Li sonetti canzone e triumphi del Petrarcha con li soi commenti

4°; A-T⁸, V⁶, †⁶, AA-ZZ⁸; 158; [6], 184 fols.

paper; Petrarch’s poems and commentary in italic type; printed numbering; most of Petrarch’s poems set on left (or right) in small block, with commentary distributed on three sides; some of Petrarch’s poems set on left in a sequence of blocks, with commentary distributed in single column on right (or viceversa); seven full-page woodcuts.

LI SONETTI CANZONE E TRIVMPHI DEL PETRARCHA | CONLI SOI COMMENTI NON SENZA GRANDISSIMA | EVIGILANTIA ET SVMMA DILGENTIA CORRE | PTI ET IN LA LORO PRIMARIA INTEGRI | TA ET ORIGINE RESTITVTI NOVITER | IN LITTERA CVRSIVA STVDIOSISSI | MAMENTE IMPRESSI

First part
 
A1r: title page;
 
A1v: Pseudo-Antonio da Tempo’s prologue to his commentary, addressed to Federico Gonzaga;
 
A1v-A2v: Pseudo-Antonio da Tempo’s life of Petrarch;
 
A2v: Pseudo-Antonio da Tempo’s brief paragraph on Petrarch’s works (‘Eiusdem auctoris edita opera’);
 
A3r [but labelled as A2r]: Filelfo’s dedicatory letter to Filippo Maria Visconti;
 
A3v: full-page woodcut (Petrarch sitting under a tree, on his left a knight [King Robert of Anjou?] places a laurel crown on his head);
 
A4r-V4v: RVF with commentaries by Filelfo and Pseudo-Antonio da Tempo. The beginning of both commentaries is signalled by a few capital letters, as well as by the labels ‘Fran.’ (for ‘Francesco [Filelfo]’) and ‘Anto.’ (for ‘Antonio [da Tempo]’), printed in the margins of the pages. Up to sonnet 10, printed historiated initials mark the beginning of both commentaries for each new poem; M3v: explicit mention of the fact that Filelfo’s commentary is replaced by that by Girolamo Squarciafico from RVF 136 onwards: ‘Seguita la interpretatio[n]e di Hyeronimo Squarzafico Alexandrino sopra el resto della presente opera’. Hereafter, the label ‘Fran.’ is replaced in margins with ‘Hiero.’ (for ‘Hieronymo/Girolamo [Squarciafico]’) in the margins;
 
V4v-V6r: Petrarch’s disperse (canzone ‘Quel, ch’ha nostra natura in se più degno’ and canzone [actually ballad] ‘Noua bellezza in habito gentile’);
 
V6r: register and colophon: Finiscono e Sonetti et Canzoni de Meser Francesco Petrarcha: con li suoi co[m]menti stampati per opera de Messer Bernardino stagnino in Venesia del mese de Maggio. M.DXIII. Regna[n]te linclyto Principe Leonardo Lauredano;
 
V6v: blank;
 
Second part
 
†1r: title page: TRIOMPHI DI MESER FRANCE | SCO PETRARCHA CON | LA LORO OPTI | MA SPOSI | TIONE;
 
†1v: pre Marsilio Umbro Forsempronese’s sonnets to Pietro Bembo (‘Che non consuma morte, e ’l tempo avaro’) and to Marino Zorzi (‘Quanta forza ha vertu, Marin soblime’);
 
†2r-†2v: dedicatory letter to Ludovico Barbarigo by Pre Marsilio Umbro as editor of Petrarch’s texts;
 
†3r: Petrarch’s note on Laura (‘Memoria quedam de Laura manu propria Fran[cisci] Petrar[chae] scripta in quodam Codice Vigiliano in papiensi bibliotheca reperta’);
 
†3r: extract from Petrarch’s Latin letter to Giacomo Colonna (Fam. II.9) (‘Frag[m]entum cuiusdam epistole eiusdem Francisci petrarche ad Iacobum de Columna Bomborgiensem episcopum’), followed by the eight-line Latin poem from Fam. XI.4 (‘Valle locus clausa toto mihi nullus in orbe’);
 
†3v: Ilicino’s dedicatory letter to Borso d’Este;
 
†4r-†6r: Ilicino’s prologue to his commentary;
 
†6v-ZZ8r: Triumphi with Ilicino’s commentary; each triumph is preceded by a full-page woodcut: Triumphus Amoris (†6v), Pudicitie (FF8v), Mortis (HH8v), Fame (LL5v), Temporis (VV6v), Eternitatis (YY3v);
 
ZZ8r: register and colophon: I Triomphi moralissimi del Petrarcha co[n] ogni diligentia transunti da lexe[m]pio di quel che scritto di mano propria del poeta per tutto esser se afferma con li optimi et eruditissimi comentarij de lunico et excellentissimo interprete Meser Bernardo illicinio in lantiquaria loro dignita redotti felicime[n]te finiscono in Venegia impressi nel anno.M.D.XIII. del mese di Maggio per opera de Meser Bernardino stagnino regnante il serenissimo Principe Leonardo Loredano.