Veneranda Biblioteca Ambrosiana
Milan
Italy
Both RVF and Triumphi are annotated, though the latter much more heavily so. For RVF there are occasional annotations in red ink by humanistic hands either dealing with moments in the life of Petrarch (e.g. at fol. 43r on the date of Petrarch’s enamourment), or clarifying specific passages. Annotations in black ink usually deal with variant readings and mistakes in the text. For Triumphi, the annotations, in the margins and occasionally at the top and bottom of the fol., are penned in red ink by the same hand that transcribed the text. These annotations sometimes explain obscure passages, but more often deal with historical content, providing information on the vicissitudes affecting the historical and mythological figures mentioned by Petrarch. Notes in another hand attempt to provide historical discussion for the first series of annotations. Every single capitolo of the Triumphi is introduced by a brief foreword (summarizing its content) in red ink by the same hand that transcribed the text.
Orlandi’s canzone summarizes the content of the Triumphi. In the second stanza Orlandi states that he will illustrate the five subjects of Petrarch’s work (‘ti cantero lisuo [sic] cinq[ue] subiecti’). The text of the canzone makes precise references to Petrarch’s work, with a particular focus on the mythological figures (such as Jupiter Mars, Proserpine) mentioned in the Triumphi.
At fol. 71r, Ludovico Antonio Muratori inserts the title of the section 71r-89r of the ms.: ‘La Bellamano di Mess[er] Giusto de’ Conti Romano senatore. Vidit L[odovicus] A[ntonius] Muratorius’.
Initials in gold for RVF 3, 5; few maniculae.