[Triumphi and RVF with Pseudo-Antonio da Tempo’s life of Petrarch, and index]

229x138 mm; I + 211 + I fols.

parchment; humanistic script; Petrarch’s poems with one verse per line and prose texts; eleven rectangular-box illuminations, six architectural frames, and decorated initials.

Incipit tabula

fol. 1r-1v: blank.
 
fol. 2r: a short note by a sixteenth-century hand (birth notice of Giovanni Antonio Caracciolo, 12 October 1593);
 
fol. 2v: blank;
 
fols. 3r-10r: alphabetical index of the first lines of RVF poems (under each letter of the alphabet, poems are listed in order of appearance) (‘Incipit tabula’);
 
fol. 10r: colophon: Finis Tabula;
 
fol. 10v: blank;
 
fols. 11r-56v: Triumphi (order: Amoris I, Amoris III, Amoris IV, Amoris II, Pudicitie, Mortis Ia, Mortis I, Mortis II, Fame Ia, Fame I, Fame II, Fame III, Temporis, Eternitatis); at the top of each fol. with the beginning of each Triumphus (except Triumphus Temporis) is a rectangular-box illumination representing it: Amoris I (fol. 11r); Pudicitie (fol. 25r), Mortis I (fol. 31r), Fame I (fol. 42r), and Eternitatis (fol. 54r); on the verso of the fol. preceding the beginning of each Triumphus (except Triumphus Amoris and Temporis) there is a rectangular-box illumination (a classical-style epigraph surrounded by an architectural frame): ‘He pace [sic] | inimicitia | che fa | la pudici | cia [sic]’ (fol. 24v), ‘Ognaltro | morte | anegra | sol consi | ensia in | tegra’ (fol. 30v), ‘Sola vir | tu se chi | ama, | che fa per | petua | fama’ (fol. 41v), and ‘Sola vir | tu super | na | da vita in | celo | eterna’ (fol. 53v);
 
fol. 56v: colophon: Finiunt Triumphi Francisci Petrarche poete;
 
fols. 57r-61r: [Pseudo-Antonio da Tempo’s] life of Petrarch (‘Incipit Vita Francisci Petrarch[e] Poete laureati’, <inc> Petrarcho figliuolo di Parenzo cittadino firentino [sic] discesce [sic] dassai antica et honesta famiglia; <exp> Uno de sonetti et canzoni: et laltro di triumphi: Tre libri inuersi cio e. Bucolica et lepistole ad Barbatum et Laffrica. Et septe psalmi penitentionali);
 
fol. 61r: colophon: Finit vita Francisci Petrarche;
 
fols. 61v-63r: blank;
 
fol. 63v: a rectangular-box illumination (a classical-style epigraph surrounded by an architectural frame): ‘Ypolito | podico | fa Petrar | cha cupido | De honeste | fianme [sic] | amico’;
 
fols. 64r: RVF 1; at the top of the fol. there is a rectangular-box illumination showing Petrarch at the fountain of Vaucluse, accompanied by two nymphs or muses playing musical instruments;
 
fols. 64v-206r: RVF 2-366;
 
fol. 206r: colophon: Finis libri Francisci Petrarche;
 
fol. 206v: introduction to Petrarch’s note on Laura (‘Incipiunt dicta quedam reperta | in quodam Virgilio in | Papiensi Biblyothe | ca manu priop[ri]a | Francisci pe | trarche scrip | ta sub hac | forma’);
 
fol. 207r: Petrarch’s note on Laura (<inc> [L]aurea proprijs uirtutibus illustris et meis longum celebrata carminibus; <exp> in expectatos exitus acriter ac uiriliter cogitanti);
 
fol. 207r: colophon: Finis;
 
fol. 207v: extract from Petrarch’s Latin letter to Giacomo Colonna (Fam. II.9) (‘Hec etiam sunt uerba in epistola quadam scrip[ta] ad Iacobum de Colunna Bomboriensem Episcopum’, <inc> Quid ergo ais finxisse me mihi speciosum laure, <exp> tibi pallor: tibi labor meus notus est. Vale);
 
fols. 208r-209v: blank;
 
fol. 210r: a note of possession by an eighteenth-century hand (acquisition note by Sir John Peachey in 1785);
 
fols. 210v-211v: blank.