. Alessio e L. Carlo Rossi – Premessa di G. Velli, LED Edizioni Universitarie, Milano, 1993, ISBN 88-7916-021-4 Il Canzoniere» di Francesco Petrarca. La Critica Contemporanea, G. Barbarisi e C. Berra (edd.), LED Edizioni Universitarie, Milano, 1992, ISBN 88-7916-005-2 G. Baldassari, Unum in locum. Strategie macrotestuali nel Petrarca politico, LED Edizioni Universitarie, Milano, 2006, ISBN 88-7916-309-4 Francesco Petrarca, Rerum vulgarium Fragmenta. Edizione critica di Giuseppe Savoca, Olschki, Firenze, 2008, ISBN 978-88-222-5744-4 Plumb, J. H., The Italian Renaissance, Houghton Mifflin, 2001, ISBN 0-618-12738-0 Giuseppe Savoca, Il Canzoniere di Petrarca. Tra codicologia ed ecdotica, Olschki, Firenze, 2008, ISBN 978-88-222-5805-2 Roberta Antognini, Il progetto autobiografico delle "Familiares" di Petrarca, LED Edizioni Universitarie, Milano, 2008, ISBN 978-88-7916-396-5 Paul Geyer und Kerstin Thorwarth (hg), Petrarca und die Herausbildung des modernen Subjekts (Göttingen, Vandenhoeck & Ruprecht, 2009) (Gründungsmythen Europas in Literatur, Musik und Kunst, 2) Massimo Colella, «Cantin le ninfe co' soavi accenti». Per una definizione del petrarchismo di Veronica Gambara, in «Testo», 2022. Petrarch and his Cat Muse Petrarch from the Catholic Encyclopedia Excerpts from his works and letters Francesco Petrarca (Petrarch) (1304–1374) Works by Petrarch at Project Gutenberg Works by or about Francesco Petrarca at Internet Archive Works by or about Petrarch at Internet Archive Works by Petrarch at LibriVox (public domain audiobooks) Timeline of life of Petrarch Poems From The Canzoniere, translated by Tony Kline. Francesco Petrarch at The Online Library of Liberty De remediis utriusque fortunae, Cremonae, B. de Misintis ac Caesaris Parmensis, 1492. (Vicifons) Free scores of works by Petrarch in the Choral Public Domain Library (ChoralWiki) Petrarch and Laura Multi-lingual site including translated works in the public domain and biography, pictures, music. Petrarch – the poet who lost his head April 2004 article in The Guardian regarding the exhumation of Petrarch's remains Oregon Petrarch Open Book – A working database-driven hypertext in and around Francis Petrarch's Rerum Vulgarium Fragmenta (Canzoniere) Historia Griseldis From the Rare Book and Special Collections Division at the Library of Congress Francesco Petrarch, De viris illustribus, digitized French codex, at Somni Petrarch's Vision of the Muslim and Byzantine East – Nancy Bisaha, Speculum, University of Chicago Press

4. Ovid (-43 - 17)

With an HPI of 83.26, Ovid is the 4th most famous Italian Writer. His biography has been translated into 133 different languages.

Publius Ovidius Naso (Latin: [ˈpuːbliʊs ɔˈwɪdiʊs ˈnaːso(ː)]; 20 March 43 BC – AD 17/18), known in English as Ovid ( OV-id), was a Roman poet who lived during the reign of Augustus. He was a younger contemporary of Virgil and Horace, with whom he is often ranked as one of the three canonical poets of Latin literature. The Imperial scholar Quintilian considered him the last of the Latin love elegists. Although Ovid enjoyed enormous popularity during his lifetime, the emperor Augustus exiled him to Tomis, the capital of the newly-organised province of Moesia, on the Black Sea, where he remained for the last nine or ten years of his life. Ovid himself attributed his banishment to a "poem and a mistake", but his reluctance to disclose specifics has resulted in much speculation among scholars. Ovid is most famous for the Metamorphoses, a continuous mythological narrative in fifteen books written in dactylic hexameters. He is also known for works in elegiac couplets such as Ars Amatoria ("The Art of Love") and Fasti. His poetry was much imitated during Late Antiquity and the Middle Ages, and greatly influenced Western art and literature. The Metamorphoses remains one of the most important sources of classical mythology today.

5. Giovanni Boccaccio (1313 - 1375)

With an HPI of 82.77, Giovanni Boccaccio is the 5th most famous Italian Writer. His biography has been translated into 109 different languages.

