.... appear in the following textAmorosa visione (1342, revised c. 1365) is a narrative poem by Boccaccio, full of echoes of the Divine Comedy and consisting of 50 canti in terza rima. It tells of a dream in which the poet sees, in sequence, the triumphs of Wisdom, Earthly Glory, Wealth, Love, all-destroying Fortune (and her servant Death), and thereby becomes worthy of the now heavenly love of Fiammetta.
It is inevitable to point out clear affinities and non-latent influence with the almost contemporary "Triumphs" of Petrarch. Furthermore, the precise description of the frescoes has allowed some critics to identify the Boccacciano castle with Castel Nuovo in Naples, frescoed by Giotto.
Recently (2022/11/19) I wrote at viewtopic.php?p=25583#p25583 ....
Demogorgon and Boccaccio
https://www.sueddeutsche.de/leben/dem-g ... -1.4678228
automatic translation .... https://www-sueddeutsche-de.translate.g ... r_pto=wapp
https://library.oapen.org/bitstream/han ... sequence=1
Paolo Cherchi: The Inventors of Things in Boccaccio’s De genealogia deorum gentilium ... page 244
Giuseppe Mazzotta: Boccaccio’s Critique of Petrarch .... page 270
The second text (Mazzotta) contains also the word "Trionfi"https://en.wikipedia.org/wiki/DemogorgonAfter evoking Eternity and Nature, Boccaccio turns to the phantasmagoria of the natural sequence of created beings. From the Earth – the eighth of the nine daughters of Demogorgon – are born five children, among whom is Fama, love, death (Erebus), and time. It is difficult to resist recalling the ordered, progressive, hierarchical ascent of Petrarch’s Trionfi (love, time, fame, death, and Eternity), which Boccaccio dismantles. The neat rank ordering is displaced, and with it, Petrarch’s luminous self-consciousness plunges into the opacity of the mythology of Demogorgon who transcends all order and all individualities.
Pronapides the Athenian ....
http://www.perseus.tufts.edu/hopper/tex ... ides-bio-1
We had the Demogorgon earlier, in 2011, in context of "Trionfo de Sogni 1566 - 21 Trionfi with gods"
MikeH recently directed me to the "Amorosa Visione", according Wikipedia
Amorosa visione (1342, revised c. 1365) is a narrative poem by Boccaccio, full of echoes of the Divine Comedy and consisting of 50 canti in terza rima. It tells of a dream in which the poet sees, in sequence, the triumphs of Wisdom, Earthly Glory, Wealth, Love, all-destroying Fortune (and her servant Death), and thereby becomes worthy of the now heavenly love of Fiammetta. The triumphs include mythological, classical and contemporary medieval figures. Their moral, cultural and historical architecture was without precedent, and led Petrarch to create his own Trionfi on the same model. Among contemporaries Giotto and Dante stand out, the latter being celebrated above any other artist, ancient or modern.
https://it-m-wikipedia-org.translate.go ... r_pto=wapp
A part of it ...The descriptions contradict each other. Another Italian wikipedia page ... automatic translation ....Plot
The protagonist, who has been struck by Cupid 's arrows of love for Fiammetta, falls asleep and dreams of wandering through deserted places when he meets a woman who invites him to follow him and leads him to a castle which has two doors , the one on the right it is small and narrow and leads to virtue , while the one on the left is large and wide and promises wealth and worldly glory.
Allowing himself to be persuaded by two young men, he chooses the widest door and goes through numerous rooms on whose walls are frescoed the triumphs of Wisdom , Glory, the Avars , Love , Fortune and a kind woman . Thus he convinces himself " that these well-earned are truly / those who put each one under the grip of vices "  and follows his guide so that it leads him to see things " glorious and eternal "  .
First he sees a marble fountain on which stand out four caryatids symbolically representing the four cardinal virtues , three small statues of women, symbol of pure love, carnal love and venal love and three animal heads , a lion , a bull and a wolf symbolizing pride , lust and avarice .
He then enters a garden where graceful women stroll and he recognizes Fiammetta among them. The two walk away in a " loco (...) all alone "  but when he tries to possess the desired woman, the dream vanishes. Awakened, he thus finds himself next to the guide who scolds him and tells him that he will be able to achieve what he desires only by following virtue and leaving worldly goods.
The poem ends with an invocation to the beloved woman to be compassionate towards him :  .
"Therefore, kind and valiant woman,
of beauty as a source of sunlight,
look at the flame that hides
inside my chest, and extinguish it
by being pitying towards me"
https://it-m-wikipedia-org.translate.go ... r_pto=wapp
It is a poem in tercets divided into fifty cantos.
The actual narration is preceded by a proem consisting of three sonnets which, taken together, form an immense acrostic in the sense that they are composed of words whose letters (vowels and consonants) correspond in an orderly and progressive manner to the respective initial letters of each tercet of the poem.
The story describes the dreamlike experience of Boccaccio who, under the guidance of a kind woman, arrives at a castle, on whose walls allegorical scenes are represented featuring illustrious characters from the past. In more detail, the triumphs of Wisdom, Glory, Love and Wealth are represented in one room, and that of Fortune in the other.
It is inevitable to point out clear affinities and non-latent influence with the almost contemporary "Triumphs" of Petrarch. Furthermore, the precise description of the frescoes has allowed some critics to identify the Boccacciano castle with Castel Nuovo in Naples, frescoed by Giotto. After having dwelt with display of erudition on the beauties of the frescoes, Boccaccio passes into a garden where he meets Madonna Fiammetta and tries to abuse her in her sleep.
The timely awakening of the woman and the fact that she reminds the poet of the danger of the imminent return of her guide prevent the act from taking place. In fact, shortly thereafter the "gentle woman" returns stating that the poet will be able to achieve full possession of her beloved by leading a life marked by the virtuous precepts whose learning had been the essential purpose of the journey.
The work owes several debts to Dante and the Divine Comedy, especially as regards the experience of the "Visio in somnis" and the guidance of a "gentle woman", but the strong tendency towards emancipation of Boccaccio should also be underlined : while Dante follows in all respects the dictates of Beatrice, Boccaccio in numerous cases rebels against the patronage of the guide, for example in preferring the wide road of worldliness, with its fatuous attractions to the narrow and impervious one that leads to virtue. The sublime tone contrasts with the comedy of certain situations (primarily the meeting with Fiammetta) so that some critics have thought of a parodic intent on the part of Boccaccio towards the didactic allegorical poem.