Friday, July 24, 2015

Introduction

Note: this blog is still in process. What is written is done, but there is no conclusion, because not everything that can be examined has been. 

Added November 2023: there is now more information, so I am adding it to what has already been written. 

The first record of what we now call a tarot deck (then naibi a trionfi = triumph playing cards): thus far is of a deck made in Florence in 1440. Shortly after, judging from the reproductions on the Web, there seems to have been the appearance of numerous illuminated manuscripts of Petrarch's Trionfi poems, and also of cassoni, i.e. wedding chests, with sequences of images for each of the six poems similar to some of the special cards of the game. Is there a connection between the two events, such that one prompted the other?  It looks like that, from our cursory examination of manuscripts and cassoni, but lack of evidence to the contrary is not very persuasive if we do not do a thorough examination in the obvious places before drawing conclusions. One obvious place is the series of books that were published in the 1960s and 70s with detailed descriptions of known Petrarch manuscripts in a given country. There is a list of them on p. 2 of J. B. Trapp's Studies of Petrarch and his Influence, 2004, which I reproduce below:

http://1.bp.blogspot.com/-2577vHFvBIc/U ... Trapp2.jpg

In what follows I will be reporting on what these books have to say, also integrating with it information that has come to light since the time these books were written.

Great Britain

THE BRITISH ISLES: WEBB

My list of 1440 and earlier, for the British Isles, based on Petrarch Manuscripts in the British Isles, by Nicholas Mann, 1975, was first posted at viewtopic.php?f=11&t=868&p=13562#p13562. I begin with a summary of its documentation, which was prepared by Ross Caldwell on the basis of a detailed list from this source that I had made, which will follow the summary. There are seven manuscripts before 1440. Together with the places they were produced, when known, the manuscripts before 1500 are as follows:

Late 14th: Italy, no specific city identified
1400 Venice
1424 Prato
1426 Siena
1427 Florence
1431 Genoese Crimea
1431 Venice

Then after that date, we have, by my count:

c. 1450: 5 (3 Florentine style, 1 Florentine or Roman, 1 central italy, 1 unclear)
1451-1460: 5 (3 Florence, 1 Naples, 1 Venice)
1461-1470: 9
3rd quarter of century, not in preceding: 19
4th quarter: 14
2nd half, not in preceding: 7

Tentative conclusion: The "spike" in production seems to occur around 1450. But all of this is very tentative, without looking at the books for other countries.

Some illustrations of Petrarchan Triumphs are in manuscripts of other works. Editions of Viris Illustribus from the 1377 and 1388 have the Triumph of Glory, similar to later Triumphs of Fame, as a frontispiece. An edition of the Canzione of 1414 Padua has what appears to be a Triumph of Death or Fame; I discuss it at viewtopic.php?f=11&t=858&p=13428&hilit=Wilkins#p13428. In the same post I discuss a copy of Sonnetti, Triunfi that Avril says is from Padua or Venice of the 1st quarter of the 15th century, assigned to Crostoforo Cortese, active from 1409 to 1440. This seems to be included in Pelegrin's inventory of Petrarch manuscripts in France, which I will report on in relation to France, as I am going by where the manuscript is now located rather than where it originated.

In the following, I have checked Mann's listings against a 2018-2019 website sponsored by the University of Oxford reviewing numerous Italian editions of Petrarch, at https://petrarch.mml.ox.ac.uk/ and added notes accordingly.

MANN'S LIST

Petrarch Manuscripts in the British Isles, by Nicholas Mann, 1975, is a 500 page book, fortunately with a good index. I found what look likes descriptions of seven manuscripts of the Trionfi in Italy before 1441. 

