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Poetry and patronage : literary strategies in the poems of Giannantonio Campano de Beer, S.T.M.
Publication date 2007
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Citation for published version (APA): de Beer, S. T. M. (2007). Poetry and patronage : literary strategies in the poems of Giannantonio Campano.
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Poetry and Patronage
Literary Strategies in the Poems of Giannantonio Campano
Bibliography & Appendices
Susanna de Beer
Cover illustration: Ms. Urb. Lat. 338, f. 135r (Città del Vaticano, BAV)
Printed by F&N Boekservice, Amsterdam
© 2007 Susanna de Beer
This publication has been made possible by the financial support of the J.E. Jurriaanse Stichting
ISBN: 978907867525 9
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346
APPENDIX I: CAMPANO’S POETIC OEUVRE1
Manuscripts:
U = Urb. Lat. 338 H = Hamilton 131 V = Vat. Lat. 2874 W = Civica 1366 R = Ricc. 915 Z = Vat. Lat. 5245 J = Chigi J VII 260 S = B V 2 L = Ashburnam 1174 L¹ = Plut. XXXVIII, 38 R¹ = Ricc. 636 U¹ = Urb. Lat. 325 V¹ = Vat. Lat. 5225 (4) V² = Vat. Lat. 5167
Poem m. Mss. Vers. Metre Addressee or Title2 Inc. Exc. I 1 UH 28 El. Dist. Venus Mollis ades Cytherea Sit precor illa mea I 2 UH 22 El. Dist. Diana Peliacas primum Es dea magna preces I 3 UH 30 El. Dist. Fata meos totiens Ferrea massa rota I 4 UH 27 HendecaBraccio Baglioni Bracci quem niveae Tamen puellae I 5 UH 26 El. Dist. Nunc ego Phoebe Sceptra tenere manu I 6 UH 64 El. Dist. Diana Saepe tuas dixi Sum mihi visus opem
1 Numbers according to f or the ms. of first appearance, starting from the largest collections. Incipits and Excipits according to Cecchini, Giannantonio Campano, 15-22 or to the manuscript concerned. 2 Addressees are given when they are obvious from the poem, titles in cases where they have been definitely been given by Campano himself.
I 7 UH 24 El. Dist. Diana Praedicat invisum Copia magna cave I 8 UH 12 El. Dist. Penninus Cur ego sic laudem Castra priora meae I 9 UH 324 El. Dist. Somnus Fessus eram Conciliasse meam I 10 UH 30 El. Dist. Quid faciam sterili Vomer aduncus humo I 11 UH 52 El. Dist. Festa viri celebrate Thura Sabaea manu I 12 UH 12 El. Dist. Felix formosam Quaelibet acta tuae I 13 UH 26 El. Dist. Diana Dic Formosa precor Luridus orbe volet I 14 UH 20 El. Dist. Serta meo capiti Munere Pierides I 15 UH 30 El. Dist. Igillus Forte puellarum Singular membra placent I 16 UH 16 El. Dist. Igillus Magna tua est in nos Causa Diana dea est I 17 UH 14 El. Dist. Diana Cur quotiens vultus Fessaque cura manet I 18 UH 16 El. Dist. Candida Non ego te mores Praeterit illa datas I 19 UH 16 El. Dist. Suriana Aspicerem cum te Imputat illa sibi I 20 UH 26 El. Dist. Braccio Baglioni Quid petis imbelles Protinus ense cades I 21 UH 72 El. Dist. Diana Nescio quid causae Talis erit dominae I 22 UH 190 El. Dist. Iam venit elato Signa manere cutis I 23 UH 102 El. Dist. Quid Campane facis Longa aliena meis I 24 UH 8 El. Dist. Qualis ab aurora Per mare vexit aquis I 25 UH 8 El. Dist. Lorenzo Giustini Qui nostris Iustine Iudicis officium
II 1 UHR 42 El. Dist. Lector Exiguum torva Vulnera amoris sunt II 2 UH 56 El. Dist. Cur ego divitibus Bucina Carmen erit II 3 UH 18 El. Dist. Lorenzo Giustini Laureni quae sint Muneris auctor eris II 4 UH 26 El. Dist. Non ego posco deos Non licet esse mea II 5 UH 78 El. Dist. Invida lingua meo Perpetuo ipse gemas II 6 UH 30 El. Dist. Urbs olim pergrata Conditione trahunt II 7 UH 18 El. Dist. O faustum roseumque Dissimulare potes II 8 UH 42 El. Dist. Armi Iovi refero Hanc comitabor aquis II 9 UH 54 El. Dist. Ergo ego quid faciam Tuta puella meo II 10 UH 60 El. Dist. Quid sibi nutantes Tergus et exta lupi
II 11 UH 22 El. Dist. Quid faciam maneamne Qui fuit ipse miser II 12 UH 18 El. Dist Quo propero demens Fibula noster amor II 13 UH 30 El. Dist. Aut ego mentis inops Membra sepulta gravi II 14 UHR 72 El. Dist. Pictores Pingere qui volucres Gaudia rara loco II 15 UH 224 El. Dist. Lubrica fatorum Sanguine militia II 16 UH 28 El. Dist. Iam tenet aequoreas Occulit urna deos II 17 UH 8 El. Dist. Aut insanus eram Heu amor ille fui II 18 UH 14 El. Dist. Mirabar manes Sum miser ipse deo II 19 UH 22 El. Dist. Ecce cadunt piceo In mea damna late II 20 UH 44 El. Dist. King Alfonso I Rex sacer Hetruria Marmore structa foris
III 1 UHJ 116 El. Dist. Pius II Ad te dive pater Fata benigna manu III 2 UHJ 34 El. Dist. Pius II Ite meae musae Qui macer est pedibus III 3 UH 50 El. Dist. Lorenzo Giustini Laurenti Justine Belliger aucor ero III 4 UH 18 El. Dist. Phoebus Cum mea pro reditu Nec dare lucis opem III 5 UH 10 El. Dist. Tybri triumphante Cogito facta meae III 6 UH 10 El. Dist. Carmiliana Quae nunc scribo Carmiliana tuus III 7 UH 26 El. Dist. Iamque peregrinas Senserat Auster aqua III 8 UH 44 El. Dist. Proh dolor audacis Conscia turba mei III 9 UH 20 El. Dist. Tirianus Candide lascivum Est mihi grata Venus III 10 UH 20 El. Dist. Braccio Baglioni Dii tibi dent et opes Maxima quaeque dabit III 11 UHR 40 El. Dist. Suriana Ecquid erit Suriana Flectere duriciem III 12 UHR 10 El. Dist. Amor O Amor o nimium Nec iuga ferre diem III 13 UHRV¹S 12 El. Dist. Nullane Campano Cardina verso rotam III 14 UH 24 El. Dist. Non ego sum felix Simplicitate tuae III 15 UH 22 El. Dist. Sigismondo Iane seram laxa Ore canemus opes Malatesta III 16 UH 40 El. Dist. Sunt quibus arma Impia fata tuos III 17 UH 25 Hendeca Braccio Baglioni Tusci nominis et Nec stomacho placent III 18 UH 16 Hendeca O dulces animi mei Pyerides meam
III 19 UH 16 Hendeca Venus Cur dies unquam Minus ferum extat III 20 UH 14 Hendeca Aurianus Cur scribant tibi Gloriosiorem III 21 UH 14 Hendeca Saevis horridior Murmura turribus III 22 UH 68 Ode Pius II Vulgus ignavum Illyricique III 23 UHJ 32 Hendeca Pius II Parnasi Gemini Gratias referre III 24 UHJ 23 Hendeca Ammannati Vadas musa mea Bonis peribunt III 25 UH 15 Hendeca Goro Lolli Accusas mea carmina Irata domina mea III 26 UH 20 Ode Diana Purpurae quicquid Haec loca possem III 27 UH 56 Hendeca Campanum tepido Horridum minaci III 28 UH 8 El. Dist. Quae nunc Adriaci Hospitium Danais III 29 UHZ 32 El. Dist. Alessandro Oliva Fons erat hic lato Culmen adeptus ope est III 30 UHV 8 El. Dist. Iam mihi suspenso Optio dura mihi est III 31 UHVZ 10 Hendeca Card. Colonna Ne tu hoc despice Roma censeatur III 32 UHZ 21 Hendeca Goro Lolli Par unum Gore Nihil querelae est III 33 UHZ El. Dist. Lorenzo Giustini LAurenti quae me Dixeris esse coma III 34 UHZ 12 El. Dist. Vive diu paries Gloria parva loco est III 35 UHV 8 El. Dist. Alessandro Oliva Si tibi Campano Cras rediturus abi III 36 UHV 4 El. Dist. Inclyta ne fumet Sit minus illa suo
IV 1 UHJ 302 El. Dist. Pius II Ecquid erit cum tot Sydera dentque tibi IV 2 UH 82 El. Dist. Sigismondo Insanos alii Contudit arma suis Malatesta IV 3 UHVR¹ 8 El. Dist. Pius II Non est iam tempus Castaneas dabimus IV 4 UHVR¹Z 18 El. Dist. Ammannati Tarda licet veniant Quid reliqui in nemore IV 5 UHVW 9 Hendeca Venter cum tumuisset Quater pepedit IV 6 UHR¹ZJ 72 El. Dist. Goro Lolli Ne quaere unde tibi Vos adiisse Pio IV 7 UHVRZ 26 El. Dist. Ammannati Littoris Ausonii Non tibi divitias IV 8 UHVRZS 22 El. Dist. Goro Lolli Cur ventosa tibi Mitto sed augurium IV 9 UHVRZJ 6 El. Dist. Goro Lolli Inter mille tuae Aurea frusta meis
IV 10 UHVRZ 16 El. Dist. Goro Lolli Expectare tuus Prandito turturibus IV 11 L¹ 4 El. Dist. Lesbia defuncti Coniugis effigiem IV 12 UHVZJ 6 El. Dist. Casta sibi tantam Quam fuit ante tenet IV 13 UHVRZJ 4 El. Dist. Pius II Desine mirari Dormit habet nebulas IV 14 UHVZ 2 El. Dist. Goro Lolli Ad lapides cur me Postulo non lapidis IV 15 UHVZJ 4 El. Dist. Rumpere quae videor Sic ego sterno malos IV 16 UHVZ 4 El. Dist. Alessandro Poscis Alexander Non satis esse loqui Mirabelli IV 17 UHVZJ 12 El. Dist. Andrea Pratensis Aere Pium Andreas Maxima cum nequeas IV 18 UHVZJ 10 El. Dist. Ammannati De Tyburtina Tybur est Argolicum IV 19 UHVZJ 10 El. Dist. Quae nova sublime Nam genui ipsa Pium IV 20 UHVZ 4 El. Dist. Cum peteret Arpini Dignus ait Cicero IV 21 UHVRS 4 El. Dist. Quam neque Persarum Dat mea Bersabeae IV 22 UHV 4 El. Dist. Nemo Asiam et Memphim Coeperat ante domi IV 23 UHVR 4 El. Dist. Desine mirari versas Me Iovi fecit Amor IV 24 UHVRZ 4 El. Dist. Monstra licet totiens Quod gravius premeret IV 25 UHRZ 10 El. Dist. Claudus eram Maia Filius eicior IV 26 UHVR 10 El. Dist. Ammannati Non ego quae molli Quas mihi mensa dapes IV 27 UHVZJ 10 El. Dist. Esse tuos caelos Hoc quoque redde Pio IV 28 UHZS 8 El. Dist. Ammannati De papiense meo De Iove spes melior IV 29 UHVRZ 2 Monod. Ammannati Lucensis fueras Sydera maior eris
V 1 UH 44 El. Dist. Ammannati Ille tuus stella Languidiora solo V 2 UVW 6 El. Dist. Niccolò Strozzi Hic Nicolaus humor Stare mori melius V 3 V 3 UH 4 El. Dist. Ammannati Eripe Scylleo tu me Non tibi vilis ero V 3b V 3 UH 14 El Dist. Quid viridi mixtas Mollia serta caput V 4 UHV 26 El. Dist. Ammannati Ut Vafer incoeptas Prandia surget opus V 5 UHVRZ 8 El. Dist. Pius II Non ego sum quae te Hostia caesa deos V 6 UHVRZ 4 El. Dist. Ammannati Ampla crumena mihi Da Pie nunc minima V 7 UHZ 20 El. Dist. Pius II Pondere dum premeris Pellere et improbulum
V 8 UHZ 4 El. Dist. Pius II Fanum Fortunae Vincere fata Pii est V 9 UHZ 10 El. Dist. Pius II Iam Pius eoos Sic modo vincet aquis V 10 UHZ 8 El. Dist. Alessandro Sforza Martis Alexander Iustius imperium est V 11 UHZ 10 El. Dist. Ammannati Sunt mihi qui fuerant Sumque quod ante fui V 12 a UHVbaRaZa 20 El. Dist. Ammannati Quae venit Hibleo Nunc Papiensis habet V 12 b 18 El. Dist. Saepe rogant multi Ratio ista mihi est V 13 30 El. Dist. Bernardo Eroli Sunt me qui longam Auribus esse putes V 14 UVWU¹ 10 El. Dist. Ammannati Abstuleras coenam Coena sed ista gulae est V 15 UVWU¹ 13 HendecaAmmannati Pro coena mihi Esse liberalem V 16 UHVZ 2 Monod. Qui mihi succidi Vel magis ille mihi V 17 UHVRZ 10 El. Dist. Ammannati Esse tibi semper Redito caseolos V 18 UHVRZS 4 El. Dist. Ammannati Dixi me pransum Pascere pasce oculis V 19 UHVRZS 2 Monod. Nux castanea Ventosam qui me Pello ego non facio V 20 UHVRZ 2 Monod. Nux pontica Nil mihi duricies Petra lapisque meo V 21 UHVRZ 2 Monod. Cepe Truentinum Cum tua me poscunt Excutio lachrymas V 22 UHVRZ 2 Monod. Faba Pythagorica Fac semel apponar Non valet esse sacram V 23 UHVRZ 2 Monod. Brasica crisipea Unica Romani quondam Suscito cocta moror V 24 UHVZ 2 Monod. Concurbita ventosa Quod tenui trunco Me facit esse levem V 25 UHVRZ 2 Monod. Asparagus Meiere vis multum Non caruisse mero montanus V 26 UHVRZ 2 Monod. Mespilum durum Maturo nec me nec me Dentibus hic noceam V 27 UHVRZ 2 Monod. Eruca Veneris Quod passim toto Maxima cura tuae V 28 UHVZ 2 Monod. Psitacus Niliacus Ausoniis nasci Picca fugavit avos V 29 UHVZ 2 Monod. Merula solitaria Sola feror cantuque Candida in Achaia V 30 UHVZ 2 Monod. Fuliciae aquaticae Ne coelum tantum Nidificamus aquis V 31 UHVRZ 2 Monod. Turtur viduus Sum viduus fugio Coniuge fonte bibo V 32 UHVRZ 2 Monod. Columba Veneris Simplex esse feror Simplicitate Venus V 33 UHVRZ 2 Monod. Turdus obesus Si me iuniperus Vel tibi ventris erun V 34 UHVRZ 2 Monod. Turdela visca Cum volucres aliae Et mea damna caco V 35 UHVRZ 2 Monod. Uppupa Rex fueram sic crista Culmine fecit avem
V 36 UHVRZ 2 Monod. Lanius Coquus Fercula quo sapiant Non facit ipse suae
VI 1 UHVR 14 El. Dist. Kallirus Ausus erat media Ventre lyram saturo VI 2 UHZ 26 El. Dist. Ammannati Dure quid optatas Non placet ante fores VI 3 UVWS 4 El. Dist. Cherubino Esse domi mecum Dicere Quarqualium Quarquali VI 4 UHVZ 10 El. Dist. Heu quantum fatis Frasia non poterunt VI 5 UV 10 El. Dist. Phidiaca caelata Sed meliore loco VI 6 UV 8 El. Dist. Ammannati Pollicitus fueras Dixeris aut hodie VI 7 UV 6 El. Dist. Cellinus Esse tibi videor Decipiunt oculi VI 8 UV 4 El. Dist. Palienus Occuras quocumque Dives ego decies VI 9 UV 4 El. Dist. Palienus Saepe mihi narras Non ita nulla facis VI 10 UV 10 El. Dist. Ammannati Num pyrata tibi Stillaque mellis eris VI 11 U 4 El. Dist. Ammannati Cum cornice tibi Quod mihi fingis abest VI 12 UV 4 El. Dist. Ammannati Tu qui perspecto Lambit in emadio VI 13 UVW 6 El. Dist. Ammannati Cur ita me spectes Tanti ego te facio VI 14 UV 6 El. Dist. Ammannati Saepe iubes primo Tunc Papiensis ero VI 15 UVW 8 El. Dist. Ammannati Scire cupis qui sint Scire videto domum VI 16 UV 4 El. Dist. Archetypus Si me animum immitem Durior est Rhodope VI 17 UV 4 El. Dist. Palienus Promissos a te centum Verus es in decima VI 18 UHVW 10 El. Dist. Callimaco Callimachi quamvis Lumina Callimachus VI 19 U 14 El. Dist. Ammannati Sera pruinoso Astra favere loco VI 20 UV 6 El. Dist. Ammannati Aut non haec Sena est Haereo marmoreus VI 21 UV 6 El. Dist. Iolla Pactoli glebas a me Dono ego non capere VI 22 VI 22a UV 4 El. Dist. Ammannati Dum fugerent saltu Dic opus esse canem VI 23 VI 22b UV 6 El. Dist. Dum vafram sequitur Prendere qui fugiant VI 24 VI 23 UV 40 El. Dist. Ammannati Urbe tua fessus Cornua tua bovis VI 25 VI 24 UV 4 El. Dist. Ex re clauda vocor Cruris in orbe cano VI 26 VI 25 UV 6 El. Dist Effuge quo libitum Sentit et interimit VI 27 VI 26 UVW 10 El. Dist. Andronico Unum animo nos esse Fac habeam quod habes
VI 28 VI 27a UV 16 El. Dist. Ammannati Ad coenam quotiens Exuar haud iubeas VI 29 VI 27b UV 4 El. Dist. Nec mirum de me Venerat Hypolita VI 30 VI 28 UV 6 El. Dist. Gentile Becchi Incidit in nostrum Sit tuus Argirius VI 31 VI 29 UV 4 El. Dist. Montano Cassiani Campani gaudet dici Non amat esse meus VI 32 VI 30 UV 6 El. Dist. Ammannati Scurra tibi iam sum Pedere iam licitum est VI 33 VI 31 UVW 8 El. Dist. Arsionem vetulam Dat mihi non recipit VI 34 VI 32 UHV 8 El. Dist. Ammannati Ianus abit celebrat Non placet esse para VI 35 VI 33 UHVW 6 El. Dist. Isca Dum loquimur medio Sed bibis Isca die VI 36 VI 34 UV 4 El. Dist. Ollus Auro tota domus Foderat hae fodiunt VI 37 VI 35 UV 4 El. Dist. Ollus Esse tua captum Miscuit illa piper VI 38 VI 36 UVW 10 El. Dist. Nentius Pauper erat fieri Qui foderem unus eram VI 39 VI 37 UVW 8 El. Dist. Paulus II In solio cum stet Munera dat precibus VI 40a VI 38 9 El. Dist. In Macedum campos Sydera summa reliqui VI 40b VI 40c VI 41 VI 39 6 Ode Quam frivola gaudia Exigua requievit VI 42 VI 40 3 Ode Panthasilea furens Dominarum gloria semper VI 43 VI 41 4 El. Dist. Alessandro Sforza Sforcia me genuit Filius ipse patri VI 44 VI 42 10 El. Dist. Audito domini adventu Et facit ille minus VI 45 VI 43 8 El. Dist. Bartolomeo Platina Multa meus contra Tam male Platyna amas VI 46 VI 44 8 El. Dist. Gentile Becchi Arva olim Romana Scrinia strator equi
