Re: Collection "How Petrarca became famous" (till 1450)

71
Once in this thread MikeH wrote ...
Perhaps Weisbach can tell us.
I stumbled about a German text "Trionfi. Mit 60 Abbildungen." (1919) by Werner Weisbach. ("Trionfi. With 60 pictures.")
https://archive.org/details/trionfimit60abbi00weisuoft

The collection is more about more about Military Trionfi than about the Petrarca-style Trionfi.

Interestingly the author expresses the opinion, that the general orientation to the aims of the church ("against personal fame") during 13th and 14th century suppressed the Western development of "personal Trionfi", as they took place later during 15th century.
That's a rather simple idea, and the author doesn't go far with it in his introduction, but possibly it's the key element of the Trionfi development. There was "fame" inside the church, a complex arrangement by the church how to become a Beati or a Saint, open to people of all classes and the church controlled this to its own favor. Lower fame was also possible by sponsoring church buildings.

The author gives one example of an earlier conflict between "personal fame" and "fame inside church" ...
after the victory at Cortenuova (1237) emperor Fredrick II had sent the Carroccio as booty to Rome and demanded to celebrate the success in the manner of a Roman triumphator.
The story is told here by wikipedia:
http://en.wikipedia.org/wiki/Battle_of_Cortenuova

The Carroccio is explained here ...
A Carroccio was a four-wheeled war altar, mounting a large vexillum standard, drawn by oxen, used by the medieval republics of Italy. It was a rectangular platform on which the standard of the city and an altar were erected; priests held services on the altar before the battle, and the trumpeters beside them encouraged the fighters to the fray.

In battle the Carroccio was surrounded by the bravest warriors in the army as the carroccio guard, and it served both as a rallying-point and as the palladium of the city's honour; its capture by the enemy was regarded as an irretrievable defeat and humiliation. It was first employed by the Milanese in 1038, and played a great part in the wars of the Lombard League against the emperor Frederick Barbarossa. One account states that it first appeared in Milan in 1039, when archbishop Heribert urged the Milanese to construct one.[1] It was afterwards adopted by other cities, and first appears on a Florentine battlefield in 1228.

The Florentine Carroccio was usually followed by a smaller cart bearing the Martinella, a bell to ring out military signals. When war was regarded as likely the Martinella was attached to the door of the Church of Santa Maria in the Mercato Nuovo in Florence and rung to warn both citizens and enemies. In times of peace the Carroccio was in the keeping of a great family which had distinguished itself by signal services to the republic.

The Florentine carroccio was captured by the Ghibelline forces of Castruccio Castracani in the 1325 Battle of Altopascio, after which it was displayed by the victors in a triumph held in the streets of Lucca.

The carro della guerra of Milan was described in detail in 1288 by Bonvesin de la Riva in his book on the "Marvels of Milan". Wrapped in scarlet cloth and drawn by three yoke of oxen that were caparisoned in white with the red cross of Saint George, the city's patron, it carried a crucifix so massive it took four men to step it in place, like a ship's mast.[2]
http://en.wikipedia.org/wiki/Carroccio
Image
A medieval miniature depicting the Battle of Cortenuova. (with Carroccio)

Well, "Carroccio" seems to be a term, which one should know in this question. It occasionally appeared in our forum, but I overlooked its quite interesting details.

Another interesting aspect of the text (also overlooked by me) showed up with Petrarca's "Africa" ... Weisbach notes, that "Africa" contains at the end of the 9th book a "triumphal scene (in a not very descriptive manner, as the author remarks). I attempted to get the scene, but wasn't successful. Anyway, the wikipedia description of "africa" and its development is interesting.
http://en.wikipedia.org/wiki/Africa_%28Petrarch%29

Petrarca visited Rome in 1337, and Africa was written 1338-39, staring in Vaucluse ...
While I was wandering in those mountains upon a Friday in Holy Week, the strong desire seized me to write an epic in an heroic strain, taking as my theme Scipio Africanus the Great, who had, strange to say, been dear to me from my childhood. But although I began the execution of this project with enthusiasm, I straightway abandoned it, owing to a variety of distractions.
... and 1343 under the impression of this journey. In 1341 he had arranged his Poetus Laureatus scene (well, his interest in personal Fame) with an expressed great interest to have the activity in Rome, and "Africa" was the reason, why he got the title.
Coronation

Petrarch's "Coronation Oration" (a.k.a. Collatio laureationis) is the formal public speech of acceptance by him of the title poet laureate on April 8, 1341 (Easter Sunday), for his work on Africa about Cornelius Scipio. Petrarch's speech, given in the form of a medieval sermon, demonstrates the gradual transition from the Middle Ages to the Renaissance. It is considered the first manifesto of the Renaissance. Petrarch looked at his laureateship as political. In his grand speech he said of the description of his laurel that it was ...equally appropriate of Caesars and poets. It was a triumphal event where trumpets were blared. King Robert gave Petrarch a special robe to wear in honor of this event. He was given the titles of "poet," "master," "professor" of poetry and history and "the most famous private citizen then living." At the time of the coronation, the Africa consisted of just a few books (maybe four out of the nine written).
Well, Easter Sunday is an important day in Rome, nowadays. In that time of 1341 the pope lived in Avignon.
.... he received two invitations (from Rome and from Paris) in September 1340 each asking him to accept the crown as poet laureate.[
Actually King Robert offered him to crown him in Naples already, but Petrarca insisted on Rome.

In 1443 we have, that King Robert died at 20th of January, c. 65 years old.

http://en.wikipedia.org/wiki/Robert,_King_of_Naples
King Robert was nicknamed "the peace-maker of Italy" due to the years of significant changes he made to Naples. The city and nation's economy lay in the hands of Tuscan merchants, who erected superb buildings, monuments and statues that drastically changed King Robert's capital from a dirty seaport to a city of elegance and medieval splendor. Robert commissioned Tino di Camaino to produce a tomb for his son, who should have been his heir, and Giotto painted several works for him. The University of Naples flourished under the patronage of the king dismissed by Dante as a re di sermone, "king of words", attracting students from all parts of Italy.[8] There was virtually no middle class in the South to balance the local interests and centripetal power of the entrenched aristocracy, who retained the feudal independence that had been their bargain with the Angevins' Norman predecessors.

He was remembered by Petrarch and Boccaccio as a cultured man and a generous patron of the arts, "unique among the kings of our day," Boccaccio claimed after Robert's death, "a friend of knowledge and virtue." Petrarch asked to be examined by Robert before being crowned as poet in the Campidoglio in Rome (1341); his Latin epic Africa is dedicated to Robert, though it was not made available to readers until 1397, long after both Petrarch and Robert were dead.
The death of Robert likely gave the impulse to proceed with Africa, but Petrarca didn't give the manuscript out of his hands, likely with the feeling, that it wasn't finished. As we know, he worked on the Trionfi, and these also weren't finished. And seeing, that Weisbach calls the triumphal scene at the end of the 9th and last chapter of Africa "not very descriptive", then it looks plausible to assume, that Petrarca hadn't finished, but likely desired to finish it inside a knot between "Trionfi" and "Africa", combining his both great works.

"Africa" was based on Livius, but Livius' great work was more or less unknown ...
http://en.wikipedia.org/wiki/Livy
During the Middle Ages, interest in Livy declined.[14] Due to the length of the work, the literate class was already reading summaries rather than the work itself, which was tedious to copy, expensive, and required a lot of storage space. It must have been during this period, if not before, that manuscripts began to be lost without replacement.

The Renaissance was a time of intense revival; the population discovered that Livy's work was being lost and large amounts of money changed hands in the rush to collect Livy manuscripts. The poet Beccadelli sold a country home for funding to purchase one manuscript copied by Poggio. Petrarch and Pope Nicholas V launched a search for the now missing books. Laurentius Valla published an amended text initiating the field of Livy scholarship. Dante speaks highly of him in his poetry ...


Petrarca's enthusiasm (which made him Poetus Laureatus) and that, what made him to have the trumpets blown in Rome at Easter Sunday, was just about the reconstruction of (some humble and little) history. At least little in our eyes, as we have so much to read about the past and the sure knowledge, that we will never find the complete end.

It's interesting to observe, that Boccaccio wrote his "Amorosa Visione" in 1443 (new edited in 1365) ... that' close to King Robert's death ... and close to Petrarca's show in Rome at Easter Sunday 1441.

http://en.wikipedia.org/wiki/Amorosa_visione
Amorosa visione (1342, revised c. 1365) was a narrative poem by Boccaccio, full of echoes of the Divine Comedy and consisting of 50 canti in Terza rima . It tells of a dream in which the poet sees, in sequence, the triumphs of Wisdom, Earthly Glory, Wealth, Love, all-destroying Fortune (and her servant Death), and thereby becomes worthy of the now heavenly love of Fiammetta. The triumphs include mythological, classical and contemporary medieval figures. Their moral, cultural, and historical architecture was without precedent, and led Petrarch to create his own Trionfi on the same model. Among contemporaries Giotto and Dante stand out, the latter being celebrated over and above any other artist, ancient or modern.


"... Wisdom, Earthly Glory, Wealth, Love, all-destroying Fortune (and her servant Death)" ...
looks like 5 (or 6) figures

Wisdom ... Eternity (?)
Early Glory ... Vana Gloria (?) ... Fame (?)
Wealth ... (???) ... Time (?) or Chastity (?)
Love ... Love
Fortune ... (???) ... Time (?) or Chastity (?)
(servant Death) .... Death

Maybe Boccaccio's desire for a "50" made him chose 5 major figures instead of 6? The Decamerone had its 100 stories, Boccaccio loved this scheme.

