In a more limited field Boccaccio exercised an influence resembling that of Petrarch. His fame too was that of a moral philosopher, and by no means rested on the Decamerone. He was honoured as the "doctor of patience in adversity," as the author of De casibus virorum illustrium and of De claris mulieribus. Because of these queer writings treating of the inconstancy of human fate "messire Jehan Bocace" had made himself a sort of impresario of Fortune. As such he appears to Chastellain, who gave the name of Le Temple de Bocace to the bizarre treatise in which he endeavoured to console Queen Margaret, after her flight from England, by relating to her a series of the tragic destinies of his time. In recognizing in Boccaccio the strongly medieval spirit which was their own, these Burgundian spirits of a century later were not at all off the mark.
What distinguishes nascent Humanism in France from that of Italy, is a difference of erudition, skill and taste, rather than of tone or aspiration. To transplant antique form and sentiment into national literature the French had to overcome far more obstacles than the people born under the Tuscan sky or in the shadow of the Coliseum. France too, had her learned clerks, writing in Latin, who were capable at an early date of rising to the height of the epistolary style. But a blending of classicism and medievalism in the vernacular, such as was achieved by Boccaccio, was for a long time impossible in France. The old forms were too strong, and the general culture still lacked the proficiency in mythology and ancient history which was current in Italy. Machaut, although a clerk, pitifully disfigures the names of the seven sages. Chastellain confounds Peleus with Pelias, La Marche Proteus with Pirithous. The author of the Pastoralet speaks of the "good king Scipio of Africa." But at the same time his subject inspires him with a description of the god Silvanus and a prayer to Pan, in which the poetical imagination of the Renaissance seems on the point of breaking forth. The chroniclers were already trying their hand at military speeches in Livy's manner, and adorning their narrative of important events by mentioning portents, in close imitation of Livy. Their attempts at classicism did not always succeed. Jean Germain's description of the Arras congress of 1435 is a veritable caricature of