VII 1a UVW 22 El. Dist. Ammannati Linquimus Italiam Si Papiensis eris VII 1b UVW Italiae extremos Acrius olfacio VII 2 UVW 10 El. Dist. Ammannati Legitimos affert Exiguum comedit VII 3 8 El. Dist. Paulus II Paulus ubi ad veteris Credimus esse deos VII 4 UVWV¹SL 14 El. Dist. Philosophus nuper Illi ait esuriunt VII 5 UVW 4 El. Dist. Pius II Esse hoc in tumulo Nihil reliquit urnae VII 6 4 El. Dist. Francesco Sforza Dextra mihi imperium Consilio Italiam VII 7 6 El. Dist. Militiae et fidei Conspicit umbra deos
VII 8 6 El. Dist. Aeterno infelix Dira metalla lares VII 9 30 El. Dist. Salve Pyeridum Si patiare comes VII 10 22 El. Dist. Iordanus Incalui Martis Contuleroque manus VII 11 URS 4 El. Dist. Ammannati Mille tuam vellunt Non operosus homo es VII 12 UR 8 El. Dist. Ammannati Si prodesse meis Utilis esse volo VII 13 URV¹SL 8 El. Dist. Ammannati Gratia magna tua est Spicula non oculos VII 14 UR 6 El. Dist. Ammannati Apprensum dextra Deligis exiguum VII 15 12 Hendeca Ammannati Iam cur ita negligens Vacato nonis VII 16 6 El. Dist. Ammannati Non mihi quod dederit Rodere quam legere VII 17 10 El. Dist. Ammannati Iam tot me excludens Perdito sed saturum VII 18 4 El. Dist. Bernardo Eroli In causa testem Bardulus esse oculos VII 19 Missing 3 El. Dist. Ammannati E tota Papiensis Mille vina mille VII 20 VII 19 V² 24 El. Dist. Pius II Candida lux faustusque Caniciem vetulae VII 21 VII 20 8 El. Dist. Calixtus III Xatina me civem Glora nostra cinis VII 22 VII 21 U 8 El. Dist. Ammannati Gesturus veni Cum Papiensis eris VII 23 VII 22 UV 6 El. Dist. Ammannati Accitus venio Deme benigna manu VII 24 VII 23 UV 8 El. Dist. Ammannati Quaero bibas totiens Nomen et exta cibum VII VII 24 UV 6 El. Dist. Falco Sinibaldi Falco meus quam vos Si optio fiat agi 24b VII 25 U 8 El. Dist. Forte per Exquilias Naribus atque fimum VII 26 U 6 El. Dist. Vana quid aspicitis Et perit atque nihil VII 27 UV 6 El. Dist. Sim licet annorum Posteritatis honor VII 28 U 12 El. Dist. Francesco Gonzaga Roma domos amplas Te videt illa nihil VII 29 U 6 El. Dist. Bellica signa sumus Commoda pacis alunt VII 30 UV 14 El. Dist. Pietro Riario Coctilis Augusti Qui minus illud habet VII 31 18 El. Dist. Polidoro Scis mihi qua Polidore Moribus esse volo VII 32 U 8 El. Dist. F. da Montefeltro Gallica spectamus Capta Troia est VII 33 UVW 6 El. Dist. Cosmo Orsini Laudari vult Cosme Cosme Druas Assyrios VII 34 UR 24 El. Dist. Ammannati Dum repeto quo te Dixero sed dominum VII 35 UV 4 El. Dist. Ammannati Petrioli quaeris Non lavat unda facit
VII 36 UVW 6 El. Dist. Ammannati Campanum magno Gramina ruspat humu VII 37 URS 54 El. Dist. Pomponio Leto Campano favisse deos Altera vita deos VII 38 UR 12 El. Dist. Ammannati Terga suilla sumus Non bibo quam sitio VII 39 Missing UVW 10 El. Dist. Ammannati Rarius ut veniam Me facit Oedypodem VII 40 VII 39 UVW 6 El. Dist. Ammannati Fronte supercili Par potero esse fuga VII 41 Missing 6 El. Dist. Ammannati Venatum veniet Dictat hanc videto VII 42 VII 40 UVW 8 El. Dist. Ammannati Aegrotare meus Vitet et excubias VII 43 VII 41 UVW 18 El. Dist. Ammannati Causa deos tenuit Vicerit unde Iovem VII 44 VII 42 UVWR 16 El. Dist. Ammannati Vis ut avos Non capit historiam VII 45 VII 43 6 El. Dist. Ammannati Nunc Gentilis agit Perdere quicquid agit
VIII 1 V 14 El. Dist. Linquo Tridentinas Non bene lecta solum VIII 2 U 20 El. Dist. O quotiens dixi Ausoniaque mori VIII 3 12 El. Dist. Paulus II Zaccharina mihi Artibus accipiunt VIII 4 UVWU¹ 6 El. Dist. Has Venus esse suas Dixeris an Veneris VIII 5 UVW 10 El. Dist. Ammannati Iane quid inflaris Laeva quid astra ferant VIII 6 10 El. Dist. Urbs nova deque Pio Laetitia et lachryma VIII 7 UVR 10 El. Dist. Pietro Riario Cortice nos quamquam Candidiora sumus VIII 8 14 El. Dist. Ianitor alme poli Speret ut ille deus VIII 9 UVWRS 16 El. Dist. Ammannati Non venit ornatus Gratius accipias VIII 10 UV 40 El. Dist. Pietro Riario Mille trahis tecum Vel tibi pauper emis VIII 11 U 16 El. Dist. Pietro Riario Quisquis iter facis Sanctus in interitu VIII 12 V 4 El. Dist. Pietro Riario Unum Roma Petrum Sustinet Italiam VIII 13 12 El. Dist. Ammannati Mors stetit ante fores Numine sacra facit VIII 14 U 10 El. Dist. Pietro Riario Donata minuta sumus Qui tibi mittit habet VIII 15 UVS 12 El. Dist. Pietro Riario Non ego ad augurium Sola sed esse volo VIII 16 U 8 El. Dist. Pietro Riario Petrus ad Igovios Summa videre Petrum VIII 17 UV 10 El. Dist. Pietro Riario Promittis post quinque Post facere ante facit VIII 18 UV 14 El. Dist. Pietro Riario Coctilis Augusti Qui minus illud habet VIII 19 U 6 El. Dist. Pietro Riario Aedificat coelo Non capit astra petit
VIII 20 UV 8 El. Dist. Pietro Riario Tres aliis menses Tollit at iste volat VIII 21 UV 14 El. Dist. Pietro Riario Ire comes nuper Currere Petre volas VIII 22 10 El. Dist. Pietro Riario Exiguus quamquam Grandia et ima levat VIII 23 U 60 El. Dist. Pietro Riario Desinite exturnae Qui benefecit habet VIII 24 U 28 El. Dist. Pietro Riario Purpurei qui te Ebibit ille feras VIII 25 23 Hendeca Dulces versiculi Provocare Aragnes VIII 26 U 28 El. Dist. Ferrante d.Aragona Bellorum fulmen Quolibet orbe regat VIII 27 U 22 El. Dist. Alfonso of Aragon Nunc Alfonse meis Crescere ad alta tuis VIII 28 U 30 El. Dist. Giovanni of Aragon Splendor Aragoniae Et benefacta deos VIII 29 U 20 El. Dist. Bessarion Cur nunc Bessario Vincere et ingenio VIII 30 U 6 El. Dist. Guido da Praeclari generis Continuando fidem Montefeltro VIII 31 U 8 El. Dist. Ant. da Montefeltro Anthoni Feltrensis Ut fuit ipse ducem VIII 32 10 El. Dist. Guido Varani Caesar Varani proles Nomine Caesar eris VIII 33 UaWbaU¹ 26 Hendeca Cosmo Orsini Quae te tangere Phoebe Auferat poetam VIII U¹ Mellito mihi dulcior Amphoraram ministra? 33b VIII 34 UVWU¹ 12 El. Dist. Cosmo Orsini Aurum dum poscit Creditor est trachalus VIII 35 UWU¹ 13 Hendeca Per numen rogo te Fratribus superstes VIII 36 6 Hendeca Xanto Cerasio Deposcit vacuum Ad tuam lucernam VIII 37 2 Monod. Cantu adeo musae Audio plectra mori VIII 38 12 El. Dist. Leonardo Griffi Grife meos primus Principis una datur VIII 39 10 El. Dist. Cherubino Quarquali solus Iunctus uterque fide Quarquali VIII 40 Missing UV 6 El. Dist. Iuncta viro coniunx Ultima vita fuga est VIII 41 VIII 40 4 El. Dist. Leonardo Griffi Grife vales an non Aura secunda tuos VIII 42 VIII 41 6 El. Dist. Agostino Staccoli Staccole cui superi Sub pede lapsa fugi VIII 42 UHVWRZJSLL¹ 8 El. Dist. Quod victore Pio Vincere matris habet VIII 43 Missing 6 El. Dist. Xanto Cerasio Xancte quid urbe facis Vota fuere mea f.t. 1 VIII 44 4 El. Dist. Pietro Riario Aurea signa smus Omnia Petrus habet
f.t. 2 Missing 10 El. Dist. Cum nimium muliebre Hermaphroditus erit f.t. 3 VIII 45 64 Ode Vade qua semper Flete ruinam VIII 43 6 El. Dist. Ulrich Hahn Anser Tarpeji custos Omnia vincit homo
U 1 UV 60 El. Dist. Si tibi Campano cura est Lumine cerno Senas U 2 U 14 El. Dist. Coniugis irati fugiens Candida dum teneo U 3 UR 6 El. Dist. Tiphallus In furem latro Tiphalle, meas U 4 U 4 El. Dist. Gentile Becchi Pedicat brevias, Gentiles Sed gladio U 5 UR 8 El. Dist. Ammannati Quid dextra acciderit Pendeat illa vocet U 6 U 21 HendecaAmmannati Campanum veterem Crepare nolo U 7 U 28 Ode Cum deos omnes Nivibus nocere U 8 U 36 Ode Quisquis est ausus Clamat amorem U 9 U 6 El. Dist. Qui finis morbo Qui benefacit habet U 10 U 18 El. Dist. Alessandro Sforza Quod mihi Alexander Turbine versat equus U 11 U 10 El. Dist. Cosmo Orsini Qui genus a priscis Fera signa domus U 12 U 12 El. Dist. Si quid habes Credere quam calamo U 13 U 16 El. Dist. Ammannati Sindone donaras Ego et niteo U 14 U 8 El. Dist. Herculeum Romae Roma vale U 15 U 12 El. Dist. Fugimus immanis Venit ille tepet U 16 U 8 El. Dist. Cosmo Orsini Italiam posthac Cognita scire potes U 17 U 8 El. Dist. Cosmo Orsini Candentes dederam Acriter illa volant U 18 U 12 El. Dist. Francesco Luzzi Carmen habes Luci Martia sume tubam U 19 U 46 Hendeca Gentile Becchi Gentiles numeros tuos Millies saluta U 20 U 6 El. Dist. Delicias luge patrias Honesta dedit U 21 U 6 El. Dist. Niccolò Forteguerri Nomen erat Nicolaus Consiliisque fuit U 22 U 38 El. Dist. Pietro Riario Cum tibi tot scribant Qui canat alter erit U 23 UV 16 El. Dist. Pietro Riario Noster herus cenat Una auribus una gulae U 24 U 6 El. Dist. Polidoro Crista perusinos Decipiemus aves U 25 UV 26 El. Dist. Alfonso of Aragon Cum mea me mater Grandia et ima levat U 26 U 26 El. Dist. Alfonso of Aragon Inclite dux validam Clarus in orbe vives
U 27 UV 8 El. Dist. F. da Montefeltro Si media erepta est Cetera velle deos U 28 U 18 El. Dist. Diomede Carafa Omnia cum faciat Ostrea viva tua U 29 U 16 El. Dist. Francesco Gonzaga Mantua quam vitrea Nominis una duos U 30 U 10 El. Dist. Francesco Gonzaga Mirari effigies veterum Quod usa Iove est U 31 U 8 El. Dist. Et iuvenes etiam Cetera cuncta tuo U 32 U 12 El. Dist. Ottaviano Ubaldini Octavi insignis Consilia arma patris U 33 U 6 El. Dist. F. da Montefeltro Gratia tanta tibi Federicus habet U 34 U 10 El. Dist. Nobilis Italiam Corpore virgo fuit U 35 U 6 El. Dist. Ammannati Implorare tuum Dentice curo manum U 36 UVW 8 El. Dist. Ammannati Multa dabas olim Ego tu quia emis U 37 UW 8 El. Dist. Ammannati Crisogoni festi Currere posce domi U 38 UW 6 El. Dist. Ammannati Non nemora et zephiro Fugeris invideo U 39 UW 10 El. Dist. Ammannati Quod Papiensis Dura negavit heri U 40 UVWR 8 El. Dist. Ammannati Quid Papiensis agis Dedit una dies U 41 UVW 8 El. Dist. Ammannati? Difficile est servare Nolle sciam veniam U 42 UVW 4 El. Dist. Roberto Orsi Si donare negem Neuter es Urse tace U 43 UW 6 HendecaAmmannati Concurrit puto Memor Senarum U 44 UVW 4 El. Dist. Mane citus prandes Bis satur esse die U 45 UVW 6 El. Dist. Campanino Flere meum casum Capit urna fui Settimuleio U 46 UVW 8 El. Dist. Ammannati Sum lepus arva tener Illa canes revoca U 47 UVW 6 El. Dist. Cosmo Orsini Iliaco quotiens torqueris Vult vivere vivat aqua U 48 UVW 12 El. Dist. Ammannati Callidus es Papiensis Si queo redde meum U 49 UWV¹SLU¹ 20 El. Dist. Bessarion Bessario, totum cui se Inseruere parem U 50 UVWU¹ 2 Monod Cosmo Orsini Non satis est odisse Cosme placere bonis U 51 UVWU¹ 8 El. Dist. Cosmo Orsini Sortibus et Gordi Solemnia currunt U 52 UVW 7 Hendeca Cosmo Orsini Nectar lora fuit Vincit et Sybillam U 53 UV 12 El. Dist. Sacra peracturus Et ipsa furens U 54 UV 14 El. Dist. Vulgarem solitus Femina tacta pater U 55 U 4 El. Dist. Antonio Moro Has tibi mi Moro Non habet ira modum
U 56 U 8 El. Dist. F. da Montefeltro Octo puerperiis Vince patrem U 57 U 4 El. Dist. Bessarion Bessario quantum est Mox feret illa dies U 58 U 8 El. Dist. Finibus Italiae Bene lecta solum U 59 UV 8 El. Dist. Francesco Gonzaga Gangis ad extremos Sanguine fluctus U 60 UV El. Dist. Ammannati Vita Pij a nobis Non ero testis ero U 61 UV 6 El. Dist. Ammannati Cum sit noster amor Quod mihi nemo daret U 62 U 6 El. Dist. Sixtus IV Candidus es solo Nomen et ille tenet
W 1 W 2 Monod. Damiano Callimaco Nomen habes Latio Cur Damiane cupis W 2 W 2 Monod. Evam cunctorum Tibi Crispe fuit W 3 W 12 El. Dist. Vita deest tantum Decipiamque meo
V 1 V 10 El. Dist. Bessarion Saeve dolor quid tu Magni Bessarionis ope
R 1 RSLL¹ 6 El. Dist. Pius II Silvius est genitor Nil quoque matris habet R 2 R 24 El. Dist. Cherubino Non ego quae ferro Una sit illa tibi Quarquali R 3 R 20 El. Dist. Vivere quisquis ades Ponere saevitiam R 4 R 6 El. Dist. Dum cursum memoras Quae fuit acta tuo R 5 R 6 El. Dist. Campanino Ne tibi rescribam Spiritus amphibolos Settimuleio R 6 R 6 El. Dist. Ammannati Cur mi tam subito Currere non nocuit R 7 R 4 El. Dist. Ammannati Si mi non poteris Saepe tulere viris R 8 R 2 Monod. Pius II Si tibi pro numeris Tanta corona tuo
S 1 S 8 El. Dist Cherubino Vultu Quarqualium Qua licet ille furit Quarquali S 2 S 36 El. Dist. Nox properat surgunt Singula adaucta meos S 3 S 2 El. Dist. Glauco Hispidulum monuit Minus aptus eris S 4 S 32 El. Dist. Ammannati Nunc citharam nunc Tumula corda lyra
V² 1 V² 4 El. Dist. Pius II Qui violare Pii titulo Perfide ab invidia
J 1 J 20 El. Dist. Pius II Non mihi fulves Horrea non capiunt
L 1 LV¹ 4 El. Dist. Huius nympha loci Sive lavere tace
Z 1 Z 4 El. Dist. Desine mirari versas Jove ferit amor
APPENDIX II: TEXT TRANSMISSION OF CAMPANO’S POETRY
II. 1 The collecting Process
Instead of starting with the most complete collection of Campano’s poetry, first published in print in 1495, and then looking back on how this collection came into being, first the text transmission of Campano’s poetry from the moment of composition, following the stages in which his verses found their more or less fixed places in the final collection, will be described. The reason to do this is because this allows for some important observations about the literary and cultural context in which the poetry functioned in its own time. In a period when publication in print was not yet current, other ways of circulation and publication were indispensible for the poetry to function within the social relationships for which they were intended. Especially the early manuscript collections provide us with a glance at these contemporary methods of circulation. It should however be noted that the actual text transmission can never provide the complete picture of the circulation and transmission of Campano’s poetry in his own time, for this collection is basically contingent. There were numerous possibilities for poetry to circulate without leaving written testimonies, just as there must have been numerous collections in manuscript that we have no trace of. Of other collections we catch just a glimpse, by the existence of certain similar nuclei that can only be explained by means of a common model. An overview of the general methods of circulation and publication may fill some of these gaps.
