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Notwithstanding the accusation of stinginess brought against his father, Boccaccio must apparently have possessed considerable means, mixing in the best society of Naples. He probably owed much to the Florentine extraction of Nicola Acciajuoli, a leading personage, and subsequently Grand Seneschal of the kingdom. By 1338 he had progressed so far as to fall in love with the lady he has celebrated as Fiammetta, but whose real name was Maria, putative daughter of the Count of Aquino, but generally believed to be the offspring of King Robert himself. Fiammetta was married. The degree in which she returned his passion is uncertain, but she appears to have exerted considerable influence upon his career as an author. He composed theFilocopo for her entertainment about 1339, and the close of his activity as an imaginative writer about twelve years afterwards coincides with the probable period of her death. Ameto andFiammetta, in both of which she is celebrated were written after Boccaccio’s return to Florence whither he was recalled by his unsympathising father about 1340; here the wild oats sown at Naples came up in a plentiful crop of fiction and poetry. Literary productions must have occupied most of Boccaccio’s time until 1345, when, probably on account of his father’s remarriage, he returned to Naples, where he is said to have begun theDecameron under the patronage of Queen Joanna. In 1348 the pestilence which devastated Florence carried off his father. Boccaccio returned in 1349 to arrange family affairs, and thenceforth appears in quite a new light, as a trusty diplomatist, the author of various manuals (Genealogiæ deorum gentilium,De casibus virorum illustrium, &c.) of the information most sought for in the age, and, under Petrarch’s direction, a chief agent in the promotion of humanistic studies. Copies of Terence and Apuleius are extant in his handwriting.