Iacobi Philippi Tomasini Petrarcha redivivus

4°; [*]⁴, **⁴, A-Z⁴, Aa-Cc⁴, [x]²; [16], 208, [4] pp.

paper; texts in roman type; printed numbering; 1 portrait, 2 maps, 14 engravings (13 full-page ones and 1 rectangular-box one)

IACOBII PHILIPPI | TOMASINI PATAVINI| D. Mariae in Vantio Canonici Saecularis | PETRARCHA | REDIVIVVS. | Integram Poetae celeberrimi Vitam | Iconibus aere celatis exhibens. | ACCESSIT NOBILISSIMAE FOEMINAE | LAVRAE | Breuis Historia. | AD EMINENTISS. ET REVERENDISS. | D. IOAN. FRANCISCVM | Ex Comitibus Guidijs à Balneo | S.R.E. Cardinalem, & c. | Superiorum Permissu. | PATAVII, Typis Liuij Pasquati, & Iacobi Bortoli. | Apud Paulum Frambottum. MDC XXX V.

[*]1r: full-page engraving of Laura standing close to an altar in which is engraved ‘Iac. Philippi Tomasini Petrarcha Redivivus Laura comite’;
 
[*]1v: blank;
 
[*]2r: title page;
 
[*]2v: blank;
 
[*]3r-[*]4r: Tomasini’s dedicatory letter to Cardinal Giovan Francesco Guidi di Bagno (‘Eminentiss. Ac Reuerendiss. D.D. Ioan. Francisco ex Comitibus Guidiis a Balneo &c. S.R.E. Cardinali, Episcopo Reatino, Domino & Mecoenati Benignissmo [sic]’);
 
[*]4v-**1r: address to readers (‘Lectori benevolo’);
 
**1v-**2r: Lorenzo Pignorio’s praise of Tomasini’s work (‘Laurentius Pignorius Iacobo Philippo Tomasino Canonico S. Mariae in Vantio, & Coenobiarchae, Viro admodum Reuerendo’);
 
**2v-**3r: two Latin poems by Lorenzo Pignorio in praise of Tomasini (‘V. C. I. Phil. Tomasino’, <inc> Decora nympha, prescius Daphnes suae; and ‘Eidem’, <inc> Cui Patriam invidit variae discordia gentis);
 
**3v: table of contents (‘Index capitulum’);
 
**4r: full-page engraving of a portrait of Petrarch;
 
**4v: full-page engraving of a different portrait of Petrarch;
 
A1r-A1v: Tomasini’s preface to his life of Petrarch (‘Francisci Petrarchae Vita. Praeloquium’);
 
A2r [wrongly printed ‘B2’]-A4v: first chapter of Tomasini’s life of Petrarch, devoted to the poet’s nationality, birth, and parents (‘Poetae patria, natales, parentes’);
 
B1r-B3r: second chapter on the poet’s body and habits (‘Constitutio corporis, et mores animi’);
 
B3r-C1v: third chapter on the poet’s studies (‘Educatio, et studia’);
 
C2r-C3v: fourth chapter on the poet’s talents (‘Ingenii praestantia’);
 
C4r-D1v: fifth chapter on the poet’s eloquence and poetry (‘Eloquentia & poesis’);
 
D2r-E2r: sixth chapter on the poet’s works (‘Egregia ingenii monumenta’);
 
E2r-F1v: seventh chapter on the poet’s manuscripts housed in the Vatican library (‘Francisci Petrarchae Opera m[anus]s[cripta] quae asseruantur in Bibliotheca Vaticana’);
 
F2r-F3v: eighth chapter on the poet’s biographers and commentators (‘Census eorum, qui vatis nostri vitam consripserunt, quive eiusdem opera co[m]mentarijs illustrarunt’);
 
F4r-G2r: ninth chapter on the poet’s claims (‘Vindiciae tutelares’);
 
G2v-H4r: tenth chapter on the poet’s coronation (‘Honores, et inprimis laurea ex poesi parta’);
 
H4v-I2v: eleventh [wrongly printed as twelfth] chapter on the poet’s relations with other literati (‘Necesstudo [sic] cum literatis’);
 
I3r-K4v: twelfth chapter on the poet’s appreciation among his contemporaries (‘Existimatio apud principes et alios’);
 
L1r-L4r: thirteenth chapter on the poet’s relation with the Republic of Venice (‘Ser[enissimae] Reip[ublicae] Venetae affectus in fidem et obsequium poetae’);
 
L4v: full-page engraving of Vaucluse;
 
M1r-M4v: fourteenth chapter on the poet’s life in Vaucluse (‘Poetae secessus in Vallem Clausam’);
 
N1r-N4r: fifteenth chapter on the poet’s love for Laura (‘Affectus in Lauram’);
 
N4v: full-page engraving of Laura’s portrait;
 
O1r-P4r: sixteenth chapter on Laura’s life and praises (‘Laurae Petrarchae vita, et encomia’); at fol. P3r is a small rectangular-box engraving of a coin with Laura’s effigy;
 
P4v-Q2v: seventeenth chapter on the poet Giustina Levi Perotti’s admiration for the poet (‘Iustinae Levi Perottae cultus in Petrarcham’);
 
Q3r-Q4v: eighteenth chapter on the poet’s time in Parma (‘De solitudine parmensi’);
 
R1r-T1r: nineteenth chapter on the poet’s house in Arquà (‘Arquadae collis vicus et Petrarchae domicilium’); within this section are 6 full-page engravings: a map of Arquà (R2r), Arqua’s spring (R3v), a planimetry of Petrarch’s house (S1r), Petrarch’s chair (S3r), a piece of furniture of Petrarch’s house (S4r), and the funerary monument of Petrarch’s cat (S4v);
 
T1v-V3v: twentieth chapter on the frescos painted in the poet’s house (‘Mythologia iconum eodem spectantium’); within this section are 6 full-page engravings: a landscape (T2v), a portrait of Petrarch (metamorphosing into a Laurel tree) and Laura (T3v), Petrarch (as Acteon) seeing a woman bathing in a pond (T4v), Petrarch pointing to a duck (V1v), Petrarch talking to Laura (V2v), and Laura taking Petrarch’s heart from his chest (V3r);
 
V3v-X1r: twenty-first chapter on posterity (‘Posteritas’);
 
X1v-X3v: twenty-second chapter on the poet’s compassion (‘Summa vatis pietas’);
 
X3v-Z1v: twenty-third chapter on the poet’s old age, death, and funeral (‘Senectus, obitus, et funus’); at fol. Y4v is a full-page engraving of Petrarch’s tomb;
 
Z2r-Aa2v: twenty-fourth chapter on the monuments and literary works in praise of the poet (‘Monumenta Petrarchae vivo et defuncto posita, elogia eidem a viris claris concinnata’); at fol. Z2v is a full-page engraving of a coin with Petrarch’s effigy on one side, and Laura on the other;
 
Aa2v-Bb3r: twenty-fifth and final chapter on the poet’s violated sepulcher (‘Divini vatis sepulchri violate historia’);
 
Bb3r: colophon: Finis;
 
Bb3v-Cc4v: alphabetical index of notable matters and names mentioned in the work (‘Index rerum, et nominum’);
 
Cc4v: colophon: Finis;
 
[x]1r: authorization to print the volume;
 
[x]1v: list of errata (‘Errata sic corrigantur’);
 
[x]2r-[x]2v: blank.