Circulation and Publication
Although the printing press saw its appearance during Campano’s lifetime, his poetry did not appear in print until nearly 20 years after his death. The most obvious reason for this is that it was still too early. In this period of transition the printing press was used mainly for the “mass” production of texts that were already produced frequently in manuscript and therefore predicted most profit. This mostly concerned classical authors and religious works, such as Bibles and Breviaries. Contemporary humanistic writings only came later, and among them poetry at the latest.3
3 See C.F. Buehler, The Fifteenth-Century Book. The Scribes. The Printers. The Decorators. (Philadelphia: 1960), Chavannes, C.A. & M. Smith, eds., Medieval Manuscripts of the Latin Classics. Production and Use (Los Atos Hills: Anderson-Lovelace, 1996), L. Febvre and H.-J. Martin, The Coming of the Book. The Impact of Printing 1450-1800 (London, New York: 1958), L.V. Gerulaitis, Printing and Publishing in Fifteenth Century Venice. (Chicago & London: American Library Association & Mansell Information Publishing, 1976) and L. Hellinga, “The Codex in Fifteenth Century. Manuscript and Print.,” in A Potencie of Life. Books in Society., ed. N. Barker (London: 1993). For a comparison with the Netherlands see J.A.A.M. Biemans, “Handschrift en Druk in de Nederlanden rond 1500,” in APPENDIX II
Moreover, the way Campano’s poetry actually circulated, that is in manuscript, appeared to be well suited to its purpose. This has everything to do with the character of his poetry and its social function. Since most of his poetry is connected with a specific social situation or dedicated to a certain person, it was not his first goal to spread it among as many people possible, but among the right people. It was also important that it reached the intended public soon enough, at least before it lost its topicality. This could be realised by sending the poems with letters or by oral presentation. This way of circulation also resulted in direct contact between the author and the receiver. This was especially important when the receiver was also the addressee of the poem, which was often a good friend or patron. But also the people further away in the chain of circulation, who received the poetry indirectly, were connected with the author by means of a line of friends and acquaintances. They belonged to what Brian Richardson has called the “publication network”.4 In this manner of “via-via” circulation Campano’ poetry automatically reached a public that was likely to have comparable tastes, interests or acquaintances. His relationship with the people who received his poems was strenghtened by the fact that they realised that in the end they came from the author himself. The same procedure goes for separate poems as well as for collections of poetry. Not only the poet himself, but also the people that stimulated the process of circulation and publication, could cultivate their network in this manner. Richardson calls such a person a “secondary publisher”. He is the one who receives the first copy of the poetry and starts to forward it to friends.5 For this form of circulation Harold Love uses the term “weak publication”.6 It takes on the implication of the term publication that assumes the author’s intention to make his work public, be it in a more limited way than by means of print. In Campano’s case this intention can be detected in several ways, for example by the fact that he added his poems to letters, that he sometimes asked for forwarding or that he prepared dedication copies.7 This assumption is further supported by the fact that Campano’s poetry indeed circulated the way it did and that he did not need another way of publishing in order to establish his reputation. Only when the social function of the poetry had lost its immedicacy, the importance of the network was subordinate and another way of publishing could be considered. This happened when Campano, at the end of his life, started to collect his complete poetic oeuvre. In that case the printing press turned out to be of great use.
Geschreven en Gedrukt. Boekproductie van handschrift naar druk in de overgang van de Middeleeuwen naar moderne tijd, ed. H.M. Pleij & J. Reynaert (Gent: Academia Press, 2004), 19-46. 4 See B. Richardson, “From Scribal Publication to Print Publications. Pietro Bembo's Rime, 1529- 1535,” The Modern Language Review 95 (2000), 684-95. 5 Richardson, “From Scribal Publication,” 686. Ammannati primarily functioned as Campano’s secondary publisher. 6 H. Love, Scribal Publication in Seventeenth-Century England (Oxford: Oxford UP: 1993). 7 Cf. S. de Beer, “Giannantonio Campano (1429-1477). De circulatie en publicatie van zijn poëzie,” in Publiceren: wat is dat? ed. C. Dauven a.o. (Amsterdam: ICG, 2005), 111-23. 364 TEXT TRANSMISSION
Before we pass over to the actual transmission of Campano’s poetry, it is necessary to consider the different kinds of manuscripts we will encounter and how they should be “read”.8 The first thing to realise is that though at times a manuscript codex can be regarded as the written counterpart of the printed book, ever so often it is more like a personal notebook. A manuscript can thus represent almost any stage in both the writing or collecting process, ranging from the author’s first scratches to a final collection transcribed in a luxurious codex. To this should be added that the date of the physical manuscript does not have to coincide with the date of creation of the collection included in it. Several stages of copying may have caused a considerable time leap between these two dates, so that a rather late manuscript witness can nevertheless present an early version of the collection.9 Furthermore the present constitution of quires in a manuscript does not have to be the original constitution. Quires were not always directly bound together to form a codex, as they circulated in order to be transcribed.10 This may explain why sometimes folia get mixed up, or parts of collections get lost.11 Moreover, not every collection of texts is large enough to fill up a complete codex. As a result quires with various contents are often bound together, thus reflecting the interests of the collector. They can be “rebound” at any moment too, which in the end may result in several numberings within one miscellaneous codex.12
Poetry in the original Context
In Campano’s time, the usual way to present one or a few poems at the time was by oral presentation or by sending poetry with letters. When oral presentations took place at the courts of influential patrons, such as cardinals or princes, the poems were often directly dedicated to and recited in front of the addressee. Often more people were present at these occasions, and they were also part of the intended public. After the recitation a written version was given to the addressee, but we may assume that at least part of the public also obtained a written copy. Poetry was also recited during more regular
8 Cf. J.A.A.M. Biemans, Het begrijpen van de vorm. Rede uitgesproken bij de aanvaarding van het ambt van bijzonder hoogleraar in de Wetenschap van het handschrift …, op vrijdag 15 april 2005 (Amsterdam: Vossiuspers UvA, 2005). 9 As is the case for instance with Ricc. 915 (R), which was written only in 1494, but presents a very early stage in the collecting process of Campano’s poetry. 10 This is also how bookshops worked, where quires could be borrowed. 11 As happened to the model for V. In V itself certainly one quire misses too, since the letter (VI 1) that was included ends abruptly at the end of the quire and the clavis does not correspond with the following quire. 12 As happened for example in case of S. V¹ is also a good example for different quires bound together in codices. 365 APPENDIX II humanist gatherings, for example at Pomponio Leto’s house. On these occasions poets recited their latest compositions, or composed new poems on the spot. When Campano sent his poetry along with letters, he included the poem in the running text of the letter or added a separate sheet with the poem. When the poem is included in the text, it is usually dedicated to the same adressee and forms part of the communication of the letter. When the poems are added on a separate sheet of paper, they are often referred to in the letter. Campano for example adds: ‘I also add some poems, I hope you like them’. When on sheets, the poems have seldom been preserved with the letters, but by means of these references it is sometimes possible to identity them.13 Apart from the direct adressee, these poems could and did reach a broader public. Letters were sometimes read aloud or circulated among acquaintances of both Campano and the adressee. Poems that were added on separate sheets of paper circulated even more easily. Since they stood apart from the letter litterally and figuratively, the addressee could release them more readily. We may assume that Campano often had this purpose in mind, when he added his poems. Campano calls his addressees ‘the ones who spread my fame’. How could they spread his fame more easily than by dispersing his poetry among their acquaintances? Furthermore he sometimes asked his addressee, often Ammannati, explicitly to forward the poetry to a third party. People that thus came to possess one or a few poems by Campano could add them to their personal collection of poetry, by inserting the separate sheet of paper or by copying the poems themselves.14 This practice was at the basis of many poetic miscellanies of the Quattrocento. In case of Campano’s poetry this may account for the many collections in which only one or a few of his poems have been included. In these miscellanies Campano’s poetry is usually included in a collection of comparable poetry by other authors or with a like subject, which the addressee had collected on his own account. When others copy these personal collections in a later stage, they create a more or less fixed collection of miscellaneous poetry. Such a practice probably accounts for a small collection of poetry by Campano, which is embedded in a collection of inscriptions and other Latin poetry, and is included in several manuscripts of Florentine origin.15 Another poetic practice that is reflected in some manuscript witnesses is that of the poetic correspondence. This consists of a series of poems by two or more authors that
13 In collections of letters that Campano collected himself, these poems were not preserved, for apparently he did not transcribe a copy for his own administration. In collections of letters collected by the adressees, these sheets lack probably because they got lost, or because the adressee used the poems on the sheet in another way, for example adding it to his personal collection of poetry. In this way it is conceivable that in manuscripts sometimes separate sheets are found. Some separate sheets have also been preserved in a collection of mostly original letters from the possession of Ammannati, Arm XXXIX t. 10 14 Separate sheets with poems (though not Campano’s) are for example found in Vat. Lat. 5225 (=V¹). 15 See L and L¹. The same goes for collections that show a common thematic interest, as for instance Vat. Lat. 5167 about Pius II, or Ricc. 636, with mostly bucolic poetry. 366 TEXT TRANSMISSION react on each other, as if they were letters. These series may have originated on one and the same occasion, for example during humanist gatherings, where poetry was composed on the spot. But they could also have come into being in the manner of a real correspondence, as the poets sent each the poems in reaction to one another. Two instances of such poetic correspondences are found in the manuscripts, where poetic exchanges between Campano and Ammannati and Campano and Cherubino Quarquali are included.16
Creation of more or less fixed Nuclei
By means of letters or oral presentations only one or a few poems at the time were brought into circulation, but poetry also came to circulate in larger groups. How did these collections come into being and who took care of their circulation? The first considerable collection of poetry by Campano can be found in Chigi J VII 260 (J), which brings together poetry dedicated to pope Pius II by various authors.17 In this large collection fifteen poems by Campano are included, from the period of 1459 until ca. 1463. This luxurious manuscript was made on commission of Pius himself, so that this specific collection of Campano’s poems, which he had first dedicated to Pius separately, probably originated from that direction as well. A second collection, found in Vat. Lat. 5245 (Z), is dedicated to Cardinal Ammannati.18 This collection includes 60 poems by Campano that roughly cover the period from 1459 to 1464. They include poems explicitly dedicated to Ammannati, but also poems dedicated to the achievements of Pius and poems with various content, reflecting the entourage of the papal court. Campano probably made this collection himself and dedicated it to Ammannati. It is nevertheless clear that this manuscript does not represent the presentation copy to the Cardinal. Apart from the collection of Campano’s poetry, it includes a treatise on orthography, transcriptions of classical inscriptions, lists of Latin abbreviations, classical treatises on gardening (by Columella and Palladius Rutilius) and poetry of among others Panormita, Cornazzano and Giovanni Maria Filelfo. This combination of subjects and some other indications in the manuscript point to someone associated with the Roman Academy of Pomponio Leto as the possible compiler.19 Ammannati’s acquaintance with this circle may explain the inclusion of this collection in such a manuscript.