Petrarca had visited Naples again in 1343. He observed a devastating earth quake with tsunami in November ...
http://www.italicapress.com/Italica_Pre ... nna_I.html
Later Petrarca was seriously astonished about very brutal customs in Naples.

As far I know, Petrarca and Boccaccio didn't meet at these opportunities. I read from a first meeting in 1350 (or 1351) in Rome. But Boccaccio knew texts of Petrarca already in 1333.

Cola di Rienzo (possibly inspired by Petrarca ?) in 1443 had been part of a Roman delegation in Avignon, which demanded the return of the pope, already protesting against the behavior of the Roman nobility. He worked as a lawyer. His rebellion was successful in May 1447 and was chosen as a tribun, in the course of a few months he lost his mind in too much triumphal habits of the old Roman style, so that he also lost his rebellion. At 20th of November there was a street battle with a hundred of victims, at December 15 he left Rome.

The Black Plague arrived in October 1347 in Sicily (wiki gives no precise date). The street battle of 20th of November in Rome might have had been already known about it, possibly there had been a causal relation (?).

Petrarca's "Africa" was published by Vergerius in 1396/97, the man, who went finally to the court of emperor Sigismund. That's likely the detection of the "poet Petrarca", before he had more the merit of the "scholar Petrarca". Well, "Africa" seems to be a mix of history (scholar) and poem (poet).

I remember, that they had a discussion in Ferrara around 1435 (in the pre-Trionfi-card-time; Guarino and Poggio), if Caesar or Scipio would have been the better man. Perhaps the debate started about the attention, that Petrarca gave to Scipio (?). Perhaps a sign, that Petrarca got an increased interest in the public in the 1430s.

The text presents two Scipio pictures:
Image

This is given to c. 1400, so possibly in context of the Vergerius edition.

The following is given to 1466 ... by the author, who detected Medici and Rucellai heraldic on the picture, and who assumes, that this cassone was part of the wedding of Lorenzo's sister with a member of the Rucellai family (1466 ... I would like to have the precise date). Anyway, that's the year, when Lorenzo got the Minchiate letter from Pulci.
Image

Image

Image


*****************

I think, one should pay some attention to Boccaccio's Trionfi arrangement in 1343.
Last edited by Huck on 25 Oct 2022, 04:21, edited 1 time in total.
Huck
http://trionfi.com

Re: Collection "How Petrarca became famous" (till 1450)

72
Thanks for the nice "trionfi" illustrations, Huck, and for the Weisbach in general. Africa hasn't got much attention here in relation to the tarot.

The relevance of Boccaccio's Amorosa Visione to the tarot sequence has been pointed out many times on THF, going back to 2009 or 2010, and before that elsewhere, I'm sure. In the "Researcher's Study" here, if you search for posts with the word "Amorosa" or "Visione" in them, you will find quite a few. Marco (at viewtopic.php?f=11&t=974&p=14246&hilit=Boccaccio#p14243, which also quotes a relevant Petrarch sonnet) quoted English Wikipedia's article on the Amorosa Visione, worth quoting again, since both of you left out the end of the sentence, which may correspond to a card, too (http://en.wikipedia.org/wiki/Amorosa_visione):
It tells of a dream in which the poet sees, in sequence, the triumphs of Wisdom, Earthly Glory, Wealth, Love, all-destroying Fortune (and her servant Death), and thereby becomes worthy of the now heavenly love of Fiammetta.
The World cards with a putto on top may be referring to the "heavenly" love (as might the putti below, on the PMB, despite the lack of arrows). Boccaccio, as opposed to Petrarch, is the one who has Fortune as a triumph. It may be that the poem gives her two aspects, good and bad, I can't remember. The "trionfi" cassone panels also drew on Boccaccio for some of their imagery, for example the lady (Fama) with Cupid on her palm. You will notice that Boccaccio has Wisdom in the first position, low because no one pays any attention to her; in that position I would associate her with the Popess. I count seven triumphs (counting Love twice), all of which can be correlated with one tarot card or another. The four cardinal virtues are there, too, but not as separate triumphs.

For Poggio and Guarino, 1435, one fairly insightful, if obvious, discussion is at http://books.google.com/books?id=x5tsP2 ... no&f=false

It was a way of debating the two forms of government, republic vs. monarchy, and of flattering their respective patrons.

But the discussion of Caesar vs. Scipio started much earlier than 1435. Petrarch had introduced the controversy by favoring Caesar over Scipio after 1350 (after he had already written much of Africa), starting in the first version of the "Triumph of Fame", in a letter of 1352, and often thereafter. Boccaccio continued to take Scipio's side (commenting on Dante's support of Caesar). Salutati seems to have agreed with later Petrarch for a while, then changed his mind (but this subject is complex). Leonardo Bruni continued the attack on Caesar. I wrote about this earlier discussion, with lengthy quotes, at viewtopic.php?f=11&t=915&p=13410&hilit= ... sar#p13410, but I didn't look at enough scholarly sources. The literature is large. One good discussion of Petrarch, Boccaccio, Salutati, etc. on this is at http://books.google.com/books?id=gzOXLG ... te&f=false

Re: Collection "How Petrarca became famous" (till 1450)

73
mikeh wrote:Thanks for the nice "trionfi" illustrations, Huck, and for the Weisbach in general. Africa hasn't got much attention here in relation to the tarot.

The relevance of Boccaccio's Amorosa Visione to the tarot sequence has been pointed out many times on THF, going back to 2009 or 2010, and before that elsewhere, I'm sure. In the "Researcher's Study" here, if you search for posts with the word "Amorosa" or "Visione" in them, you will find quite a few. Marco (at viewtopic.php?f=11&t=974&p=14246&hilit=Boccaccio#p14243, which also quotes a relevant Petrarch sonnet) quoted English Wikipedia's article on the Amorosa Visione, worth quoting again, since both of you left out the end of the sentence, which may correspond to a card, too (http://en.wikipedia.org/wiki/Amorosa_visione):
It tells of a dream in which the poet sees, in sequence, the triumphs of Wisdom, Earthly Glory, Wealth, Love, all-destroying Fortune (and her servant Death), and thereby becomes worthy of the now heavenly love of Fiammetta.
The World cards with a putto on top may be referring to the "heavenly" love (as might the putti below, on the PMB, despite the lack of arrows). Boccaccio, as opposed to Petrarch, is the one who has Fortune as a triumph. It may be that the poem gives her two aspects, good and bad, I can't remember. The "trionfi" cassone panels also drew on Boccaccio for some of their imagery, for example the lady (Fama) with Cupid on her palm. You will notice that Boccaccio has Wisdom in the first position, low because no one pays any attention to her; in that position I would associate her with the Popess. I count seven triumphs (counting Love twice), all of which can be correlated with one tarot card or another. The four cardinal virtues are there, too, but not as separate triumphs.
Maybe Boccaccio's version follows the dice model. Fortuna might be the central part (everything ... in dice games of Mitelli the number 6) and death is her opposite (nothing or "no destiny"; in dice games of Mitelli the number 1). The rest are possibly 4 figures around her, possibly correlated to 4 seasons with "on top in the wheel" = summer, "below" = winter, "increasing" = spring, "in fall" = autumn.

If I look at the Michelino deck scheme with 4 suits:

Virtues ... Wisdom
Riches ... Wealth
Virginity ... (strange Fame, actually more Petrarca's Chastity)
Pleasure ... Love

The Michelino deck might be a child with similar thinking. Actually all 3 (Boccaccio, Petrarca and Martiano da Tortona) might have created models based on different interpretations.

But one should understand the content first.
http://www.classicitaliani.it/boccaccio ... isione.htm

I think, each Canto has 29 tercets and one final line. Only Canto 50 (the last) is a variation: 31 tercets and one final line. (added: the author below says, that three of the canti have a slightly different form; I've found only Nr. 50).

49 + 1 = 50 is a general pattern, occasionally interpreted as 5x10, but also as 7x7+1.

29 tercets ... or 30 ...

Chaucer in his Canterbury Tales (introduction) speaks of 29 pilgrims, but actually 30 persons appear in the text. And then comes the host of the tavern, suggests to tell 4 stories each and accompanies the group: 31. And then there is the author (32). And then you have 32 chess figures.

***********

There is an opening outside of the 50 Canto at the start: 3 small poems

1.
Looks like a sonnet (14 lines) + 3 additional lines ...

Cara Fiamma, per cui ’l core ò caldo,
que’ che vi manda questa Visione
Giovanni è di Boccaccio da Certaldo.

... which tell the name of the author.

2.
Looks like a sonnet (14 lines) + 2 additional lines ...

Fatele onor secondo il su’ valore,
avendo a tempo poi di me pietate.

3.
25 lines

The first 12 lines end in this way
O chi che voi vi siate, o gratiosi
animi virtuosi,
in cui amor come ’n beato loco
celato tene il suo giocondo focho,
i’ vi priego c’un poco
prestiate lo ’ntellecto agli amorosi
versi, li quali sospinto conposi
forse da disiosi
voler troppo ’nfiammato; o se ’l mio fioco
cantar s’imvischa nel proferer broco,
o troppo è chiaro o roco,
amendatel acciò che ben riposi.
... -osi, -osi, -oco, -oco, -ocho, -osi, -osi, -osi, -oco, -oco, -oco, osi

6x -osi, 6x -oco, presented in AABBBABBAAAB

Then 13 lines follow ...
Se in sé fructo o forse alcun dilecto
porgesse a vo’ lector, ringratiate
colei la cui biltate
questo mi mosse a ffar come subgiecto.
E perché voi costei me’ conosciate,
ella somigli’ Amor nel su’ aspecto,
tanto c’alcun difecto
non v’à a chi già ’l vide altre fiate;
e l’un dell’altro si gode di loro,
ond’io lieto dimoro.
Rendete a llei ’l meritato alloro!
E più non dico ’mai,
perché decto mi par aver assai.
-ecto,-ate, -ate, -ecto, -ate, -ecto, -ecto, -ate, -oro, -oro, -oro, -ai, -ai
so in CDDC-DCCD-EEE-FF

and altogether it looks like a funny construction ... :-)

There's an English translation.
http://www.amazon.com/Amorosa-Visione-G ... 0874513472
I don't have it.

