Overview
Biblioteca Classense
Ravenna
Italy
Triumphi + Mortis Ia, Fame Ia
Description
168x115 mm; I + 77 + I fols.
paper; various scripts: cursive humanistic script for the Triumphi, sixteenth-century cursive script for Orlandi’s canzone; Petrarch’s poems with one verse per line.
<inc> Gioua[n]zel ma[n]sueto & fiero ueglio
fols. 1r-51r: Triumphi (order: Amoris I.79-160, Amoris III, Amoris IV, Amoris II, Pudicitie, Mortis Ia, Mortis I, Mortis II, Fame Ia, Fame I, Fame II, Fame III, Temporis; Eternitatis);
fol. 57r-59v: Alberto Orlandi’s canzone on Triumphi (‘Cantilena alberti Orlandi’; <inc> Beato elprego to [sic] cortese & almo);
Other contents:
The ms. includes a collection of four canzoni and one sonnet by Alberto Orlandi, two poems by Jacopo Corsi, one canzone by Simone Serdini, and three sonnets and one canzone by anonymous author. A series of four sonnets of political subject and two Latin carmina might be attributed to Panfilo Sasso according to Bettarelli (2001, 25-28); a third Latin poem can be attributed to Benedetto da Cingoli (Bettarelli 2001, 27). At fol. 75r-75v are four recipes for producing different coloured pigments in painting. For a complete list of the works, see Bettarelli 2001.
Material Copy
Biblioteca Classense
Ravenna
Italy
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 (‘Ue contaro i cinquj s[u]o subiecti’). The text of the canzone makes precise references to Petrarch’s work, with a particular focus on mythological figures (such as Jupiter, Mars, Proserpine) mentioned in the Triumphi; few maniculae.
According to Bettarelli (2001, 5-6), the first section of the ms. containing the Triumphi is the oldest, and was copied in the closing decades of the fifteenth century.
Mazzatinti, IV, 22
***
Bettarelli 2001