Census of Petrarch Manuscripts in the United States

1. Census of Petrarch Manuscripts in the United States, Padua, Editrice Antenore, 1986. 2. Supplement I, no. 3, in "Census of Petrarch Manuscripts in the United States: Supplement I," Petrarca, Verona e l’europa, Padova, Editrice Antenore, 1997, pp. 463-464. 3. In the 1557 Roman index, alongside other well-known prohibited authors, who had published works that are "invitations to heresy or to some form of deceitful impiety or a certain type of obscene turpitude," appears Petrarch (cited for his Babylon Sonnets and anti-Avignon letters Sine nomine). Together with Petrarch are: Aretino, Berni, Boccaccio, Bracciolini, Capilupi, Della Casa (the former nuncio responsible for the Venetian index of 1549), Doni, Flaminio, Franchini, Franco, Gelli, Lando, Machiavelli, Masuccio, Pagani, Pulci and Tansillo: Index des livres interdits, ed. J. M. De Bujanda, Sherbrooke-Geneva, Vol. VIII, p. 718 and pp. 752-86; for reference to Petrarch, pp. 584-485, 772-773. Ugo Rozzo, "Italian Literature on the Index," in Church, Censorship and Culture in Early Modern Italy, edited by Gigliola Fragnito, trans. by Adrian Belton, Cambridge, Cambridge Univ. Press., 2001, p. 200. 1. C. Marchesi, "Volgarizzamenti ovidiani del secolo decimoquarto," Atene e Roma, XI, 1908, coll. 275-285. 2. Incipitario unificato della lirica italiana (IUPI), vol. I, a cura di M. Santagata, Modena, Panini, 1988, p. 901; Lirici toscani del Quattrocento, a cura di A. Lanza, Roma, Bulzoni, 1975, II, pp. 432-433. 3. Francesco di Vannozzo, Le rime, a cura di A. Medin, Bologna, Commissione per i testi di lingua, 1928, Sonnet LXXX, pp. 116-117. IUPI, II, p. 1052. 4. Maestro Antonio da Ferrara (Antonio Beccari), Rime, ediz. critica a cura di Laura Bellucci, Bologna, Commissioine per i testi di lingua, 1967, Sonnet XLIa, p. 115. 5. The words "di Quirico di Piero Tolosini," in the colophon on f. 155v, are partially erased. In the margin is written in a contemporary mercantesca hand, "Nota di chi è questo libro." 1. The same title and text appear in: Oxford, Bodleian Library, Canonici Ital. 70 ; London, Bernard Quaritch, Cat. 933, no. 175 . 2. The order of the Rerum vulg. fragm. poems in MS 706 suggests that it is a form of the Canzoniere that follows the Malatesta form and joins the fluid state of the collection as it is represented in a number of manuscripts composed during the period between the Malatesta form and before Vat. lat. 3195 , between the years 1371 or 1372-Jan. 4, 1373 (when Malatesta is believed to have been composed) and Petrarch’s death on July 18/19, 1374. The note on MS 706 would also suggest that this particular version is based on an exemplar that was annotated by Petrarch and contained four blank folios at the end of the first part. The order of the poems 264-366 in MS 706 (in addition to no. 3 following no. 2, and the ballad Donna following no. 122), corresponds exactly with a group of manuscripts that were written at approximately the same time (second half of 15th century) and place (North-eastern Italy), and all include the same note between nos. 263 and 264, "Que sequuntur post mortem domine Lauree scripta sunt. Ita .N. proprio codice domini francisci annotatum est & carte quatuor pretermisse vacue": Vatican Library, Regin. lat. 1110 ; Oxford, Bodleian Library, Canonici Ital. 70 ; Oxford, Bodleian Library, Exeter College, 187 ; London, Bernard Quaritch, Cat. 933, no. 175 . Cornell University, Mss Bd. Petrarch P P49 R51 (Census, p. 121, no. 42; written in Ferrara in ca. 1460) has the same order of poems. The last poems beginning with no. 340 have a similar order in Padova, Seminario Vescovile, Cod. CIX ; Vatican Library, Urb. 684 . 3. The same title and note appear in: Oxford, Bodleian Library, Canonici Ital. 76 and Exeter College 187 ; London, Bernard Quaritch, Cat. 933, no. 175 . 4. In margin, written in red, and partially cropped: "Triumphi ... qualiter ... Triumph ... Cupidi". 5. In margin, written in red, and partially cropped: " ...s Tertius ... mors ter ... donna" 6. In margin, written in red, and partially cropped: "Quartus T ... qualiter s... umphavi..." 7. In margin, written in red, and partially cropped: "Tri ... qual ... tri ... fa" 8. In margin, written in red, and partially cropped: "...is sextus ... is, de ...ate." 9. The order and titles of the Triumphi are the same in: London, British Library, Harley 3442 ; Oxford, Bodleian Library, Canonici Ital. 70 and Exeter College 187 ; London, Bernard Quaritch, Cat. 933, no. 175 ; Cornell, Mss Bd. Petrarch P P 49 R51 ; Vatican Library, Urb. 684 and Regin. lat. 1110 . 