Italy

The article by Gemma Guerrini mentioned in previous sections, "I Trionfi del Petrarca", in Scrittura e civiltà 10 (1986) 121-197, has a long list of Trionfi mss. that originated in Italy, some 434 of them in collections around the world. Of these, 111 are in Florence (as of her writing), mostly in 3 libraries, plus 3 now lost; 66 are in Rome, in 2 libraries; 16 in Venice; 16 in Milan; 14 in Parma; 10 in Modena; 10 in Trieste; 9 in Bologna; 7 in Naples and about 20 elsewhere in Italy. That is 282 in Italy, all fifteenth century. While she does not specify for individual mss. what part of the fifteenth century they might be, she does have a graph indicating how many are in each quarter-century, starting at "1400 and before," then first quarter, second quarter, third quarter and fourth quarter. There is a sharp rise in their number in the third quarter of the fifteenth century. It is unfortunate that she does not give, ms. by ms., the evidence for her divisions. Perhaps it was impossible, and what she shows is just an estimate. Or else it is in some other table, unknown to me.

Otherwise, there are catalogs that do date some of the manuscripts they mention. Mostra di Codici Petarcheschi Laurenziani. Firenze 1974, is a catalog of an exhibition of manuscripts of or about Petrarch, 93 in all. The preface (and I assume the book) is by Antonetta Morandini. The notes on the manuscripts are conveniently divided into non-illuminated and illuminated. 13 of the manuscripts contain all or part of the Trionfi.  Considering that Guerrini's numbers 35-77, i.e. 43 in all, are all given to the Laurentian Library, that is a less than a third of the ones they have.

Only one is dated pre-1440, no. 64. Like some others in the 15th century, it has Death before Love, not the same disorder as in the tarot (Time before Death. which one would hope to be truer), but still a disorder.
Here are the non-illuminated I Trionfi (I unfortunately did not write down their catalog numbers)

53. With Rime. Comment: "Scritto di una mano della prima meta del secolo XV con giunte finali di piu tarde", written in a hand of the first half of the XVth century or a little later.

62. Trionfi con varianti e note d'Autore. 18 June 1463. The Triumph of Fame is preceded by the chapter "Nel cor pien d'amarissa dolcezza". (This is Petrarch's first draft of that Triumph; it was sometimes put separately and sometimes as the third part of Death.)

63. Trionfi copiati da [copied by] Luigi Pulci. "intorno al 1465", c. 1465. Probably for the Medici, it says. In the lower left corner of one page is a portrait of a boy who could be Lorenzo di Piero de' Medici "adolescente". Pulci tutored the younger Medici, I recall. The catalog doesn't reproduce the portrait, but here is a sample of Pulci's script: http://4.bp.blogspot.com/-0_PVAc7J7ZU/V ... Script.JPG. The notes say that it contains 14 chapters, of which the last, the Triumph of Eternity, bears the title "Capitolo XIIII del Giudicio". That identifies that Triumph with the Judgment Card, which of course is the type A ending. The XIII, as opposed to the 13 usual chapters, might be explained as including the first draft of Fama. Given that the note is rather long and might deserve closer examination, here it is: http://4.bp.blogspot.com/-213SxZUH06Y/V ... ciNote.JPG

64. Trionfi, 12 Mai, 1427. Disordered and incomplete. The second chapter of the Triumph of Death--the only one present--is put before the Triumph of Love. Then comes Chastity, chapter 1 only, followed by Fame, Time, and Eternity. Copied by Gabriele di Francesco as an involuntary guest of Florence ("durante la sua detenzione nel carcere fiorentiono delle Stinche" it says on 35).

65. Trionfi, xv century. Hand resembles that of Barolmeo Sanvito.

Then the illuminated manuscripts:

85. Trionfi, xv century. "ambiente fiorentino". In case anyone can date by artistic style, I give my scan from it of Petrarch in his scriptorium.

