Petrarcha con doi commenti

folio; A-N⁸, O-P⁶, a¹⁰, b-r⁸; 116, [10], 128 fols.

paper; Petrarch’s poems and commentary in roman type; printed numbering; some of Petrarch’s poems set on left (or in right) in small block, with commentary distributed on three sides; some other of Petrarch’s poems set on both left and right in two horizontally aligned blocks, with commentary distributed across the page beneath each set of two blocks; six full-page woodcuts.

Petrarcha con doi co[m]menti sopra | li Soneti & Canzone. | El Primo del Inge[n]iosissimo Mi | ser Francesco Philelpho. | Laltro del sapie[n]tissimo miser An | tonio da Te[m]po nouame[n]te addito. | Ac etiam con lo Co[m]mento del Eximio Mi | ser Nicolo Pe | ranzone:Ouero Riccio | Marchesiano Sopra Li Trium | phi:con Infinite Noue | Acute & Excellen | te Expositio | ne. | [printer’s mark]

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’);
 
A2v: Filelfo’s dedicatory letter to Filippo Maria Visconti;
 
A3r-P3v: RVF with commentaries by Filelfo and Pseudo-Antonio da Tempo. I2r: explicit mention of the fact that Filelfo’s commentary is replaced by that by Girolamo Squarciafico from RVF 136 onwards: ‘Seguita la interp[re]tatio[n]e di Hyeronimo Squarzafico Alexa[n]drino sopra el resto della p[re]sente opera’;
 
P3v: colophon: Finisse li Sonetti & Canzone de Misser Francesco Petrarca ben corretti per Nicolo Peranzone altramente Riccio Marchesiano:liquali sonetti incominciando dal principio insino al sonetto Fiamma dal ciel su le tue trezze pioua:sono exposti per el degno poeta Misser Fra[n]cesco Philelpho & da li indrio insino qui sono exposti per il Spectabile Misser Hieronymo Squarciafico Alexandrino. Et etiam tutti li ditti sonetti sono exposti p[er] lo Eximio Misser Antonio da Te[m]po. Sta[m]padi in Milano per Ioanne Angelo scinzenzeler;
 
P4r-P6v: index of notable matters for RVF;
 
Second part
 
a1r: blank;
 
a1v: preface by Nicolò Peranzone as editor of Petrarch’s texts;
 
a1v: three sonnets by Nicolò Peranzone in praise of Petrarch (‘Volse [sic] natura nella nostra etade’ in praise of Petrarch and Laura, ‘Ventura idio el prouerbio dice’ in praise of virtue, and ‘Virtu che fai in questo miser mondo’, labelled as ‘Dialogo dela uirtu’);
 
a2r-a7v: index of notable matters for the Triumphi;
 
a8r: Ilicino’s dedicatory letter to Borso d’Este;
 
a8r-a9r: Ilicino’s prologue to his commentary, divided into three parts, each with a short title (‘El subgetto uniuersale deli triumphi de misser francesco petrarcha’, Vtilita de li triumphi de messer Francesco petrarcha’, and ‘Nome del libro & auctore desso’);
 
a9r-a10r: Pseudo-Antonio da Tempo’s life of Petrarch, divided into four sections (‘La origine de Misser Francesco petrarcha’, ‘La forma de Misser Francesco petrarcha’, ‘Li costumi de Misser Francesco petrarcha’, and ‘Opere composte per Misser Francescho petrarcha’);
 
a10r: Petrarch’s note on Laura (‘Me[m]oria q[uae]da[m] de Laura manu p[ro]pria F[rancisci] Petrar[arcae] scripta i[n] quoda[m] Codice Virg[ilii] i[n] papie[n]si bibliotheca reperta’);
 
a10r: extract from Petrarch’s Latin letter to Giacomo Colonna (Fam. II.9) (‘Fragme[n]tum cuiusda[m] epistole eiusde[m] Francisci petrarcae ad Iacobu[m] de Colu[n]na lo[m]borie[n]sem episcopu[m]’) followed by the eight-line Latin poem from Fam. XI.4 (‘Valle locus clausa toto mihi nullus in orbe’);
 
a10r: paragraph on the structure of the Triumphi (‘Diuisione de li Triumphi de Misser Francesco petrarcha’);
 
a10v-r8r: Triumphi with Ilicino’s commentary; each triumph is preceded by a full-page woodcut: Triumphus Amoris (a10v), Pudicitie (f2v), Mortis (g5v), Fame (i4v), Temporis (p6v), Eternitatis (q7v);
 
r8r: register and colophon: FINISSE IL Petrarca Con Doi Commenti. Stampado In Milano per Ioanne Angelo scinzenzeler. Anno domini.M.CCCCCVII.adi.xx.del mese di Agosto;
 
r8v: blank.
 
Notes: this edition is most likely a reprint of the 1503 Venice edition by Albertino da Lissona.