[Triumphi with annotations and index]

124x87 mm; 108 fols.

parchment; various scripts: humanistic script (for Petrarch’s Triumphi), gothic hand, and sixteenth-century hand; Petrarch’s poems with one verse per line, with annotations irregularly distributed on the sides; decorated initials.

<inc> Triumpha amore (fol. 4r)

fol. 4r: title by a later hand (‘Trionfi di m[e]s[ser] Francesco Petrarca’), followed by another title by the same humanistic hand (‘Triumpha amore’);
 
fols. 4r-44r: Triumphi with annotations (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);
 
fol. 44r: colophon: Finis;
 
fol. 44r-44v: index of the first lines of the capitoli of the Triumphi in order of appearance;
 
fol. 44v: colophon by a sixteenth-century hand: Qui finiscono i trionfi del Petrarca;
 
fol. 48v: a sonnet attributed to Petrarch by a sixteenth-century hand (‘Secondo alcuni di m[esser] Francesco Petrarca’, <inc> Qui riposan quei casti & felici ossa), below which is the first quatrain of another sonnet by the same sixteenth-century hand (‘Mortal bellezza indarno si sospira’); before the quatrain is a caption by a later hand (‘Del medesimo’);
 
 

Other contents:
 
fol. 1r: index of the contents of the ms. by a later hand;
 
fol. 1v: scattered words by three later different hands;
 
fol. 2r-2v: Dante’s canzone ‘ai faslx ris per quoi tradi aues’, below which are some scattered words and a note by two different hands;
 
fol. 3r: blank;
 
fol. 3v: a scattered sentence by a later hand;
 
fol. 44v: a note by a sixteenth-century hand (<inc> I seguenti scritti non sono di Petrarca per quanto da essi si comprende; <exp> o pure d’altro autore todino, per essersi trouati & forse scritti i[n] tode);
 
fols. 45r-48r: poem in terza rima by anonymous author (<inc> [s]ouente in me pensando como amore; <exp> se uuoli qui fama e in ciel gloria acq[ui]stare;
 
fol. 48r: colophon: finis;
 
fols. 49r-108v: many vernacular poems (mainly sonnets, canzoni, and poems in terza rima) by various (mostly anonymous) authors, including: Sinibaldo da Perugia’s canzone ‘[O] seconda Diana al nostro mondo’; four canzoni mourning Costanza Varano’s death; some rhymed proverbs; eleven sonnets by Baldassarre Olimpo da Sassoferrato; Burchiello’s sonnet ‘Achi co[n] Bachi e cachi de brigata; and a few Latin carmina by anonymous authors (for a detailed list, see Mazzatinti, V, 165-66).