87. Trionfi, done in the hand of Giusto de' Conti, probably for Galeazzo Maria Sforza, "come resulterrebbe dalle iniziali nel margine superiore del fregio alla c. 7r" i.e. because of the initials on the decoration, p. 7r. The same page has Laura crowning Petrarch. Here is my scan (larger at http://2.bp.blogspot.com/-IYuZNpIpFbY/V ... hLaura.JPG)

I don't know how they get Galeazzo Maria out of "IA AD", but the dragon on certainly resembles the Visconti snake.

88. Trionfi and Divine Comedy, 1442, finished at the vigil of the Ascension of Christ. At the beginning of each Triumph, traditional iconography. Script by "Bese Ardingheghli fiorentino".

89. Trionfi and Canzioniere, 1447. Miniatures by Workshop of Attavanti. Portrait of Petrarch in initial, 11r

91. Trionfi. "Splendida" Triumph of Love and portrait of Petrarch on p. 1-2, attributed to Francesco d'Atonio del Chierico.

92. Trionfi, 15th c., Florentine ambit.

93. Trionfi, 15th c., miniatures thought by Ancona to be northern, but attributed by Caradente to Apollonio di Giovanni. First 8 pages have miniatures of illustrious men, including Petrarch. Here is one scene,

Then come various Triumphs, in an interpretation "che si discosta leggermente da quella classica ed offre notevole interesse anche per la storia del costume", i.e. that deviates slightly from the classical and offers noteworthy interest for the history of dress. Added in 2023: This is Florence Biblioteca Medicea Laurenziana, ms. Strozzi 174, with the scene above at https://www.ziereis-faksimiles.de/faksimiles/petrarca-trionfi-florentiner-codex#&gid=1&pid=9, along with the six triumphs.

The illustrations are from a facsimile edition. Another in that series of facsimiles, ca. 1470, school of Chierico, is Rome, Biblioteca dell'Accademia Nazionale dei Lincei e Corsiniana, MS Cors. 1081 (55.K.10), at https://www.facsimilefinder.com/facsimiles/corsiniana-triumphs-petrarch-facsimile.

VATICAN: GUERRINI'S LIST (A 2023 ADDITION TO THIS BLOG)

The Vatican Library has put scans of an immense number of manuscripts online since I originally wrote this blog. They are listed only by catalog number, and the trick is to find the ones you want.  Fortunately, we have Guerrini's list of 47, the majority of which are there. Here they are, with my notes gleaned from other sources

Barb 3643. Cohen: 3^rd quarter, ILLUS. No scan.

Barb 3663, no scan.

Barb. 3681 late15th-early 16^th, no scan.

Barb 3925, no scan.

Barb. 3943. ILLUS. https://digi.vatlib.it/view/MSS_Barb.lat.3943, Lombard, 1440-1460.

Barb 3954. ILLUS. https://digi.vatlib.it/view/MSS_Barb.lat.3954, Lombard, mid 15^th.

Barb 3962 (per Cohen, ILLUS, Ferrara?), no scan

Barb 4011,  https://digi.vatlib.it/view/MSS_Barb.lat.4011. I do not see Trionfi. Dec. initials.

(Oxford database: Barb. 3952, 15^th c., no scan.)

Capp.183, https://digi.vatlib.it/view/MSS_Cappon.183.

Chigi LIV.114, no scan. Cohen: all trionfi ILLUS., Cherico style, 2^nd half of 15^th c., related to style of 1460s.

No scans or other information. Chigi LIV.116, Chigi LV.170, Chigi LVI.216, Chigi LVI.217, Chigi LVI.219, Ottob. 1076, Ottob.1219, Ottob. 2892,

Ottob. 2998. Pellegrin: 1458-1461, Naples. Cohen: 1451-58. Related to Cola Rapicano, active 1451-88.  ILLUS: Love’s chariot trampling people, Death bound, all dead in Eternity. Hourglass. https://digi.vatlib.it/view/MSS_Ott.lat.2998 .