Mann No. 57, p. 219ff: British Museum Additional 16564. Paper (Watermark: Ciseaux, BRIQUET 3660, att. 1427-35), XVth c. (1431)." Has the Rime (1r-139v)- and Trionfi (143r-177v), the latter in 12 sections, covering all 6 triumphs. Mann says (I put a dash where he has a little circle; and the emphasis is mine):

ORIGIN. Italian. Except for ff. 167ff-180r, written in a different humanistic cursive script, the text was copied by a scribe who signed f. 1r: "M-CCCC-XXXI a dì III Zenarro in Gaffa in prixone in una tore". (Footnote: Dr. Andre Watson tells me that Caffa is Feodosiya in the Crimea, where there are still the ruins of a Genoese tower; cf. Enciclopedia Italiana, VIIII 255-56.)

OWNERS. A few annotations, mostly later. In the bottom margin of f. 1r, a coat of arms has been sketched in: three tower gules; [footnote: the field, which is circular, is untinctured; the towers stand on mounds, and each has a coat of arms above its door, apparently argent, a cross gules]. to the right is drawn the lion of St. Mark with its paw on an open book. Bought by the British Museum from the bookseller Thomas Rodd, 9 January 1847.
Nice. The Genoese supposedly brought the Black Death from around there, the north shore of the Black Sea. A good place to send a budding Ovid. (This ms. # not listed on Oxford site.)

Mann No. 111, pp. 290ff. Brit. Mus. Harley 3478. Paper. (watermark: BRIQUET 15865, att. Prato 1427, Pistoia, Fabriano 1430), XVth c. (1424). Rime and Trionfi, the latter in 13 sections. Other contents: Dante, Canzone and ballate. Mann:
ORIGIN. Italian. small untidy semi-gothic cursive script. After the explicit, f. 163v, the scribe Giuliano Giovenzi da Poggibonsi signed "Scripte et complete per me Iulianum ser Michaelis Iacobi de Iuvenzis de Podio Bonizi sub anno 1424 die primo mensis Aprilis. Gratias agimus qui vivis et regnas in secula seculorum amen. Deo gratias. Amen"; decoration in Florentine style.

OWNERS. Acquired by Robert Harley from the bookseller Nathaniel Noel, 20 January 1721/22.
Prato is 10 mi. NW of Florence, Pistoia another 10 mi. W. (Same dating on Oxford site.)

Mann No. 126, pp. 339ff. British Museum King's 321. Parch., XVth c. 1400. Rime (to 50ra), Trionfi, the latter in 14 sections; also Nota de Laura on f. 64ra-b, two Epystolae. Mann:
ORIGIN. Venetian: ff. 1-49 were copied by Andrea da Badagio; cf. f. 48rb, "Scrito per mano de Andrea da Badagio in le prison de Venexia 1400"; the remainder in a more markedly humanistic hand, perhaps later.

OWNERS. Joseph Smith, British Consul at Venice 1740-1760; sold to King George III in 1765.
So we don't really know when the Trionfi were added, but given the early date for the Rime, I'd guess before 1441. Mann also describes the historiated inital V on f. 1r, showing "Petrarch, reading, and Laura beside a laurel tree, holding a wreath." Lots of color and conventional foliage on the Rime. And "Trionfi initials left blank." (The Oxford website does not note any difference in script, defining it all as semi-gothic.)

Mann No. 144, p. 338f. Phillipps 9477. Paper (watermarks: Coutelas and Monts, not in BRIQUET), XVth c. (1426). Rime, then, Antonio da Tempo, Vita del Petrarca, then Trionfi in 12 sections. Mann:
ORIGIN: Italian; unsteady semi-humanistic script; the date MCCCCXXVI appears at the end of the Life of Petrarch, f. 134v.

OWNERS. Several members of the Minoccio family of Siena in the XVth and XVth c. . . . bought by Sir Thomas Phillipps from the bookseller Thomas Thorpe in 1836.
There is also a description of the lettering: "Red and blue pen initials alternating; red paragraph signs (later, red and blue alternating); in the Trionfi[/i], red and blue calligraphic initials; Rime numbered in ink." (The Oxford website says 14th-15th c.)

