Census of the Petrarch Manuscripts in the United States


CAMARILLO, CALIFORNIA, ST. JOHN’S SEMINARY EDWARD LAWRENCE DOHENY MEMORIAL LIBRARY

Ms. 3863

Parch., ff. I (modern paper) + 178 + I (mod. paper), partial modern foliation in pencil, 143 × 90 (99 × 47) mm., 1-1710 188, dry point ruled, 29 verses per page (about two sonnets), no signatures or catchwords, written by one person in a small round humanistic script. Decoration: f. 1, an illuminated miniature (23 × 45 mm., with gold frame) of a winged Apollo dressed in yellow chasing Daphne dressed in red whose hair is turning into laurel, both running through a countryside; a full border decoration in the style of Francesco d’Antonio del Chierico of floral sprays in green, blue, pink and yellow with tiny gold rayed disks, putti, vases and grotesque figures of bearded faces with dragon bodies, eleven medallions inhabited by busts and faces of men and women, on outer margin is a man (Petrarch?) and below him a woman (Laura?); f. 141, a 6ߚline gold initial over a blue ground with white vinestem and dotted in white, inhabited by a bust of Petrarch dressed in pink and green, crowned in laurel; also on f. 141 is a 3/4 page floral border similar to f. 1, with on the bottom margin a blindfolded Cupid shooting an arrow while standing on a tree trunk with sun rays. The first sonnet of the Rerum vulg. fragm. on f. 1 begins with a 3ߚline gold initial inhabited by the bust of a young male figure, on a blue ground, white vinestem and green/pink infilling, a blue frame with white dots; all the other poems begin with 2ߚline gold initials on frames of alternating colors, green/blue, pink/green, or a combination of the colors, with white highlighting and pen work; following the initial on f. 141, the main divisions of the Triumphi, on ff. 153, 156v, 165v, 173 and 175v, begin with 3ߚline gold initials inhabited respectively by busts of a female figure, skull, female figure, a bald and bearded man and an old bearded man with raised hand, all the initials are on a pink/blue/green ground with white vinestem and dotted in white, ending in gold disks; the remaining capitoli begin with 3ߚline gold initials similar to those of the divisions but not inhabited. The titles of the Rerum vulg. fragm. on f. 1 are in gold square capital letters and the titles of the Triumphi are in red ink square capitals; the poems of the Rerum vulg. fragm. are numbered in red Roman numerals. Bound in 18thߚcent. Italian red morocco, pastedowns and facing flyleaves in purple and gold floral designs; rust marks on the center edge suggest clasp of early binding. ff. 1-140, Petrarch, Rerum vulg. fragm. , title "Francisci Petrarce poete clarissimi sonectorum et cantilenarum liber foeliciter incipit", inc. "Voi ch’ascoltate in rime sparse el sono" (nos. 1-50, 52, 51, 53-245, 121 (repeated here with slight orthographic variants and an incorrect initial L), 246-336, 350, 355, 337-349, 356-365, 351, 352, 354, 353, "Donna mi viene spesso nella mente", 366) expl. "... C’acolga ’l mio spirto ultimo im pace. Finis".
f. 140v, blank.
ff. 141-178, Petrarch, Triumphi , title "Francisci Petrarce poetae clarissimi triumphorum liber I", inc. (Tr. cup. I) "Nel tempo che rinova e mie sospiri ... Vien chatenato Giove innanzi al carro, Explicit amoris I pars. Incipit II"; f. 143v, (Tr. cup. III) "Et argia Polinice assai più fida (actually Tr. cup. I, v. 143), Era sì pieno el cor di maraviglie ...