Reg 1110, done 1463*, https://digi.vatlib.it/view/MSS_Reg.lat.1110. Decorated initials.

Reg 1607, https://digi.vatlib.it/mss/detail/Reg.lat.1607

Rossi 12, https://digi.vatlib.it/mss/detail/Ross.12

Rossi 18, 16th c., https://digi.vatlib.it/view/MSS_Ross.18

Rossi 489, 15th c., https://digi.vatlib.it/view/MSS_Ross.489, decorated initials

Rossi 494, https://digi.vatlib.it/view/MSS_Ross.494

Rossi 915, https://digi.vatlib.it/mss/detail/Ross.915

(in Oxford: Rossi 1117 in “excluded,” late 14^th-early 15^th, 4 marginal notes. Pellegrin 123. https://digi.vatlib.it/view/MSS_Ross.1117)

Urb. 681, 15th [Cohen says 1440-1460, Cherico ILLUS., https://digi.vatlib.it/view/MSS_Urb.lat.681

Urb 683, 15^th, ILLUS, well known (Cohen: 1468-1485, https://digi.vatlib.it/view/MSS_Urb.lat.683

Urb 684, https://digi.vatlib.it/view/MSS_Urb.lat.684, lots of marginal notes, no dec.

Vat.Lat 2026, https://digi.vatlib.it/view/MSS_Vat.lat.2026, no lines of verse or anything I recognize.

VarLat 3142, https://digi.vatlib.it/view/MSS_Vat.lat.3142, decorated initials, starting with Death, just trionfi.

Vat Lat.3157 (per Cohen, mid-15^th, Ferrara or Venice, ILLUS. Ruins etc. https://digi.vatlib.it/view/MSS_Vat.lat.3157

Vat Lat.3197, 1501-2, https://digi.vatlib.it/view/MSS_Vat.lat.3197.

Vat.Lat.3198, 15^th, annotations, coat of arms 10r, portrait 1r, decorated beginning of Trionfi, https://digi.vatlib.it/view/MSS_Vat.lat.3198

Vat Lat 3216, https://digi.vatlib.it/view/MSS_Vat.lat.3216. No illus., unclear where trionfi are.

Vat Lat.3430[MH1] , https://digi.vatlib.it/view/MSS_Vat.lat.3430, just part of Fame at end of ms.

Vat Lat.4783, late 14^th, wide margins, some commentary, https://digi.vatlib.it/view/MSS_Vat.lat.4783

Vat Lat 4784, https://digi.vatlib.it/view/MSS_Vat.lat.4784, wide margins, a few marginalia, starts 130r

Vat Lat 4785, https://digi.vatlib.it/view/MSS_Vat.lat.4785, looks like Siena 1451. Decorated initials, very legible text, Trionfi only.

Vat Lat 4786, 15^th c., margin commentary, no dec., https://digi.vatlib.it/view/MSS_Vat.lat.4786

VatLat 4787, https://digi.vatlib.it/view/MSS_Vat.lat.4787, narrow margins, no dec, ends 177v.

Vat Lat 4830, https://digi.vatlib.it/view/MSS_Vat.lat.4830. Miscellany, incl. Burchiello 175rff.

VatLat 5154, https://digi.vatlib.it/view/MSS_Vat.lat.5154, dec. Beginning Trionfi, 148r & incipits.

Vat Lat 5155, 15th., some dec., no scan.

Vat Lat 6802, https://digi.vatlib.it/view/MSS_Vat.lat.6802 , no dec., wide margins, odd script

Vat Lat 8948, 15^th, some dec., https://digi.vatlib.it/view/MSS_Vat.lat.8948,  ends divinitatis seu judicii. Only Trionfi, repeated similar dec. initials.