I found this, which describes the text ...

http://books.google.de/books?id=HLe-CRJ ... ne&f=false

Image


Image


Image


As far I get it from other persons descriptions (or theories), Boccaccio describes pictures made by Giotto in his time in Naples in 1328-1333 ... I can't comment, if this is a plausible idea. Giotto went to Azzo in Milan 1335/36 and then he made the Trionfi or "great men" in Milan. In 1337 Giotto was dead.
For Poggio and Guarino, 1435, one fairly insightful, if obvious, discussion is at http://books.google.com/books?id=x5tsP2 ... no&f=false

It was a way of debating the two forms of government, republic vs. monarchy, and of flattering their respective patrons.

But the discussion of Caesar vs. Scipio started much earlier than 1435. Petrarch had introduced the controversy by favoring Caesar over Scipio after 1350 (after he had already written much of Africa), starting in the first version of the "Triumph of Fame", in a letter of 1352, and often thereafter. Boccaccio continued to take Scipio's side (commenting on Dante's support of Caesar). Salutati seems to have agreed with later Petrarch for a while, then changed his mind (but this subject is complex). Leonardo Bruni continued the attack on Caesar. I wrote about this earlier discussion, with lengthy quotes, at viewtopic.php?f=11&t=915&p=13410&hilit= ... sar#p13410, but I didn't look at enough scholarly sources. The literature is large. One good discussion of Petrarch, Boccaccio, Salutati, etc. on this is at http://books.google.com/books?id=gzOXLG ... te&f=false
http://www.classicitaliani.it/boccaccio ... isione.htm
[/quote]

Thanks for the links.

Petrarca in 1441 and before lived near the popes in Avignon, and the current Caesar - emperor Ludwig the Bavarian (1314-1346) - very especially didn't like the popes, and the popes didn't like him. The pope, who reigned in 1346, had his hands in the election of an alternative emperor (Charles IV) and practically Ludwig the Bavarian died in 1347, so there was not much confusion about it (in the longer story of it Charles IV was crowned in Bonn, and not in Aachen, so he was a sort of Roman anti-king, and he would have been called so, if he weren't successful later, and when Ludwig died without much fights about it, the Bavarian party elected a new king, which was overcome by Charles IV. as late as 1349). Bonn was then the place of the archbishop of Cologne and so small, that when you've entered one city gate, you had crossed the city after c. 500 meters.

Petrarca's negative view of Caesar had possibly less to do with Julius Caesar, but possibly more with Ludwig the Bavarian. Petrarca changed later his opinion, cause the then current new emperor Charles IV had been not only friendly to the pope, but also to Petrarca.
Well, it's likely also not accidental, that Cola Rienzo in Rome had his activities just in the same years 1346/47, when the emperor question had been in a critical state.

Charles IV followed another anti-king, Frederick the Fair ...
http://en.wikipedia.org/wiki/Frederick_the_Fair
... who had his trouble with Ludwig the Bavarian since 1314, but had died in 1330.
Huck
http://trionfi.com

Re: Collection "How Petrarca became famous" (till 1450)

74
I wrote recently in ... viewtopic.php?p=25482#p25482 ... at the end of the article
Pier Paolo Vergerio the Elder is of interest. He was interested in Petrarca, wrote a biography and came to Hungary at the court of the later emperor Sigismund. Sigismund was then 2 years in Italy,1431-1433. In Florence Bruni wrote then his biography of Petrarca. This possibly caused the increased interest in Petrarca and the Trionfi text.
https://en.wikipedia.org/wiki/Pier_Paol ... _the_Elder
https://www.treccani.it/enciclopedia/ve ... rafico%29/

It's not clear to me, if Vergerio was in Italy during the Sigismondo visit (as far I remember). But it would be natural. Sigismondo probably needed persons from Italy for this visit.

The discussion "Collection "How Petrarca became famous" (till 1450)" happened in the years 2012-2014. Now it is 8 years ago, 2022.

At "Pierpaolo Vergerio the Elder : the humanist as orator" by McManamon, John M, Publication date 1996 ...
https://archive.org/details/pierpaolove ... 2up?q=1431
... gives this statement at page 154, Footnote 4 ...
There is no evidence that Vergerio accompanied Sigismund to his crowning as king of Italy at Milan in 1431 or to his imperial coronation at Rome in 1433. See Poggio Bracciolini's famous description of the event in Helene Harth, ed., Lettere a Niccolo Niccoli, vol. 1 oi Lettere (Florence: Olschki, 1984), 119-25 (English translation by Phyllis Gordan, Two Renaissance Book Hunters: The Letters of Poggius Bracciolini to Nicolaus de Niccolis, Records of Civilization: Sources and Studies 91 [New York: Columbia Univ. Press, 1974], 176-81).
"There is no evidence ..." means, that one has no known prove, that Vergerio participated at one of these events, but it means also, that one doesn't know, that Vergerio was at this time elsewhere (in Hungary, for instance).
Vergerio wrote a biography of Petrarca (when ?, where ?), Bruni wrote a biography of Petrarca, and this latter activity could mean, that Bruni gave an influence, that the Trionfi text became popular in the 1430s and this made it possible, that a specific type of playing cards develoed, which were called "rionfi" or "ludus trumphorum or similar.
I find this text decrption ...
RVF and Triumphi – with Bruni’s and Vergerio’s life of Petrarch and index
https://petrarch.mml.ox.ac.uk/index.php ... x-florence
The words Triumphi. Bruni and Vergerio appear together in a text, which is dated to second half of 15th century or 16th century. The unknown author or editor found it of interest to link Bruni and Vergerio together, whatever motivation he might have had.
Here is something else ...
Rites of Passage in Leonardo Bruni's Dialogues to Pier Paolo Vergerio by Olga Zorzi Pugliese, University of Toronto, 1985
Composed of two parts, the second of which is, apparently, a retraction of the first, and dating probably from the years 1401 and 1405-06, respectively, the Dialogues constitute, because of the contradictions contained in them, a puzzling text that has elicited a variety of interpretations from critic in the historical as well as the literary field . Although much research has been done in recent times on Bruni, his writings and his times, most notably by Han Baron,' a fresh reading of the troublesome Dialogues can be derived, perhaps, by casting on them the light of some basic truths taught by social anthropologists.
https://scholarsarchive.byu.edu/cgi/vie ... text=rmmra
I've trouble to understand this text. Likely one have to read through the biography of Vergerio.

Automatic translation of treccani.it article to Vegerio
https://www-treccani-it.translate.goog/ ... r_pto=wapp

Notes to Vegerio
c1370, born in Koper, south of Triest. Father is a Notary.
1379/81 in the war of Chioggia the family has to move to Cividale de Friuli near Udine.
1385 probably a grammar student in Padova.
1386/87 2 years in Florence. He became acquainted to Coluccio Salutati (* 1341, + 1406), who had visited Petrarca and admired him.
Salutati was chancellor of the city Todi 1367, chancellor of Lucca in 1371 and chancellor of Florence since 1375 till 1406 (the year, which is noted in the Dialogs of Leonardo Bruni.
English wiki for Salutati: After studies in Bologna, where his father lived in exile after a Ghibelline coup in Buggiano, the family returned to Buggiano, which had become more securely part of the Republic of Florence. There he worked as notary and pursued his literary studies, coming into contact with the Florentine humanists Boccaccio and Francesco Nelli. The refined and masterful classical Latin of his letters to Florentine scholars earned him the admiring nickname of "Ape of Cicero", In 1367 Coluccio was appointed chancellor of Todi in the Papal States. Papal secretary Francesco Bruni (1315-1385) took Salutati with him to Rome from 1368 to 1370, as assistant in the Papal curia of Pope Urban V recently returned from Avignon.[4] In 1370, through his connections in the curia he was made chancellor of the powerful Tuscan city of Lucca, a post he quickly lost in internecine struggles there.
English wiki, Francesco Nelli: Francesco Nelli (Florence – Naples, + 1363) was the secretary of bishop Angelo Acciaioli I and a pastor at the Prior of the Church of the Holy Apostles in Florence. Nelli corresponded much with Francesco Petrarch as is evident by the fifty letters still existing of his to Petrarch, and the thirty-eight letters still existing from Petrarch to him. Six of the nineteen letters of Petrarch's Liber sine nomine are addressed to Nelli.
Arrian of Nicomedia (c. 86/89 – c. after 146/160 AD)
https://en.wikipedia.org/wiki/Arrian
wrote "The Anabasis of Alexander", later (1433-1437) translated to Latin by Vegerio
in 1437
Last edited by Huck on 10 Oct 2022, 02:00, edited 2 times in total.
Huck
http://trionfi.com

Re: Collection "How Petrarca became famous" (till 1450)

75
If I can help:

Huck wrote,
I find this text decrption ...
RVF and Triumphi – with Bruni’s and Vergerio’s life of Petrarch and index
https://petrarch.mml.ox.ac.uk/index.php ... x-florence
The words Triumphi. Bruni and Vergerio appear together in a text, which is dated to second half of 15th century or 16th century. The unknown author or editor found it of interest to link Bruni and Vergerio together, whatever motivation he might have had.
What links Bruni and Vergerio to the Triumphi is that this work is a collection of 13th-14th century verse, some or all in the vernacular, including selections from the Triumphi and other writings in the vernacular (RVF stands for Rer[um] uulgariu[m] fragme[n]ta, i.e. fragments of works in the vernacular), making it suitable to precede these works with biographies of their most important authors, especially Petrarch and Dante. Bruni and Vergerio are included.