16 In R (= Ricc. 915) and S (= B V 2). 17 See chapter 1. 18 See chapter 2. 19 As folllows from the reference ‘in domo Pomponij’. Moreover, this codex includes a treatise by Columella, on which Pomponius based his ideas regarding gardening. See M.A. Lanzillotta, “
A third collection is found in Ricc. 915 (= R) and is entitled Elegidion Liber I. It is only one of the three sections of poetry by Campano in this manuscript, which was in its entirety compiled by Pietro Ricci (or: “Pietro Critino”) in 1494. Two other sections of Campano’s poetry in R regard a group of three poems concerned with Pius, and the poetic correspondence with Ammannati and Quarquali to which was referred earlier on. That Ricci regarded the Elegidion Liber I as a rounded-off whole can be deduced from the fact that he concludes the collection with: Campani libellus finitus. A common background for this collection, such as one dedicatee or a specific occasion, can however not be discerned. The collection is basically arranged chronologically and covers a period that starts in the 1450’s and finishes in ca. 1473. Cecchini states that this collection represents an early phase of a larger collection that Campano started to compile later on.20 An earlier phase, because no poems from book I have been included and because of variants in the texts that may be due to different stadia of editing.21 It was probably Cherubino Quarquali, Campano’s pupil in Florence, who provided Pietro Ricci with this collection. This may also account for the inclusion of their poetic correspondence. A fourth collection is represented by a Libellus dedicated to Pietro Riario, preserved in Vat. Lat. 2874 (V).22 The original quire arrangement of V cannot be deduced anymore, since all folia have been cut and reinserted. Nevertheless it is clear that the collection of Campano’s poetry originally covered three quires. It includes 140 poems by Campano and is concluded by a poem by Emilio Boccabella dedicated to Ludovico Gonzaga. In this poem Boccabella thanks Ludovico for his intention to preserve Campano’s works for posterity in a luxurious codex (membrana et minio). Unfortunately no such codex with Campano’s poetry has been preserved, but it is to be supposed that this (now lost) codex directly or indirectly formed the example for V. The Libellus was dedicated to Pietro Riario, to whom Campano addressed several poems in the period from 1473 till 1474, when the cardinal died. It is however questionable whether this nucleus was specifically collected to serve this purpose. The reason for this doubt is that a considerable part of this collection is also found in two other manuscripts, without any specific reference to Riario. Campano probably used an existing nucleus of his poetry, added some extra poems to Riario to it, and thus dedicated it to the Cardinal. Since Emilio Boccabella was also acquainted with Riario, he may have been the one to pass this collection over to Gonzaga. One of the other manuscripts in which a comparable nucleus of Campano’s poetry is found, is Civica 1366, provenant from Verona (W). The poems of Campano in
20 Cecchini, Giannantonio Campano, 26-7. 21 Book I, the book of love elegies to Diana has a separate status, and was probably added to the collection as book I in later stage. In this respect it is interesting to note that the collection in R starts with liber primus, though the poems included in it have been included in book II in a later stage, as we will see. 22 See chapter 3. 368 TEXT TRANSMISSION this manuscript all belong to a group of quires of the same scribe. Besides the poetry of Campano, these quires include Latin poems of various authors that are nearly all dedicated to Cardinal Pietro Riario. Among these poets we find Domizio Calderini, Porcellio de’ Pandoni and Cherubino Quarquali. The collection of Campano’s poetry consists of 51 poems, of which 46 are also included in V, in the same order. Strikingly enough, it is not the complete Libellus to Riario that is included in W, although most poems in this manuscript concern this cardinal. Domizio Calderini can most probably be held responsible for the inclusion of Campano’s poetry in this particular manuscript in Verona, as he was from Verona and he was also acquainted with Campano and Riario. The same nucleus is also included in Urb. Lat. 338 (U), a collection to which we will turn shortly.
Final Collection by Campano
Around 1475 Campano started with a complete collection of his poetry.23 We know this from his correspondence, from which it also appears that Cardinal Ammannati urged him to do so. Furthermore we can identify his efforts because of the considerable overlap between two of the largest collections of his poetry, in manuscript Urb. Lat. 338 and in the Editio Princeps by Ferno. The part that these two collections have in common can be identified with the collection that Campano compiled. This part covers poetry from as early as the 1450’s until around 1472 and is arranged largely chronologically. Its abrupt breaking off was probably caused by Campano’s illness and death in 1477. An interesting aspect of this collection, when we compare it to the nuclei we have seen so far, is that for the first time the book of love elegies to Diana is included. Campano placed it at the beginning of his collection as book I. However, it was probably composed later than the other love elegies that he included in the second book. This can be deduced from the fact that he presents the elegies to Diana as novos amores, in contrast to his veteres amores, dedicated to Silvia and Suriana.24 Furthermore the opening poem of what is currently book II could serve very well as the introduction to a complete collection. Campano thus added the love elegies to Diana, which probably had seen their own circulation as a separate book, only rather late to the final collection. This may also account for the fact that the collection of poetry in R, which Cecchini identified as an early stage of the later collection, is introduced as Elegidion Liber I, whereas it starts with poems belonging to what is currently book II.
Posthumous Additions to the final Collection
23 See chapter 5. 24 I 1, 1. 369 APPENDIX II
The collection of poetry that Campano left unfinished has found its place in three different collections after his death. The first is Urb. Lat. 338 (=U), a luxurious manuscript from the library of Federico da Montefeltro. Apart from his poetry, Federico also let Campano’s other literary works be transcribed in luxurious manuscripts. Since Campano was aware of Federico’s project to preserve his poetry, for which he thanks him in an epigram, we may assume that the unfinished part was directly handed over to Federico’s scribes. The complete collection in U is however not confined to this unfinished part, to which are added another 133 poems. Though it cannot be made out how Federico got hold of these extra poems, an important observation is that within these 133 poems the same nucleus can be discerned that V and W had in common. It therefore appears likely that this nucleus still circulated and was used by Federico to complete the collection left unfinished by Campano. Furthermore to this nucleus numerous poems have been added that Federico had probably received from Campano when still alive. These are the poems dedicated to Federico and his entourage, together with some poems to Riario and the Aragonese, poems that are not included in V and W. The final collection by Campano is further found in Hamilton 131, which is provenant from the collection of Battista Panetti, a Carmelite, who was Professor of Theology at the university of Ferrara from 1467 until 1476.25 Since he died in 1497, H must be dated before then. Though the collection in H is important for the text constitution of Campano’s poetry and for the observation that this collection found a wider transmission, it does not significantly add to the constitution of the collection as a whole. No additions have been made to the final collection in H. On the contrary, it is somewhat smaller than the first part of U. Finally, Campano’s collection has found its place in the first printed edition of his works in 1495, the Opera Omnia operated by Michele Ferno, member of the so-called Second Roman Academy.26 Just like Federico da Montefeltro, Ferno completed the unfinished collection with other poems by Campano, of which the precise origin is however unknown. Only small groups of poems of this second part of the collection show similarities with other collections, whereas the large group of poems that U, V and W have in common was clearly not at Ferno’s disposal. We may thus assume that he gathered these poems in small groups himself. In this manner he missed out on over 70 poems that have been left unedited in the various manuscripts, but at the same time he traced some 40 poems that have not been included in any of the manuscripts that have survived. The poems in the part that Ferno added are, in accordance with the collection by Campano, largely arranged chronologically. Since in U and H, with the exception of
25 Battista Panetti also owned a manuscript of Martial, see Hausmann, “Martial in Italien,” 195. 26 For Michele Ferno see M. Ceresa in DBI 46 (359-61). He was the student of Pietro Ransano, with whom Campano was befriended in Rome. See Figliuolo, La cultura a Napoli, 147. 370 TEXT TRANSMISSION book I, any numbering of books lacked, the numbering of the books in f is probably Ferno’s. It is this numbering that has become the standard numbering of Campano’s poetry. Departing from the numbering in this printed edition, Cecchini has described the most important manuscript collections, starting from the largest collections moving on to the smaller. The unedited pieces he named after the manuscript collection where he found them first, following this same order. Finally he numbered the unedited pieces according to their order of appearance in that given manuscript. It is this numbering that I have also followed in my thesis. Already in 1502 a revised edition of the editio princeps was published in Venice. The collection of poetry is identical to the 1495 edition, though there are variants in the text constitution. In 1707 in Leipzig, Johannes Burckhardt Mencken again published a renewed and revised edition of Campano’s work, starting with the letters and poems. For this edition he used no other edition than the editio princeps, which he corrected and improved according to his own insights.27
II. 2 Description of the Collections
Urb. Lat. 338 = U
The manuscript that contains the largest collection of Campano’s poems (306) is Urb. Lat. 338 (ill. a.1, 2 & 5.16).28 This manuscript was made on commission for the library of Federico da Montefeltro (1422-1482), the Duke of Urbino. Montefeltro also ordered Campano’s other literary works to be transcribed in luxurious manuscripts, currently Urb. Lat. 324, 325 and 326. Urb. Lat. 324 was manufactured in 1479 and contains 14 of Campano’s orations, among which the funeral oration for Federico’s wife, Battista Sforza, who died in 1472. Urb. Lat. 325 contains a collection of Campano’s letters. This collection coincides with the first 6 books of letters as published by Ferno in f. Campano’s Vita of Braccio da Montone, the famous ancestor of the Baglioni family is included in Urb. Lat. 326. The first part of U is dedicated to Campano’s Oratio de Ingratitudine, the collection of poems covers the second part. These four manuscripts of Campano’s works have many features in common, such as the size (folio), the vellum and the miniatures, which all contain Montefeltro’s coat of arms. Ms. Urb. Lat. 326 still has the original calf binding; the other three codices have been rebound. It appears that of all four, U is the least conspicuously decorated. U exists of 242 folia, measures ca. 20,5 x 32 cm and is decorated on the first folium of both works included. The roset on f. 1v introduces both works as follows: In hoc splendido
27 He had f¹ at his disposal. He also numbered the separate poems, and provided the collection of letters with an index. It must however be noted that the numbering in m is not exactly the same as the numbering based on f, since Mencken has left out or combined some poems. 28 C. Stornajolo, Codices urbinates latini (Roma: Typis Vaticanis, 1981), 310-15. 371 APPENDIX II
a.1 Ms. Urb. Lat. 338 (=U), f. 1v (Città del Vaticano, BAV)
372 TEXT TRANSMISSION
a.2 Ms. Urb. Lat. 338 (=U), f. 135r (Città del Vaticano, BAV)
373 APPENDIX II codice continentur libri tres de ingratitudine atque elegiae et epigrammata Ioannis Antonii Campani oratoris eloquentissimi et poetae ingeniosissimi. The text of De ingratitudine fugienda, dedicated to Pandolfo Baglioni, starts on f. 1r and ends on f. 131v, after which folia 132r - 134v are left blank. On f. 135r the collection of poems starts as follows: Iohannis Antonii Campani elegia incipit feliciter. This incipit is decorated with so-called bianchi girari. The collection ends on f. 240r. Below follows a description of the collection of poems in U, based on the numbering of f. Poems that do not figure in the editio princeps are indicated with U and numbered in order of appearance from 1-62. The collections in the other manuscripts will be described in the same manner. Furthermore in the list some signs are added that indicate a certain relationship with other manuscripts, especially V and W.