Mann No. 145, pp. 339ff. Phillipps 18797. Parch., XVth c. (1427). Trionfi in 13 sections, then Dante, Canzoni, sonetti and other works. Webb:
ORIGIN. Italian; two humanistic hands. The scribe of the Trionfi signed, f. 91r;: "Questi sonno li Trionfi de messer Francescho Petrarca, finiti per ser Gabriele di Francescho da Parma, ora in le Stinche di Firenci a di 10 di magio 1427".

OWNERS. Bought by Sir Thomas Phillipps at the sale of Count Guglielmo Libri's books in 1864; offered for sale in the Phillips sale in June 1919, but remained in the hands of the Robinson Trust until 1972; now Florence, Bibl. Laurenziana, Acq. e Doni, 688.
The Stinche is what used to be the town jail in Florence, then used for various things. Even though it is now in Florence, I include it here because Mann lists it. (This ms. # not listed on the Oxford website. Perhaps it is their Phillips 4044, 14th-15th c.)

Mann No. 192, p. 412f. Bodleian Library Canonica Ital. 79. Parch., XIVth c. (late). Rime, then Trionfi, in 14 sections. Mann:
ORIGIN. Italian; semi-humanistic script. The manuscript is palimpsest, written over various XIVth-c. Latin and Italian texts. (Footnote: Including some accounts and Latin verse. The Table is written over a devotional text.)

OWNERS. The emblem of an owner or notary, f. 1r, with the initials P.I.T.; (3) Matteo Luigi Canonici; his brother Giuseppe; Giovanni Perissinotti; acquired by the Bodleian Library in 1817. (Footnote: many annotations in S XV-XVIth-c. and later hands, including a large number of numerical references in the Rime, perhaps cross-references to another ms.

(This ms. is described similarly on the Oxford website.)

Mann No. 193. Bodleian Library, Canonici Ital. 80. Paper, (watermarks caught in spine, unidentifiable), XVth c. (1431). Trionfi in 16 sections. (I don't know why so many; there may be different versions of the Triumph of Fame.) Then a Table, followed by Epytaphim Petrarce, a biographical note, and extracts from the Rime. Webb:
ORIGIN. Venetian; two small mercantile cursive hands (footnote: the second begins at f. 44r); the first scribe signed f. 43r: "Finis adi 29 Iujo MIIIIcXXXI in Va" (Footnote: Mortara and Paecht and Alexander (cf. the works mentioned in the bibliography of this ms.) both read MCCCCXXVI.)

OWNERS. Not known before Iacopo Soranzo; Matteo Luigi Canonici; his brother Giuseppe; Giovanni Perissinotti; acquired by the Bodleian Library in 1817.

f. 44r is immediately after the end of the Trionfi, at the Table. (The reference to Paecht and Alexander, Illuminated Manuscripts .  .., II, 47 no. 457, pl. XLV, might be worth a look.) (Described similarly on Oxford website but without mentioning owners. Says that there there is a historiated initial showing Petrarch sitting and holding his cheek and some annotations.)

I have mostly omitted descriptions of the illuminations, except where there was an actual depiction of something. Mostly it's just different colored inks in various patterns. 

Another source for editions of the Trionfi in Britain is a study by Gemma Guerrini, "I Trionfi del Petrarca," in Scrittura e civiltà 10 (1986) 121-197. It has a long list of where Petrarch manuscripts made in Italy in the 15th century are now located, or last known there. It has no information on what particular cities made them, or when in the 15th century. For present purposes, the list is not all that helpful by itself, but if one looks up the works in the individual library catalogs, there may be more information. There is also information about some of them on the Oxford University project site given earlier, which I have indicated in brackets where listed.

Guerrini 1. University Library, Aberdeen,  679. [Not on Oxford list.]

Guerrini 21 & 22. Cambridge, Fitzwilliam Museum, McClean 170 [15th c. on Oxford site], 172. [not listed, but is perhaps their 173, 14th cent.]

