Overview
Biblioteca Nazionale Marciana
Venice
Italy
RVF and Triumphi
Description
295x211 mm; I + 6 (A-F) + 199 + I (fols. A-F are unnumbered in the ms.)
paper; humanistic script; Petrarch’s poems with one verse per line and prose text; decorated initials.
‘Cancion composta p[er] Alberto Orlando ad insta[n]za del M[agnifi]co S[isgnor] berardo da camarino sop[ra] i triumphi’
fols. Ar-Cr: Alberto Orlandi’s canzone on Triumphi (‘Cancion composta p[er] Alberto Orlando ad insta[n]za del M[agnifi]co S[isgnor] berardo da camarino sop[ra] i triumphi’, <inc> [B]eato il prego tuo cortese & almo; <exp> per ubidirti e no[n] p[er] far comento);
fol. Cr: colophon: finis;
fols. Cv-Fv: blank;
fols. 1r-4r: alphabetical index of the first lines of RVF poems (under each letter of the alphabet, poems are listed in order of appearance);
fol. 4v: index of the first lines of the capitoli of the Triumphi in order of appearance;
fols. 5r-45r: Triumphi (order: Amoris I, Amoris III, Amoris IV, Amoris II, Pudicitie, Mortis I, Mortis II, Fame Ia, Fame I, Fame II, Fame III, Temporis, Eternitatis);
fol. 45v: blank;
fols. 46r-197: RVF with additional dispersa ‘Donna mi uiene spesso nelamente’ at fol. 72v;
fol. 197r: colophon: Finis;
fol. 197v: Triumphus mortis Ia (<inc> Quanti già ne la eta matura et agra; <exp> Quella per cui ben far prima mi piacque);
fol. 198r: RVF 231;
fol. 198v: Petrarch’s note on Laura (‘Lo istesso poeta.’ <inc> Laura, propriis uirtutibus illustris; <exp> acrit[e]r ac uirit[e]r [sic] cogitanti.);
fol. 199r-199v: blank.
Material Copy
Biblioteca Nazionale Marciana
Venice
Italy
There are occasional marginal annotations next to RVF poems mainly reporting historical and mythological names or, more rarely, variant readings of some passages (e.g. fol. 125v).
Orlandi’s canzone summarizes the content of the Triumphi. In the second stanza Orlandi states that he will illustrate the five subjects of Petrarch’s work (‘ti cantero lisuo [sic] cinq[ue] subiecti’). The text of the canzone makes precise references to Petrarch’s work, with a particular focus on the mythological figures (such as Jupiter Mars, Proserpine) mentioned in the Triumphi.
RVF 231 is missing: at fol. 142v the copyist writes in a marginal note ‘Qui mancha uno sonetto chi cominza Io mi uiuo. ho in fine a c[ar]t[a] 198’. At fols. 96v and 114r, RVF 114 and 138 were both covered by another layer of paper and were later rewritten by another hand, who tried to imitate the original one.
At fol. 5r is a coat of arms of the Venetian Giovanni Marcanova, who – according to CPVe, 2 – presumably commissioned this ms. Decorated initials with a floral design for the first line of Triumphus Amoris I (which extends to the left margin of fol.) and RVF 1. Initial of every poem has schematic floral decorations; some maniculae.
CPR, 174; CPVe, 2; Iter, II, 272a