Switzerland, according to the book on Petrarch manuscripts that country, has no copies of the Trionfi whatever.
MANUSCRIPTS NOW IN FRANCE, LISTED BY PLACE OF ORIGIN (Note: I am still in the process of revising this section, chiefly in providing more references and links).
FRANCE
This information is from Elisabeth
Pellegrin, Manuscrits de Petrarque dans les Bibliotheques de France, vol. II, Padua 1966. In the course of describing these manuscripts, she indicates a considerable number of Italian origin.
FLORENTINE MANUSCRIPTS IN FRANCE
The earliest Italian ms. of the Trionfi is probably Bibliotheque d'Arsenal 8582, a small volume of just the Trionfi, the script of which "recalls chancellery script of the end of the 14th century," Pellegrin says (p. 322). But another, Inguimbertine 393 in the Imguimbertine Library of Carpintras has many parts, including that of the Trionfi, written in script that is "a bit gothic" and could be from the beginning of the 15th century. Other parts have dates, 1448, 1449, 1470 (p. 311). It was brought to France by Malachie d’Inguimbert (1683-1757), bishop of Capintras and founder of the library.
A manuscript that is especially intriguing is BnF ms. it. 54. Pelegrin says its script and decorations are in the style of
Lombardy in the first half of the 15th c. There are notes in it written
by someone who indicates that he knew Donato Albanzani, friend and
translator of Petrarch, who died in 1411. The writer knows Petrarch's
life and sources well and is probably himself Florentine, based on a
reference in one of the notes.
Pp. 328-331 of her book describes probably the Italian ms. now in France with the most beautiful illustrations, Bibliotheque Nationale (BnF) Ital. 548, acquired in 1494 by Charles VIII in Florence, on his way to Naples. It contains, apart from introductory matter: 11r-54r, the Trionfi; 56r-193v, the Rime; and 194r-199v, Leonardo Bruni's, Vita di Francesco Petrarco. About how it came to France, she says (pp. 328f, followed by my translation):
This manuscript is signed and dated by Antonio Sinibaldi, last day of September 1476, Florence. A footnote says that Ullman in an essay enumerates 30 ms. by various authors signed by him between 1461 and 1499, including this one. The illuminations are attributed by d'Ancona to Francesco d'Antonio del Cherico, best known for his illuminations in other Trionfi manuscripts.Selon Delisle, le ms. été fait pour Laurent de Médicis (d. 1492) dont les emblèmes: une tige verte garnie de feuilles et de fleurs avec la devise: Le tens revien[t], et l'anneau d'or avec un diamant (4), sont peints dans la [end p. 130] bordure du f. IV. Il fut offert au roi Chalres VIIII lors de son passage à Florence en 1494 (1).
_____________
4. D'Ancona, La miniatura [fiorentina (Secoli XI-XVI), Firenze 1914, I, 432-33], I 40, mentionne cette devise et l' "anello diamantato" au nombre des emblèmes de laurent le Magnifique.
1. Les armes peintes au bas du f. 11r en deux écus accolé sous la même couronne sont inconstablement celles de Charles VIII comme prétendant au royaume de Jérusalem par les Anjoux: 1: de France, 2) écartelé d'Anjou et de Jérusalem. On les retrouve identiques sur un ms. français donnée en 1496 par Charles VIII à Philippe du Moulin (v. A. De Laborde, Les principaux manuscrits à peintures conservés dans l'ancienne Bibliothèque imperiale publique de Saint-Pétersbourg, 116-17, no. 112: fr. Q. V. XIV. I. L'Institut de recharche et d'istoire des texts possède un microfilm de ce ms.) D'Ancona, La Miniatura...., I 432-33, attribue ces armes aux Aragon.
(According to Delisle, the ms. was done for Lorenzo de Medici,(d. 1492) whose emblems: a green stem topped with leaves and flowers, with the motto: Le tens revien[t], and the gold ring with a diamond (4), are painted in the border of f. IV. It was offered to King Charles VIII during his time in Florence in 1494 (1).
___________
4. Ancona, La Miniatura fiorentina (Secoli XI-XVI), Firenze 1914, I, 432-433, I 40, mentions currency and "anello diamantato" [diamond ring] among the emblems of Lorenzo the Magnificent.
