bewildered; as the blind man suddenly restored to sight saw men as trees, so the classical forms appeared most strangely distorted in the mediaeval atmosphere. This ignorance, which might have excited the reprehension of critics in Boccaccio's age, had such then existed, is the salvation of his book in ours: his mistaken erudition has become charming naïveté, and the eloquence which no longer impresses at least amuses. For its own day the Filocopo was an epoch-making work, and traces of its style may be met with until the displacement of the ideal romance by the novel of manners, a development of which the fourteenth century had no notion; although Petronius, as yet unknown, had given an example as early as the age of Nero. Boccaccio's affinities are rather with Apuleius, whom he frequently follows in the Decameron.
The Ameto of Boccaccio also possesses considerable importance in literary history, being the first well-defined modern instance of an important genre, the pastoral romance, afterwards carried to perfection by Sannazaro and Montemayor; and also of a literary artifice, the interweaving of several stories to compose a whole. The stories are not very attractive, and the combination is not very well managed but the idea was an important contribution to literature, and, though Longus is more likely to find emulators than Boccaccio, the pastoral romance still has a future before it. The tales are supposed to record the experiences of shepherdesses who personify the virtues, and that placed in the mouth of Fiammetta is certainly in some measure autobiographical.
More autobiographical still, and consequently nearer to the truth of nature, is the romance called after Fiammetta, the precursor of the modern psychological novel,