Huck wrote,
Here is something else ...
Rites of Passage in Leonardo Bruni's Dialogues to Pier Paolo Vergerio by Olga Zorzi Pugliese, University of Toronto, 1985

Composed of two parts, the second of which is, apparently, a retraction of the first, and dating probably from the years 1401 and 1405-06, respectively, the Dialogues constitute, because of the contradictions contained in them, a puzzling text that has elicited a variety of interpretations from critic in the historical as well as the literary field . Although much research has been done in recent times on Bruni, his writings and his times, most notably by Han Baron,' a fresh reading of the troublesome Dialogues can be derived, perhaps, by casting on them the light of some basic truths taught by social anthropologists.

https://scholarsarchive.byu.edu/cgi/vie ... text=rmmra
I've trouble to understand this text. Likely one have to read through the biography of Vergerio.
This article says that Buini's Dialogues to Pier Paolo Vergerio is about how Niccolo Niccoli is first excluded - in thought, not physically - from the society of humanists in Florence for appearing to have contempt for Dante, saying he is not fit for the company of his peers as opposed to bakers and other vulgar people, and then re-including him when Niccolo says that what he wants to say is that Dante is far above his peers. About how the Dialogues relates to Vergerio, the article says only this (pp. 130-1):
Coming now to a more detailed analysis of the text of the Dialogues, let us
single out those elements that suggest the special quality of this experience of
initiation into humanist studies. First of all, the framework of the treatise,
[Olga Z. Pugliese 131]
which has not received sufficient attention, proves to be, at close observation,
richly evocative of symbols of sacredness. The frame is used by Bruni first to
describe the setting for the conversations. He begins in the dedicatory Intro -
duction with praise of the city which is flourishing with human culture, where
the seeds of liberal arts grow, and from which the light of culture is to shine.
This paean to Florence, Bruni's adopted patria, is based on a contrast with
other less perfect locales, especially the one now inhabited by the addressee
Vergerio who, Bruni laments, has returned to Padua and abandoned Florence.
Insisting on Vergerio's absence (p. 20) and on the fact that his ex-colleagues
who have remained in Florence miss him a great deal, the author suggests that
Vergerio is indeed in exile and that he has been excluded from a place of privi-
lege, a veritable intellectual paradise.
The article does not give any further particulars of how the dialogue relates to Vergerio, but I would suppose the connection is thought to be obvious, namely, that Vergerio, too, by living in Padua, has excluded himself from the fruitful discussions among Florentines, which enhance both the mind and the spirit, to Vergerio's detriment, but would be welcomed back to Florence if he chose.

More generally, in relation to its main subject, Niccolo, it seems to me that the work is a defense of verse in the vernacular written by those who also write eloquently in Latin or Greek, as the vernacular demands and gives the vernacular writing a universality among people of all classes and (implicitly) nations, not restricted to the few who know the ancient languages.

Re: Collection "How Petrarca became famous" (till 1450)

76
Treccani.it article Vergerio, automatic translated
https://www-treccani-it.translate.goog/ ... r_pto=wapp

3 travels to Florence are noted
  • 1386-87 ... becomes acquainted to Salutati, also Francesco Zabarella
    around 1394
    autum of 1398 till begin of 1400 (?), wishes to study with the teachings of Chrysoloras ... Chrysoloras leaves Florence ...
English wiki to: Chrysoloras arrived in the winter of 1397, an event remembered by one of his most famous pupils, the humanist scholar Leonardo Bruni, as a great new opportunity: there were many teachers of law, but no one had studied Greek in northern Italy for 700 years. Another very famous pupil of Chrysoloras was Ambrogio Traversari, who became general of the Camaldolese order. Chrysoloras remained only a few years in Florence, from 1397 to 1400, teaching Greek, starting with the rudiments. He moved on to teach in Bologna and later in Venice and Rome. Though he taught widely, a handful of his chosen students remained a close-knit group, among the first humanists of the Renaissance. Among his pupils were numbered some of the foremost figures of the revival of Greek studies in Renaissance Italy. Aside from Bruni and Ambrogio Traversari, they included Guarino da Verona and Palla Strozzi.
***********

Vergerio in Padova
3 visits at Padoa are noted
  • 1385 ... 15 years old, probably grammar student
    1388 November
    Vergerio is 1400 till 1405 mainly in Padua, finishes his medical studies in 1405
Petrarca lived in his late years close to Padua.

************

https://archive.org/details/pierpaolove ... up?q=bruni
... gives arguments , that Vergerio was born before 1370.
The contrary evidence derives from a statement of Leonardo Bruni [* c1369 in Arezzo) that Vergerio was much older than he {Commentarius, RIS, n.s., 19.3:432).
**************

https://archive.org/details/pierpaolove ... up?q=bruni
Salutatis relation to Petrarca
To become prominent in the humanist movement, Salutati had corresponded with Petrarch, the movement's recognized leader, in the years immediately before Petrarch's death in 1374. Exploiting the genre of the personal letter that Petrarch himself had rediscovered, Salutati expressed intense admiration for the aged scholar. Yet Salutati did not conceal his insecurity about their late-blooming relationship. In fact, Petrarch wrote only one letter in response to those he had received from the rather obscure notary. However, Salutati had brought Petrarch within his collected letters, and he furthered the impression of intimate friendship by writing two letters to commemorate Petrarch after his death. With fulsome praise, Salutati characterized Petrarch as superior to Virgil in his poetry and to Cicero in his prose.
****************

https://archive.org/details/pierpaolove ... up?q=bruni
It would be nice to know, when precisely Bruni observed the portrait of Petrarca
See, for example, Vergerio's comments to Salutati in a letter of 1391 {Epist, 62): "Si postremo et id umquam fortuna concederet, quod apud te viverem, cuius monitis et exemplo vitae, cernentibus oculis, cottidie memet maior meliorque fierem! Sentio plane quantum in virtute profecerim, te auctore, per id pauculum temporis quo et videre et audire te licuit, cum ad praecepta tua velut ad abundantissimum fontem sitibundus venirem." Cf. ibid., 15, 82, 88-89, 138; and Eugenio Garin, "Ritratto di Leonardo Bruni Aretino," Atti e memorie della Accademia Petrarca di lettere, arti e scienze, n.s., 40 (1970-72): 2-3, who discusses Bruni's decision to pursue humanist studies after seeing a portrait of Petrarch.
****************

https://archive.org/details/pierpaolove ... up?q=bruni
Bruni and Vergerio as students of Chrysoloras
From 1397 to 1400, Vergerio continued to pursue a demanding program that entailed diverse studies. He apparently completed his law degree in Bologna because the records of the University of Padua described him in May of 1400 as a doctor of civil law {in iure civili peritus) . Before returning to Padua, however, Vergerio had also seized the opportunity to study Greek under Manuel Chrysoloras. Chrysoloras had come to Florence in February of 1397, and by October of 1398 Vergerio was searching for housing there. Because Vergerio had joined the group so late in the course, he admitted that he competed hard to catch up with the others. His success made an impression on his fellow students. Once Leonardo Bruni had realized Vergerio's extensive education, he concealed his insecurities by assuring himself that Vergerio must be older than he. In fact, Vergerio's achievements as a humanist at that point in his career overshadowed the more modest accomplishments of his Florentine confreres. Moreover, his study of Greek after attaining degrees in law and medicine proved his strong inclination to combine humanist studies with his professional endeavors.
******************

https://archive.org/details/pierpaolove ... up?q=bruni
The time of Bruni's Dialogues to Pier Paolo Vergerio 1405/06
https://en.wikipedia.org/wiki/Pope_Innocent_VII .... Pope between 17 October 1404 and 6 November 1406 .... born Cosimo de' Migliorati
Vergerio had cultivated Migliorati's friendship after their lengthy encounters in Rome [1398]. He trusted the pope's ethical convictions and knew firsthand his support for humanism. No sooner did Vergerio take refuge in Rome, however, than he found himself embroiled in a new outburst of civic violence. For years, Roman affairs had been shaped by a struggle for hegemony involving kaleidescopic alliances among three powers: the papal forces, the Roman nobility, and Ladislas of Durazzo, the king of Naples (1400-1414). With significant aid from Ladislas, Boniface IX had managed to hold the Roman nobles in check. When Innocent became pope, Ladislas abandoned the papal alliance and maneuvered against him in tandem with powerful Roman nobles. Isolated, Innocent sought to negotiate an agreement with his noble rivals. In exchange for the restoration of certain privileges, the nobles would for their part acknowledge papal overlordship.
On 5 August 1405, shortly after Vergerio's arrival. Innocent received a delegation of nobles at the papal palace. After a typically stormy meeting, the nobles were ambushed on their way home by forces under the command of Ludovico Migliorati, Innocent's nephew. In ruthless fashion, Ludovico massacred the pope's political rivals, triggering a rebellion that forced Innocent and his court to flee to Viterbo. Vergerio vividly remembered the helter-skelter retreat, during which the papal party left the road littered with the dead bodies of its supporters. Eventually, the Roman nobles soured on their Neapolitan allies and drove them out. They invited Innocent to return to Rome as lord in exchange for promises not to rule by tyranny. The pope came back to Rome on 13 March 1406; in the intervening months, however. Innocent had concentrated solely on Roman affairs and ignored his promise to resolve the Great Western Schism.
Lacking conclusive evidence, scholars have failed to establish precisely what role Vergerio filled during his years at the Papal Court. His name is not found in the existing registers of Innocent VII. Some have therefore surmised that Vergerio functioned as a chancery secretary on occasional request and that he held no fixed curial office. Vergerio himself stated only that Innocent VII had given him "an office and benefices." Antonio Loschi, a contemporary humanist, indicated that Vergerio held a position similar to that of Leonardo Bruni, who had won the job of papal secretary in 1405. Vergerio's corpus includes a letter that he wrote in the name of Innocent to Coluccio Salutati as Florentine chancellor. The pope had enjoined Vergerio to respond to the arguments of a tract which Salutati had recently sent to Rome. Salutati's short treatise and Vergerio's letter dealt with the wisdom of the policies that Innocent had adopted to end the Schism.
*****************

