Hm. I personally guess, that Laura in the poem, if all other persons in the poem belong to the antique world, also belongs to the antique world and not to the more modern world of Petrarca. Even Lucretia in tercet 21 is also the Roman Lucretia, even when Boiardo did chose her to serve in an actual situation (wedding of Lucretia d'Este) with specific intentions.SteveM wrote: It seems pretty clear to me that it is Petrarch's Laura that Boiardo is referencing here in his poem, if you look at the discussion pages of the poem at tarotpedia you will see I suggested it at the time together with the translation of the phrase 'she never put a foot wrong", both of which Marco at least seems to have agreed with. As with most of his early poems it is heavily modeled upon Petrarch's works, not only the Triumphs (the triumphal theme (which does necessitate he used the same triumphs or same ordere as Petrarch, any more than Petrarch did when he took the theme from Boccaccio's l'Amorosi Visione), the terza rima scheme, some of the figures) but also his secrets, book on fortune (the four passions) & also Africa (some other of the figures).
As far I know it, the Petrarca research was never completely convinced, that Petrarca's Laura meant a real Laura, which lived in 14th century. Petrarca had personal interests in triumphal processions and the title poetus laureatus and so naturally also in the laurel crown. Maybe there was a real Laura available to him, but then Petrarca's interest in her might have risen cause of the identical name.
Aestethical messages (like poems) tend to work with possible double meanings. So Boiardo could address Lucretia d'Este and the Roman Lucretia with one tercet, and similar he could address Ovid's Laura-Daphne and Petrarca's Laura, if it pleased him or made sense in his personal situation.