Guerrini 147. Hokham Hall, Earl of Leicester Library, 520. [Not on Oxford site.]

Guerrini 156-178. London, British Library: Add. 14818, 16564, 18784, 25487, 26784, 26885, 31843, 31844, 38125; Egerton 1148 [1474-1500 per Oxford site]; Harley 3385, Harley 3411 (1465 per Oxford), Harley 3442, Harley 3478 [1424], Harley 3496, Harley 3517 [15th c.], Harley 3567 [2nd half 15th c., with triumph illus.]. Harley 3990, Harley 4857 [mid-15th c.], Harley 5761 [1475-1500]; King's 321 [c. 1400]; Lansdowne 787 [1465-1470 per Oxford); Stowe 954 [mid-15th c. per Oxford]. [#s not commented on not on Oxford site. Does list Add. 25489, 3rd quarter 15th c.; Harley 3264, 15th c. ]

Guerrini 179. London, Coll. Thompson, XII. [Not on Oxford site.]

Guerrini 180. London, Exeter College, 187. [15th c. per Oxford site.]

Guerrini 181. London, ex-Robinson Trust, Phill. 24083 (now University of California at Los Angeles 170/547, she adds in a footnote). [Not on Oxford site.]

Guerrini 182. London, Robinson Trust, Phill. 9477. [Not on Oxford site.]

Guerrini 183 & 184. London, Victoria and Albert Museum, L.101.1947; For.Beq.486. [not on Oxford site.]

Guerrini 226. Newcastle upon Tyne, University Library: 4. [not on Oxford site.]

Guerrini 233-261. Oxford, Bodleian Library: Add.A. 12 & 15; Bodley 1027; Can. it. 50, 59, 60, 62 [c.1470-80], 64, 65 [1459], 67 [late 15th], 68 [1470-80], 70 [late 15th c. per Oxford site], 71 [1478], 72, 73 [1476], 74, 75, 78 [late 15th], 79 [late 14th], 80 [1431], 83 [late 15th, Trionfi only], 263; Digby 141 [1465]; D'Orville 514 [1450-60], 516; Montagu D32 [1470-80], D33 [3rd quarter], E1; Rawlinson A 430. [If no comments, Oxford site does not have it. It does have as Can. Ital. 23, just Fame 1a and commentary.]

Guerrini 262. Oxford, Merton College: 326. [2nd half 15th c. per Oxford site]

Guerrini 263. Oxford, Taylor Institute: 14. [15th c. per Oxford site.]

Guerrini 419 & 420. London, current whereabouts unknown:  Collection of Major J. R. Abbey, his A.3160 and A.7368. [The second one only is listed on Oxford site.]

 And from Sotheby's auction house, 2009, "Huck" posted the 6 illustrations from a Lombard ms. ca. 1470, https://forum.tarothistory.com/viewtopic.php?p=18076#p18076, probably originally belonging to a member of the Visconti family according to Sotheby's, https://www.christies.com/lot/lot-5260192/?from=searchresults&intObjectID=5260192&sid=b3895d88-9517-4231-b876-78fd2318dc49. It is ex- "Library of Sir Henry Hope Edwardes, Bart., and by descent to the present owner."


The United States

THE UNITED STATES, ULLMAN

Here is a summary from Berthold Louis Ullman's Petrarch Manuscripts in the United States, 1964, including everything up through the 16th century, and giving the place for ones the before 1450, after which I give the details as an Appendix.

