Having completed his studies in his homeland, he moved to Naples, where he was kindly welcomed by Giovanni Battista Manso, the founder of the Accademia degli Oziosi.
[4] This work, modelled on Ovid's Heroides, earned him the esteem and admiration not only of Marino, but of all the most prominent exponents of Italian baroque literature, such as Nicola Villani, Claudio Achillini, Girolamo Preti and Tommaso Stigliani.
[3] A few years after the Epistole eroiche, Bruni published Le tre Grazie (Rome 1630), a collection of rhymes divided by subject (the amorous ones are entrusted to the tutelage of Aglaea, the heroic ones to that of Thalia, the sacred and moral ones to that of Euphrosyne).
The poetic collection, dedicated to Marino Caracciolo, earned Bruni the enrollment in the Neapolitan Accademia degli Oziosi, while acknowledgments and praise came from the Umoristi of Rome, the Insensati of Perugia and the Caliginosi of Ancona.
[5] Apart from Petrarch, Bruni's models are Torquato Tasso (whose death he commemorated in a sonnet that was among the most read and admired) and of course Giambattista Marino, who already in 1624 had praised the song for Emmanuel Philibert of Savoy, later collected in the Tre Grazie under the title La visione.