Vit Lat 9985, https://digi.vatlib.it/view/MSS_Vat.lat.9985, no dec. or marginal comments

 

PELLEGRIN SUPPLEMENT

For the Vatican, there is also the volume put together by Elisabeta Pellegrin, 1976. In that supplement to an earlier catalog by Vattaso, she lists thirteen copies of the Trionfi. Unfortunately I did not write down the catalog numbers. Two can be highlighted.

#21 is "Parch., XVe s. (début)" and of script "préhumanistique ronde". It is from the Fabio Chigi collection. It contains both the Rime and the Trionfi, on parchment. On three folios the initials are illuminated by leaves of acanthus on a gold background (fonde). The title of the first sonnet is in gold letters. There is a marginal commentary in the same hand.

#24 says "Papier (filigrane var. Briquet 2445 et 11702?), XVe s. (a. 1441), 1 + 72ff. + 1 f. (foliotation ancienne; ff. 1v-3v, 65 et 71-72v blancs), 291 x 215 mm. Les ff. 1 et [73] sont des fragments de parchemin notés du XIIIe s. remployés comme ff. de garde." The Trionfi are f. 5-40v. For origin it has:

Italienne, écriture humanistique cursive peu soignée et peu lisible. Le copiste signe et date sa dopie de Venise, au f. 70v: "finito. Amen. Iscritto per Michele Marmi (?) (en marge, addition, peut-être de la même main: "de Lonicho") de Firenze in Vinegia del mese di giugnio 1441".

which means: "Italian, humanistic cursive handwriting neat, little and difficult to read. The copyist signs and dates the copy of Venice, in f. 70v: ".. (?) Finished. Amen. Written by Michele Marmi (?) (in the margin, addition, perhaps in the same hand: "of Lonicho") of Florence in Vinegia in the month of June 1441". I don't know whether this should be attributed to Venice or Florence. It is from the Chigi collection; there is also "E. Mange" (?) written in pen from the XVIth century. It contains both the Trionfi and the Rime.

The rest are uninformative for our purpose, but I enumerate them anyway.

#69 has "Papier sauf ff. III et 33 feuillets de garde en parchemin, XVe et XVIe". For the Trionfi, she has "f. III et 33-33v (add. du XVIe s.)"
#62 has "Papier sauf 11, 34-35, 46, 58. 79, 89, 100, 111 et 122 en parchemin (pas de filigrane visible), fin XVe s. ou XVe-XVIe s." The Trionfi are on pp. 112-122.
#57 is "Papier (filigrane var. briquet 11705?), XVe s." with Venetian style humanistic script, initials in style of Ferrara.
#51 is "Parch., début XVIe s." Has notes in Italian on events 1527-1528
#49 is "Parch. XVe s.", of "humanistique ronde" script. She says "aux ff. 21 t 47 intiales d'or a 'brianchi girari'," which might possibly be a clue of some sort.
#45 is "Parch. XVe-XVI s."humanistique cursive penchee" script.
#44 is "Parch., XVe s.", script "petite humanistique ronde" on parchment, only selections of Trionfi along with other things.
#22 is "Papier (filigrane Briquet 11703; Vicence 1442), "XVe s.", script "humanistique ronde". "Ex-libris contemporain au f. 141v 'Liber mey Antonii M[agist]ri' (?) Augustini de Martiis".
#18 is "Parch. XVe s.", script "humanistique ronde". A possessor was "Io Bargolomio de Iacopo de Luerca (? ou Luesxca?), (fin XVe s.)".
#16 is "Parch. XVe s.", arms added of "famille Nelli de Sienne" [Nelli of Siena], "humanistique cursive" script.
#14 is "Parch., XVe s.", lots of illuminations, including one on f. 10 of Laura, Petrarch, and Love. Has arms of Lucalberti family of Florence and an inscription "Questo libro e di P[ier]o di Pazzino Luchalberti citadino fiorentino e di Luchalberto suo fig[lio]lo" (XVIe s.). Script "humanistique cursive".