https://archive.org/details/pierpaolove ... up?q=bruni
When Innocent became pope, Ladislas abandoned the papal alliance and maneuvered against him in tandem with powerful Roman nobles. Isolated, Innocent sought to negotiate an agreement with his noble rivals. In exchange for the restoration of certain privileges, the nobles would for their part acknowledge papal overlordship.
On 5 August 1405, shortly after Vergerio's arrival. Innocent received a delegation of nobles at the papal palace. After a typically stormy meeting, the nobles were ambushed on their way home by forces under the command of Ludovico Migliorati, Innocent's nephew. In ruthless fashion, Ludovico massacred the pope's political rivals, triggering a rebellion that forced Innocent and his court to flee to Viterbo. Vergerio vividly remembered the helter-skelter retreat, during which the papal party left the road littered with the dead bodies of its supporters.
https://archive.org/details/pierpaolove ... up?q=bruni
The Papal State now submitted to Innocent's authority, and he had negotiated a peace treaty with King Ladislas of Naples. Vergerio urged his listeners to see the hand of divine providence behind those events. God had permitted that the established order be temporarily overturned in order to assure necessary reforms. Stigmatizing the crimes committed by the pope's nephew and the rebellion that followed, Vergerio emphasized the harmony that must now reign by repeating the word "peace" seven times in a brief interval. He also lectured Innocent that spiritual arms alone had proven efficacious for the Church.
The next two months were among the happiest that Vergerio had yet experienced. Toward the end of September, he wrote a poem in which he depicted an idyllic life at the court of a generous patron of humanism. The poem celebrated a poetry contest held in the late summer of 1406. Among the participants were Antonio Loschi and Francesco da Fiano. Despite urgings by Vergerio, Leonardo Bruni declined to submit an entry, for he found himself occupied with the tasks that Innocent had delegated to him. By early September, for example, Bruni had composed a bull which announced that the pope was refounding the University of Rome. According to Bruni's text. Innocent intended to make the Roman university "a haven for all the humane letters" and especially for the study of Greek. Vergerio and Bruni were relieved that the pope offered institutional support to the humanist movement at that juncture.'^ For several years, learned clerics such as Giovanni Dominici had mounted a sustained attack on the humanist program. In sermons and tracts, Dominici claimed that humanist studies in no way assisted the salvation of a believer and at times proved harmful to authentic belief. Dominici specifically censured the manipulative power of orators trained in classical principles. The Florentine Dominican seemed to be the one opponent of humanism who understood, as Vergerio did, the importance of rhetoric to classical culture. He used his understanding of that importance to un- derscore the dangers of a humanist education.
https://archive.org/details/pierpaolove ... up?q=bruni
The panegyric signaled that Vergerio's confidence in Innocent VII had lessened over time. He now felt that the pope needed public prodding to overcome his hesitation and to take the steps necessary to end the Schism.
Two months later, after the death of Innocent on 6 November 1406, Vergerio offered a severely critical assessment of his pontificate. Vergerio addressed the Roman cardinals in a public consistory held prior to the opening of the conclave to elect Innocent's successor and consciously used blunt language to convince the cardinals that they must postpone the election. He had been encouraged to adopt a more prophetic stance after he had discussed the problem of the Schism with Bernardino da Siena. The two reformers first met in Viterbo, where Pietro Filargo, the cardinal of Milan, had brought Bernardino to visit Innocent VII. Bernardino continued to visit the Papal Court right up to the time of Innocent's final illness. Twenty-five years old at the time, Bernardino had joined the Franciscan observance in 1402 and had been ordained in September of 1404. Vergerio and Bernardino shared a common appreciation for the theological style of Jerome and a common zeal for reform that they discussed during Bernardino's visits to the court. Vergerio used his speech to present their mutual analysis of the situation.
English wiki ... https://en.wikipedia.org/wiki/Pope_Innocent_VII
Innocent VII had made the great mistake of elevating his highly unsuitable nephew Ludovico Migliorati – a colorful condottiero formerly in the pay of Giangaleazzo Visconti of Milan – to be Captain of the Papal Militia, an act of nepotism that cost him dearly.[5] Innocent further named him the rector of Todi in April 1405. In August 1405, Ludovico Migliorati, using his power as head of the militia, seized eleven members of the obstreperous Roman partisans on their return from a conference with the Pope, had them murdered in his own house, and had their bodies thrown from the windows of the hospital of Santo Spirito into the street. There was an uproar. Pope, court and cardinals, with the Migliorati faction, fled towards Viterbo. Ludovico took the occasion of driving off cattle that were grazing outside the walls, and the Papal party were pursued by furious Romans, losing thirty members, whose bodies were abandoned in the flight, including the Abbot of Perugia, struck down under the eyes of the Pope.
Innocent's protector Ladislaus sent a squad of troops to quell the riots, and by January 1406 the Romans again acknowledged Papal temporal authority, and Innocent VII felt able to return. But Ladislaus, not content with the former concessions, desired to extend his authority in Rome and the Papal States. To attain his end he aided the Ghibelline faction in Rome in their revolutionary attempts in 1405. A squad of troops which King Ladislaus had sent to the aid of the Colonna faction was still occupying the Castle of Sant' Angelo, ostensibly protecting the Vatican, but making frequent sorties upon Rome and the neighbouring territory. Only after Ladislaus was excommunicated did he yield to the demands of the Pope and withdraw his troops.[4]
Shortly after his accession in 1404 Innocent VII had taken steps to keep his oath by proclaiming a council to resolve the Western Schism. King Charles VI of France, theologians at the University of Paris, such as Pierre d'Ailly and Jean Gerson, and King Rupert of Germany, were all urging such a meeting. However, the troubles of 1405 furnished him with a pretext for postponing the meeting, claiming that he could not guarantee safe passage to his rival Benedict XIII if he came to the council in Rome. Benedict, however, made it appear that the only obstacle to the end of the Schism was the unwillingness of Innocent VII. Innocent VII was unreceptive to the proposal that he as well as Benedict XIII should resign in the interests of peace.
Death
Innocent died in Rome on 6 November 1406. It is said that Innocent VII planned the restoration of the Roman University, but his death brought an end to such talk.
Coluccio Salutati had died † 4. Mai 1406.

******************

https://archive.org/details/pierpaolove ... up?q=bruni
Vergerio seems to have become a strong man, who could demand the council and history has the evidence, that he got it finally.
To dramatize the situation, Vergerio invoked two specters before his audience. The Roman clergy faced a genuine possibility of rebellion by the lay members of the Church. Exasperated by the unwillingness of the clergy to resolve the Schism, secular authorities might well try to im- pose a solution.^' Secondly, Vergerio gave the cardinals dramatic proof that God would severely punish their immoral behavior. From privileged knowledge, he revealed that Bernardino da Siena had warned Inno- cent of the dire consequences of further delay. Either Innocent would act to resolve the Schism and save his pontificate or God would punish him for his insolence. Innocent indignantly rejected Bernardino's ultima- tum and threw him out of the papal palace. Within days. Innocent contracted the disease that soon proved fatal. One refused to heed a prophet's warning at genuine risk.
Last edited by Huck on 25 Oct 2022, 04:44, edited 1 time in total.
Huck
http://trionfi.com

Re: Collection "How Petrarca became famous" (till 1450)

77
https://tesionline.unicatt.it/handle/10 ... ?mode=full
A doctoral thesis of Robert Rognoni (2007/2008) states :
This work is the critical edition of Life of Dante, written by Leonardo Bruni in Florence in the may of 1436, with the Life of Petrarch as like a Plutarch's lives (Vite Parallele). Every life is an independent text, being together, at the same time, an unitary work, because the have a "Proemio" and a "Parallelo between Dante and Petrarch" which are like a frame for all the work.
https://en.wikipedia.org/wiki/Florence_Cathedral
The cathedral was consecrated by Pope Eugene IV on 25 March 1436, (the first day of the year according to the Florentine calendar)
Image
https://duomo.firenze.it/en/opera-magaz ... -completed
On 30 August 1436 the work on Brunelleschi's Dome was completed.
A day of celebration for the city of Florence anxious to see the completion of one of the most admirable works in the history of humanity.
https://www.florenceinferno.com/the-brunelleschi-dome/
When it was designed, it was the largest dome in the world.
****************

The doctoral thesis gives the impression, that Bruni wrote this piece of text in May 1436.