Giovanni Boccaccio (UK: , US: , Italian: [dʒoˈvanni bokˈkattʃo]; 16 June 1313 – 21 December 1375) was an Italian writer, poet, correspondent of Petrarch, and an important Renaissance humanist. Born in the town of Certaldo, he became so well known as a writer that he was sometimes simply known as "the Certaldese" and one of the most important figures in the European literary panorama of the fourteenth century. Some scholars (including Vittore Branca) define him as the greatest European prose writer of his time, a versatile writer who amalgamated different literary trends and genres, making them converge in original works, thanks to a creative activity exercised under the banner of experimentalism. His most notable works are The Decameron, a collection of short stories which in the following centuries was a determining element for the Italian literary tradition, especially after Pietro Bembo elevated the Boccaccian style to a model of Italian prose in the sixteenth century, and On Famous Women. He wrote his imaginative literature mostly in Tuscan vernacular, as well as other works in Latin, and is particularly noted for his realistic dialogue which differed from that of his contemporaries, medieval writers who usually followed formulaic models for character and plot. The influence of Boccaccio's works was not limited to the Italian cultural scene but extended to the rest of Europe, exerting influence on authors such as Geoffrey Chaucer, a key figure in English literature, and the later writers Miguel de Cervantes, Lope de Vega and classical theatre in Spain. Boccaccio is considered one of the "Three Crowns" of Italian literature along with Dante Alighieri and Petrarch. He is remembered for being one of the precursors of humanism, of which he helped lay the foundations in the city of Florence, in conjunction with the activity of his friend and teacher Petrarch. He was the one who initiated Dante's criticism and philology: Boccaccio devoted himself to copying codices of the Divine Comedy and was a promoter of Dante's work and figure. In the twentieth century, Boccaccio was the subject of critical-philological studies by Vittore Branca and Giuseppe Billanovich, and his Decameron was transposed to the big screen by the director and writer Pier Paolo Pasolini.

6. Horace (-65 - -8)

With an HPI of 81.49, Horace is the 6th most famous Italian Writer. His biography has been translated into 100 different languages.

Quintus Horatius Flaccus (Classical Latin: [ˈkʷiːntʊs (h)ɔˈraːtiʊs ˈfɫakːʊs]; 8 December 65 BC – 27 November 8 BC), commonly known in the English-speaking world as Horace (), was the leading Roman lyric poet during the time of Augustus (also known as Octavian). The rhetorician Quintilian regarded his Odes as the only Latin lyrics worth reading: "He can be lofty sometimes, yet he is also full of charm and grace, versatile in his figures, and felicitously daring in his choice of words." Horace also crafted elegant hexameter verses (Satires and Epistles) and caustic iambic poetry (Epodes). The hexameters are amusing yet serious works, friendly in tone, leading the ancient satirist Persius to comment: "as his friend laughs, Horace slyly puts his finger on his every fault; once let in, he plays about the heartstrings". His career coincided with Rome's momentous change from a republic to an empire. An officer in the republican army defeated at the Battle of Philippi in 42 BC, he was befriended by Octavian's right-hand man in civil affairs, Maecenas, and became a spokesman for the new regime. For some commentators, his association with the regime was a delicate balance in which he maintained a strong measure of independence (he was "a master of the graceful sidestep") but for others he was, in John Dryden's phrase, "a well-mannered court slave".

7. Giacomo Casanova (1725 - 1798)

With an HPI of 79.32, Giacomo Casanova is the 7th most famous Italian Writer. His biography has been translated into 76 different languages.

Giacomo Girolamo Casanova (, Italian: [ˈdʒaːkomo dʒiˈrɔːlamo kazaˈnɔːva, kasa-]; 2 April 1725 – 4 June 1798) was an Italian adventurer and author from the Republic of Venice. His autobiography, Histoire de ma vie (Story of My Life), is regarded as one of the most authentic and provocative sources of information about the customs and norms of European social life during the 18th century. Casanova was known to use pseudonyms, such as baron or count of Farussi (the maiden name of his mother) or Chevalier de Seingalt (French pronunciation: [sɛ̃ɡɑl]). After he began writing in French, following his second exile from Venice, he often signed his works as "Jacques Casanova de Seingalt". He claims to have mingled with European royalty, popes, and cardinals, along with the artistic figures Voltaire, Goethe, and Mozart. He has become so famous for his often complicated and elaborate affairs with women, that his name "might be said to be synonymous with libertine". His final years were spent in Dux Chateau (Bohemia) as a librarian in Count Waldstein's household, where he also wrote his autobiography.

8. Umberto Eco (1932 - 2016)

With an HPI of 79.03, Umberto Eco is the 8th most famous Italian Writer. His biography has been translated into 113 different languages.

