Census of the Petrarch Manuscripts in the United States


MS 438

Parch., ff. II (modern paper) + 58 + I (mod. paper), 197 × 133 (122 × 79) mm., 21 verses per page, 110 (+1st and 2nd) 2-510 66, horizontal catchwords, ruled in ink, double bounding lines, written by one person, humanistic script. Lavish decoration: each Triumph begins with a miniature, white vinestem border and historiated initials, with conventional iconography except for the Tr. et.; the miniatures have been attributed to Iacopo da Verona, but the Florentine style of the art work suggests the hand of another, perhaps from the workshop of the artist of Cicero’s Orations ( Florence, Bibl. Laur., Plut. XLVIII , 8) and of Lactantius’ Opera (H. P. Kraus, Cat. 88, 95, no. 44); f. 3, a miniature on a gold frame (55 × 75 mm.) of Tr. cup., Cupid on a burning cart pulled by four white horses, surrounded by a crowd richly dressed, on a ground of flowers, trees, dark blue sky; f. 3, 6ߚline gold initial inhabited by the profile bust of an elderly man in noble atire, a full-border white vinestem decoration, with green and pink infilling, linked by two gold bars on a blue outline with clusters of tiny white dots and ending with gold rayed orbs, numerous animals (stag, goat, leopard, rabbit, fox) and colored birds inhabit the border, putti support garlands on upper margin and the erased arms on the bottom, there are three medallions with portraits in them (a man, woman and child); f. 20v, a miniature of Tr. pud. (55 × 75 mm.) of the blindfolded Cupid atop a cart pulled by two unicorns, a winged woman stands in front of Cupid holding a banner emblazoned with an ermine to symbolize purity, a group of people surrounds the cart which travels through a lavish natural setting similar to f. 1; f. 20v, 6ߚline gold initial similar to f. 1, except that it is inhabited by the profile of a nude woman, and the vinestem extends into 3/4 of border and is interspersed with multi-colored acanthus; f. 25v, miniature (52 × 82 mm.) of Tr. mort., a skeleton with scythe standing on a black cart pulled by two dark gray oxen, surrounded by a crowd of people, some standing and others beneath the oxen feet; f. 25v, 6ߚline gold initial similar to f. 1, except that it is inhabited by the bust of a nude woman and the border is 3/4 multi-colored acanthus ending in gold rayed orbs; f. 39, miniature (82 × 80 mm.) of Tr. fam., in a gold and purple frame, of a winged woman, with a sword in one hand and globe in the other, who is standing on a red cart pulled by two horses, surrounded by a crowd; f. 39, 6ߚline initial similar to f. 1, except that it is inhabited by the profile of a woman dressed in gold, and the border decoration is on the upper and side margins, of acanthus ending in gold orbs; f. 49v, miniature (48 × 80 mm.) of Tr. tem., of an old man with cane atop a cart pulled by two stags, surrounded by a crowd; f. 49v, 6ߚline gold initial similar to f. 1, inhabited by the bust of a nude woman, and the border of multi-colored acanthus ending in gold rayed orbs on the upper and side margins; f. 53v, miniature (68 × 80 mm.) of Tr. et., a gnadenstuhl- the trinity surrounded by saints and red and purple angels, with three babies wrapped in swaddling at the base of the cross; f. 53v, 6ߚline gold initial similar to f. 1, inhabited by bust of woman, a multi-colored acanthus decoration covers the upper margin, ending in gold rayed orbs; the remaining capitoli (ff. 7, 11v, 15v, 29v, 30v, 35, 42v, 46v) begin with 3ߚline gold initials on a blue ground with infilling of pink or green or both, with white highlighting; all rubrics are in gold display script of square capitals; the initials of the terzine are also in gold; every tenth verse of each Triumphus is numbered in the margin by the scribe. Modern binding, red morocco with gilt and gauffered edges, pastedown of marbled paper. ff. 1-2, ruled but blank.
