This phase of romantic love was brief, and perhaps mostly the possession of the poets, but it represented a really important moment in the evolution of modern romantic love. It was a step towards the realization of the genuinely human charm of young womanhood in real human relationships, of which we already have a foretaste in the delicious early French story of Aucassin and Nicolette.
The re-discovery of classic literature, the movements of Humanism and the Renaissance, swept away what was left of the almost religious idealization of the young virgin.
The ethereal maiden, thin, pale, anæmic, disappeared alike from literature and from art, and was no longer an ideal in actual life. She gave place to a new woman, conscious of her own fully developed womanhood and all its needs, radiantly beautiful and finely shaped in every limb. She lacked the spirituality of her predecessors, but she had gained in intellect.
She appears first in the pages of Boccaccio. After a long interval Titian immortalized her rich and mature beauty; she is Flora, she is Ariadne, she is alike the Earthly Love and the Heavenly Love. Every curve of her body was adoringly and minutely described by Niphus and Firenzuola. 12
She was, moreover, the courtesan whose imperial charm and adroitness enabled her to trample under foot the medieval conception of lust as sin, even in the courts of popes. At the great academic centre of Bologna, finally, she chastely taught learning and science. 13
The people of the Italian Renaissance placed women on the same level as men, and to call a woman a virago implied unalloyed praise.