Petrarca (Francesco) Trionfi, commentary by Bernardo Lapini da Siena, 196 ff., the first blank, 51 lines of commentary surrounding text, Gothic letter, initial spaces with guide-letter, early ink marginalia (including a few fingerposts), some in red, verso of final f. and recto of endpaper with early ink poetry, single wormhole within text towards latter part of work, increasing to 2-3 holes in last few ff., a few short marginal tears, some staining, occasional spotting and finger-marking, 17^th century limp vellum, stained, Venice, Reynaldus de Novimagio and Theodorus de Reynsburch, February, 1478; Canzoniere, commentary by Franciscus Philelphus, 90 ff., 50 lines of commentary surrounding text, Gothic type, initial spaces with guide-letter, ink ownership inscriptions to a1r and foot of a few ff., that on c7v obliterated, stained, some foxing, 18^th century half calf, spine in compartments with later gilt and red morocco label, rubbed, Venice, Reynaldus de Novimagio and Theodorus de Reynsburch, March, 1478, [BMC V, 254; Goff P-381; HC 12767], folio (2)

⁂ It is rare to unite both these volumes. The commentaries are considered to be the most influential of the early analyses. The poem depicts a triumphal procession, in which there are six allegorical figures - Love, Chastity, Death, Fame, Time, and Divinity, with Divinity triumphing above all.