In his Centiloquio he set out in terzinas ninety-one cantos' worth of chronicle from Giovanni Villani's Cronaca.
In Le proprietà di Mercato Vecchio he praised, again in terzinas, the incomparable street life of Florence's crowded market piazza.
He composed cantari in the eight-line stanzas called ottava rima, telling the subjects of courtly romance in a fast-paced narrative, with an undertone of subversive populist skepticism that undercut the very conventions that the stories embraced, full of vivid contemporary color and pious sentiment, and perhaps he declaimed them in the public squares: La Reina d'Oriente, Gismirante, Apollonio di Tiro, Brito di Brettagna, Madonna Lionessa.
During the second half of the 14th century, Florence remained a centre of culture, but its literature developed a more popular character.
[1] About 1373, New Chronicles from Giovanni Villani was versified and produced by fellow Florentine Antonio Pucci as a rhymed version in terza rima.