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Detailed record for Harley 3567

Author Petrarch
Title Rime and Trionfi
Origin Italy, N. (Mantua)
Date c. 1465
Language Italian
Script Humanistic
Scribe Matteo Contugi de Volterra and Bartomeo Sanvito
Artists Attributed to Filocolo Master and Gaspare da Padova
Decoration 6 decorated pages with full-page borders of white-vine leaf and lattice-work surrounding large miniatures (some slightly damaged), depicting Petrarch and Laura (f. 9), the Triumph of Love (f. 149), of Chastity (f. 162), of Death (f. 166), of Fame (f. 176) and of Time (f. 184). Numerous decorated initials in gold and colours.
Dimensions in mm 260 x 170 (175 x 100)
Official foliation ff. 189 (+ 2 paper and 1 parchment flyleaves at the beginning + 1 blank unfoliated leaf after f. 161 + 1 paper flyleaf at the end)
Form Parchment codex
Binding Post-1600. Binding of brown calf with gold fillets.
Provenance Written by Matteo Contugi of Volterra: colophon, 'Manu Matthaei olim eximii equitis & doctoris, domini herculani de contugiis de vulterris' (f. 189).
Index of poems (ff. 1-8v), first two lines of rubrication on f. 9, and interlinear and marginal glosses at the beginning of the text supplied by Bartolomeo Sanvito before 1476 (see de la Mare 1999; de la Mare 2002).
Cardinal Francesco Gonzaga, c. 1463-1483: his arms, partially effaced (f. 9).
Bartolomeo Sanvito of Padua (b. 1435, d. 1518): contains added marginalia and corrections in his hand, as does Harley 3510 (see Wright 1976).
The Guidotti family of Modena, 16th c. (see Kren, ed. 1983).
Nathaniel Noel (fl. 1681, d. c. 1753), bookseller; acquired by him for the Harley Collection.
The Harley Collection, formed by Robert Harley (b. 1661, d. 1724), 1st earl of Oxford and Mortimer, politician, and Edward Harley (b. 1689, d. 1741), 2nd earl of Oxford and Mortimer, book collector and patron of the arts, inscribed as usual by their librarian, Humfrey Wanley ‘18 die Januaij, A.D. 1723/4’ (f. 1*).
Edward Harley bequeathed the library to his widow, Henrietta Cavendish, née Holles (b. 1694, d. 1755) during her lifetime and thereafter to their daughter, Margaret Cavendish Bentinck (b. 1715, d. 1785), duchess of Portland; the manuscripts were sold by the Countess and the Duchess in 1753 to the nation for £10,000 (a fraction of their contemporary value) under the Act of Parliament that also established the British Museum; the Harley manuscripts form one of the foundation collections of the British Library.
Notes Matteo Contugi of Volterra was employed by Federico d'Urbino. The manuscript contains vertical catchwords and is ruled in hardpoint.
Select bibliography A Catalogue of the Harleian Manuscripts in the British Museum, 4 vols (London: Eyre and Strahan, 1808-12), III (1808), no. 3567.

James Wardrop, The Script of Humanism: Some Aspects of Humanistic Script 1460-1560 (Oxford: Clarendon Press, 1963), pp. 32, 51.

Mostra dei codici Gonzagheschi: La Biblioteca dei Gonzaga da Luigi I ad Isabella, 1328-1540, ed. by U. Meroni (Mantua: Biblioteca Communale, 1966), pp. 28, 57, 60.

The Diary of Humfrey Wanley 1715-1726, ed. by C. E. Wright and Ruth C. Wright, 2 vols (London: Bibliographical Society, 1966), II: 1723-1726, p. 243 n. 6.

Otto Pächt and and Jonathan J.G. Alexander, Illuminated Manuscripts in the Bodleian Library, 3 vols (Oxford, 1966-73), II, p. 40.

Cyril Ernest Wright, Fontes Harleiani: A Study of the Sources of the Harleian Collection of Manuscripts in the British Museum (London: British Museum, 1972), p. 430.

Riziero Zucchi, 'Ottonello Descalzi e la fortuna del "De Viris Illustribus"', Italia medievale e umanistica, 17 (1974), p. 490.

Nicholas Mann, Petrarch Manuscripts in the British Isles, Censimento dei Codici Petrarcheschi, 6 (Padova: Editrice Antenore, 1975), no. 115.

Cyril Ernest Wright, 'Manuscripts of Italian Provenance in the Harleian Collection in the British Museum: Their Sources, Associations and Channels of Acquisition', in Cultural Aspects of the Italian Renaissance. Essays in Honour of Paul Oskar Kristeller, ed. by C. H. Clough (Manchester: Manchester University Press, 1976), pp. 462-84 (pp. 471, 474).