However, the context with probably many celebrations in Florence in the year 1436 gives the suspicion, that Bruni possibly published the work in May 1436, but might have written it before and then waited for a golden opportunity to publish it. The cathedral celebrations were such a good opportunity.

****************

The text of an edition "Firenze 1672" has 108 text pages and one page has about place for 2-3 longer sentences. Maybe 4 occasionally and this is not much.

https://www.digitale-sammlungen.de/de/v ... 3?page=118

It doesn't have much words. The Vita Francesci Petrarchae starts at page 76.
Huck
http://trionfi.com

Re: Collection "How Petrarca became famous" (till 1450)

78
Casa del Petrarca in Arezzo, Borgo dell'Orto, given as birthplace of Petrarca by Leonardo Bruni
https://www.google.com/maps/@43.4661102 ... 384!8i8192

https://www.google.com/maps/place/Petra ... 11.8835962

**************************

Battle of Campaldino (The Battle of Campaldino was a battle between the Guelphs and Ghibellines on 11 June 1289)
https://en.wikipedia.org/wiki/Battle_of_Campaldino
Mixed bands of pro-papal Guelf forces of Florence and allies, Pistoia, Lucca, Siena, and Prato, all loosely commanded by the paid condottiero Amerigo di Narbona with his own professional following, met a Ghibelline force from Arezzo including the perhaps reluctant bishop, Guglielmino degli Ubertini, in the plain of Campaldino, which leads from Pratovecchio to Poppi, part of the Tuscan countryside along the upper Arno called the Casentino.One of the combatants on the Guelph side was Dante Alighieri, twenty-four years old at the time.
Poppi and Pratovecchio and Colonna di Dante
https://www.google.com/maps/dir/Colonna ... 908459!3e2
Colonna di Dante
https://www.google.com/maps/@43.7375716 ... 384!8i8192
Image



There are theories, that locations of the Divine Commedia are inspired by locations in the Casentino:
https://www.parlital.it/en/thematic-ita ... ntino.html
https://www.visittuscany.com/de/ideen/d ... casentino/
automatic translation
https://www-visittuscany-com.translate. ... r_pto=wapp

*******************

Michael Bernsen / Bernhard Huss (Hg.). Der Petrarkismus – ein europäischer Gründungsmythos
https://d-nb.info/1153555506/34
We had earlier (where ? I don't remember) the question, when the 3 literary crowns Dante-Petrarca-Boccacchio were called "3 crowns" for the first time. The above text at pages 33/34 ....
(in Stefano Jossa: Petrarkismus oder Drei Kronen? Die Ursprünge eines Konfliktes. 1. Der Mythos der Drei Kronen, p. 31-49) ...
.... gives the answer, that Petrarca himself was active in 1364.
Später erkennt Petrarca in den Seniles, V 2, die mit »Venedig 28. August« (»Venezia 28 agosto«), wahrscheinlich auf das Jahr 1364 datiert sind, schließlich den Kanon der drei großen Florentiner an. Er schrieb ihn einem »alten Mann aus Ravenna« (senem illum ravennatem) zu, der traditionell mit dem Dantespezialisten Menghino Mezzani identifiziert wird, und der in einer Rangliste der großen zeitgenössischen Dichter Petrarca auf den zweiten und Boccaccio auf den dritten Platz verwiesen hätte. Petrarca erklärt sich bereit, seinem Freund den zweiten Platz zu gewähren, aber bezüglich des ersten Platzes lässt er nicht mit sich reden, da dieser dem nostri eloquii dux vulgaris, also Dante, dem »Fürsten unserer Volkssprache« zustehe (»principe della nostra lingua volgare«).7
Die Verbindung zwischen den drei großen Dichtern des florentinischen Trecento ist vollendet: Es ist Petrarca selbst, der ihre Bedeutung sicherstellt. Hier
findet sich die erste Definition des Kanons der Drei Kronen.
Der Kanon der drei großen Männer des Trecento setzt sich somit in Florenz zwischen dem 14. und dem 15. Jahrhundert als Ausdruck des Ruhmes dieser
Stadt durch, freilich nicht ohne Widerstand, wie die Invettiva contro cierti calunniatori di Dante e di messer Francesco Petrarca e di messer Giovanni Boccaci von Cino Rinuccini (meist auf 1398 – 1400 datiert) und die Invectiva in Antonium Luschum vicentinum von Coluccio Salutati (meist auf das Jahr 1403 datiert) belegen. In einer Antwort auf die Invectiva in Florentinos des Vizentiners Antonio Loschi wurde der florentinische Ruhm vor allem mit dem literarischen Primat der drei großen Dichter des Trecento begründet:
Ubinam viri clariores? Et, ut infinitos omittam quos recensere taedium foret, rebus
gestis insignes, armis strenuos, potentes iustis dominationibus et famosos ? Ubi
Dantes ? Ubi Petrarca? Ubi Boccaccius ? Dic, precor, ubinam summum Italiae loco
virisque, foedissima belua, poteris assignare, si Florentini sique Florentia faex Italiae
dici possunt?8
[Wo gibt es herausragendere Menschen, um nicht die unzähligen zu nennen, die zu
erinnern lästig wäre, so herausragend für ihre Heldentaten, tüchtig im Umgang mit
Waffen, mächtig und berühmt? Wo Dante? Wo Petrarca, wo Boccaccio? Sage mir bitte,
oh furchtbare Bestie, welchem Ort und welchen Menschen wirst du den Vorrang in
Italien geben, wenn man Florenz als den Abschaum Italiens bezeichnen kann?]
Ein Jahr später, in den Dialogi ad Petrum Paulum Istrum von Leonardo Bruni (jüngst auf das Jahr 1404 datiert), erkennt Salutati als Dialogfigur gegen Ende des ersten Buches die humanistische Exzellenz der drei großen volkssprachlichen Dichter an, die es verstanden hätten, den antiken Dichtern gleichzukommen (I, 40):
Nam potes, ut alios omittam, vel tres viros, quos quos his temporibus nostra civica tulit,
non praestanissimos iudicare: Dantem, Franciscum petrarcham, Iohannem Boccatium,
qui tanto consensu omnium ad caelum tolluntur ?9
[Wie könntest du nicht, um die anderen beiseite zu lassen, mindestens drei Männer als
herausragend bezeichnen, die unsere Stadt der Welt in dieser Zeit gegeben hat: Dante,
Francesco Petrarca, Giovanni Boccaccio, die mit so großer Einstimmigkeit in den
Himmel erhoben worden sind?]
Der Kanon der Drei Kronen zeigt sich somit im humanistischen Kontext als die Spitze eines Eisbergs, worin sich die kulturelle Vorherrschaft von Florenz offenbart, für das neben den drei hier Gefeierten auch weitere Beispiele aufgeführt werden können. Doch der Humanist Niccol Niccoli, der die Trennung zwischen humanistischer Elite und volkstümlichen Launen einfordert, entgegnet Salutati: »Quos tu mihi Dantes«, inquit, »commemoras ? Quos Petrarchas? Quos Boccatios ? An tu putas me vulgi opinionibus iudicare, ut ea probem quae ipsa multitudo ?«10
Nachdem derselbe Niccoli schließlich doch Dante, Petrarca und Boccaccio für das humanistische Spiel der disputationes in utramque partem rühmen musste,
räumt der Humanist Pietro di Mino den Drei Kronen den Platz wieder ein, der ihnen in der Geschichte der humanistischen Kultur zustehe: »Tu enim Dantis poema accuratissime didicisti, tu Petrarchae amore in Patavium usque penetrasti, tu propter Boccatii affectionem bibliothecam eius tuis sumptibus ornasti«.11
Die Triade wurde dann im Laufe des Quattrocento mit der von Giovanni Gherardi da Prato in Paradiso degli Alberti (1425 – 26) vorgeschlagenen Definition der »tre corone fiorentine« und mit den Vite di Dante, Petrarca e Boccaccio (1440) von Giannozzo Manetti institutionalisiert. Die Worte Giovanni Gherardis zu Beginn des Paradiso degli Alberti verraten, dass es sich hierbei um einen spezifisch florentinischen und patriotischen Prozess handelt:
Scusimi ancora l’ardentissima voglia che continuamente mi sprona il mio edioma materno con ogni possa sapere essaltare e quello nobilitare, come che da tre corone fiorentine principalmente gi nobilitato ed essaltato si sia; le quali io umilissimamente seguo non altrementi che’ dottissimi navicanti fecino ne’ loro viaggi pel segno del nostro polo.12
[Man entschuldige meine brennende Lust, die mich ständig dazu drängt, meine Muttersprache mit allen Mitteln zu loben und zu verherrlichen, wie dies im wesentlichen bereits von den drei florentinischen Kronen getan wurde; und ich folge diesen so demütig, nicht anders als die höchst gelehrten Seefahrer in ihren Reisen dem Zeichen unseres Pols folgten.]
Giovanni Gherardi gilt traditionell als derjenige, der den Ausdruck »tre corone fiorentine« geprägt hat, um Dante, Petrarca und Boccaccio zu bezeichnen. Es
muss aber gesagt werden, dass das Paradiso degli Alberti nur als einzelnes Manuskript bestand, bis Aleksandr Wesselofsky es im Jahre 1867 wieder entdeckte und erstmals veröffentlichte.13 Es ist daher sehr unwahrscheinlich, dass der Gebrauch dieses Ausdruckes während des Risorgimento, als die Drei Kronen
zum unbestrittenen Modell für die Sprache und Kultur Italiens wurden, aus diesem Werk stammt. ›Tre corone‹ ist im Übrigen ein in der Ursprungszeit des
Italienischen häufig verwendeter Ausdruck (er erscheint z. B. in den Poesie von Francesco Scambrilla und im Canzoniere von Angelo Galli: um dies in Erfahrung
zu bringen, genügt eine Recherche auf der Homepage der Biblioteca Italiana),14 aber er bezieht sich eher auf die päpstliche Tiara, die traditionell mit drei Kronen
verziert war, von denen eine die weltliche Macht des Papstes, eine andere dessen geistliche Autorität, und die Dritte dessen Hoheit über die Herren der Welt
bezeichnete.
The article contains a list, how the idea "three crwons" (= 3 Kronen) developed. In the final passage the author concludes, that the papal Triara presents an older appearance of 3 crowns.