Umberto Eco (5 January 1932 – 19 February 2016) was an Italian medievalist, philosopher, semiotician, novelist, cultural critic, and political and social commentator. In English, he is best known for his popular 1980 novel The Name of the Rose, a historical mystery combining semiotics in fiction with biblical analysis, medieval studies and literary theory, as well as Foucault's Pendulum, his 1988 novel which touches on similar themes. Eco wrote prolifically throughout his life, with his output including children's books, translations from French and English, in addition to a twice-monthly newspaper column "La Bustina di Minerva" (Minerva's Matchbook) in the magazine L'Espresso beginning in 1985, with his last column (a critical appraisal of the Romantic paintings of Francesco Hayez) appearing 27 January 2016. At the time of his death, he was an Emeritus professor at the University of Bologna, where he taught for much of his life. In the 21st century, he has continued to gain recognition for his 1995 essay "Ur-Fascism", where Eco lists fourteen general properties he believes comprise fascist ideologies.

9. Giorgio Vasari (1511 - 1574)

With an HPI of 77.81, Giorgio Vasari is the 9th most famous Italian Writer. His biography has been translated into 76 different languages.

Giorgio Vasari (, also US: , Italian: [ˈdʒordʒo vaˈzaːri]; 30 July 1511 – 27 June 1574) was an Italian Renaissance painter and architect, who is best known for his work Lives of the Most Excellent Painters, Sculptors, and Architects, considered the ideological foundation of all art-historical writing, and still much cited in modern biographies of the many Italian Renaissance artists he covers, including Leonardo da Vinci and Michelangelo, although he is now regarded as including many factual errors, especially when covering artists from before he was born. Giorgio was a Mannerist painter who was highly regarded both as a painter and architect in his day, but rather less so in later centuries. He was effectively what would now be called the minister of culture to the Medici court in Florence, and the Lives promoted, with enduring success, the idea of Florentine superiority in the visual arts. Vasari designed the Tomb of Michelangelo, his hero, in the Basilica of Santa Croce, Florence that was completed in 1578. Based on Vasari's text in print about Giotto's new manner of painting as a rinascita (rebirth), author Jules Michelet in his Histoire de France (1835) suggested the adoption of Vasari's concept, using the term Renaissance (rebirth, in French) to distinguish the cultural change. The term was adopted thereafter in historiography and is still in use today.

10. Guillaume Apollinaire (1880 - 1918)

With an HPI of 75.52, Guillaume Apollinaire is the 10th most famous Italian Writer. His biography has been translated into 76 different languages.

Guillaume Apollinaire (French: [ɡijom apɔlinɛʁ], born Kostrowicki; 26 August 1880 – 9 November 1918) was a French poet, playwright, short story writer, novelist and art critic of Polish descent. Apollinaire is considered one of the foremost poets of the early 20th century, as well as one of the most impassioned defenders of Cubism and a forefather of Surrealism. He is credited with coining the term "Cubism" in 1911 to describe the emerging art movement, the term Orphism in 1912, and the term "Surrealism" in 1917 to describe the works of Erik Satie. He wrote poems without punctuation, in his attempt to be resolutely modern in both form and subject. Apollinaire wrote one of the earliest Surrealist literary works, the play The Breasts of Tiresias (1917), which became the basis for Francis Poulenc's 1947 opera Les mamelles de Tirésias. Influenced by Symbolist poetry in his youth, he was admired during his lifetime by the young poets who later formed the nucleus of the Surrealist group (Breton, Aragon, Soupault). He revealed very early on an originality that freed him from any school of influence and made him one of the precursors of the literary revolution of the first half of the 20th century. His art is not based on any theory, but on a simple principle: the act of creating must come from the imagination, from intuition, because it must be as close as possible to life, to nature, to the environment, and to the human being. Apollinaire was also active as a journalist and art critic for Le Matin, L'Intransigeant, L'Esprit nouveau, Mercure de France, and Paris Journal. In 1912 Apollinaire cofounded Les Soirées de Paris, an artistic and literary magazine. Two years after being wounded in World War I, Apollinaire died during the Spanish flu pandemic of 1918 and was recognized as "Fallen for France" (Mort pour la France) because of his commitment during the war.

People

Pantheon has 295 people classified as Italian writers born between 630 BC and 1982. Of these 295, 24 (8.14%) of them are still alive today. The most famous living Italian writers include Elena Ferrante, Fausto Cercignani, and Claudio Magris. The most famous deceased Italian writers include Dante Alighieri, Virgil, and Petrarch. As of April 2024, 26 new Italian writers have been added to Pantheon including Tullia d'Aragona, Bernardo Dovizi, and Titus Burckhardt.