The collection in U:
*: this poem figures in both part I and part II group between - - - -: group coincides with group in V (though mixed up) group between ____: group coincides with group in V en W Bold this poem does not figure in V (whereas the rest of its group does)
Section I
I 1-24 II 1-2 I 25 II 3-IV 10 mVIII 42 IV 12-V 12b V 16-VI 39
Section II
U 1 VII 11-14 U 2 VII 34 U 3-5 VII 35 U 6-8 VII 37-38 374 TEXT TRANSMISSION
U 9-15 VIII 2 U 16-21 VIII 11 ‘fuori testo’1 VIII 23-24 VIII 14 ------VIII 15 U 22-23 VIII 21 VIII 10 VIII 16-17 VIII 7 VIII 20 VIII 18 (VII 30)-19 ------U 24-25 (coincides partly with VIII 22) VIII 27 U 26 ------VIII 40 VII 27 VII 44 i ------VII 44 ii U 27 VII 22 VIII 26 VIII 28 U 28 VII 23 VII 24 ab-26 U 29-31 VII 28 VIII 30 VII 32 U 32 VIII 31 VII 29 U 33-34 375 APPENDIX II
*VI 32 *VI 3 *IV 5 *V 6 U 35 ______------U 36-42 VII 33 VIII 5 *VI 38 VII 36 U 43 *V 2 ------U 44 VII 43 U 45-46 VII 5 VI 35 VII 40 VII 42 VII 39 U 47 ------*VI 18 *VI 15 *VI 13 VIII 9 U 48-49 VIII 34 *VI 39 *VI 33 ------V 14-15 U 50-51 VIII 35 VIII 33 a VIII 4 VII 1a VII 2 376 TEXT TRANSMISSION
VII 1b U 52 ------U 53-54 VII 4 ______
U 55-58 U 59-62 VIII 29
On basis of this collection some observations can be made, both about U itself as well as about the connection between U and f. In U, with the exception of book I, the books and poems are not numbered. Though book I is not explicitly indicated as such at the start, after 24 poems we find an explicit on f. 155r and the start of a second book: Liber secundus. Book II however never ends, so that formally it runs to the end of the collection at f. 240r. The first letters of the first poems of books I and II are decorated, whereas other poems start alternatively with red and blue letters. In the collection of U a clear division can be detected between part I, running from I 1 to VI 39 (ff. 135r - 209r) and part II (the rest). This division is supported by three codicological peculiarities. In part I the poems are preceded by a title in red, above or in the margins of the first verse, whereas in part II these titles lack. With the exception of the first three, in part I the poems in the elegiac distich do not have an indentation before the pentameter, whereas in part II they have. Furthermore in part II the scripture is scoppier and it contains more faults.29 Part II contains eleven poems (indicated with an*) that are also included in part I. Apparently the collector or scribe of the manuscript did not notice the overlap. However, comparison of these similar poems in both parts shows that they differ when it comes to text constitution. This could be explained by assuming two different models for part I and for part II. If we compare the collection in U with the one in f, it appears that, apart from some minor differences, part I of U coincides with I 1 - VI 39 in f. In U I 25 is placed before II 3, both poems that are adressed to Lorenzo Giustini. V 13-15 lack in U and mVIII42 takes the place of IV 11. As said before, the indications of books lack in U, apart from book I, and in regard to the text constitution also some differences appear.
29 Though Cecchini detects the ‘punto di rottura’ between VI 39 and U 1, on f. 209r, there appear to be more strange things with this quire. First of all it is strange that U 1, the so-called ‘frammento autobiografico’ ends abruptly at f. 210v. Furthermore, the real division point between different manners (tidiness) of the scribe can be detected between f. 212v and f. 213r, where a new quire starts. Strangely enough on f. 212v. the clavis lacks. The poem on f. 212v ends abruptly, and the poem on f. 213r starts abruptly, but the two fragments do not belong together. There must therefore be something missing. 377 APPENDIX II
In the case of mVIII42 the background of the difference between U and f is easy to conceive. mVIII42 concerns Pius’ character that is traced back to the names of his mother Victoria and his father Silvius, and is one of the most famous poems of Campano. It was inserted in Pius’ Commentarii and figures in most of the manuscripts that will be discussed. It was written in the same period as the other poems of book IV between which it figures in U. Ferno however moved it from its original place to use it in his Vita Auctoris. He replaced it with another poem that in his collection thus occupies the place of IV 11. Mencken, whose edition from 1707 is based on f, published the poem at the end of his collection, as VIII 42. Therefore the poem now, since it is numbered after its first printed appearance, is indicated with mVIII 42, even though IV 11 would be more true to its origin. Part II of U and the second part of f, that is VI 40 - VIII 43, however show much less similarities. Part II of U contains 133 poems, of which 61 do not appear in f at all, whereas the second part of f contains 44 poems that lack in U. The 72 poems that both collections have in common are presented in a completely different order in U than in f and are also interspersed with the poems that are unique in U. The chronological order of f, in U is not followed precisely. It seems however possible to detect another kind of arrangement in part II of U. In this collection groups of poems can be detected that are adressed to the same person, or concern the same subject. These groups are compiled of both poems from f as well as from U. Most conspicuous are the groups of poems concerning Alfonso of Aragon (U 24- U 26) and the Aragonese court (VIII 26-U 28), poems addressed to Francesco Gonzaga (U 29-VII 28), and poems concerning the entourage of Federico da Montefeltro (VIII 30-U 34). Poems VIII 11-VIII 19 are all adressed to Cardinal Riario. Most of the poems of this group also appear in f together, though in a different order. This principle of arrangement by addressee or subject, though less conspicuous, can be observed in many cases in part II of U. The great similarities between U’s part I and I 1-VI 39 in f, as well as the fact that in U part I is far more polished than part II, underscore the supposition that Federico’s scribe had a well-rounded-off model at his disposal for U’s part I. With regard to U’s part II no conclusions can be drawn from this manuscript alone when it comes to models, but obviously similarities exist between this part II and some of the other manuscript collections. The part that U and the editio princeps have in common precisely represents the collection of poetry that Campano compiled himself, and which he left unfinished due to his death in 1477. At that point his collection had thus advanced to ca. 1465. If poems written in that same period have not been included in the collection, it seems likely that Campano had a reason for this. In case of U 1, the so-called frammento biografico, it may have been that Campano thought of a new plan to write his biography (I, 9 Somnus), and therefore
378 TEXT TRANSMISSION left U 1 unfinished and unedited.30 Somebody else may have added it to the collection of U. In case of some of the epigrams with sexual content, Campano probably did not find them apt for publication. In the letters exchanged with Ammannati on the topic of collecting, Campano announces only to insert poems that possess enough power and grace.31 In case of the many poems in U and f that were composed after the breaking point of Campano’s own collection, we should not assume another reason for the inclusion or exclusion than just availability. For some reason not all poems that wound up in U’s part II were available to Ferno, just like not all poems from the second part of the editio princeps were available to the composer of U. As a consequence the reasons for poems to have been left unedited were sometimes conscious, but ever so often just plain contingency. Therefore I do not treat edited or unedited poems differently or as intrinsically belonging to a different category, unless there are clear indications of the opposite.
Hamilton 131 = H
The collection in H is much smaller than U, but with 136 poems still considerable (ill. a.3). Now in possesion of the Staatsbibliothek zu Berlin, its place of origin is Ferrara.32 This appears from a partly deleted ex libris on the inside of the cover: ex libris reverendi patris nostri magistri Baptistae Panetiae Ferrarensis sacre theologie professoris qui die 27 martii 1497 obiit. This Johannes Baptista Panetius, a Carmelite, was professor of theology at the university of Ferrara from 1467 until 1476 and was also a few times dean. Since he died in 1497, H must be dated before then. From a partly deleted stamp on f. 1r (Della pontificia universita di Ferrara) it follows that H was still in possession of the University of Ferrara in the nineteenth century. Together with four other manuscripts from Ferrara H passed over in the possession of the Duke of Hamilton (1767-1852), who must be held responsible for the deletion of other ownership signs. H measures ca. 17 x 24 cm and consists of 91 folia of vellum that are all dedicated to Campano’s poems. All vellum used is palimpsest. The original text can be dated in the fourteenth or fifteenth century, but the precise content has not been detected. The collection of Campano’s poems starts on f. 1r as follows: Johannis Antonii Campani elegiarum liber primus incipit feliciter. This folium has been decorated with feathers and trails. All titles are written in red, all initial letters in blue.
30 See Di Bernardo, Un vescovo, 413- 16 and Enenkel, “Rätsel eines unvollendeten Gedichtes”. 31 See Chapter 3.2. 32 H. Boese, Die lateinischen Handschriften der Sammlung Hamilton zu Berlin (Wiesbaden: Harrasowitz, 1966), 71-72. 379 APPENDIX II
a.3 Ms. Hamilton 131, f. 1r (Berlin, Staatsbibliothek)
380 TEXT TRANSMISSION
The collection in H
I 1-24 II 1-2 I 25 II 3-IV 4 IV 6-IV 10 m VIII 42 IV 12-V 1 V 3- 12 V 16-VI 2 VI 4 ------VI 34 IV 5 VI 18 VI 35
In first instance, the collection in H seems to have ended after VI 4. This can be deduced from a concluding remark right after this poem at f. 87r, that was erased in a later phase. On this spot another four poems (VI 34, IV 5, VI 18 and VI 35) have been added. Folia 88v - 91v have been left blank. With regard to choice and arrangement, the collection in H shows great similarities with the first part of U and thus also partly with f. Just like in U in H I 25 is placed after II 2, mVIII42 takes the place of IV 11 and V 13-15 are lacking. The numbering of books in H is also confined to the incipit and excipit of book I and the incipit of book II on f. 26r. Apart from these similarities, also some differences between H and U should be noted. In H the start of book I is indicated with the more complete elegiarum liber primus, instead of just elegia in U. Furthermore V 2 and VI 3 lack in H, and IV 5 has only been added later. Finally the collection in H ends with VI 4, instead of VI 39, the poem which U’s part I ends with. Though from the collection in U it appeared that a model existed for I 1 - VI 39, from the collection in H this conclusion cannot be completely supported. Though some blank folia have been left, the remaining poems would not have fitted in this space. Thus the model the scribe of H used did not contain these last poems, or for some reason another option has been chosen. Nevertheless, apart for some minor differences, H also confirms the conclusion that for a considerable collection of Campano’s poetry a model existed that contained at least I 1 - VI 4. From differences on the level of text constitution it can be concluded that H and U are related but no direct descendants of each other.
381 APPENDIX II
Vat. lat. 2874 = V
Manuscript V contains works of various fifteenth-century humanists and is provenant from the collection of Angelo Colocci (1474-1549), who was secretary to popes Leo X and Clemens VII and bishop of Nocera.33 Apart from manuscripts he collected ancient statues, medals and coins. The part of his collection of manuscripts that survived the Sack of Rome in 1527 has been transferred to the Vatican Library. V consists of 255 paper folia, and measures ca. 17 x 22 cm (ill. 3.3). The original quire arrangement cannot be deduced anymore, since all folia have been cut and reinserted. Nevertheless it is clear that the codex originally consisted of various quires that were transcribed by different scribes. The collection of Campano’s poetry covers three quires. It starts on f. 4r: Iohannis Antonii Campani Epigrammatum libellus ad Cardinalem S. Sixti. Then 140 poems follow after which the collection finishes on f. 32r with a poem by Emilio Boccabella dedicated to Ludovico Gonzaga.34 In this poem Boccabella thanks Ludovico for his intention to preserve Campano’s works for posterity in a luxurious codex (membrana et minio). Unfortunately no such codex has been preserved, but it is to be supposed that this (now lost) codex directly or indirectly formed the example for V. Though Boccabella’s poem cannot refer directly to V, it does give clues for the date of the collection preserved in V. Since it says vivus ut ante fuit, the poem by Boccabella must have been written after Campano’s death in 1477. It must also have been written before 1483, the year in which Ludovico Gonzaga, addressed as pronotarius, became bishop, after which an address to him as protonotarius would have been improbable. Although V must have been written after the lost codex of the Gonzaga’s, it is likely that the poems preserved in it were collected earlier. The libellus, by which the collection is indicated, was dedicated to Pietro Riario, the papal nephew of Sixtus IV.35 Campano dedicated several poems to him in the period from 1473 till 1474, the year in which Riario died. It seems likely that Campano himself constructed this libellus, to dedicate it to one of his important patrons. Since Emilio Boccabella was also acquainted with Riario, he may have been the one to pass the collection over to Gonzaga. However, the content of the collection in V provides some doubts as to this conclusion. If all the poems in V indeed belong to this libellus, it seems strange that most of the poems are not related to Riario, and that also many poems that Campano dedicated to Riario have not been included. A possible explanation could be that this collection consists of both the original libellus to Riario, but that it was filled up with
33 R. Bianchi, “Per La Biblioteca Di Angelo Colocci,” Rinascimento 30 (1990), 271-82, V. Fanelli, Ricerche Su Angelo Colocci E Sulla Roma Cinquecentesca (Città del Vaticano: 1979) and S. Lattes, “Recherches Sur La Bibliothèque D'angelo Colocci,” Mélanges d'Archeologie et D'Histoire 48 (1931), 308-44. 34 For this poem see Cecchini, Giannantonio Campano, 24-5. 35 See Chapter 3.2. 382 TEXT TRANSMISSION other poems. Moreoever, the poems to Riario that lack were probably written only after the dedication of this libellus.
The collection in V group between ____: similarities with group in both U and W. group between ------: similarities with shifted group in U bold: does not appear in U
VIII 10 ______------U 36 (last distich)-38 group 14 U 40-42 VII 33 VIII 5 VI 38 VII 36 V 2 ------VI 18 group 16 VI 15 VI 13 VIII 9 U 48 VIII 34 VI 39 VI 33 (1-6) ------U 44-45 group 15 VII 43 U 46 VII 5 VI 35 VII 40 VII 42 VII 39 U 47 ------VI 33 (7-8) group 17 V 14-15 383 APPENDIX II
U 50-51 VIII 4 VII 1a VII 2 VII 1b U 52 ------______
VII 44 ii group 13 U 27 VII 23-24a VII 35 VI 32 VI 3 VI 5 IV 5 V 6 U 36 (first part) ------m VIII 42 group 2 IV 12-24 IV 26-27 IV 29 V 4 ------V 12b group 4 V 17 V 16 V 18 ------U 25 group 11 ------VIII 15 group 10 U 23 VIII 21 ‘fuori testo’ 1 VIII 17 VIII 7 VIII 20 VIII 18 (=VII 30)-19 384 TEXT TRANSMISSION
VIII 12 ------VIII 40 group 12 VII 27 VII 44 i ------U 53-54 group 18 VII 4 V 1 VIII 1 ------U 59-62 group 19 ------VI 34 group 9 VI 36-37 ------III 30-31 group 1 III 35-36 IV 3-4 IV 7-10 ------V 5 group 3 V 12a ------VI 1 group 6 VI 4 VI 6-10 VI 12 VI 14 VI 16-17 VI 20-23 ------VI 27-28 group 8 VI 30-31 ------VI 25-26 group 7 ------V 19-36 group 5 ------CE VI 1 first part of Campano’s letter to Becchi
385 APPENDIX II
Cecchini did a great effort in finding the principle of arrangement in the chaos that the collection in V seems to be at first sight.36 Comparison with the collection in U points out that certain groups of similar size in V, though shifted, also appear in U. Together with the observation that in V sometimes parts of one poem have been placed apart in the collection, it brought Cecchini to the conclusion that the folia of the example of V must have been shifted. If the groups between ---- in V are arranged according to their numbering, a collection is formed that shows great similarities with U. Then the different parts of the same poem also fall into their right place. V contains poems that appear in both parts of U. Groups 1 - 9 show similarities with part I, although they are limited. V does not include any poem from books I and II, and only 4 from book III, but also poems from books IV, V and VI (until 39) 35 poems lack in V in comparison with U. However, the order in which the poems appear in V is the same as in U and f. As already has been said, this order is roughly chronological. The similarities between groups 10-19 in V and part II in U are considerable. Groups 14-17 are, once in the right order and with the exception of 4 poems, identical to the parallel groups in U. The order of these groups have indeed been shifted in V, but are still placed together. Groups 10-13 and 18-19 also show similarities with U, although especially in group 13 many poems lack in comparison with the parallel group in U. These poems must have also lacked from the model of V. Due to the shifting of the folia, all groups in V have about the same size. The group of poems in U however, which can be compared to group 13 in V, is much more extended. These poems that appear in U but not in V, are exactly the poems that had attracted our attention in regard with U, for they were arranged according to addressee. These poems have in common that they were written after the death of Pietro Riario in 1474, and therefore after the the dedication of the libellus to Riario. They must have been added to the collection later on. Since one of these groups concerns the entourage of Federico’s court at Urbino, they were supposedly added at the manufacturing of U.37 The first group of U’s part II, U 1-VIII 14, completely lacks in V, though some of them are addressed to Pietro Riario and all of them can be dated before 1473. A possible reason for this can be that some of the folia of the example of V have gone missing. The other poems to Riario have been placed together (group 10), with the exception of VIII 10. This poem has found its place at the beginning of the collection, to function as a prooemium to the Libellus dedicated to Riario.38 Since this was not the case in U, and since it must have been placed at the beginning only after the shifting of the folia (which can be deduced from the size of the groups), it seems unlikely that the original collection was also dedicated to Riario. Between this “original” example and V can have existed
36 Cecchini, Giannantonio Campano, 24-36. 37 Federico also maintained good contacts with the court of the Aragona in Naples, the Gonzaga in Mantua and Cardinal Bessarion. 38 See chapter 3. 386 TEXT TRANSMISSION several copies, among them the dedication copy to Riario and the luxurious codex of Ludovico Gonzaga. The 11 poems that were included twice in U have been included only once in V, in the part that corresponds with part II. The scribe of V may have been more attentive, but more probably the example of V did not include these poems in part I as well. Part I in V was already incomplete in comparison with part I in U. A final observation about V concerns V 12 a and b. After having arranged V’s groups in the right order, these two elements follow each other, just like in U, where they have been rightly separated as two poems. In f however, these two elements unjustly form one poem. This presupposes that in Ferno’s model, just like in the model of V, V12a must have been placed at the bottom of the verso side of a folium, and V12b at the top of a recto side. This could be a coincidence, but it may also be that Michele Ferno, working on the editio princeps in Rome, has also used this, now lost, model.