One, #62, is definitely the 1430s or earlier: Venice, then Ferrara.
Another, #33, has what Ullman thinks might be the date of CCCCII, i.e. 1402 (it seems improbable to me): no specific city in Italy
One, #14, is from 1440: Florence
One, #72, is from 1447: Florence
Two, #4 and #22, are from 1450. No specific city in Italy.
Two, #12 and #51, are from the 1460s.
Three, #5, #32, #66. and #93, are from c. 1470.
Seven, #1, #6, #11, #16, #20, #23, and #91 are from the 1480s.
Five, #29, #70, #87, #88, and #96, are from "late" or "end" of the century:

In other literature,  there is Hatch Wilkins, in at least two places, One is "Manuscripts of the Canzione and the Triumphs in American Libraries,” Modern Philology 45:1 (1947): his item 27 (p. 24) is a fuller description of Ullman's #62:
Howard L. Goodhart, New York City. 1432-1434: Ferrara and Venice. (Footnote: This MS was finished at Ferrara on October 14, 1432. It is bound with other MSS, most of which were written by the same scribe.)
He also did a small a book with Michael Jasenas, Petrarch in America; a survey of Petrarchan manuscripts, 1974. I looked at it once, I don't think it had anything relevant not in his article, later incorporated into Ullman.

There is also Dutschke, Petrarch Manuscripts in the United States, 1986. I looked at it and found nothing pertaining to the Trionfi not in Ullman.


ULLMAN'S LIST

This is from Berthold L. Ullman, Petrarch Manuscripts in the United States, 1964, on parchment unless stated otherwise. I include 2 mss. of commentaries on the Trionfi, both by Iacopo Poggio, Florence. I have incorporated mss. catalog numbers given by Guerrini, 1986, in square brackets, by location, after Ullman's last entry for that location. Guerrini does not give any U.S. locations not mentioned by Ullman, except to update when the location has changed since Ullman. For convenience I have listed these mss. under the location given by Ullman. ("Guerrini" is Gemma Guerrini, "I Trionfi del Petrarca", in Scrittura e civiltà 10 (1986) 121-197, list on pp. 164-175).

Ullman has 8 entries that merely say "XVth c." Only one, number 62, is before 1440; there are 5 for 1440-1450, and 36 Trionfi manuscripts total (excluding the Poggio) out of 99 ms. total. They all appear to contain most of the poem. Sometimes sections are indicated as missing. When indicated, I will give what is missing. In these cases, there is also an order listed of what is there: A-M, the 13 sections of the 6 poems. Guerrini only gives the location and catalog number, but hers are all 15th century Italian mss.

1. Austin, U. of Texas: Parsons 5. XV century, Italy. With Canzoniere, Sonetto di Dante.

4. Baltimore, Walters Art Gallery, W. 410 (De R. 492). ca. 1450 Italy. With Canzoniere. Some ff. lacking or misplaced. [Museum site says "3rd quarter 15th c." and Rome as place of origin. https://art.thewalters.org/detail/31583/sonneti-e-trionfi/.]

5. " " ": W. 411 (De R. 494). 1470 Italy (Naples?). [Museum says "mid-15th century," with Florence as place of origin: https://art.thewalters.org/detail/21892/trionfi/, no photos.]

6. " " ": W. 755. Ca. 1480, Rome. Missing: Y, Z; B ends lassentio, K ends avante. [The museum has more information, plus photos of pages with and without illustrations. Artist given is Bartolomeo Sanvito, who was active in Rome. See https://art.thewalters.org/detail/800/i-trionfi-2/. Triumph illustrations alone at https://commons.wikimedia.org/wiki/Petrarch%27s_triumphs#/media/File:Francesco_Petrarca_-_The_Triumph_of_Love_-_Walters_W7551V_-_Open_Reverse.jpg.]

9. Boston Public Library, 27. XV c. F. 3: "ex libris d. ... Panz" (?). Owned by Vincenzo Paolino Missenese. With Canzoniere, Laurea propriis, Faam. II, 9, 18-19. Paper.  [Guerrini says "f. med. 27." https://petrarch.mml.ox.ac.uk/manuscripts/rvf-and-triumphi-with-annotations-life-and-index-maboston-boston-public-library-f-med notes many marginal annotations]

10. " 139 (ms. 1552). XV c. Italy. One miniature (Apollo and Daphne, attributed to Francesco d'Antonio. Strozzi arms; clasp with six Medici balls. With Canzoniere. Y Z omitted; B ends lassentio; K ends avante. [Guerrini says q. Med. 130. Library site says one miniature, Petrarch reading a book, otherwise just decorated initials at the beginning of each poem, with "running number" in red. Strozzi arms.]