Splendours of the Gonzaga, ed. by David Chambers and Jane Martineau. (London: Victoria and Albert Museum, 1981), no. 24 (exhibition catalogue).

Renaissance Painting in Manuscripts: Treasure from the British Library, ed. by Thomas Kren (New York: Hudson Hills Press, 1983), no. 11 (exhibition catalogue).

Albinia C. de la Mare, ‘The Florentine scribes of Cardinal Giovanni of Aragona’ in Il libro e il testo, atti del convegno internazionale, Urbino, 20-23 settembre 1982, ed. by C. Questa and R. Raffaelli (Urbino: Università delgi studi di Urbino, 1984), pp. 245-93 (pp. 288-89).

Maria Saffiotti, 'A Manuscript of Petrarch’s Rime and Trionfi (British Library, MS Harley 3567) and Gonzaga Patronage' (unpub. MA thesis, Courtauld Institute of Art, London, 1988).

Paul Oskar Kristeller, Iter Italicum: Accedunt Alia Itinera: A Finding List of Uncatalogued or Incompletely Catalogued Humanistic Manuscripts of the Renaissance in Italian and other Libraries 7 vols (London: Warburg Institute; Leiden: Brill, 1963-1997), IV (1989), p. 174.

J. B. Trapp, ‘The iconography of Petrarch in the Age of Humanism’, Quaderni Petrarcheschi, 9-10 (1992-93), 1-74 (pp. 21, 31).

D.S. Chambers, A Renaissance Cardinal and his Worldly Goods: The Will and Inventory of Francesco Gonzaga (1444-1483), (London: Warburg Institute, 1992), p. 172.

The Painted Page: Italian Renaissance Book Illumination 1450-1550, ed. by Jonathan J. G. Alexander (London: Prestel, 1994), pp. 28, 80 (exhibition catalogue).

Albinia de la Mare, 'Bartolomeo Sanvito da Padova, copista e miniatore', in Giordana Canova Mariani and others, eds., Parole dipinte: La miniatura a Padova dal Medioevo al Settecento (Modena: Franco Cosimo Panini, 1999), pp. 495-511 (p. 500, n. 74).

Boccaccio visualizzato: Narrare per parole e per immagini fra Medioevo e Rinascimento, ed. by Vittore Branca, Biblioteca di Storia dell'arte, 30, 3 vols (Torino: Giulio Einaudi, 1999), II: Opere d'arte d'origine italiana, p. 300.

Albinia C. de la Mare, 'Marginalia and Glosses in the Manuscripts of Bartolomeo Sanvito of Padua', in Talking to the text: Marginalia from Papyri to Print. Proceedings of a Conference held at Erice 26 Sept.-3 Oct. 1998…, ed. by Vincenzo Fera, Giacomo Ferraù and Silvia Rizzo, Percorsi dei classici, 5, 2 vols (Messina: Università degli studi di Messina, Centro interdipartimentale di studi umanistici, 2002], II, 459-555 (p. 461).

Beatrice Bentivoglio-Ravasio, 'Sanvito (Sanvido, da San Vito), Batolomeo' in Dizionario biografico dei miniatori italiani: Secoli IX-XVI , ed. by Milvia Bollati (Milan: Sylvestre Bonnard, 2004), pp. 928-936, (p. 929).

Andrea Mantegna e i Gonzaga: Rinascimento nel castello di San Giorgio, ed. by Filippo Trevisani (Milan: Electa, 2006), p. 86-88.

Margaret Scott, Medieval Dress & Fashion (London: British Library, 2007), p. 149, pl. 93.

A. C. de la Mare and Laura Nuvoloni, Bartolomeo Sanvito: The Life and Work of a Renaissance Scribe, ed. by Anthony R.A. Hobson and Christopher de Hamel, (Whitsbury: The Handwriting of Italian Humanists, 2009)


Images
* * *
 
Decorated initial

f. 5
Decorated initial
Miniature

f. 9
Miniature
Detail

f. 9
Detail
 
Decorated initials

f. 14
Decorated initials
Decorated initial

f. 146v
Decorated initial
Triumph of Love

f. 149
Triumph of Love
 
Triumph of Love

f. 149
Triumph of Love
Triumph of Chastity

f. 162
Triumph of Chastity
Miniature

f. 162
Miniature
 
Triumph of Death

f. 166
Triumph of Death
Miniature

f. 166
Miniature
Triumph of Fame

f. 176
Triumph of Fame
 
Miniature

f. 176
Miniature
Triumph of Time

f. 184
Triumph of Time
Triumph of Time

f. 184
Triumph of Time
 

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