[Triumphi]

243x170 mm; I + 41 + II fols.

parchment; humanistic script; Petrarch’s poems with one verse per line ad prose text; two full-page illuminations, ten rectangular-box illuminations, and decorated initials.

<inc> Incominciano itriumphi di messere Franciescho Petrarcha Po[eta] fiorent[ino]

fol. Ir: one word by a later hand (‘Benivieni’);
 
fol. Iv: recipe in Latin for medical pills (‘pillule Magistri Antonij Cermisoni’);
 
fol. 1r: blank;
 
fol. 1v: half-fol. illumination with an open-winged eagle facing downwards with a ring in her beak;
 
fol. 1r-37v: Triumphi (‘Incominciano itriumphi di messere Franciescho Petrarcha Po[eta] fiorent[ino]’, order: Mortis II, Fame Ia, Amoris II, Amoris I, Amoris III, Amoris IV, Pudicitie, Mortis I, Fame I, Fame II, Fame III, Temporis, Eternitatis); each triumph is preceded by a full-page illumination: Triumphus Amoris I (11r), Pudicitie (19v), Mortis (23r), Fame I (26r), Temporis (33r), and Eternitatis (35v); at the end of four capitoli of the Triumphi there is a rectangular-box illumination: below Triumphus Amoris II is a marble vase sprouting flowers and two cupids on the sides pulling some branches (10v), below Triumphus Amoris IV is a flower with golden leaves (19r), below Triumphus Pudicitie is a marble vase with flowers growing from it and a cupid in it holding branches (22v), and below Triumphus Fame III is the medallion portrait of a woman within a circular branch out of which come many leaves (32v);
 
fol. 37v: colophon: Qui finiscono itriumphy delmagnifico poeta fiorentino Messe[r] Francesco petrarcha. Deo gratias amen;
 
fol. 38r: blank;
 
fol. 38v: full-page half-bust portrait of Dante, followed by a note by a later hand (‘Dantes’);
 
fol. 39r: blank;
 
fol. 39v: full-page half-bust portrait of Boccaccio, below which is the note by a later hand (‘Bocatius’);
 
fol. 40r: blank;
 
fols. 40v-41r: Petrarch’s note on Laura (<inc> Laurea [sic] propris uirtutibus illustris & meis longum celebrata carminibus; <exp> in expectatos exitus acriter ac uiriliter cogitanti);
 
fol. 41r: a short note by the same hand (‘In conuersione pauli ap[osto]li ad missam cantatur quaedam sequentia in qua i[n]ter caetera est hoc Pauli de Virgilio ad Maronis Mausoleum ductus fudit sup[er] eum pie rorem lacrimae quem te inq[ui]t reddidissem si te uiuum inuenissem poetarum maxime’; this note is a copy of the one written by Petrarch is his own copy of Virgil’s works);
 
fol. 41v: blank.