1. Arms painted at the bottom of f. 11r of two attached crowns [écus, a denomination of French currency] under the same crown [couronne] are incontestably those of Charles VIII as a pretender to the kingdom of Jerusalem by the Anjoux: 1: France, 2. torn from Anjou and from Jerusalem. They are the same as ones found on a French ms. given in 1496 by Charles VIII to Philippe Moulin (see A. Laborde,The principal illuminated manuscripts preserved in the old Imperial Public Library in St. Petersburg, 116-17, No. 112:.. en QV XIV.. I. The Institute of Research and History of Texts has a microfilm of the ms.) D'Ancona, La Miniatura ...., I 432-33, attributes these arms to Aragon.
Pellegrin cites without enthusiasm one art historian who theorizes that the manuscript was made for a wedding (p. 331):
Pellegrin says of the illuminations:L'hypothèse toute récente de Klara Casapodi-Gardonyi selon laquelle le ms. aurait été fait à l'occasion du mariage de Mattthias Corvin et de Béatrice d'Aragon aurait fait partie de la fameuse bibliothèque "Corviniana" repose sur des bases trop fragiles: l'oiseau qui figure sur des plaquettes émaillées de la reliure serait le corbeau, emblème des Corvin, la paysage du f. IV représenterait la ville hungroise de Vinegrad, et sur l'attribution erronée des armes à Louis XII.
(The very recent hypothesis of Klara Casapodi-Gardonyi that the ms. would have been done for the wedding of Mattthias Corvin and Beatrice of Aragon, made part of the famous "Corviniana" library, is of bases that are too fragile:the bird appearing on the enameled plaques of the binding would be the raven emblem of Corvinus, the landscape of f. IV represent the Hungarian City Vinegrad, and the erroneous attribution of the arms to Louis XII.
Reluire originale de soie rouge ornée de ênd of p. 328]: "plaquettes émaillée en forme de quadrilobes dont quatre aux armes de France (refaites); sur chaque plat 5 médallions représentant les Muses (en manque). Enluminieres à pleine page aux ff. IV, 10v, 24v, 39v, 47v, 51v; bordures de fleurettes, initiales d'or finement enluminées ou historiées, (1) titres en or ou rubriqués.
____________
1. Pétrarque est représanté plusieurs fois: au f. iv; dans l'enluminure, naufragé s'accrochant à un laurier, et dans la bordure inférieure, habilé de noir et assis sous un laurier; au f. 56r, dans l'initiale, et. couronné, dans la bordure.
(Original of shining red silk adorned with [end of p. 328]: enameled plaques in the form of quatrefoils including four of the arms of France (redone); on each plate 5 medallions representing the Muses (missing). Full page illuminations at ff IV, 10v, 24v, 39v, 47V, 51v.. ; borders of flowers, initials of finely illuminated or historiated gold, (1) titles in gold or rubricated.
____________
1. Petrarch is represented several times at f. iv in the illumination: as a castaway clinging to a laurel, and in the bottom border, dressed in black and sitting under a laurel; at f. 56r in the initial, and. crowned, in the border.
Anyway, Charles got it. At that time the anti-Medici Savonarola was the leader of the government of Florence.
Pellegrin gives the specific pages with illuminations, as well as the words with them: at least six relate to the six triumphs and are put just before the poems themselves. All of the book is available online at https://gallica.bnf.fr/ark:/12148/btv1b105325942, and with its feature of having multiple thumbnails accessible at once, it is easy to find those with illustrations. They are said to be by Chierico or his workshop. The manuscript seem to
have been quite famous in its day. One Florentine ms. in Spain is said
(in the book on Spain, referenced later in this post) is described as in
part a copy of the script in this one.
Another ms. that he might
have picked up in Florence is BnF it. 1471, which has pages ripped out right
where illuminations would be (perhaps those done in 1440 by de' Pasti? A
gold diamond ring device, known to have been adopted by the Medici, appears several times on f. 1r). It is possible that these illustrations are those which Matteo de' Pasti wrote to Piero de' Medici about in 1440, for instructions on what to put in them. No one knows
how this ms. ended up in the Abbey St. Victoire, Pellegrin says.
