225x165mm; I + 182 + I fols.
paper; humanistic script; Petrarch’s poems with one verse per line; for Triumphi, Petrarch’s poems set on left in small blocks, with annotations distributed irregularly either on three sides or in single column on right.
‘Robriche dei sonetti et canççoni di Miss[er] Francesco petrarcha clarissimo poeta laureato’
fols. 1r-6v: alphabetical index of the first lines of RVF poems (under each letter of the alphabet, poems are listed in order of appearance) (‘Robriche dei sonetti et canççoni di Miss[er] Francesco petrarcha clarissimo poeta laureato’);
fol. 6v: index of the first lines of the capitoli of the Triumphi in order of appearance;
fols. 7r-104r: RVF 1-263;
fol. 104v: blank;
fols. 105r-143r: RVF 264-365 with additional disperse;
fol. 143v-144r: sketched drawings;
fols. 144v-147v: RVF 366;
fols. 148r-182v: Triumphi with some marginal annotations (order: Amoris I, Amoris III, Amoris IV, Amoris II, Pudicitie, Mortis Ia + Mortis I.4-172, Mortis II, Fame Ia.1-23 + Fame I.23-130, Fame II, Fame III, Temporis, Eternitatis 1-74).
Latin annotations for the Triumphi are by the same hand that transcribed the text. These annotations either provide a summary of the content of the capitolo (of particular note for its content is that for Amoris I, which explains the order and the structure of the work) or brief biographies or else refer to historical and mythological figures mentioned in the text. Next to the RVF poems, very occasional marginal annotations by a later cursive hand (likely sixteenth-century) sometimes write the incipit of the poem above its first line (e.g. RVF 366 ‘Vergene bella Vergene bella ch’ [sic] del sol vestita Coronata’) or offer comments on matters of style (fol. 74v: ‘bellissimo’ next to RVF 159). In the margins of the RVF index, another (likely contemporary) hand copies out some missing first lines.
Triumphus Eternitatis is interrupted at line 74 due to the loss of the final fols.; few maniculae.
CPR, 4; Mazzatinti, XXIII, 107