10. Cfr. Marco Vattasso, I codici petrarcheschi della Biblioteca Vaticana, Rome, Tipografia poliglotta vaticana, 1908, no. 113, pp. 102-104, and Nicholas Mann, "Petrarch Manuscripts in the British Isles," Italia medioevale e umanistica, XVIII, 1975, nos 109, 184, 190, 257, and 265, as well as footnote on p. 507. 1. f. 1r, (right margin in a 19thߚcentury hand) "Di M. Giovi Boccaccio," (top margin, in a 19thߚcentury hand) "Birria e Geta di M. Gio. Boccaccio." In some manuscripts, Geta e Birria is attributed to Boccaccio, in others to Filippo Brunelleschi. 2. Ms. 1958 of Pesaro, Biblioteca Oliveriana (paper, miscellaneous, sec. XV) contains the same texts by Niccolòrotti, in a different order; see Kristeller, Iter italicum, II, p. 68. 3. MS 688 (no. 75 in the present Census) is also from the collection of Marchese Roberto Venturi Ginori. 1. H. Harvitt, "Les ’Triomphes’ de Pétrarque traduits en vers français par Simon Bourgouyn, valet de chambre de Louis XII," Revue de litt. Comparée, II, 1922, p. 86. 2. Edition of summary in Francesco Simone, Il Rinascimento francese, Torino, Società editrice internazionale, 1965, p. 204. 1. For example, all the words in Petrarch’s first sonnet ("Voi ch’ascoltate") are numbered ’3’, the Triumphi are numbered ’287’. 1. La sfera has been attributed to both Lorenzo Dati (1365-1425) and to his more famous brother Gregorio (Goro) Dati. It has also been suggested that Leonardo composed the Latin version, later translated into Italian by Gregorio. Cfr. La sfera, ed. G. C. Galletti, pp. 3-4. 1. Varnucci was a prolific painter who worked in Florence from 1440 to 1478 on various religious and secular manuscripts and printed books (see Levi D’Ancona). The initial portrait of Petrarca is similar in style to the author portrait of the jurist Antonio Roselli, as well as the border decoration, in the copy of Roselli’s Monarchia, sive tractatus de potestate imperatoris et papae ( Paris, Bib. Nat., lat. 4237 ) which is also attributed to Varnucci (François Avril, Dix siècles d’enluminure italienne, Paris, Bibliothèque Nationale, 1984, pp. 115-116, no. 98, and conf. pp. 116-117, no. 99, also attributed to Varnucci). Cfr. decoration on Ms. Bodl. 339 (2400) , f. 3r (attributable to Bartolomeo d’Antonio Varnucci), in A. C. de la Mare, "Further Italian Illuminated Manuscripts in the Bodleian Library," La miniatura italiana tra gotico e rinascimento: Atti del II Congresso di Storia della Miniatura Italiana, Cortona 24-26 settembre 1982, a cura di Emanuela Sesti, Florence, Leo S. Olschki Editore, 1985, p. 132 and plate on p. 133. 2. Giuliari attributes the orations to Buonaccorso da Montemagno instead of Stefano Porcari: see introduction (Avvertenza) to the edition Prose del giovane Buonaccorso da Montemagno, pp. v-xviii. The orations are listed in S. Morpurgo, I manoscritti della R. Biblioteca Riccardiana di Firenze, Roma, 1892-1900, pp. 62-63 (for Florence, Biblioteca Riccardiana, Ms. 1074 [R. III. 12] ). The Porcari orations and other similar texts are also in Yale University, Beinecke Library, Marston MS 247 and MS 329 (nos. 87 and 72 of the present Census. 3. Piero Buonaccorsi (1410-1477), like his father, was a notary all his life in Florence. He was a passionate student of Dante, transcribing the Divine Comedy in 1430 (probably Florence, Bibl. Riccardiana, Ms. 1038 ); in 1440, he completed the transcription of Paradiso ( Florence, Bibl. Laurenziana, Ms. Gadd. 131 pl. XC sup.). Some time before 1440 he wrote a commentary on the Divine Comedy, entitled Cammino di Dante, in the form of letters to Romolo de’ Medici of the convent of Santa Croce in Florence; a copy of the Cammino is bound at the end of Ms. Riccardiano 1038 . Buonaccorsi also wrote two other works: Quadragesimale ( Florence, Bibl. Riccardiana, Ms. 1402 ) and Tractato di sustantie et di certe gentilezze et altre verità della natura, secrete et manifeste in diversi corpi ( Florence, Bibl. Naz., Ms. Palatino 704 ). (Dizionario biografico italiano = Buonaccorsi, Piero). 4. The Giannalisa Feltrinelli Library: Part Two - Italian Renaissance Manuscripts and Autograph Letters, Christie’s Catalogue, London, 1997, pp. 111-113, with plates of back cover and f. 1r (historiated initial of Petrarch). 5. Property of Sotheby’s and on sale in New York: The Inventory of H. P. Kraus (Property of Sotheby’s), catalogue of New York Sale N07956, Thursday & Friday, December 4 & 5, 2003, p. 393, and plate of f. 1v on p. 394. I am grateful to Sotheby’s for permitting me to consult the manuscript in the New York office on Dec. 30, 2003.


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