NEAPOLITAN MANUSCRIPTS IN FRANCE
Next Charles VIII occupied Naples. According to the BnF's notes, He took at least four Trionfi mss. of
thefrom Naples, depositing
them at the family chateau at Blois. From Naples are BnF It. 1016, 1019, 552, and 553. At least two others might have gone to France sometime during the
Italian wars, BnF 549 and 2126 (according to Franco Simone in The French
Renaissance, pp. 225 and 229). None of these have illustrations. BnF 1697 is "Florence-Venice" 1451-59, then Naples 1464 but in
France by the 18th or early 19th century (Pellegrin p. 358 and n. 2).
Unfortunately, many of the 15th century Italian manuscripts now in French collections there is no information of when they got there. In this category are BnF it. 551 and 1021, again without illustrations. One with illuminations that came to France at an unknown date is Musée Jacquemart-André 17. There are two that apparently are not in condition to put on Gallica, BnF 1017 and 1018. All that Gallica gives us are note cards by Avril, and I can't make out much on them, https://gallica.bnf.fr/ark:/12148/btv1b10000511d/f1669, https://gallica.bnf.fr/ark:/12148/btv1b10000511d/f1670 (from https://archivesetmanuscrits.bnf.fr/ark:/12148/cc101123 and similarly for the other). Pellegrin describes the contents and some coats of arms. There is also BnF it. 1382, in Gallica; Pellegrin assigns it to the 15th century, noting "Naples 1453, Venise 1455 etc." (p. 353). Of BnF it. 1536 she says only that it is 15th century.
Peregrin lists Trionfi manuscripts in other French collections that would have come there after the French invasions. BnF it. 550, done in 1479-80 Rome, had a note (now disappeared) that it was given by Giovan Francesco Asolano, a printer in Venice, to the famous collector Jean Grolier (1479-1565) (p. 333). Franco Simone (p. 228 of his book) says that this would have been in the mid-16th century, when Grolier was bailiff for the Duchy of Lombardy for Francis I. Another is BnF 1022, from 1453, Pellegrin says (p. 347). It has the arms of Sertorio Sertori, a Modenese established in Bologna in 1554. In the private collection of the Abbé R. Marcel is a 15th century Trionfi ms., associated with the Buondelmonti family, Florentine nobility some of whom became rich merchants, Pellegrin says (p. 510). In Carpintras is Inguimbertine Library 392, ca. 1470 Perugia according to an inscription, brought to France by Malachie d’Inguimbert (1683-1757), bishop of Capintras and founder of the library (pp. 306-8). Another, brought to France at the same time, is the same library's Inguimbertine 393. Pellegrin says that many parts, including that of the Trionfi, is written in "a bit gothic" script and could be from the beginning of the 15th century. Other parts have dates, 1448, 1449, 1470. In Montpelier the Faculty of Medicine library's ms. 198 is from 1460 and done by the copyist of Frederico Duke of Urbino for Giovanni di Montefeltro, according to an inscription. It came to France in the 19th century. The same library's ms. 353 has the Trionfi, a portrait of Petrarch, a picture of a woman with a ball and a cornocopia, and a date of 1471 in Roman numerals..
In any case, Petrarch's Trionfi got to France decades before Charles VIII's incursion into Italy. C. M. Douglas in her critical edition of the works of Jean and Francois Robertet, (1962 dissertation, then a book published under her married name of Zsuppan) provides ample evidence that Jean Robertet, secretary to Charles of Bourbon, used Petrarch's Triumph of Fame poem in composing his own poem celebrating a recently deceased Burgundian (Brussels) fellow poet, published in 1476. He also includes a quatrain that is suspiciously like one in Latin for Fame that appeared later in tapestries of the six Triumphs and in books with illustrations that either were prompted by them or which, much earlier, had prompted the quatrains. The latter possibility is indicated by a ms. now in the Estense Library at Modena that contains very similar Latin versions of all six; it is their alfa.U.7.24, at folios 296v-297r, at https://edl.cultura.gov.it/media/ricercadl.aspx?keywords=u.7.24. Exactly when this part of the ms. was written is unknown, but another part, at f. 105r, has the date 1447 written on it (I thank "Nathaniel" on Tarot History Forum for this information, and Ross Caldwell for the precise url). Robertet could have learned of the quatrains and copied them out when he went as a student to Italy in 1462-63. Or perhaps they were in an unrecorded ms. brought to France before 1476, for example, possibly Charles of Orleans, who visited northern Italy in 1450.