f. 2v, title "Francisci Petrarce celeberimi vatis florentini merito que inter alios poete laureati Triumphorum primus incipit de amore et prima pars primi triumphi feliciter summit initium".
ff. 3-57, Petrarch, Triumphi , inc. (Tr. cup. I) "Nel tempo che rinuova i miei sospiri ... Vien chatenato Iove inanzi al charro"; f. 7, (Tr. cup. III) "Secunda pars primi Triumphi de amore, Era sì pieno il chor di maraviglie ... Et quale è il mele temp[e]rato chon l’assentio"; f. 11v, (Tr. cup. IV) "Tertia pars primi Triumphi de amore, Poscia che mia fortuna in forza altrui ... Che ’l piè va inanzi et l’occhio torna adietro"; f. 15v, (Tr. cup. II) "Quarta pars et ultima primi Triumphi de amore, Stancho già di mirare non sazio anchora ... Et d’un pome beffata alfin Cidippe"; f. 20, (Tr. pud.) "Eiusdem Francisci Petrarce poete clarissimi secundus Triumphus de pudicitia incipit; pudicitia vincit amorem", f. 20v, "Quando ad un giogho et in un tempo quivi ... Fra quali i’ vidi Ipolito et Ioseppe"; f. 25, (Tr. mort. I) "Eiusdem Francisci Petrarce poete tertius Triumphus de morte incipit et pars prima tertii Triumphi de morte; mors vincit pudicitiam", f. 25v, "Questa leggiadra et gloriosa donna ... Morte bella parea nel suo bel viso"; f. 29v, (fragment of Tr. mort.) "Secunda pars ut multi volunt tertii Triumphi de morte, Quanti già nella età matura et acra ... Quella per chui ben far prima mi piacque"; f. 30v, (Tr. mort. II) "Tertia pars tertii Triumphi de morte sed aliqui secundam volunt, La nocte che seghuì l’orribil caso ... Tu starai in terra sanza me gran tempo"; f. 35, (fragment of Tr. fam. I) "Quarta pars et ultima tertii Triumphi de morte sed alii tertiam, Nel cor pieno d’amarissima dolciezzza ... Poi alla fine vidi Artù et Carlo"; f. 39, (Tr. fam. I) "Eiusdem Francisci Petrarce poete clarissimi quartus Triumphus incipit de fama et prima pars eius; fama vincit mortem, Da poi che morte triunfò il bel volto ... Sì come adviene a chi virtù relinque"; f. 42v, (Tr. fam. II) "Secunda pars quarti Triumphi de fama, Pien d’infinita et nobil maraviglia ... Magnanimo gentile constante et largho"; f. 46v, (Tr. fam. III) "Tertia et ultima pars quinti Triumphi de fama, Io non sapea da tal vista levarme ... Che tira al vero la vagha opinione / Qui lascio et più di loro non dicho avante"; f. 49, (Tr. temp.) "Eiusdem Francisci Petrarce poete clarissimi quintus Triumphus de senectute vel de tempore incipit; tempus vincit famam;" f. 49v, "Del lauro albergho chon la aurora inanzi ... Chosì il tempo triunfa e’ nomi e ’l mondo"; f. 53, (Tr. et.) "Eiusdem Francisci Petrarce poete florentini clarissimi Triumphorum sextus et ultimus de eternitate Triumphus incipit; eternitas vincit famam et omnia", f. 53v, "Da poi che sotto il cielo cosa non vidi ... Ora che fia dunche a rivederla in cielo. Francisci Petrarce vatis eterni florentini Triumphorum sextus et ultimus de eternitate triumphus explicit felicissime".
f. 57v, severely rubbed, illegible religious text.
f. 58rv, ruled but blank.
2nd. f.: (f. 4) Vagho d’udir
Written and decorated in Florence, Italy, ca. 1450-60. Single letters from the name Iacopo have been incorporated into each border of the Triumphi, indicating possibly the owner who commissioned the volume; the original arms have been erased on f. 3.
From the collection of Henry Huth (W. Carew Hazlitt, The Huth Library: A Catalogue [London, 1880], 1133); sale of Alfred H. Huth (1850-1910), Sotheby, 16 July 1917, lot 5734; on first flyleaf verso is written in modern pencil the name "Baccio Baldini"; purchased from H. P. Kraus in 1969 as a gift of E. J. Beinecke.
Jasenas, p. 5, no. 8, and p. 32, no. 18, pl. 13 (of. f. 3); W. Cahn and J. Marrow, "Medieval and Renaissance Manuscripts at Yale: A Selection", The Yale University Library Gazette, 52, no. 4 (April, 1978), 231-32, pl. of f. 3.

Jasenas, M. Petrarch in America: A Survey of Petrarch Manuscripts. New York and Washington, D. C., 1974.

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