Thus the first medieval follower of Seneca, Albertino Mussato (1261-1330) may in a sense be called the father of modern dramatic literature. Born at Padua, to which city all his services were given, he in 1315 brought out his _Eccerinis_, a Latin tragedy very near to the confines of epic poetry, intended to warn the Paduans against the designs of Can Grande della Scala by the example of the tyrant Ezzelino. Other tragedies of much the same type followed during the ensuing century; such as L. da Fabiano's _De casu Caesenae_ (1377) a sort of chronicle history in Latin prose on Cardinal Albornoz' capture of Caesena.[14] Purely classical themes were treated in the _Achilleis_ of A. de' Loschi of Vicenza (d. 1441), formerly attributed to Mussato, several passages of which are taken verbally from Seneca; in the celebrated _Progne_ of the Venetian Gregorio Cornaro, which is dated 1428-1429, and in later Latin productions included among the translations and imitations of Greek and Latin tragedies and comedies by Bishop Martirano (d. 1557), the friend of Pope Leo X.,[15] and the efforts of Pomponius Laetus and his followers, who, with the aid of Cardinal Raffaele Riario (1451-1521), sought to revive the ancient theatre, with all its classical associations, at Rome. In this general movement Latin comedy had quickly followed suit, and, as just indicated, it is almost impossible, when we reach the height of the Italian Renaissance under the Medici at Florence and at Rome in particular, to review the progress of either species apart from that of the other. If we possessed the lost _Philologia_ of Petrarch, of which, as of a juvenile work, he declared himself ashamed, this would be the earliest of extant humanistic comedies. As it is, this position is held by _Paulus_, a Latin comedy of life on the classic model, by the orthodox P. P. Vergerio (1370-1444); which was followed by many others.[16] Italian tragedy in the 16th century.