France and Flanders produced their own illustrations of the six Petrarchan triumphs. The best known and most beautiful is BnF fr. 594, done for Louis XII in around 1502-3 in Rouen. Others are Arsenal 6840, 16th c. (after 1520), with a French translation, and BnF fr. 22541 (La Vallière 6), second quarter of the-16th c., text in both French and Ialian (my source here is Simona Cohen, Transformations of Time and Temporality in Medieval and Renaissance Art, 2014, pp. 315-16). Another, called the edition mineur of 594, is BnF Fr. 223, a French prose translation with illustrations of all but Love extant. One, Chastity, is online in color, the rest not. These are all on Gallica, as is an unillustrated French prose translation even earlier, BnF Fr. 1119, perhaps the earliest at https://gallica.bnf.fr/ark:/12148/btv1b90074352/f1.planchecontact. This one, curiously, also has a "Chronique des comtes d'Anjou et généalogie des seigneurs d'Amboise." according to the BnF's note.
Many of the illustrations can be seen separately at https://commons.wikimedia.org/wiki/Petrarch%27s_triumphs#, toward the bottom of the page.
Another ms. is one reported by Claude de Molinet in ms. 0965 in the library of St. Genevieve, Paris, as having six illustrated trionfi, of which he gives the one for Love. See https://portail.biblissima.fr/ark:/43093/mdatabd5e1f839d0015b6debe38a51446060fadbff2bc. Molinet, writing in 1681-1687, says, p. 28, it is from about 200 years before.
This manuscript is their 1125, with six, and the earliest translation, in prose, of Petrarch's Trionfi, according to nn. 24 and 25, https://journals.openedition.org/studifrancesi/41673?lang=fr#ftn24. I do not see scans of it online.
There was also a book containing the Latin quatrains, French translations of them, somewhat longer and adding material, and illustrations corresponding to the quatrains (first BnF Fr. 24461, then 5066, both online in Gallica). This copy was then copied again, 1528-1535, in Brukenthal Ms. 38 of the Brukenthal Library in Romania (collected by the Austro-Hungarian governor there in the 18th century). Another, from around 1540, with different French versions of the quatrains and somewhat different illustrations, especially for Eternity, is in Berlin, SMPK cod. phil. 1726 (see listings later in post for link to ms.). Both are described by Ziegler in his book (in German) on the Recuil Robertet, 2021. BnF 1717 is another manuscript, unillustrated, with the quatrains and a French translation of Petrarch's Trionfi. A final (for now) appearance of the quatrains, with slight differences, and French translations is in Jean Molinet's Faictes et Dictes, ed. Depire, at https://archive.org/details/LesFaictzEtDictzTome2/page/n171/mode/2up, with the one surviving ms., Love and Chastity only, at https://gallica.bnf.fr/ark:/12148/btv1b85285929/f39.item (thanks to Ross Caldwell for these).
There were also tapestries in both northern France and Brussels. A Triumph of Death done in Brussels, thought to be from around 1490 and now at the Victoria and Albert Museum in London, corresponds precisely to the image in the two manuscripts. Their influence is also seen in series of tapestries was executed sometime in the 1510s or 20s. Four of the series have been in London since within a decade of their completion, two of them in two copies; the quatrains appear on them, as well as one in Barcelona (for the Triumph of Eternity). These tapestries also show the influence of BnF Ms. fr. 594. There are other tapestries illustrating the Triumphs in other museums: one in Madrid of the Triumph of Fame, purchased by Queen Isabella in 1504, https://www.metmuseum.org/art/collection/search/230011, no writing, and a fragment of a triumph of love in Detroit, with different writing, among others.
In Italy the first print edition of the Trionfi
was in 1470 Venice, according to WorldCat, with many after. This of course is another way the poems would
have been known in France. The first print edition in France was a
French prose translation by Georges de la Forge in 1514, which WorldCat
shows went through many editions. It also exists in manuscript (there
with the six Latin quatrains), the first three triumphs in BnF 5065 and the other three in Arsenal 12424 (both online in Gallica); the dates of these manuscripts are unknown but
estimated to be around the same time. ca. 1514. In both cases there are
illustrations of each Triumph, woodcuts in the print edition. For a list of other ms. versions of this translation, see https://jonas.irht.cnrs.fr/consulter/oeuvre/detail_oeuvre.php?oeuvre=18384.