Civica 1366 (formerly Comunale 280) = W
This fifteenth-century manuscript from the Biblioteca Civica in Verona exists of 131 paper folia bound in contemporary vellum, measuring ca. 15 x 20 cm (ill. a.4).39 The codex contains a collection of Italian and Latin poetry and originally belonged to a certain Monsignor Giuliari, after whom it passed over into the possession of the Veronese family Saibante. The poems of Campano in this manuscript all belong to a group of quires of the same scribe. Besides the poetry of Campano, these quires include Latin poems of various authors that are nearly all dedicated to Cardinal Pietro Riario. Among these poets we find Domizio Calderini, Porcellio de’ Pandoni and Cherubino Quarquali. The collection of Campano’s poetry starts at f. 52r with Epigrammata Campani and ends at f. 62r.
The collection in W group between _____: great similarities with group in both U and V bold: does not appear in V
______VIII 5 U 36-42 VII 33 VI 38 VII 36
39 G. Biadego, Catalogo descrittivo dei manoscritti della Biblioteca communale di Verona (Verona: Biblioteca Communale, 1892), 180-96. The collection of the former Biblioteca Comunale has now been included in the Biblioteca Civica. The manuscript thus has changed collocation from Comunale 280 to Civica 1366. 387 APPENDIX II
a.4 Ms. Civica 1366 (= Comunale 280 = W), f. 52r (Verona, Biblioteca Civica)
388 TEXT TRANSMISSION
U 43 V 2 U 44 VII 43 U 45-46 VII 5 VII 42 VII 40 VII 39 U 47 VI 18 VI 15 VI 13 VIII 9 U 48-49 VIII 34 VI 39 VI 33 V 14-15 VIII 33b (lacks in U) U 51 U 50 VIII 35 VIII 33a VIII 4 VII 1a VII 2 VI 35 VII 1b U 52 VII 4 ______m VIII 42 VII 44 IV 5 VI 3 VI 27 W 1-3
389 APPENDIX II
Of the 51 poems collected in W, 46 are arranged in a group that shows great similarities with a group of poems that also appears in U and V. This group, from VIII 5 -VII 4, is put between the single lines in all of the above lists. In V it concerns groups 14-17. In comparison with U, 4 poems have been replaced in W(VIII 5, VI 35, VII 40 and U 50) and two poems lack (U 53 and 54), whereas VIII 33b, that lacks in U and V, has been included in W. Some poems that lack in V in comparison with U, however have been included in W (U 43, U 49, VIII 35, VIII 33a and VII 4). The group of 6 poems after the single line, which includes W 1-3, does not figure in any other collection in this arrangement, and therefore is unique for W. The collection in W supports the assumption that besides part I of U, a certain nucleus of Campano’s poetry existed, that -with minor differences- has been included in U, V and W. With regard to the collection in W it seems likely that Domizio Calderini forms the connection between the collection of Campano’s poetry and this particular manuscript in Verona. At first, Domizio was from Verona, furthermore he was acquainted with both Pietro Riario and with Campano.40 However, he does not seem to be the owner or scribe of the complete collection in W, which for the greater part houses poetry by several Veronese authors, who cannot all be connected to Calderini. At the moment we cannot go further than to assume that the collection of Campano’s poetry has reached Verona with Calderini as an intermediary, and has been transcribed by an unknown Veronese scribe, for an unknown Veronese owner.41 In how far this collection of Campano’s poetry in W can also be directly connected to Riario and the libellus in V is almost impossible to make out from the information now available. Nevertheless the fact that the collection of Campano’s poetry in W is included in a quire with poems dedicated to this cardinal seems to point into that direction, though many of Campano’s poems for this cardinal do not appear in W.
Ricc. 915 = R
The most important feature of Ricc. 915 is that, though the manuscript itself came into being at almost the same time as the editio princeps, that is in 1494, it probably presents the earliest stage of the text constitution that is preserved. In this manuscript the poems are partly included in their original context within a poetical correspondence.
40 Part of the collection in W seems to be derived from another Veronese manuscript, CCLVII of the Biblioteca Capitolare (ff. 252-261v). That collection appears to be incomplete, as the scribe has added: Reliqua transcribentur on f. 261v. From the fact that CCLVII houses various writings of Calderini, collected by his familiars after his death, we can assume that he was in possession of this manuscript. All poems from the collection can be dated in the second half of 1473. Cf. Farenga, “Monumenta memoriae,” 202 ( n. 61) and A. Perosa, “L'Epigrammaton Libellus di Domizio Calderini in un codice della Bibliotheque Nazionale di Parigi,” in: Studi di filologia umanistica (2000), 115-30 (124). 41 In the manuscript itself the name ‘Bernardinus Rigetus’ is mentioned, but I have not yet identified this person. 390 TEXT TRANSMISSION
a.5 Ms. Ricc. 915 (=R), f. 217r (Florence, Biblioteca Riccardiana)
391 APPENDIX II
R consists of 256 paper folia and measures ca. 14 x 21 cm (ill. a.5). It contains a rich collection of humanistic texts, among which poetry by Marullo, Calderini and Verino.42 The codex has been compiled by Pietro Ricci between 1491 and 1494, judging by the text on f 1r.: Petri Criniti Proculi et amicorum. Later on the manuscript passed in the possession of Pallante Rucellai en Benedetto Varchi (1503-1565). Varchi was a Florentine republican, who enjoyed the protection of Cosimo I. The collection of poems by Campano in R can be divided in three sections. The first section appears on f. 210r and consists of 3 poems, included amidst poetry by other humanists, such as Guarino and Aurispa. The second section consists exclusively of poems by Campano and starts on f. 217r as follows: Iohannis Antonii Campani elegidion liber I and ends on f. 229v. The third section follows from f. 229v to f. 232v and consists of a poetic correspondence between Campano, Ammannati, Cherubino Quarquali and Gregorio Tifernate.
The collection in R
Section I
VIII 9 m VIII 42 R 1
Section II Iohannis Antonii Campani elegidion liber I
II 14 II 1 III 11-13 IV 7-10 IV 13 IV 29 V 5-6 V 12a V 17 IV 23-24 IV 21 IV 25-26
42 N.N., I manoscritti datati della Biblioteca Riccardiana di Firenze (Firenze: Edizioni del Galluzzo, 1997- …); M.P. Falciani, “Manoscritti e libri appartenuti al Varchi nella Biblioteca Riccardiana di Firenze,” in: Accademie e biblioteche d’Italia 53 (35/6) (1985) 14-29, A. Perosa, “Studi sulla formazione delle raccolte di poesie del Marullo,” in: Rinascimento 1 (1950) 257-272, Idem, “Due lettere di Domizio Calderini,” in Studi di filologia umanistica, ed. Viti, 157-74 and Idem, “Epigrammi conviviali.” 392 TEXT TRANSMISSION
V 18-23 V 25-27 V 31-VI 1 VII 11-14 VII 34 VII 37-38 VIII 7 VII 44 R 2-3 U 40
Section III
R 4-5 U 3 R 6 U 5 VI 3 R 7-8
Ricci must have regarded the elegidion liber I a rounded-off whole. This can be deduced from the fact that he concludes the collection on f. 229r with: Campani libellus finitus. Directly afterwards he starts the poetic correspondence with: Incipiunt carmina Campani eiusdem sed Quarquali item et Papiensis et aliorum. Although the collection in this elegidion is considerably smaller, with regard to the chronological arrangement it shows great similarities with f, U and H. It should be noted at the outset that besides U and H, R is the only manuscript that includes poems from book II. Cecchini supposes that the collection in R represents a selection from a larger collection that also formed the basis for f, U and H, though in an earlier phase. An earlier phase, because no poems from book I have been included and because of variants in the texts that may be due to different stages of editing. Section III is mainly interesting since it shows the poems in their original context within a poetic correspondence. The fact that most of them have not been included in other collections may be due to their private character. In case of this manuscript Cherubino Quarquali seems to have been the connection between the collection of Campano’s poetry and the compiler, for Quarquali had connections with Pietro Ricci. He may well have been the only one, apart from Campano, to possess their private poetic correspondence and as Campano’s pupil he may also have possesed the elegidion liber. The 3 poems from section I bring together two poems on Pius’ character (mVIII42 and R 1) that are based on the same literary scheme, but with regard to content 393 APPENDIX II are each other’s complete opposite. R 1, which judges jokingly negative on Pius’ character is not included in the collections we have discussed until now, but in other florentine collections it is.43 Di Bernardo also sees a connection between Campano’s gastronomic distichs (V 18-36) included in the elegidion and the ‘convivial’ poetry by other poets (notably Calderini) included in R. According to Di Bernardo they were all written for the banquet Cardinal Pietro Riario organised in honor of the visit of Eleonora of Aragon in June 1473. Campano’s distichs however have already been written in 1463. If any connection must be drawn between the section of Calderini’s poetry and Campano’s, it must be Quarquali again, for he is also mentioned as a friend in the letters of Calderini that were included in R.
Vat. Lat. 5245 = Z
This fifteenth-century manuscript, consisting of 212 paper folia, measuring ca. 15 x 21 cm, probably originates from the Accademia Romana of Pomponio Leto (ill. 2.6). It includes a treatise on orthography, transcriptions of classical inscriptions, lists of Latin abbreviations, classical treatises on gardening (by Columella and Palladius Rutilius) and poetry of among others Panormita, Cornazzano, Giovanni Mario Filelfo and Campano. The collection of Campano’s poetry, which consists of 60 poems, covers ff. 97r-112r and starts as follows: Ad Jacobum Cardinalem Papiensem Johannes Antonius Campanus.
The collection in Z
IV 4 IV 7-10 m VIII 42 IV 12-17 IV 19-20 III 29 III 31 III 33-34 III 32 V18 IV 24-25 IV 27 IV 29 IV 28 V 5-12a
43 See chapter 1.2. 394 TEXT TRANSMISSION
V 16-17 V 19-36 VI 1-2 III 36 VI 4 IV 6 IV 18 IV 13
The collection in Z mainly includes poems from books III-V and only three from VI. They cover the period from ca. 1460 to 1464. The order of arrangement is somewhat different from most of the collections we have seen until now, since it is only partly chronological. Furthermore the group of “gastronomical” distichs in Z is not preceded, as usual, by V 18, but by V 17, a poem addressed to Ammannati. Furthermore it must be noted that also in this collection mVIII42 takes its “original” place between IV 10 and IV 12. All poems belong to the entourage of the papal court, which Campano had entered under the guidance of Ammannati. In this context it is most probable that Campano compiled this collection himself and dedicated it to Cardinal Ammannati. Both Ammannati and Campano stood in direct contact with Pomponio Leto, so that the inclusion of this collection in such a manuscript is easy conceivable.
Chigi J VII 260 = J
Chigi J VII 260 is a luxurious codex of folio size, which measures ca. 23 x 32 cm (ill. 1.14). It consists of 191 folia of vellum, and is richly decorated, on the first folium with the Piccolomini coat of arms. The codex is in its entirety dedicated to Pius II and contains a large collection of poetry by various authors, divided in 4 books. On f. 1r the collection starts as follows: Epaeneticorum ad Pium II pont. max. liber primus incipit. It has been shown by Avesani that the commission for this manuscript came from Pius himself or at least his direct entourage. The collection can be dated in 1463.44 The collection of Campano’s poetry in J is divided in two sections, the first of which starts at f. 136r. After ten of Campano’s poems, some poems by Orazio Romano and Agapito Anconitano follow, after which at f. 154v the second section of Campano’s poems starts.
The collection in J
Section I
44 Avesani, Epaeneticorum, 90. 395 APPENDIX II
III 1-2 III 23-24 IV 1 IV 6 m VIII 42 IV 12-13 IV 17
Section II
J 1 IV 18 IV 27 IV 19 IV 15
Conceivably J only contains poems by Campano that concern Pius. In f these poems are included in books III and IV, with the exception of J 1 and mVIII42, but by now it is clear that this last poem originally belonged to book IV as well. No poems from book V, which have been written in 1463 and 1464, have been included. This supports the supposition that this manuscript was indeed arranged for in 1463. The order of arrangement corresponds largely to the other collections. In my view no importance should be attached to the minor differences, since this is just an early selection of Campano’s production to Pius, when arrangement in books was not yet under discussion.
B V 2 = S (Biblioteca del Seminario Arcivescovile Maggiore, Florence)
S is a fifteenth-century manuscript that consists of 126 folia bound in contemporary vellum, measuring ca. 15 x 21,5 cm (ill. a.6).45 It consists of various quires, numbered irregularly, which include among others excerpts from Silius Italicus, Statius and other classical poets. The collection of Campano’s poetry is dispersed over five quires, which
45 See Kristeller, Iter Italicum V, 618 and the Inventario dei Manoscritti of the Biblioteca del Seminario Arcivescovile Maggiore. I am very grateful to the Prefect of the Seminary and the librarian Dr. Gurrieri for allowing me to consult this very interesting manuscript, and their permission to publish parts of it. Though Cecchini, Giannantonio Campano, 12 mentions this manuscript, it seems most unlikely that he actually consulted it. Since the collection of Campano’s poetry in this ms. is considerable and interesting, he would have surely included it in his book. 396 TEXT TRANSMISSION
a.6 Ms. B V 2 (=S), f 79r (Florence, Biblioteca del Seminario Arcivescovile Maggiore)
397 APPENDIX II also include Latin poetry by Domizio Calderini, Cherubino Quarqualio, Ammannati, Callimaco, Pomponio Leto and Filelfo.46 The five quires that belong together were originally numbered from f. 36r on, but in the constitution of this codex, the numbering starts from f. 78r. The collection of Campano’s poems starts on f. 79r and can be divided in three sections. The first section contains the first 20 poems. Apart from Campano’s poems, in this section also some poems by Quarqualio, Ammannati and Pius are included, which together with those by Campano partly form a poetic correspondence. The second section appears on f. 92r and comprises two poems (VIII 9 and S 3), whereas the last section, from f. 120v onwards, consists of the last two poems (U 49 and S 4). These last two sections are completely imbedded in between other poems, some of which are addressed to the same persons as those by Campano, or which are dedicated to Campano himself.
