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[RVF and Triumphi – with index]


Current Location

Biblioteca Nazionale Centrale

Magl. VII. 842
fifteenth century
Mode of exegesis
Related to Petrarch's

RVF, Triumphi


Physical Description: Format

140x84 mm; I + 81 + 181 + I fols.

Physical Description: Textblock

parchment; round humanistic script; Petrarch’s poems with one verse per line; one rectangular-box illumination, one architectural frame, historiated and decorated initials.

Visual Elements
Title Page

Tavola de’ Capoversi

Internal Description

fols. 11r-71v: alphabetical index of the first lines of RVF poems (under each letter of the alphabet, poems are listed in order of appearance) (‘Tavola de’ Capoversi’);
fols. 71v-81r: index of the first lines of the capitoli of the Triumphi in order of appearance;
fol. 81v: blank;
fol. 1r: rectangular-box illumination representing a blindfolded cupid standing on a small boat in the middle of a lake; cupid is represented holding a rope tied to a woman – on the shore – who is about to cut the rope with a sword;
fols. 1r-141v: RVF;
fol. 141v: colophon: Francisci Petrarce poete excellentis[simi] carminum amorum finis;
fol. 142r-142v: blank;
fols. 143-181r: Triumphi (except Triumphus Amoris I.1-47) (order: Amoris I.48-160, Amoris III, Amoris II, Amoris IV, Pudicitie, Mortis Ia, Mortis I, Mortis II, Fame Ia, Fame I, Fame II, Fame III, Temporis, Eternitatis);
fol. 181r: colophon: Francisci Petrarce poetae excellentissimi triumphus VII & ultimus de eternitate expliciunt [sic];
fol. 181v: a few scattered words.

Material Copy


Biblioteca Nazionale Centrale

Magl. VII. 842
Copy seen by

Scattered marginal annotations by the same hand provide variant readings.
Historiated initial for RVF 1 showing a profile portrait of a laurel-crowned poet (fol. 1r); up to RVF 57, before every poem there is a running header in black ink by a later hand; decorated initials in gold for the beginning of each Triumphus and each subsequent capitolo; at fol. 1r is an architectural frame with Roman decorative architectural elements, cupids, and medallions (within which are represented the portrait of a man, a man sleeping under a tree, and three stakes on which some arrows are burnt, respectively).
Presumably, a now-lost fol. 142 with the beginning of Triumphus Amoris I was substituted by actual fol. 142 (blank).


CPR, 58-59; Mazzatinti, XIII, 178