Another
translation is in verse, around 1530 BnF 12423 (https://gallica.bnf.fr/ark:/12148/btv1b6000791x), by Simon (or Symon) Bourgouyn,
with illustrations, the six Latin quatrains, and original poems in the form of rondeux heading
each of the six.
Besides the Trionfi and the Rime that typically came in the same manuscript (by 1500 called the Canzioniere), some Latin works of Petrarch's were also known. In particular, two were translated in the late 14th century at the request of King Charles V: the De Remediis and the Legend of Griselda, appearing in numerous manuscripts. There was also one copy of six sonnets.
There are also various print versions of translations of Petrarch's Trionfi, with more or less traditional illustrations, for example BnF fr. RES-YD-81, 1514, at https://gallica.bnf.fr/ark:/12148/btv1b8609573z/f86.planchecontact.
CASTILE, FLANDERS, AND ARAGON
In Castilian-speaking Spain (enumerated in Milagros Villar, Codices Petrarquescos en Espana.
Padova 1995),during the 16th century, I found only one translation in
manuscript, in one copy (and none in the 15th). There were two print
translations, one in Seville 1532 and the other in Madrid 1554. There
are several Italian manuscripts of 15th century origin in Spanish
libraries, but they all seem to have been brought in after the Spanish
took over from the French in Italy.
Since manuscripts in
Flanders might have been transferred to Madrid by Emperor Charles V, the
above would seem to extend also to that region. I looked in the book on
Petrarch manuscripts in Belgium (Gilbert Tournoy and Jozef Ijsewijn, I codici del Patrarca nel Belgio, Padova 1988). There are no manuscripts of the Trionfi
dating from the 15th century, and only one from the 16th century, an
Italian one dated 1504. When it got to Belgium is not said. WorldCat
does not list any print editions in Dutch or Belgian libraries.
What
is unusual regarding the manuscripts deposited in today's Spain is that
there are five 15th century ones clearly of Catalonian or Valencian
origin (if former Catalan areas of today's France are included), most
from the second half. But at least part of one (not necessarily done in
Spain, because it is in Italian) is possibly earlier, since it is
written in gothic pre-humanistic script. Then follows a commentary in
Catalan, a translation of Bernardo Ilicino's commentary on the Trionfi,
in humanistic script. (This commentary seems to have been written around 1470, since it was dedicated to Borso d'Este, according
to Kristeller, vol. 4 of Studies in Renaissance Thought and Letters,
p. 361). I suspect that the abundance of Catalan manuscripts is most
likely due to the fact that Naples, Catalonia, and Valencia were all
part of the "Crown of Aragon" then (http://en.wikipedia.org/wiki/Crown_of_Aragon),
and we know that Ferdinand I of Naples collected Petrarch and
Petrarch studies. or at least libraries confiscated (as Pellegrin
describes) from those who did.
OTHER COUNTRIES
These are illustrated manuscripts only, extracted from Simona Cohen's Transformations of Time and Temporality, pp. 313-29.
Austria
1 Vienna, Österreichische Nationalbibliothek, Vind. 2649,1459, North Italian. Fig. 48. Illustrations viewable at https://onb.digital/search/635045.
2 Vienna, Österreichische Nationalbibliothek, MSS. 2581 & 2582, early 16th c., Parisian. 2581 is at https://digital.onb.ac.at/RepViewer/viewer.faces?doc=DTL_7477812&order=366&view=SINGLE and following, with illustrations at separate links. That site, p. 2 of its list, reproduces one illustration from 2582, https://onb.digital/result/10FD85C1. If it is a triumph (eternity?), it is exceedingly non-standard
[p. 318] Germany
16 Berlin, Staatliche Museen, Kupferstichkabinett, M. 78 D11, between. 1450-1480,
[start p. 318]
17 Dresden, Staatliche Kunstsammlimgen (ex. Koeniglichen Bibliothek, 153), 1460, North Italian. Viewable at https://digital.slub-dresden.de/werkansicht/dlf/12986/5 ff., listed there as Mscr.Dresd.Ob.26. 18 Frankfurt (formerly Goldschmidt Coll., present location unknown), 16th c.