The collection in S:
Section I mVIII24 R 1 IV 8 IV 21 V 18 V 19 VII 37 VI 347 VI 3 S 148 R 7 VIII 15 VII 4 IV 2849 S 250 III 13 IV 9
46 Alessandro Perosa consulted this ms. for the poetry of Calderini, but he wrongly indicates it as B V 21, see Perosa, “L’epigrammaton libellus,” 130. 47 With the same text as it appears in R. 48 This poem also forms part of CE VI 1. 49 S gives just the first distich of this poem. 50 The attribution to Campano is not certain. 398 TEXT TRANSMISSION
VII 13 VII 11 L 1 R 8 (here attributed to Filelfo)
Section II
VIII 9 S 3
Section III
U 49 S 451
The collection of Campano’s poetry in S shows some remarkable similarities with the collection in R. In S mVIII42 and R 1 are also included together, and two other poems that were unique for R are also included in S, be it that one of them (R 8) is now attributed to Filelfo. IV 3 is included twice, but in two different versions. One of these is the version in which it was also included in R. More importantly however is the likeness between parts of the poetic correspondences in both manuscripts. Twice in S we find the same sequence as in R, first of poems interchanged with Quarquali (65, VI 3), then with Ammannati (70, 71, R 7).52 For the remainder, the collection in S does not show many similarites with the collection in R (including the elegidion) with regard to arrangement, though the fact that of the 25 poems included in S, 17 also figure in R may point to a further affinity. S shows some more peculiarities, which makes it an interesting manuscript with regard to the functioning of Campano’s poetry. First of all it is the only manuscript that includes so many poems that were dedicated to Campano together with poems of his own hand. We have already seen the poems that were part of the poetic correspondence, but besides those two, other poems dedicated to Campano were included, by Pomponio Leto and by Domizio Calderini.53 Furthermore in this collection two poems by Campano are included, that were otherwise only know to us from Campano’s letters. One poem is dedicated to Quarqualio (S 1) and forms part of the letter (VI 1) that Campano wrote to Gentile Becchi from Germany. This letter was famous because of all the poems about his acquaintances that he included. The other
51 This poem is also preserved in CE V 3 52 The numbers of the poems by other authors than Campano are taken from Cecchini, Giannantonio Campano, 65-112 (Prime redazioni e inediti in un codice di Pietro Crinito). 53 For the poem by Pomponio Leto (87r.-97r.), which was dedicated to the Saturnalia, see my forthcoming article “The Roman Academy”. 399 APPENDIX II poem (S 4) is dedicated to the death of Pius II and was sent to Ammannati together with letter V 3.54 From the other poets whose work was also included in these quires, Domizio Calderini is the most conspicuous, since at least ten of his poems are included. Most of them are dedicated to Pietro Riario, but one regards the palace of Urbino. Remarkable is also a short poetic correspondence between Ammannati and Callimaco, as well as some other poems from the direct entourage of Pomponio Leto. Concluding, this manuscript presents a web of relationships that are not easy to disentangle. From the similarities with R it can be supposed that also with regard to this collection Quarqualio played a decisive role. He stood in direct contact with Campano, Ammannati, as well as with Calderini, who in his turn was the secretary of Bessarion, also mentioned a few times. However, it must not be forgotten, that these persons stood in direct contact with each other all the same. It may be more important to notice that these relationships show from the manuscript, than to find out precisely who was responsible for the transmission of which part.
Further Manuscripts
It is not my intention to describe all manuscripts that bring poems by Campano without regard to their substantiality. The manuscripts with a considerable collection have already been described and we have thus reached the section in which manuscripts only include a few poems. These manuscripts have not much to add with regard to the constitution of larger collections. Nevertheless I will make an exception for a few of them, which because of their mutual likeness or background are worth the attention.
Ashburnam 1174 = L
L is a fifteenth-century manuscript containing ca. 220 folia, from the possession of a certain Francesco Pandulfini (ill. a.7).55 It consists of several quires written by two different scribes, and includes among others ancient inscriptions, drawings of ancient monuments, as well as Latin poetry of various authors. The quire, to which the collection of poems by Campano belongs, also includes some poems by Panormita and Calderini. Campano’s poems start on f. 60r. and follow each other directly, with the exception of U 49.
54 See Chapter 1.1. 55 Bandini, Catalogus Codicum Latinorum Bibliothecae Mediceae Laurentianae (Firenze: Biblioteca Laurenziana, 1774-78) 400 TEXT TRANSMISSION
a.7 Ms. Ashb. 1174 (=L), f. 60v-61r (Florence, Biblioteca Laurenziana)
401 APPENDIX II
a.8 Ms. Plut. 38,38 (=L¹), f. 53v (Florence, Biblioteca Laurenziana)
402 TEXT TRANSMISSION
The collection in L: mVIII 24 R 1 VII 4 VII 13 L 1 ----- U 49
Plut. XXXVIII, 38 = L¹
L¹ is a fifteenth-century manuscript comprising 66 folia (ill. a.8). It consists for the largest part of classical poetry of Tibullus, Ovid and Sappho. The few poems by Campano are imbedded in a collection of Neo-latin poetry, among others by Panormita, Maffeo Vegio and Martino Filetico. Campano’s poems occur on ff. 53v-54v.
The collection in L¹: mVIII 24 R 1 IV 11
Vat. Lat. 5225(4) = V¹
V¹ is a fifteenth-century manuscript, consisting of over 1000 paper folia, divided in 4 volumes (ill. a.9). Campano’s poems are included in volume 4. The codex consists of many different quires of various sizes. The quire of which Campano’s poetry forms part also includes poetry by Panormita, Martial, Porcellio, Pontano, Ausonius, Claudianus, Callimaco and Catullus. Campano’s poems start on f. 982v and follow each other directly, with the exception of L 1.
The collection in V¹:
III 13 VII 13 VII 4 U 49 ----- L 1
403 APPENDIX II
a.9 Ms. Vat. Lat. 5225 (=V¹), f. 982v (Città del Vaticano, BAV)
404 TEXT TRANSMISSION
With regard to these three manuscripts I would like to point to some peculiarities. L and L¹ correspond with each other in so far as in both mVIII42 and R 1 are included together. Strikingly, the only other manuscripts in which this is also the case (R and S) are also Florentine manuscripts. L and V¹ also show a remarkable likeness, since between them 4 poems correspond. Apart from apparent differences between these manuscripts, they have in common that all the poems they include also occur in S. Therefore we can safely conclude that a certain nucleus of Campano’s poems existed, that was almost completely confined to the Florentine area.56 A further striking similarity between S, L and L¹ is given by the inclusion of an antique epitaph for a certain Roman woman, named Homonea, which was probably found somewhere in Rome.57 In all three manuscripts this epitaph precedes Campano’s poems directly or on a minor distance. This epitaph also occurs in Z, the manuscript from Leto’s circle, among the classical inscriptions, found in Rome and elsewhere in Italy.58 Last but not least, the handwriting and lay-out in S and L¹ look so much alike, that they could well have been written by the same scribe.
Vat. Lat. 5167 = V²
This manuscript is provenant from the entourage of Pius II and houses texts of Carlo Gigli, Niccolo della Valle and Leodrisio Crivelli among others.59 It also includes several poems by Ammannati and only two epigrams by Campano, of which the second is an ineditum.
The collection in V²:
VII 20 V² 1
Ricc. 636 = R¹
This small vellum manuscript can also be traced back to the entourage of Pius II and was dated 25 October 1462 (ill. 1.12 & 13).60 It was probably compiled by Francesco Patrizi, whose Eclogues form part of the collection. We furthermore find the Eclogues of Calpurnius Siculus and three poems by Campano, dedicated to Goro Lolli and
56 With the exception of V¹. 57 In both S and L the epitaph is introduced in exactly the same way. 58 Another common element between these manuscripts forms Panormita’s introductory poem to his Hermaphroditus. 59 This ms. is extensively studied and described by R. Bianchi, Intorno a Pio II. Un mercante e tre poeti (Messina: Sicania, 1988) 60 See chapter 1.2. 405 APPENDIX II
Ammannati. The texts included show a remarkable thematic unity, since they all reveal a bucolic interest that seems to be related to the Curia’s stay at the Monte Amiata in 1462.
The collection in R¹
IV 3 IV 4 IV 6
Urb. Lat. 325 = U¹
This manuscript is one of the four manuscripts with Campano’s work that were commissioned for the library of Federico da Montefeltro, and houses Campano’s epistolary (ill. a.10). In between the letters also some of Campano’s poems are included.
The collection in U¹
V 14 V 15 ------U 49 VIII 4 VIII 33+ VIII 33b U 50+51 VIII 34 VIII 35
The editio princeps by Michele Ferno = f
Not yet 20 years after Campano’s death, Michele Ferno published the editio princeps of Campano’s Opera Omnia. This edition, consisting of 303 folia, contains 5 treatises, 15 orations, 9 books of letters, 2 biographies and 8 books of poetry (ill. a.11 & a.12).61 Ferno himself added a biography of Campano (the vita auctoris), some indices and
61 Campani Opera omnia a Michele Ferno Mediolanensi edita, Romae, per Eucharium Silber, 1495. The following works are inserted: I Treatises: De ingratitudine fugienda (1457), Thrasimeni descriptio seu De felicitate Thrasimeni (1458), De regendo magistratu (1460), De dignitate matrimonii (1463) De fratris obitu ad cardinalem Papiensem (1463); II Biographies: De vita et gestis Bracchii (1458), Pii II pontificis maximi vita (1470); III Orations: Oratio Cineritia (1462), Oratio de Spiritu Sancto (1466), Oratio de Circuncisione (1469), Oratio in festo S. Stephani (1469), Oratio Ascensus Domini (1469), In funere parentis Archiepiscopi Beneventani (1456), In funere Nelli de Balionibus (1457), In funere cardinalis Saxoferratensis (1463), In exequiis divi Pii II (1465), In funere Baptistae Sfortiae (1472), Initio Studii oratio (1455), In conventu Ratisponensi oratio (1471), Coram Pio et ad Senatum Venetum adulescentis Columnensis orationes (1463); 406 TEXT TRANSMISSION
a.10 Ms. Urb. Lat. 325 (=U¹), f. 0v (Città del Vaticano, BAV)
IV Philological writings: Censura in Quintiliani declamationes (1470), In Suetonium censura (1470), In vitas Plutarchi censura (1469), Censura in Livium (1469-1470), Censura in Quintiliani institutiones seu Ciceronis et Quintiliani comparatio; V Letters: Epistolarum libri IX; VI Poetry: Epigrammatum et elegiarum libri VIII. For this edition see Gesamtkatalog der Wiegendrucke, Bd. 6, nr. 5939, Hain, Repertorium Bibliographicum, nr. 4286 & 4287, and the same numbers in Copinger, Supplement to Hain’s Repertorium. 407 APPENDIX II
a.11 Campanus, Opera omnia ed. Ferno, title page, 1495 (Leiden, University Library)
408 TEXT TRANSMISSION
a.12 Campanus, Opera omnia ed. Ferno, Epigrammatum libri VIII, 1495
(Leiden, University Library)
409 APPENDIX II introductions, and some verses from his own hand. The work was printed at Eucharius Silber, a German printing house in Rome. Already in 1502 a revised edition was published in Venice, at A. Torresano (indicated as f¹).62 About the origin of the collection of poetry in this edition, which is already introduced in the beginning of the chapter, no clues are given in the edition itself. About the editor, Michele Ferno, we know that he was also belonged to the entourage of the so- called Second Roman Academy, the successor of Pomponio Leto’s sodalitas. Although Ferno himself has never met Campano, it is clear that he had contacts with some people who had known him.63 Therefore it seems logical to assume that the Roman Academy and its entourage formed one of the bases for his supply of material. The collection of poetry in f consists of 289 poems, of which 286 are divided in 8 books, and 3 outside this order. With minor exceptions, the part that runs from I 1 to VI 39 corresponds with the first part of U and H, as we have already seen. Nevertheless it is to be excluded that Ferno used these manuscripts for his edition. The most important indications for this must be found in the constitution of the texts, but from the viewpoint of the collection it is not probable either.64 The second part of U includes many poems that were not included in f. Furthermore U and H found their origin in Ferrara and Urbino, and were therefore not easily accessible for Ferno. The most logical conclusion is to assume that U, H and f derived their first part from a common model. From this model, Ferno excluded the poem that took the place between IV 10 and 12 (now mVIII42) to use it in his Vita Auctoris, and replaced it by another poem (now IV 11). The origin of the second part of this edition, from VI 40 - VIII 42, is as yet unknown. Only small groups of poems show similarities with other collections, whereas the large group of poems that U, V and W have in common was apparently not at Ferno’s disposal. We may thus assume that he gathered these poems in small groups himself. In this manner he missed out on over 70 poems that are only included in manuscripts, but all the same he traced some 40 poems that have not been included in the manuscripts now known to us. The poems in this second part, for as far as this can be exactly determined, are arranged according to chronology, as is also the case with I 1-VI 39. Since in U and H, with the exception of book I, any numbering of books lacks, the numbering in f is probably taken care of by Ferno himself. It is not easy to discern his principle in this, as the number of poems or verses in each book, nor the period they each cover, are equal. However it seems that whoever was responsible for the organisation in books, for every first poem of a book chose a poem that clearly marks the start of a new period. This principle then seemed more important than the chronological order.
62 See Gesamtkatalog der Wiegendrucke, nr. 5939 and Hain, Repertorium Bibliographicum, nr. 4285. 63 Among others Jacopo Gherardi and Pietro Ransano. 64 See Appendix III. 410 TEXT TRANSMISSION
Collection in f:
Book I (25 poems, 1195 verses): ca. 1455-1458, written in Perugia. Contains love elegies for Diana, written on commision of Braccio Baglioni Book II (20 poems, 922 verses): ca. 1455-1458, written in Perugia, at the same time or earlier than book I. Contains mainly love elegies for Suriana, Diana and other puellae. Book III (36 poems, 902 verses): ca. 1458-1459, written during the period between Perugia and Rome. Contains both love elegies as well as poems regarding the acquaintance with the papal court in Rome and Mantua. Book IV (29 poems, 677 verses): ca. 1459-1462, written during the period in which Campano was close to Pius II and the papal court. Poems regard this entourage. Book V (36 poems, 301 verses): ca. 1462-1464, written during the period in which Campano was close to Pius II and was appointed bishop, first of Crotone, later on of Teramo. Book VI (46 poems, 376 verses): ca. 1465-1471, books VI and VII together were written in this period. Poems regard his relationship with Ammannati and other cardinals, the literary circles in Rome and Florence, his journey to Germany. Book VII (45 poems, 501 verses): ca. 1465-1471, see book VI. Book VIII (43 poems, 614 verses): ca. 1471-1475, written after his return from Germany, during and after his diplomatical career in Umbria. Contains poems regarding the courts of Riario, Montefeltro, Gonzaga and Aragona.
