Petrarcha con doi commenti sopra li sonetti et canzone

4°; A⁸, A-P⁸, a⁴, AA-QQ⁸, RR¹²; 119, [13], 140 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 left in a sequence of blocks, with commentary distributed in single column on right; some other ones 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 COM | MENTI SOPRA LI SO | NETTI ET CAN | ZONE || EL PRIMO DEL INGENIOSISSI | MO MISSER FRANCESCO | PHILELPHO || LALTRO DEL SAPIENTISSIMO | MISSER ANTONIO DA TEM | PO NOVAMENTE | ADDITO || AC ETIAM CON LO COMMENTO | del Eximio Misser Nicolo Peranzone, ouero | Riccio Marchesiano sopra li Trium | phi, con Infinite noue acute | & Excellente Ex | positione.

First part
 
A1r-A1v: blank;
 
A2r-A6v: index of notable matters for RVF;
 
A6v: Ilicino’s dedicatory letter to Borso d’Este;
 
A6v-A8r: Ilicino’s prologue to his commentary;
 
A8v: full-page illustration of Triumphus Amoris;
 
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: Filelfo’s dedicatory letter to Filippo Maria Visconti;
 
A3r-P5v: RVF with commentaries by Filelfo and Pseudo-Antonio da Tempo. From RVF 136 (I3r), onwards, Filelfo’s commentary is replaced by that by Girolamo Squarciafico. No explicit mention is made of the fact that the commentator changes in the text. Squarciafico’s name is only mentioned in the explicit of his commentary (P7r). Up to sonnet 10, printed historiated initials mark the beginning of both commentaries for each new poem; following sonnet 10, a few capital words signal the beginning of both commentaries;
 
P5v-P7r: Petrarch’s disperse (canzone ‘Quel ch’ha nostra natura in sé più degno’ and canzone [actually ballad] ‘Noua belleza in habito gentile’);
 
P7r: register and colophon: Finisse li Sonetti et Canzone de Misser Francescho 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 Francescho Philelpho et da li indrio insino qui sono exposti per il Spectabile Miser Hieronymo Squarciafico Alexandrino. Et etiam tutti li ditti sonetti sono exposti per lo Eximio Miser Antonio da Tempo. Stampadi in Venesia per Gregoriu[m] de gregoriis;
 
P7v-P8v: blank;
 
Second part
 
a1r-a4v: index of notable matters for the Triumphi;
 
AA1r-RR12r: Triumphi with Ilicino’s commentary. The text of every capitolo is preceded by a short prose introduction with a printed historiated capital. At II2r there is a short Latin text, shaped as a sand clock, entitled ‘De quodam qui propter gloriam incendere voluit templum Dianae’; each triumph is preceded by a full-page woodcut: Triumphus Pudicitie (EE5v), Mortis (GG1v), Fame (II2v), Temporis (QQ1v), Eternitatis (RR3r);
 
RR12r: register and colophon: Finit Petrarcha nup[er] su[m]ma dilige[n]tia correcto. Impressum Venetiis per Gregorium de gregoriis sumptibus Egregii viti Domini Bernardini de tridino. Anno d[omi]ni MDVIII. Die xx noue[m]bris.