11. Camarillo, CA, St. John's Seminar (Estelle Doheny Collection). ca 1480 Florence. Two miniatures and two borders in manner of Francesco Chierico. With Canzioniere. [Guerrino gives the ms. no. as 3863.]

12. Cambridge, MA. Harvard University. MS. Ital. 52 (formerly Dn 1, 2) Some paper. 1463 (Feb. 14 and March 24). With Dante Canzone.

14. " " " ". Richardson 43. 1440 Florence. with Canzoniere, Note on Laura. Possibly copied by Antonio di Mario, compared to Vat. Urb lat. 245 of same year. YZ omitted; B ends appaga; K end avante.

16. " " " ". MS. Typ. 42. 1489 (Jan. 10), Italy. One illuminated border, decorated initials. Z omitted. B ends assentio; K ends avanti. 

17. Chapel Hill, NC. U. of North Carolina. Paper, XVI c. Bought in 1536 by Zuane Minio. YZ omitted; B ends assenzio; K ends avante. [Guerrini, her #426, lists the ms. number as 12.]

20. Chicago Ill. Newberry Library. MS. 70. Iacopo Poggio, Commentary on one of the Trionfi. Paper, 1480 (Oct. 24). Copied by Bassanus de Villania, who says he received the first thre quinions in Florence and then completed it. Iacopo was hanged in connection with the Pazzi conspiracy in Florence in 1478. Paper.

22. Chicago, U. of Chicago Library. 706. Paper (1 parchment flyleaf). 1450, copied by Iacobus de Godis. Owned ca. 1470 by the later Card. Pietro Foscari. With Canzoniere, Nova beleza (Rime disp. XI). [Guerrini says it is 706.V.]
.
23. Denver, Colorado: Marie W. Thomas. 2 Petrarch. 1480, probably Florence. With Canzoniere. [Guerrini says that the current location is Pius XII Memorial Library, St. Louis University, St. Louis.]

29. Ithaca, NY, Cornell University: Pet Z 10. XV c. (late). With Canzoniere, Note on Laura. Paper.

30. " " " " : Pet +Z 11 (A. 190005). Paper except 2 pp. parchment. XV c. Arms of Eustachio Confidati. With Canzonieri and poems by many authors.

31. " " " : Pet +Z 12 (A. 190002). XV c. Italy. With Canzoniere. 2 miniatures in initials.

32. " " " : Pet Z 13 (A 190009). ca. 1470. Owned by Eustachio Confidati xvi c. with Canzoniere.

33. " " ": Pet Z 14 (A 190003): XV cent. (at end partly erased date probably MCCCCII). Cat. of L. Arrigoni, Milan. With Canzoniere.

34. " " ": Pet Z 15 (A. 190008): XVI c. With Epitaph, Frigida Francisci. 

35. " " " : Pet Z 16 (A. 190007): XVI cent (early). Three illuminated initials. [Guerrini lists neither this ms. number nor the one before, but does give four other catalog numbers, besides those already given: BD.Pet.P.49.T.82, BD.Pet.P.49.T.8, BD.Pet.P.49.R.513, and BD.Pet.P.49.T.516.]

37. " " " : Pet. Z 45 (A. 19003): Iacopo Poggio, Sopra el trompho della famma di Petrarca. Paper XVI c.

51. New Haven, Yale University: 1464, Italy, written by Carolus Palle Guadi for Franciscus de Forestis della Foresta. Owned by Carmelite monastery of St. Paul, Florence. With Canzoniere. YZ omitted; B ends assensio, K ends avante. [Guerrini lists three at Yale: Marston 261, Marston 99, and Marston 438.]