(f. 145v, lines 20-25, Tr. cup. I, vv. 118-123, "Da indi in qua so che si fa nel chiostro ... Di sua virtute et di mie spoglie altera" are signalled by a tie mark; f. 146v, line 15, from v. 178, Tr. cup. III ends differently) "Et come sono instabili sue rote / le speranze dubbiose e ’l dolor certo / sue promesse di se come son vote / Come nell’ossa il suo foco coverto / et nelle vene vive occulta piaga / Onde morte palese encendio aperto / Insomma so come inconstante et vaga / Timida ardita vita degli amanti / Com poco dolce molto amaro apaga / Et so i sospiri lor costumi et canti / El parlar rotto e ’l subito silentio / El brevissimo riso e lunghi pianti / Et quale il mel temprato con l’asentio. Explicit IIa pars amoris. Incipit IIIa" (C. Appel, Die Triumphe Francesco Petrarcas [Halle, 1901], 206; f. 147, (Tr. cup. IV) "Poscia che mia fortuna in forza altrui ... [C]he ’l pie va innanzi et l’occhio adietro. Explicit amoris IIIa pars. Incipit eiusdem quarta pars", f. 150, (Tr. cup. II) "Stanco già di mirar non satio ancora ... Et d’un pomo beffata al fin Cidippe. Finit amoris IIIIa et ultima pars. Incipit eiusdem triumphus pudicitiae"; f. 153, (Tr. pud.) "Quando ad un giogo et in un tempo qui ... Fra quali vidi Ipolito et Ioseppe. Finit pudicitae triumphus. Incipit triumphus mortis"; f. 156v, (Tr. mort. I) "Questa leggiadra et gloriosa donna ... Morte bella parea nel suo bel viso. Finit I pars mortis. Incipit eiusdem IIa"; f. 159v, (Tr. mort. II) "La nocte che sequì l’orribil caso ... Tu starai in terra sanza me gran tempo"; f. 162v, (fragment of Tr. fam. I) "Nel cor pien d’amarissima dolcezza ... Poi alla fine vidi Artù et Carlo", f. 156v, (Tr. fam. I) "Da poi che morte triumphò nel volto ... Come advience a chi virtù relinque"; f. 168, (Tr. fam. II) "Pien d’infinita et nobil maraviglia ... Magnanimo gentil constante et largo"; f. 170v, (Tr. fam. III), "Io non sapea da tal vista levarme ... (f. 172v) Che tira al ver la vagha opinione / Qui lascio et più di lor non dico avante"; f. 173, (Tr. temp.) "Nel thauro albergo con l’aurora innanzi ... (f. 175) Così ’l tempo triumpha e nomi e ’l mondo"; f. 175v, "Explicit triumphus temporis. Incipit triumphus eternitatis, (Tr. et.) "Da po’ che socto ’l ciel cosa non vidi ...", expl. "... Or che fie dunque a rivederla in celo. Francisci Petrarce poetae clarissimi eternitatis triumphus VI et ultimus explicit". f. 178, an inscription entered in a later hand, written in red Roman capitals: "Die XXVI Madii MCCCLXX. Hodie competum michi tradidit poetam Stephanus Canossa miraculosus artifex qui litteris novioribus et stilo venustissimo cum CCCL septem figuris aureis parulis et duobus oppido maioribus ornavit in pellucida membranum meo iussu dulcissimum Petrarcam cum quo edere et cubare cum quo vivere et mori volo ego Franciscus Antonii Petri Bartoli de Florentia".1
f. 178v, blank.
2nd. f.: Que’ ch’infinita
ORIGIN
Written in Italy , s. XVex.; the manuscript from which this one was perhaps copied may have been owned by Franciscus Antonii Petri Bartoli de Florentia, as is stated in the note on f. 178; the note carries the date of 1370 however, and the description does not match the present ms.; original space for the arms on f. 1 has not been filled in, but instead painted gold.
PROVENANCE
Acquired from Luigi Grassi in 1931.
BIBLIOGRAPHY
Ullman, no. 11; De Ricci, p. 20, no. 3; Wilkins, no. 1. L. V. Miller, Catalogue of Books and Manuscripts in the Estelle Doheny Collection (Los Angeles, California, 1940), 5, pl. XIII; P. Santi Mattei, "Un miniatore del secolo XIV", Il Bibliofilo, anno VI, no. 10-11 (1885), 152; Barbier de Montault, "Un miniaturiste italien en 1365" Revue de l’art chrétien, V (1887), 90; exhibition catalogue, Edward Lawrence Doheny Memorial Library (Los Angeles, California, 1950), 21, 31.

Notes
1. The inscription is published, including a discussion of errors in transcription by E. H. Wilkins, The Making of the "Canzoniere" ..., 217.

Abbreviations
De Ricci
De Ricci, S. Census of Medieval and Renaissance Manuscripts in the United States and Canada. 3 vols. New York, 1935-40.
Ullman
Ullman, B. L. Petrarch Manuscripts in the United States (Censimento dei codici petrarcheschi, no. 1). Padova, 1964 (also in Italia medioevale e umanistica, v [1962], 443-475).
Wilkins
Wilkins, E.H. "Manuscripts of the Canzoniere and the Triumphs in American Libraries", Modern Philology, XLV (1947), 23-35 (updated in Wilkins, E.H. The Making of the "Canzoniere" and Other Petrarchan Studies. Roma, 1951.

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