Census of the Petrarch Manuscripts in the United States


BALTIMORE, MARYLAND WALTERS ART GALLERY

Ms. W. 411

Parch., ff. III (modern parch.) + 54 + III (mod. parch.), 16thߚcent. foliation 5-21 beginning on the present f. 6, modern pencil foliation (including repeated 53), 195 × 125 (115 × 75) mm., writing often extends beyond the bounding lines, pricking evident, 1-510 64, 21 verses per page, plain vertical catchwords on ff. 30v, 40v and 50v, signatures cropped, drypoint ruled, double bounding lines on all sides, written by one person, humanistic script similar to that of Piero Strozzi. Decoration in the style of Filippo di Matteo Torelli: a full white vinestem border on f. 1, dark green and dark brownish pink infilling on a blue outline frame with clusters of three tiny white or yellow dots, a gold bar runs along the border forming a medallion at the bottom supported by two angels with red and green wings and shaded in green, the medallion contains a wreath with blank shield; in the outer part of the border are two birds and a central roundel with the bust profile of a blond woman (Laura) crowned in laurel whose heart has been pierced by Cupid’s arrow, the text begins with a 6ߚline gold initial inhabited by the winged Cupid who is aiming his arrow downwards at the same wounded blond woman in the border roundel, the ground and frame are similar to those of the border decoration and the shading of Cupid is similar to that of the angels in the lower margin; each of the Triumphi and their capitoli begin with a 4ߚline gold initial on a varying pink, green, or blue ground, or a combination of these colors, with white or yellow highlighting and a black ink frame. Binding, modern Italian brown gilt calf with gilt edges. ff. 1-51v, Petrarch, Triumphi , inc. (Tr. cup. I) "Nel tempo che rinuova i miei sospiri ... Vien cathenato Giove innanzi al carro"; f. 4v, (Tr. cup. III) "Era sì pieno il cor di maraviglie ... Et quale è il mele temperato collo assentio"; f. 9v, (Tr. cup. IV) "Poscia che mia fortuna in forza altrui ... Che’l pie’ va innanzi et l’occhio torna adrietro"; f. 13v, (Tr. cup. II) "Stancho già di mirar non satio ancora ... Et d’um pome beffata al fin Cidyppe"; f. 18, (Tr. pud.) "Quando ad un giogho e in un tempo quivi ... Fra gli altri vidi Ipolito e Yoseppe"; f. 22v, (Tr. mort. I) "Francisci Petrarce de morte triumphus tertius incipit. Mors vincit pudicitiam, Quella leggiadra et gratiosa donna ... Morte bella parea nel suo bel viso"; f. 26v, (Tr. mort. II) "Secunda pars tertii triumphi, La nocte che seguì l’orribil caso ... Tu starai in terra sanza me gram tempo"; f. 31, (fragm. Tr. fam I) "Tertia pars tertii triumphi, Nel cor pien d’amarissima dolcieza ... Poi alla fine vidi Arthuro e Carlo"; f. 35, (Tr. fam. I) "Francisci Petrarce poete clarissimi de fama triumphus quartus. Fama vincit mortem, Da poi che morte triumphò nel volto ... Sì come adviene a chi virtù relinque"; f. 38, (Tr. fam. II) "Secunda pars quarti triumphi", f. 38v, "Pien d’infinita e nobil maraviglia ... Magnianimo gentil costante et largo"; f. 42, (Tr. fam. III) "Tertia pars quarti triumphi II, PHI, Io non sapea da tal vista levarme ... Che tira al vero la vagha oppinione / Qui lascio et più di lor non dico avante"; f. 43, (Tr. temp.) "Francisci Petrarce poete clarissimi triumphus quintus de senectute incipit. Tempus vincit famam, Nel thauro albergo colla aurora innanzi ... Così il tempo triumpha i nomi e ’l mondo"; f. 47v, (Tr. et.) Francisci Petrarce poete clarissimi triumphus VI, de eternitate incipit feliciter. Eternitas vincit omnia", f. 48, "Da poi che sotto il ciel cosa non vidi ... Hor che fia dunque a rivederla in cielo, Francisci Petrarce poete clarissimi triumphi expliciunt". ff. 52-54, later scribbles in brown ink, including f. 52 copy of initials B.S.H. on f. 51v. f. 54v, (written upside down in a 16thߚcent. hand) "Nel mondo ove l’inganno / Ha eterna sede / Chi meglio sa tradir / Trova più fede". f. 54v, (written upside down in another 16thߚcent. hand) "Di marmo è la colonna / Di marmo son l’empii ministri e rei / Tu stesso signor marmo sei / Marmo ella per natura / Marmo quei per fierezza / Marmo tu per costanz’e fortezza / Io che di pena sì grande spettator ne rimango / Marmo son se non piango".
2nd. f.: Per morte
ORIGIN
Written and decorated in Florence , s. XVmed.; unidentified initials ‘B. S. H.’ written by scribe in red ink at the end of the text on f. 51v.1
PROVENANCE
L.S. Olschki, Cat. 74 (1910), pp. 75-8, no. 54, facs. and list 1912, no. 65.
BIBLIOGRAPHY
Ullman, no. 5; De Ricci, p. 843, no. 494; Wilkins, no. 7; Jasenas, p. 32, no. 17, pl. 12 (of. f. 1). Dutschke, Census, no. 6, pp. 43-45.

Notes
1.A. de la Mare, "New Research on Humanistic Scribes in Florence," pp. 488-489, no. 8 (Ms. de la Mare cites three manuscripts).

Abbreviations
De Ricci
De Ricci, S. Census of Medieval and Renaissance Manuscripts in the United States and Canada. 3 vols. New York, 1935-40.
Dutschke, Census
Dutschke, D. Census of Petrarch Manuscripts in the United States, Padova, 1986.
Jasenas
Jasenas, M. Petrarch in America: A Survey of Petrarch Manuscripts. New York and Washington, D. C., 1974.
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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