ABSTRACT
Poetic theory in the Cinquecento treated vernacular poetry as a legitimate art form, resting on a strong historical and philosophical basis. The performance of poetry was a kind of solo singing to the accompaniment of a musical instrument. Eventually, all the arts were encompassed in this continuity, interrupted and damaged during the Dark Ages because of barbarian invasions. This notion became a commonplace in practically all treatises written in the Cinquecento. Petrarch indeed rose to the top of the list of the most popular poets for Cinquecento musicians, but it was not the same with Dante. Humanists approached this problem not only through the meticulous reading of ancient authors but also by analogy with the contemporary Italian practice of reciting poetry, an elitist art that was used for the performance of poetry of the highest level, particularly epic poetry and drama.