19 Kassel, Landes-und Murhardsche Bibliothek der Stadt Kassel, 40 MS. poet, et roman 6,1483, Parma.
[start p. 319]
20 Munich, Bayerische Staatsbibliothek, Cod.Gall. 14 (ex Mannheim), 15th c. https://www.digitale-sammlungen.de/de/view/bsb00110904?page=4,5.
21 Munich, Bayerische Staatsbibliothek, Cod.Ital. 81, after 1414, North Italian. Five pages in color, two with illustrations, one with Triumph of Death, at https://www.bsb-muenchen.de/sammlungen/handschriften/sprachenregionen/abendlaendische-handschriften/#group-c3429-3. Whole ms. in black and white at https://www.digitale-sammlungen.de/en/view/bsb00092601?page=,1.
[start p. 320] Netherlands
22 Leiden, Bibliotheek der Rijksuniversiteit, BPL 2887, ca. 1420-30, Lombard (?)
[p. 327] Russia
48 Leningrad, Public State Library M.E. Satykov-Scedrin, Fr.Fv.XV no. 4
(formerly in the Imperial Library of St. Petersburg, Fr.5.3.63), ca.
1500, Parisian.
[start p. 328] Spain
49 Madrid, Biblioteca Nacional, vit. 22-1, ca. 1480, Florentine (?)
50 Madrid, Biblioteca Nacional, vit. 22-3,1508, Bolognese.
{start p. 329]
51 Madrid, Biblioteca Nacional, vit. 22-4, last quarter of the 15th c., Florentine, probably school of Chierico. Illustrations at https://www.facsimilefinder.com/facsimiles/madrid-triumphs-petrarch-facsimile (identified by "Huck" at https://forum.tarothistory.com/viewtopic.php?p=18077#p18077.
52 Madrid, Biblioteca Nacional, MS. 611 (M. 90), 3rd quarter of 15th c., Italian
In addition, there is, in French of about 1540, Staatsbibliothek Preußischer Kulturbesitz Berlin, Handschriftensammlung [SMPK], cod. phil. 1926, as cited in Frank-Thomas Ziegler, Recueil Robertet: Handzeichnung in Frankreich um 1500, 2020, pp. 89-90. Triumph illustrations at https://www.bildindex.de/ete?action=queryupdate&desc=%22trionfi%20(petrarca)%22%20&index=obj-all as well as the "Bildindex" illustrations at https://commons.wikimedia.org/wiki/Petrarch%27s_triumphs#/media/File:Petrarch-triumphs-french-XVI-1-love.jpg and following.
Aprinted edition, Parma 1473, no illustrations except abstract designs at first letters, is Vienna, Österreichische Nationalbibliothek, Ink 3.H.65, viewable at https://digital.onb.ac.at/RepViewer/viewer.faces?doc=DTL_7465288&order=1&view=SINGLE.
CONCLUSION
If activity around Petrarch's Trionfi
is any indicator of the relative popularity of the game associated with
that word, as appears to be true in Italy after 1440, I would guess
from this data that the game was not popular in France until after
Charles VIII's incursion into Italy, and that Charles had something to
do with its popularity, at least among the nobility. I would guess also
that the game was not popular in Castilian Spain during the 16th
century, at least during the time when owning manuscripts was still
considered prestigious. Flanders seems to be in the same
situation as Spain. This is not to say, however, that Flemish artists might not have been producing decks for the Italian market, as I think
some silk merchant data indicates. Also, it seems to me that several
distinctive motifs from the tarot can be seen in Bosch's paintings. He visited Italy himself; his use of tarot images might have been without intent that they be recognized as such by his audience, but then again, perhaps he expected them to recognize the themes. There is no documentation of the deck in Flanders of his time; there is one of a game called "triumphs" in a tavern in nearby Rouen. Whether this was the Italian game or a Spanish game that randomly designated one of the result suits as trumps is unknown.
From
the relatively large number of 15th century manuscripts in
Catalunya-Valencia, I would think it possible that the game was popular
there in the late 15th century. However this is an area famous for its
troubadours; so it may be that connection that accounts for the
popularity of the Trionfi's. That was not the situation in northern France, where any native troubadours were imitators of southern styles.
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