Pietro Bembo, Gli Asolani, a dialogue on courtly love, with poems reminiscent of Boccaccio and Petrarch (see also second, revised edition 1530)
While the Infiammati supported the suggestions of Pietro Bembo and Giovan Giorgio Trissino that the language of Boccaccio and Petrarch should serve as a model for literary Italian, the Umidi believed it should be based on contemporary Florentine usage and on the language of Dante.
There is evidence of influence in the works of medieval and renaissance authors, including Hildegard of Bingen, Vincent of Beauvais, Dante, Chaucer, Nicolas of Cusa, and Boccaccio.
Her operetta repertoire grew to include Angèle Didier in Der Graf von Luxemburg, Angele in Der Opernball, Fiametta in Boccaccio, Gabriele in Wiener Blut, Hanna Glawari in Die Lustige Witwe, and Laura in Der Bettelstudent among others.
The libretto is by Antoine François Quétant, after one of the stories in Boccaccio's Decameron (VII, 1), with verses for the ariettes by Louis Anseaume and a plan devised by Serrière.
Boccaccio praises Paul's work, particularly when he quotes a certain Theodontius.
In the Roman, the daughter of Calchas is called Briseis, but she is better known under a different name, becoming Criseida in Boccaccio's il Filostrato, Criseyde in Chaucer, Cresseid in Robert Henryson's The Testament of Cresseid and ultimately Cressida in Shakespeare's Troilus and Cressida.
Decameron Nights (1953) was based on three of the tales and starred Louis Jourdan as Boccaccio.
For that reason precisely, a lot of renowned writers, such as Dante, Petrarch or Boccaccio had long time been reluctant to write in patois.
In telling the legend of Bathyllus, however, Boccaccio complains that Theodontius was illegible except for Bathyllus's birth, from Phorcys and a marine monster (Genealogiae X 7), so he may have seen some of Theodontius's own writings; sources disagree on this.