If Dindenaut's name does not occur, there are the sheep.

The tempest is there, and the invocation to all the saints.
Rabelais improves all he borrows, but it is from Folengo he starts.

He does not reproduce the words, but, like the Italian, he revels in drinking scenes, junkettings, gormandizing, battles, scuffles, wounds and corpses, magic, witches, speeches, repeated enumerations, lengthiness, and a solemnly minute precision of impossible dates and numbers.

The atmosphere, the tone, the methods are the same, and to know Rabelais well, you must know Folengo well too.
Detailed proof of this would be too lengthy a matter; one would have to quote too many passages, but on this question of sources nothing is more interesting than a perusal of the Opus Macaronicorum.

It was translated into French only in 1606--Paris, Gilley Robinot.