62. New York. Phyllis Goodhart Gordan and John Dorier Gordan. 1432-34, Ferrara and Venice. Paper. Copied by Petrus de Carbonibus , last leaf by his son Leonardus in Casttro Massignani, May 31, 1456. With Canzoniere and some Cicero (4 selections) and a Seneca fragment of his Liber fort. bonorum. (f. 219). [This is Guerrini's #433, which bears the number 5 of that collection]

66. 1476, Italy. Orsini arms. Ten miniatures. With Canzioniere. [I am unsure where this ms. is.]

70. New York Public Library: 87. XV c. (late). Owned in 1593 by Marchese Caraccioli of Sirino. 11 miniatures.

71. New York: B. M. Rosenthal, Inc. Special Offer 17, No. 207, Cat. XII, No. 32. XV c. north Italy. Two illuminated borders. "Emi mihi a viro Servilio in Verona." With Canzoniere, verses. YZ omitted; B ends appagia; K ends avante. [Guerrini says currently coll. R. Ferrus, Burlington, Vermont.]

72. New York: Adrian van Sindern. 1447, March (1446 Florentine style). Illuminated border and title page. Strozzi arms; owned by Filippo and Lorenzo Strozzi and Clarissa de' Medici. [Guerrini says ex-van Siden, currently at Pierpont Morgan Library, NY, ms. 920 of manuscript collection.]

86. Wellesley, Wellesley College. Plimpton 485. XV c. Venice. Arms, Bon Family of Venice. Owned by Benedictine Tita Meratti. With Canzoniere.

87. " " " : Plimpton 491. XV c. (end). One miniature.

88. " " " : XV c. (end), probably Florence. With Bono Giamboni, del ben parlare; Enea Silvo Piccolomini, Perche non toglieva moglie. Parts 1 and II, Strozzi arms; Part III, Anselmi (?) arms. [This may be what Guerrini calls Plimpton 492.]

91. " " " : Plimpton 901. ca. 1480, probably Florence. With Epitaph (Frigida; f. 47v). [Guerrini gives one more for Wellesley, Plimpton 1187.]

93. Unknown. ca. 1470, Italy. One miniature. Sold, possibly in Europe.

95. Private collection 531. XV c. Italy. Probably no longer in US.

96. NY: Lathrop c. Harper, Inc, NY. Cat 15 (1962), No. 5. XV c. (late). Florence (?). With note on Laura, Laurea propriis;, Canzoniere.

One other interesting ms: 69. Pierpont Morgan 502. Canzoniere, XIV c. (late), north Italy , probably Milan, with Arms of Galeazzo II Visconti of Milan (d. 1378) painted over in XV c., but form of shield supported by two leopards (emblem of Galeazzo) is original, as are initial G and crown. Border changed when volume was acquired by Lodovico Barbo, abbot of Santa Giustina of Padua (d. 1443), his initials on f. 1. Illuminated title page, 65 ff,

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.
Image
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)
Image
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,
Image
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: 3rd quarter, ILLUS. No scan.

Barb 3663, no scan.

Barb. 3681 late15th-early 16th, 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 15th.

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, 15th c., no scan.)

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

Chigi LIV.114, no scan. Cohen: all trionfi ILLUS., Cherico style, 2nd half of 15th 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 14th-early 15th, 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, 15th, 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-15th, 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, 15th, 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 14th, 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, 15th 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, 15th, 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".


France and other countries


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):

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.
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.

Pellegrin cites without enthusiasm one art historian who theorizes that the manuscript was made for a wedding (p. 331):
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.
Pellegrin says of the illuminations:
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. 

Another verse translation of Petrarch's Trionfi, by Jean Meynier, baron d'Oppède, appeared in verse in 1538-39 (https://gallica.bnf.fr/ark:/12148/bpt6k15102982); it supplanted De la Forge's and like it went through many editions. It, too, had woodcut illustrations, but none of the allegorical figures are shown on chariots; they break the previous tradition.

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.