Census of the Petrarch Manuscripts in the United States


AUSTIN, TEXAS UNIVERSITY OF TEXAS, HUMANITIES RESEARCH CENTER

Ms. Parsons 5

Parch., ff. 1 (thick parch. contemporary with early binding) + 176 + 1 (thick parch. contemp. with binding), the front and back pastedowns are attached only partially to the covers, modern pencil foliation, 288 × 168 (185 × 84) mm., 1-1710 188 (-7th and 8th), plain horizontal catchwords, ruled in drypoint, 30 verses per page, written by one person in a rapid calligraphic humanistic script. Decoration: f. 1, a full page floral border in the style of Jorges Inglés, a 4ߚline gold initial on a cusped blue and red ground, with a border of acanthus and flowers in pink-red, rust, green, blue and unburnished gold shaded with tones of the same colors and yellow, black or gold, black pen-work branching vines ending in small multicolored flowers and leaves; among the acanthus leaves on the outer margin is a seated bearded man in a yellow robe holding a slender trumpet and below him is a putto, in the corners are four blue helmets (salades of the so-called Barbuta type), in the center bottom is a shield with the arms supported by two angels in elaborate blue robes and peacock feather wings; f. 136v, a 4ߚline gold initial on a cusped rust ground, gold filigree infilling with a floral decoration in the margin similar to f. 1, but only 10 lines in length; f. 140, a 3ߚline gold initial on a rust and blue ground with gold filigree infilling and a 3/4 floral border similar to f. 1 except with softer colors and some portions left uncolored; the poems of the Rerum vulg. fragm. and the capitoli of the Triumphi begin with 3 to 4ߚline gold initials on a cusped frame with a ground of red, blue or a combination of both, with thin white or gold filigree work (occasionally space for an initial has been left blanck); red and blue paragraph marks divide the strophes. Binding, limp thick natural colored parchment, leather ties missing; remants of gilt edges; a purple stain running along the outside margin of the first flyleaf recto may derive from a former binding. ff. 1-138v, Petrarch, Rerum vulg. fragm. , inc. "Voy ch’ascoltate in rime sparse il suono ...", (nos. 1-263, a space has been left blank after no. 263 on f. 97v, 264-336, 350, 355, 337-349, 356-364, 351, 352, 354, 353, 365, 366), expl. "... Ch’accolga ’l mio spirito ultimo in pace" (occasional additions and corrections by the scribe; line 5 of no. 144 is repeated on f. 146; and the division of the collection is signalled by a blank space between nos. 263-264).
f. 139rv, blank.
ff. 140-176, Petrarch, Triumphi , inc. (Tr. cup. 1) "Nel tempo che rinova i miei sospiri ... Vedi Giove incatenato inanzi al carro"; f. 142v, (Tr. cup. III) "Era sì pieno il chor di maraviglie ... Che pocho dolce molto amaro apagha"; f. 145v, (Tr. cup. IV) "Poscia che mia fortuna in forza altrui ... Che’l pie’ va inanzi et l’occhio torna indietro"; f. 148v, (Tr. cup. II) "Stancho già di mirar non satio anchora ... Et d’un pomo beffata al fin Cidippe"; f. 151v, (Tr. pud.) "Quando ad un luogho et ad un tempo quivi ... Fra i quali cognobbi Ypolito et Ioseppe"; f. 155, (fragment of Tr. mort.) "[Q]uanti già ne la età matura et acra ... Quella per chui ben far prima mi piacque"; f. 155v, (Tr. mort. I, vv. 4-172, written as continuation of fragm. of Tr. mort.) "Tornava chon honor de la sua guerra ... Morte bella parea nel suo bel viso"; f. 158, (Tr. mort. II) "La nocte che seguì l’orribil caso ... Tu starai in terra senza me gran tempo"; f. 161v, (fragment of Tr. fam. I) "Nel chor pien d’amarissima dolcezza ... Poi al fine viddi Arturo et viddi Carlo"; f. 164, (Tr. fam. I) "Da poi che morte triumphò del volto ... Chome advien a chi virtù relinque"; f. 166v, (Tr. fam. II) "Pien d’infinita et nobil maraviglia ... Magniamo (sic) gentil constante et largho"; f. 169, (Tr. fam. III) "Io non sappea di tal vista levarme ... Che tira al ver la vaga oppinione / Qui basti et più di lui non scrivo avante"; f. 171, (Tr. temp.) "Dell’aureo albergho chon l’aurora inanzi ... Chossì il tempo triumpha i nomi e ’l mondo"; f. 173v, (Tr. et.) "Da poi che socto il ciel chosa non viddi...", expl. "... Or che fia dunque ad rivederla in cielo. Explicit". f. 176, Dante, Sonnet , title "Soneto di Dante", inc. "Molti volendo dir che fosse amore ...", expl. "... Et questo basta in fin che ’l piacer dura" (Dante, Rime, a cura di G. Contini, p. 277, no. 79).
2nd f.: quand’io movo
ORIGIN
Written in Italy or perhaps Spain and decorated in Spain in the style of Jorges Inglés, for Iñigo López de Mendoza (d. 1459), Marquis of Santillana,1 s. XVmed..
PROVENANCE
An unidentified coat of arms appears on f. 1, bottom margin, vert, six paly gules, aigle eploye sable; the original arms are painted over and can only be read from the verso side of the folio with the aid of an ultraviolet lamp, per saltire cotes or, sommet et point gules, deux bend or, with motto "Ave Maria" and perhaps "Gracia"; the original arms match closely those of the Marquis of Santillana, in Madrid National Library, Vit. 17-2 , f. 1 (see J. Domínguez Bordona, Spanish Illumination..., pl. 121); the helmets (including the same sets of gold bosses, strap and buckle) on the four corners of f. 1 are the same as those of Harvard College Library, Ms. Typ. 195H , f. 1, dated ca. 1455; these helmets are the badges of Iñigo López de Mendoza, Marquis of Santillana, a Spanish poet and soldier, 1398-1458.2 According to S. De Ricci, the manuscript was in England at an early date; Robert Hoe collection (Cat., 1909, p. 156); Hoe sale, New York, 1912, II, no. 2504, to Quaritch; Quaritch, Cat. 321, Dec. 1912, no. 275 obtained from Joseph J. (Giuseppe) Martini by Edward Alexander Parsons of New Orleans; bought by the University of Texas in 1958.
BIBLIOGRAPHY
Ullman, no. 1 ; De Ricci, p. 748, no. 5; Wilkins, no. 4; De Robertis, "Censimento", p. 184, no. 383; Oscar A. Bierstadt, The Library of R. Hoe (1895), 21; Robert Hoe, A Catalogue of Manuscripts (New York, 1909), 156. Dutschke, Census, no. 1, pp. 31-33.