... .-) ... however, there is an older appearance of 3 crowns.

https://en.wikipedia.org/wiki/Papal_tiara
The addition of a third crown is attributed to Pope Benedict XI (1303–1304) or Pope Clement V (1305–1314) .... The third crown was added to the papal tiara during the Avignon Papacy (1309–1378), giving rise to the form called the triregnum.
Image



In Cologne, however.... a movie
https://youtu.be/JoV0CbLd_U4

Image


https://de.wikipedia.org/wiki/Kölner_Wappen
https://en.wikipedia.org/wiki/Coat_of_arms_of_Cologne
The arms of the city in the 16th century were Argent, on a chief Gules three crowns Or. Between 1550 and 1580, the arms were altered to Argent eleven gouttes of tar Sable (5/4/2), on a chief Gules three crowns Or. The three crowns symbolize the Magi (Three Wise Men) whose bones are said to be kept in a golden sarcophagus in Cologne Cathedral (see Shrine of the Three Kings at Cologne Cathedral). In 1164, Rainald of Dassel, the Archbishop of Cologne, brought the relics to the city, making it a major pilgrimage destination. This led to the design of the current cathedral as the earlier church was considered too small to accommodate the pilgrims.
The eleven drops recall Cologne's patron, Saint Ursula, a Britannic princess, and her legendary 11,000 virgin companions who were supposedly martyred by Attila the Hun at Cologne for their Christian faith in 383. The entourage of Ursula and the number of victims was significantly smaller; according to one source, the original legend referred to only eleven companions and the number was later inflated.
Petrarca had visited Cologne at 23rd of June, 1333, and celebrated a midsummer festivity.
Huck
http://trionfi.com

Re: Collection "How Petrarca became famous" (till 1450)

79
https://www.projekt-gutenberg.org/walth ... ap008.html

Walther von der Vogelweide (c11170 - c1230)
.... https://de.wikipedia.org/wiki/Walther_v ... Vogelweide
.... https://en.wikipedia.org/wiki/Walther_v ... Vogelweide
Von Kölne werder bischof, sint von schulden frô.
ir hânt dem rîche wol gedienet, und alsô
daz iuwer lop da enzwischen stîget unde sweibet hô.
sî iuwer werdekeit dekeinen bœsen zagen swære,
fürsten meister, daz sî iu als ein unnütze drô.
getriuwer küneges pflegære, ir sît hôher mære,
keisers êren trôst baz danne ie kanzelære,
drîer künege und einlif tûsent megde kamerære.

85,1-8. An Engelbert von Köln
Edler Bischof von Köln, seid zufrieden! – ihr habt Grund dazu. Ihr habt euch um den Kaiser hochverdient gemacht, und zwar derart, daß mittlerweile euer Ruhm steigt und hoch schwebt. Sollte eure hohe Stellung irgendwelchen elenden Feiglingen schwer aufliegen, so betrachtet das, Oberhaupt der Fürsten, als eine ohnmächtige Drohung. Getreuer Vormund des Königs, hochberühmt seid ihr, des kaiserlichen Ansehens Schützer mehr als je ein Kanzler; Kämmerer der drei Könige und elftausend Jungfrauen.
automatic translation
85:1-8. To Engelbert of Cologne
Noble Bishop of Cologne, be content! – you have reason to. You have done yourselves a great service to the emperor, and in fact to such an extent that your fame is now rising and soaring high. Should your high position be hard upon some miserable coward, then, chief of princes, regard it as an impotent threat. Faithful guardian of the king, you are very famous, protector of the imperial prestige more than ever a chancellor; Chamberlain of the three kings and eleven thousand virgins.
"Engelbert of Cologne" is ... https://en.wikipedia.org/wiki/Engelbert_II_of_Berg .... who died in the year 1225.

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3 crowns in Cologne
Image
large picture
https://www.koelner-dom.de/Dreikoenige/ ... -3_img.jpg

According Heiko Steuer: Die Heiligen Drei Könige und das Wappen der Stadt Köln in Die Heiligen drei Könige. Darstellung und Verehrung. Eine Ausstellung des Wallraff-Richartz Museums 1982 (pages 97 ....
Die älteste erhaltene Wappendarstellung findet sich im Kölner Dom. Im Königsfenster Nord 5 im Obergadenist ist das Stadtwappen viermal wiedergegeben. Die Fenster als Stiftungen entstanden zwischen 1304 und 1315. Als der Chor 1322 geweiht wurde, waren die Fenster schon eingesetzt.
.... Nicht viel jünger als die älteste Kölner Wappendarstellung ist das Grabmal des Erzbischofs Philipp von Heinsberg im Dom, das um 1330 entstanden ist.
automatic translation
The oldest surviving coat of arms can be found in Cologne Cathedral. The coat of arms of the city is reproduced four times in the king window north 5 in the clerestory. The windows as endowments were created between 1304 and 1315. When the choir was consecrated in 1322, the windows were already in place.
.... The tomb of Archbishop Philipp von Heinsberg in the cathedral, which was created around 1330, is not much younger than the oldest Cologne coat of arms.
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Image
Image


Large picture
https://upload.wikimedia.org/wikipedia/ ... m_0622.jpg
https://de.wikipedia.org/wiki/Philipp_I._von_Heinsberg
https://en.wikipedia.org/wiki/Philip_I_ ... f_Cologne)

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Picture of the Roman king Heinrich VII with his wife Margareta of Brabant in the year 1309
https://www.bildindex.de/document/obj32 ... 07/?part=0
https://www.bildindex.de/document/obj32047855
in Codex Balduini Trevirensis, made c1340
The picture shows Heinrich and Margareta in Cologne cathedral at the Shrine of the Three Kings. The coronation of Heinrich as German Roman king took place in Aachen at the Dreikönigstag (6th of January 1309) and the pair went then to Cologne.
http://www.regesta-imperii.de/regesten/ ... 0f32#rinav
They reached Cologne at least at January 11 and stayed at least 3 weeks (the 3 Kings got 3 baldachins).
König Heinrich stiftet in Verehrung der Heiligen Drei Könige drei sehr wertvolle, mit Gold­fran­sen besetzte und mit Gold und wertvollen Edelsteinen ge­schmück­te Baldachine.
http://www.regesta-imperii.de/regesten/ ... 5aa0#rinav
At the year change 1309/10 they were in Cologne for further 4 weeks.
Image

Image


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We had discussed the 3 Magi already in 2014-16.
viewtopic.php?f=11&t=1047
Huck
http://trionfi.com

Re: Collection "How Petrarca became famous" (till 1450)

80
SUMMARY

In the question of the "3 crowns" we have this timeline row:

(1449-1451) Villa Carducci , Andrea del Castagno, 3 poets - 3 condottieri - 3 sybils
http://www.travelingintuscany.com/arte/ ... ersons.htm
Interesting are the 3 condottieri and their activities:
Pippo Spano (1369 – December 1426), leader in Hungary, fought against the Ottomans alongside the Hungarian king, gaining fame and honors (his nickname, hispan, means count in Hungarian). Strong relations to the Roman king Sigismund. .... https://en.wikipedia.org/wiki/Pippo_Spano
Farinata degli Uberti (1212 – 11 November 1264), leader of the Florentine Ghibellines .... https://en.wikipedia.org/wiki/Farinata_degli_Uberti
Niccolò Acciaiuoli (1310 – 8 November 1365), grand seneschal of the King of Naples. He had personal relations to Petrarca and Boccaccio. .... https://en.wikipedia.org/wiki/Niccolò_Acciaioli

Corone ("crowns") as a name of game, Siena 1445 and Florence 1447
http://trionfi.com/corona-le-corone

1440 Vite di Dante, Petrarca e Boccaccio (1440) by Giannozzo Manetti (3 crowns of Florentine literature)

1437
"Leonardo Bruni, Florentine Traitor? Bruni, the Medici, and an Aretine Conspiracy of 1437*"
Published online by Cambridge University Press: 20 November 2018
https://www.cambridge.org/core/journals ... C3DAECF205
I don't know this article. It has a description ...
This study weighs the evidence for Leonardo Bruni's estrangement from the emerging Medici party (from the 1420s) and the Medici regime (from 1434). Bruni had ties to both the Mediceans and their oligarch opponents, although ties with the latter appear to be stronger, particularly in terms of Bruni's humanist relations. While Bruni stayed on as Chancellor of Florence when the Medici took over in 1434, some recent studies suggest that the Medicean government was making things difficult for him. The study finally reproduces a report from the Milanese Chancery of 1437 stating that Bruni will support a rebellion in Arezzo against Florence, which will result in the "destruction and ruin of the Florentines."
1434 or 1436 Leonardo Bruni, Vita of Dante and Petrarca as parallel lifes

1433-37 Vergerio writes for Emperor Sigismund an Alexander translation, a Latin version of Arrian's "Gesta Alexandri Magni". This seems to be a sort of final act as an emperor. Arrian of Nicomedia (c. 86/89 – c. after 146/160 AD) https://en.wikipedia.org/wiki/Arrian wrote "The Anabasis of Alexander", Sigismund's interest in Alexander is mirrored by the interests of Heinrich VII in the 9 Worthies ("The Nine Worthies include three pagans (Hector, Alexander the Great and Julius Caesar), three Jews (Joshua, David and Judas Maccabeus) and three Christians (King Arthur, Charlemagne and Godfrey of Bouillon)", described by Jacques de Longuyon in his Voeux du Paon (1312) as a commission of Heinrich VII) and the very special interest of Charles IV for the relicts of Saints with militarical background.

