[RVF and Triumphi – with index]

230x140 mm; I + 187 + I fols.

parchment; cursive humanistic script; Petrarch’s poems with one verse per line; three full-page illuminations, two architectural frames, and historiated initials.

<inc> A pie de colli oue la bella uesta

fols. 1r-7r: alphabetical index of the first lines of RVF poems (under each letter of the alphabet, poems are listed in order of appearance);
 
fols. 7v-9r: blank;
 
fol. 9v: full-page illumination of a ‘classical funerary monument of two registers, the lower with lettering’ (‘Francisci Petrarcae Florentini poetae excellentiss[imi] rhythmi incipiunt’), ‘the upper containing half-length portraits of Laura and Petrarch; on top of the upper register is a scallop-shaped arch, on each side a winged naked woman holding a child; the figure of Apollo in classical dress, laurel circlet on head, holding a lyre, was added to stand in front of the monument. Painted onto the miniature in the lower right corner is a cardinal’s hat above a blank shield of arms’ (quoted from Watson 2011, II, 553);
 
fols. 10r-105v: RVF 1-263;
 
fol. 105 is followed by an unnumbered blank fol.;
 
fol. 106r: full-page illumination of a ‘classical funerary monument on a base with a palmette design; the upper register, surmounted by a scallop-shell arch, has a picture representing the death of Laura (a woman in classical dress falling from a chariot, with two fallen horses and helmet on the ground, in brushed gold and silver on a black ground)’ (or rather possibly the fall of Phaeton). ‘The heading of the second part of the Rime is written in capitals of brushed gold’ (‘Eiusdem Francisci Petrarcae de morte dominae Laurae rhythmi incipiunt’) (quoted from Watson 2011, II, 553); the lower register has the first three lines of RVF 264 with a decorated initial ‘I’;
 
fols. 106v-146v: RVF 264.4-366;
 
fol. 146v: colophon: Francisci Petrarcae Florentini poetae excellentissimi rhythmi expliciunt;
 
fols. 147r-149r: blank;
 
fol. 149v: full-page illumination on parchment stained purple, drawn in brushed gold, of the Triumphus Amoris (‘a king in classical dress with an open crown, hands bound behind his back, walks to the left in front of a chariot containing Cupid firing his bow and followed by male and female figures in classical dress, within a landscape; above, a procession passes in front of a monument with an inscription’ (quoted from Watson 2011, II, 553): ‘Francisci Petrarcae Florentini poetae clariss[imi] Triumphi incipiunt’);
 
fols. 150r-187r: Triumphi;
 
fol. 187r: colophon: Francisci Petrarcae Florentini poetae clariss[imi] Triumphi expliciunt;
 
fol. 187v: blank.