Notes
1.Two manuscripts with decoration attributed to Jorges Inglés are quite similar to Parsons 5: Madrid, Madrid National Library, Vit. 17-2 , f. 1, Plato Phaedo and other treatises (see J. Domínguez Bordona, Spanish Illumination [Firenze, 1939], pl. 121; Cambridge, Mass., Harvard College Library Ms. Typ. 195H , f. 1, Aegidius Colonna De regimine principum (see Illuminated and Calligraphic Manuscripts: An Exhibition [Cambridge, Mass., 1955], p. 23, pl. 74). Each contains distinctive vinework, bearded figures holding a horn and angels supporting the arms.
2. Walters Art Gallery, The History of Bookbinding 525-1950 A.D.: An Exhibition (Baltimore, 1957), p. 58, no. 135, pl. XXXV; E. P. Goldschmidt, Gothic and Renaissance Bookbindings (Amsterdam, 1967), 138-9; Goldschimidt also notes that the helmets are known to be also the badges of the Meneses family of Andalusia. See also: Exposición de la Biblioteca de los Mendoza del Infantado en el siglo XV, con motivo ... de la celebraciòn del V centenario de la muerte de don Inigo López de Mendoza, Marqués de Santillana (Madrid, 1958). The present manuscript is not indentifiable with any of those listed in M. Schiff, La Bibliothèque du M. de Santillane (Paris, 1905).

Abbreviations
Dante, Rime, a cura di G. Contini
Dante Alighieri. Rime, a cura di G. Contini. Torino, 1965.
De Ricci
De Ricci, S. Census of Medieval and Renaissance Manuscripts in the United States and Canada. 3 vols. New York, 1935-40.
De Robertis, "Censimento"
De Robertis, D. "Censimento di codici danteschi". Studi danteschi, 45 (1968).
Dutschke, Census
Dutschke, D. Census of Petrarch Manuscripts in the United States, Padova, 1986.
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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