1431-33 Emperor Sigismund in Italy, waiting for the coronation as emperor. Sigismund was the 3rd and last emperor from the Luxembourg dynasty (Heinrich VII 1313, Karl IV 1355 and Sigismondo 1433). Sigismondo was in 1433 65 years old and had no living son, his son-in-law Abrecht was expected to be his heir.

(1425 – 26) Giovanni Gherardi da Prato in Paradiso degli Alberti, definition of the »tre corone fiorentine«
http://www.letteraturaitaliana.net/pdf/Volume_3/t55.pdf
Liber 1, (2)
Scusimi ancora l’ardentissima voglia che continuamente mi sprona il mio edioma materno con ogni possa sapere essaltare e quello nobilitare, come che da tre corone fiorentine principalmente già nobilitato ed essaltato si sia; le quali io umilissimamente sì seguo non altrementi che’ dottissimi navicanti fecino ne’ loro viaggi pel segno del nostro polo.
automatic translation
Excuse me again for the very ardent desire that continually spurs my maternal edioma with each may know how to exalt and that ennoble, as that gives
three Florentine crowns mainly already ennobled and be exalted; which I humbly follow yes not other things that the very learned navicans did with them travel by the sign of our pole.
Arezzo Timeline .... https://en.wikipedia.org/wiki/Timeline_of_Arezzo
Petrarca was born in Arezzo, Dante had a favor for the region .... Leonardo Bruni was from Arezzo, and he was pro-Dante and pro-Petrarca
1288 – Battle of Pieve al Toppo fought in Siena; Aretine forces win.
1289 – Battle of Campaldino fought near town; Florentines win.[6]

1290 – Basilica of San Francesco, Arezzo, start of construction of church of St. Francis inside the city walls
1304 – Future poet Petrarch born in Arezzo.
1312 – Guido Tarlati becomes bishop.

1320 – Town wall built.
1375
Chiesa di San Bernardo (Arezzo) [it] (church) built.
Palazzo della Fraternita dei Laici [it] construction begins.
1384 – Enguerrand VII, Lord of Coucy sells Arezzo to Florentines; town becomes part of the Republic of Florence (until 1859).[5][1]
1409 – Rebellion against Florentine rule.
https://en.wikipedia.org/wiki/Battle_of_Pieve_al_Toppo .... Arezzo (Ghibelline) against Siena (Guelphs), later Arezzo against Florence
https://en.wikipedia.org/wiki/Battle_of_Campaldino ... Arezzo against Florence (Guelphs), Florence wins
https://en.wikipedia.org/wiki/Guido_Tarlati
Tarlati (died 1327) belonged to a Ghibelline family. He had good relations with Heinrich VII. Heinrich VII had a war with Florence. Dante was also pro-Heinrich VII.
https://en.wikipedia.org/wiki/Henry_VII ... an_Emperor

Automatic translation of the Italian wikipedia article to Arezzo ... https://it-m-wikipedia-org.translate.go ... r_pto=wapp
Selection of the period of 1289 till 1384
While the power of Arezzo grew more and more, at the same time the desire of the neighboring cities to equalize its importance grew, and it was therefore inevitable that a clash with Florence would be reached . After ups and downs the Ghibelline Arezzo suffered a defeat against the Florentine armies in the battle of Campaldino ( 1289 ) near Poppi . In this battle, in which Dante Alighieri participated for the Guelph side , the bishop of Arezzo Guglielmino Ubertini also died . Later the lordship of the Tarlati di Pietramala was established, whose main exponent was Guido Tarlatiwho despite having become bishop in 1312 continued to maintain good relations with the Ghibelline faction, in Tuscany and abroad, such as with the Ordelaffi of Forlì . The lordship of Guido Tarlati temporarily put an end to the factional disputes between the Tarlati and the Ubertini and the Guelph family of the Boscoli; so ferocious that St. Francis had refused at the time to enter the city, seeing it "haunted by devils", an episode remembered by Giotto in the frescoes of the upper Basilica of San Francesco d'Assisi.
Guido Tarlati restored the state budget, bringing it to such prosperity that Arezzo began to mint its own currency, expanded the city walls, concluded an honorable peace with Florence and managed to ally with Siena and expand the territorial domain to the south and east, he bishop, at the expense of the papal possessions; so much so that the Pope from Avignon excommunicated him and declared him a heretic. This did not prevent him, in 1327 , from crowning Ludovico il Bavaro as emperor in Milan. In this period a strong mercantile bourgeoisie had also developed which had imposed some changes in the government of the city, such as the creation of the magistracy of the captain of the people and the guilds of the arts, and the establishment of a representative judiciary of the four parts in which the city it was divided: Porta Crucifera, Porta del Foro, Porta Sant'Andrea and Porta del Borgo, to which the four districts that compete in today's Giostra del Saracino refer.
Guido Tarlati who passed away in 1327 was succeeded by Pier Saccone , his brother, who was not of the same kind. Arezzo gradually began to lose ground towards its rival Florence, losing its independence for the first time in 1337: Pier Saccone, pressured by internal opponents, by external enemies (Florentines and Perugia) and by the economic crisis, ceded Arezzo to Florence for ten years in exchange for money. After this period, independence was recovered, but not prosperity. However, the second half of the fourteenth century was characterized by a substantial social peace, which ended abruptly with the plan of Bishop Giovanni Albergotti to bring Arezzo into the sphere of influence of the papacy. The fights between Guelphs and Ghibellines exploded with violence, and the city experienced several times the experience of the looting by mercenary soldiers called to help now from one hour to the other, or even come for one and passed to the other if this paid better, according to the custom of the time. Last was the French captain of fortuneEnguerrand de Coucy who was passing through the area bound for Naples, where he was to attack Charles III of Naples on behalf of Louis I of Anjou , and was hired by the Ghibelline side that had just been expelled from the city. Enguerrand easily took what remained of Arezzo, but in the meantime his lord Louis of Anjou died, leaving the army without purpose and without money. Florence immediately took advantage of it, offering the French captain forty thousand florins to hand over Arezzo, and he accepted. After that, Enguerrand crossed the Apennines , taking with him the precious relic of the head of San Donato, patron saint of Arezzo. On his arrival in Forlì , Sinibaldo Ordelaffi, the lord of that city, redeemed the relic, which he kept with great veneration until it was returned to the Aretini .
In 1384 , therefore, Arezzo was annexed to the Tuscan state dominated by Florence . The Florentine dominion is visible from now on also in architecture and art: Spinello Aretino was the last artist of the native school; after him the Florentine school prevails. In this period the frescoes of the Legend of the True Cross were painted by Piero della Francesca in the basilica of San Francesco . The Florentine government tried to please the city, succeeding in part thanks to the wise election as secretary of the Republic of a high-profile Arezzo, the historian and poet Leonardo Bruni, which endeavored to favor the integration of Arezzo into the new Tuscan state by now, with the exception of Siena and Lucca, entirely under the control of Florence. There was however a slow economic and cultural decay of the city. The oldest part, including the fortress and the cathedral, was profoundly modified with the construction of the Medici Fortress , an early example of modern fortification .


Rebellion Arezzo 1409 .... https://www.ouinarezzoblog.com/discover-arezzo-origin
Dante once described the Aretines as 'botoli ringhiosi', or growling dogs. The Aretines earned this moniker by revolting against the Florentines six times between 1409 and 1530. Each time the Florentines crushed a rebellion, the Aretines revolted again. Finally, in 1561 under the reign of the Florentine Duke Cosimo I, Arezzo became a truly subject state. Duke Cosimo effectively erased almost a third of the medieval city. In its place, he built a fortress that stands to this day, a visible reminder of the power of the Medici dukes.
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1364 Petrarca ranks Dante, Boccaccio and himself as great poets, somehow as "3 crowns" . ... so wrote a German researcher:
Später erkennt Petrarca in den Seniles, V 2, die mit »Venedig 28. August« (»Venezia 28 agosto«), wahrscheinlich auf das Jahr 1364 datiert sind, schließlich den Kanon der drei großen Florentiner an. Er schrieb ihn einem »alten Mann aus Ravenna« (senem illum ravennatem) zu, der traditionell mit dem Dantespezialisten Menghino Mezzani identifiziert wird, und der in einer Rangliste der großen zeitgenössischen Dichter Petrarca auf den zweiten und Boccaccio auf den dritten Platz verwiesen hätte.
Michael Bernsen / Bernhard Huss (Hg.). Der Petrarkismus – ein europäischer Gründungsmythos
https://d-nb.info/1153555506/34

"Seniles V 2" should be this object ...
http://www.cassiciaco.it/navigazione/sc ... accio.html
... here dated to 1366, not to 1364.

To find the passage, one should search for "Ravenna" and one finds "vecchio da Ravenna" (= alter Mann von Ravenna). The related passage is discussed at the end of the page with the headline "NOTA".
I've arranged an automatic translation, which is not very clear, I fear.
https://www-cassiciaco-it.translate.goo ... r_pto=wapp

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Still in Work ...
Huck
http://trionfi.com