Further Editions
In 1707 in Leipzig, Johannes Burckhardt Mencken started with a renewed and revised edition of Campano’s work (ill. a.13 & a.14).65 In first instance, he published an edition of the letters and poems, to which he added a biography of Campano of his own hand. This edition is indicated as m. For this edition he used the 1502 edition of Campano’s Opera Omnia, which he corrected and improved according to his own insights.66 He also numbered the separate letters and poems, and provided the collection of letters with an index. It must however be noted that the numbering in m is not exactly the same as the numbering based on f, since Mencken has left out or combined some poems.67 After Mencken’s death, his son continued the revision of Campano’s work. This resulted in an edition of a selected work of Campano by Otto Mencken in 1734.68 From the manuscript tradition Campano’s earlier poems, mostly love elegies, are almost absent. In later times however, he was especially known because of precisely
65 J.A. Campanus, Epistolae et poemata, una cum vita auctoris recensuit J.B. Menckenius (Leipzig: J.F. Gleditsch, 1707). 66 He used f¹. 67 For the difference in numbering, see appendix I. 68 J.A. Campanus, Opera selectiora, recensuit F.O. Menckenius (Leipzig: I. Schuster, 1734). 411 APPENDIX II
a.13 Campanus, Epistolae et poemata ed. Mencken, title page, 1707
412 TEXT TRANSMISSION
a.14 Campanus, Epistolae et poemata ed. Mencken, f. Oo2v-Oo3r (p 2-3), 1707
413 APPENDIX II these works. A selection of these poems have been included in some anthologies, such as Ranutius Gherus’ Delitiae cc. Italorum poetarum, huius superiorisque aevi illustrium (2 vols.) (Frankfurt, 1608) and Damasus Blyenburg Apicula Batava sive horti Amoris mellificium (Amsterdam, 1603). The same selection has been included in G.G. Bottari Carmina illustrium poetarum Italorum (11 vols.), Firenze, 1719-1726.
414
APPENDIX III: CRITICAL EDITION
Introduction
This appendix provides a critical text edition of all poems that are discussed in this thesis. A critical edition is needed, since no modern edition of these poems is available and the quality of the printed editions of the fifteenth, sixteenth and eighteenth century leaves a lot to be desired. For this edition the most important manuscripts in which the poems figure have been consulted, as well as the three printed editions of 1495, 1502 and 1707. The aim has been to reconstruct the text as Campano wanted it to be preserved for posterity. This means that in case of variants that are likely to be ascribed to the author, the most recent variant has been chosen. Since U and H present the final stage of the collecting process, they have often provided the basis, against the texts from earlier collections. At the same time most changes that later editors have carried through have been neglected. In appendix II the various text witnesses and their interdependency have been described. On the basis of the collation of these texts some further observation can be added. In case of text variants, the printed editions often deviate from the manuscripts. In these cases, even though the changes in the printed editions can be understood, the variants in the manuscripts are mostly to be preferred. The cases in which the manuscripts differ among themselves can roughly be divided in two categories. Either Campano has made changes to the text in the process of editing, or the copiist has made changes, or even mistakes. This leads to the paradoxical situation that the text in U, at least when it comes to the first part, is most close to Campano’s intentions when it comes to text variants, but the worse text when it comes to mistakes. In case of variants, the printed editions often coincide with U, against H or other manuscript witnesses. This suggests that Ferno made use of an example that is closely related to U. Ferno’s edition cannot however be a direct descendant of U, because it does not follow U in the many mistaken readings and in cases where U is lacking verses, f does provide them. In case of different readings in U and H that are clearly no mistakes, U has mostly been followed. Because of Campano’s close contacts with Federico da Montefeltro and the fact that this collection is slightly larger, this text is likely to represent a later stage than H. For the poems in the second part of U and f, since their origin and mutual dependence is far less clear, a general system on which to base the choices could hardly be provided. In these cases decisions had to be made individually. Among the three printed editions, f is the only one that is based on one or more manuscripts, even though it is not clear which one(s). f¹ is meant as an improved version of f, but in reality the text presented is often worse. Mencken based himself solely on f¹, which may account for some of his mistakes, that would have been unthinkable had he used f as a model. Mencken however put much effort in providing an understandable APPENDIX III and correct text, so that he often corrects the mistakes of his model and his readings regularly coincide with the majority of the manuscripts. A special issue is presented by the titles of the poems. There are ample indications that the titles did not originally belong to the poems and are only dependent on the context in which the poems appear. In most cases they are not given by Campano himself but by others, to give an indication of the subject or the addressee of the poem, or both. Thus to prevent the suggestion that one title could be the right one, it has been decided to completely refrain from giving titles to the poems and to only include the variants in the critical apparatus. When it comes to orthography the aim has also been to remain as close as possible to Campano’s preferences. This means that all ae’s and oe’s are represented by a single e. In the manuscripts the plural accusative –es is sometimes written as –is, but since there is no consistency in this, they have all been changed to –es. In all other issues in the field of orthography consistency has also been the aim. The choices to be made were between t or th, c or ch, t or tt, ci or ti, mpt or nt, i or y, initial h or not. The few autograph letters by Campano have not been very helpful in making these choices, since either the issues do not appear, or he is not consistent himself. Because furthermore all these variants can be found in one or more manuscripts and there is neither consistency between the manuscripts, nor in the manuscripts internally, it has been decided to adapt the spelling to the orthography of classical Latin. Differences in spelling have not been included in the critical apparatus, nor have obvious misreadings. For the remainder the variants have been presented rather liberally, because they provide an interesting insight in the text tradition. Finally abbreviations are written out, and interpunction has been adapted to modern standards.69
Ad Chapter 1: Pius II
(1) III 23
Parnasi gemini novem puelle, 1 que Cirrhe colitis iugum atque fontem, nunc laurus hedereque pertinaces cingant templa, fores et alta tecta. Rugas excutiant senes severi 5 et iucunda iuventus, omnis etas. Flava tempora colligant corona, spargatur viola forum atque acantho,
69 This method is in line with option 1b in E. Rabbie, “Editing Neo-Latin Texts,” in: Editio 10 (1996), 26-48 (31). 416 CRITICAL EDITION parcat nemo rosisque liliisque. Decantentque novos modos poete, 10 quales audierit nec ipse Apollo, nec Tritonia Pallas et deorum, Quod terra, aut pelago, aut polo, vel usquam, celo sidera clarius micarunt illuxitque dies Sene beatus 15 Etrusceque plage sacrisque Musis. Eneas Pius et sacros poetas et letas facili manu Camenas affert in Latium suum, o, boni dii, quantum letitie huic dedistis anno! 20 Non hic Dardanios refert Penates, aut raucum Phrygie gregem Cybeles, sed Iesum dominum deum Latinum. Grandis Roma suos habet triumphos, Eneamque suum vident Quirites. 25 Quid maius potuere dii benigni largiri Latio, quid et Camenis? Felix Tusca plaga et beata terra! Tu primum Aonias referre Musas in nostram Hesperiam et fovere primum 30 ausa es. Quis tibi nunc queat decentes hoc pro munere gratias referre?
H 60v / J 139r / U 182r
Tit. In laudem Pij H De Pio II pont. Max. J Ad Pium II pont. max. Ufm 1 gemini] genium J 2 colitis iugum] iugum colitis fm 3 laurus] lauros fm hedereque] celereque U 6 iuventus] iuventa J 8 spargatur] spargant U spargitur J 13 aut pelago aut polo] aut polo aut pelago fm 14 celo] celso fm 18 Camenas] poetas U 19 boni dii] dii boni fm 21 refert] referet fm 23 Iesum] lesum f 24 triumphos] latinos U
(2) III 22
Vulgus ignavum et rude, quid capacis 1 ad fori curris geminum sedile? Non tua hec spectacula, cede Musis, cede poetis. Nunc lyram, nunc profer, Apollo, carmen 5 et poetarum decus eloquentum. 417 APPENDIX III
Flava bellorum domitrix Minerva, egida pone. Venit Eneas Pius, o Camene, surgite, ad festos cytisos venite. 10 Quid facis, Clio? Quid agis, Thalia? Plaudite mecum. Arcadum custos veterum, Lycee, nunc canens infla calamos loquaces. Menali ‘Eneam’ resonans cacumen 15 tollat in astra. Cinge Meandrum modulis canori gutturis, mulce volucres, tepentis veris argutum reserent palatum per nemora alta. 20 Quicquid usquam est letitie placentis, gaudii quicquid subeat theatrum. Concinant altum pueri senesque omnis et etas. Et ‘Pium’ celse geminent fenestre, 25 et ‘Pium’ curve resonent taberne, et fori duplex aditus frementis, et loca cuncta. O, diem nobis solide beatum! Prosperum illuxit nitidumque sidus, 30 Itale gentis miserere nostre religioni. Barbari cedet furor apparatus, Thessali sanctos metuent Quirites, Itali predam referent opimam, 35 hoc duce freti. Iam strepet totum Latium sub armis undique illustres venient tyranni ad pedes nostri domini, ferocem Turcum adituri. 40 Qua vides plaustrum gelidi Boete ambitu lentos agitare cursus, Mantuam duri venient Ruteni, casside tecti. Qua cadunt Phebi rosee quadrige, 45 ultimi rerum, veniunt Britanni et breves linquent domituri opimam 418 CRITICAL EDITION
Persida noctes. Teutones alto venient ab axe, Alpibus Cimbri properant nivosis, 50 ense Germani graviore cogunt mille catervas. Et Pii notas referunt ad aures hostis immanes furias cruenti, ut Scythe nostrum sitiant cruorem 55 vulnere euntem. Milites nullis domitos Hiberus viribus mittet gracili iuventa et procax linquent pelagus Sicani classe potentes. 60 Victor imbellem subiges Orontem, Persidis late Syrieque gazas atque odoratos Arabum liquores Tibri videbis. Sub iugum tecti venient Geloni, 65 nec premet nostros Scythicus peones, Dardani durum excutient tributum Illyricique.
H 59r / U 181r
Tit. Gratatio ad Pium H Ad musas de Pio Ufm 17 cinge] cigne HU Meandrum] Menandrum fm 23 senesque] senexque H 31 miserere] misereque H 34 metuent] metuant U metuunt fm 38 venient] veniunt fm 43 duri] dura U venient] veniunt fm 47 domituri] dormituri fm 49 venient] veniunt fm 56 euntem] emitem H mitem fm 58 mittet] mittit fm 61 imbellem] imbelles H
(3) III 2
Ite mee Muse, nam vos sera nulla moratur, 1 ad dominum; centum robora me impediunt. Atque ubi mille humilis susceperit oscula terra, poplite sic nudo dicite Pontifici: ‘Alme pater, sanctas cum nuper adivimus edes, 5 pollicitus nobis, scis bene quid fueras. Ecce, tuus vates, magna spe plenus, avaro paulatim totus carpitur hospitio. Cumque aditum ad sacrosque pedes soliumque verendum 419 APPENDIX III
postulat, occlusis pellitur a foribus. 10 Dive pater, quid aget pauper timidusque poeta, si tu non sancto colligis in gremio? Stant promissa tue que sunt oracula vocis, et nequeunt superi fallere, si cupiant. Ad nomen regnumque tuum spes vatibus ingens 15 orta, sed hic primum, principe te, exoritur. Cumque alii vates non una palatia norint, hic primis ad te confugit auspiciis. Gratior est nobis, quam nos plantavimus, arbor, cuique domo primos iecimus et lapides. 20 Ergo parva tuis crescit que plantula in ortis hec nunc poma suum destinat ad dominum, non matura quidem, sed plurima pertulit ante, que non digna tuis credita sunt calathis. Hec quoque acerba, sed est mittendi tanta voluntas, 25 ne primos fructus advena corripiat. Accipe, dive pater, quod nunc nova pertulit arbos: non erit hec unquam, si foveas, sterilis. Hec ubi dicta, mee Muse, decedite tecto, ante sed hec illi munera porrigite. 30 Quod si forte Pii titulos et nomina queret, dicite stare suis legibus historiam. Cur etiam intorto veniant hec carmina lapsu, non it equus rectis, qui macer est, pedibus.
H 48v / J 138v / U 173r
Tit. Ad Pium pontificem H Ad Pium II Pont. Max. Epistula J Ad Pium II pont. max Ufm 3 humilis] tuis f suis m terra] terris m 5 edes] urbes U 9 sacrosque] sacros fm 18 primis] primus J 25 acerba] acerba sunt fm 27 pertulit] protulit m arbos] etas fm 28 haec] hoc fm foveas] foves J 30 porrigite] porrigito U 33 intorto] in torto f
(4) III 1
Ad te, dive Pater, nostrum decus, ire iubemur 1 et terre ante tuos oscula ferre pedes. Nec rubor in vultu est nec nos metus ille moratur, insolitis rerum qui solet esse viris. Pyerides, tua turba, sumus, tua vota, Camene, 5 nemo tibi nobis notior esse potest. 420 CRITICAL EDITION
Est aliquid, tecum semper vigilasse tot annos, et lateri vinctas accubuisse tuo. Iure igitur, qui nos tua misit ad atria, nullum monstrandum nobis esse putavit iter: 10 scit bene quam pateat sacris hec ianua Musis, et timeat sanctas nulla repulsa fores. Utque Pio referas largas in nomine dotes, nec titulis cedat tam pia vita tuis. Et genus et proavi monumentaque clara parentum: 15 mirum est huic quantam polliceantur opem. Largus erat Cesar quia sanguine cretus Iulii, nil durum in pulchra nobilitate cadit. Non tamen ille tuos est ausus adire penates, et premere audaci tecta superba pede. 20 Scilicet est veritus celse fastigia sedis et tanti insuetus lumina ferre loci. Ut cum purpureum mortalia lumina solem suspiciunt, nimio ceca nitore cadunt. Arte tamen vivunt homines: cui gratia parva est, 25 externam querit conciliantis opem. Sic, qui terrena spectat de valle tonantem illum cum nequeat, te, Pater alloquitur. Nos igitur, quoniam nulla est sibi gratia tecum, pro vate ad vatem nuntia turba sumus. 30 Ne vatis ride nomen: tirunculus arma dum sequitur, certi militis instar habet. Iidem te montes, iidem fovere liquores, quanquam tam plenas non bibit alter aquas. In te Parnasi totas effudimus undas 35 et parere omnes iussimus orbis opes. Nil in laude tua potuit Fortuna, nec ipse, quicquid habes, nostri muneris esse negas. Si pater es, natos amplectere, si Pius, omnes, vatibus imprimis, alte poeta, fave. 40 Militibus duris duri dent premia reges, sint tua Pyerie premia militie. Aspera victrici qui gessit prelia dextra, Cesaris accipiet laurea serta manu. At qui Meonio flectit modulamina cantu, 45 qui valuitque lyra, qui valuitque toga, hunc tua precingat merita manus alma corona, 421 APPENDIX III
Castaliam exornet tam pia dextra comam. Arma nihil tecum, belli furor omnis abesto, ni quod pro sancta religione paras. 50 Hoc quoque conficies animo studioque sagaci, o, quantum est animi vincere consilio, nuper ut Assisium nullo tibi Marte subactum est. Magna, sed ingenio gloria digna tuo. Nos igitur tua castra sumus, tua prelia Muse, 55 si quem nos tegimus, hic tibi miles erit. Cernis ut e toto, quisquis valet artibus, orbe in tua diverso cardine signa venit. Oceani extremo veniunt e fine Britanni, nec metuunt longas tam procul ire vias. 60 Ethiopesque nigri veniunt, Cilicesque fugaces, ingeniisque petunt premia digna suis. Quaque oritur Phebus, quaque occidit, undique docti ad te per terras, per maria alta fluunt. Tu si deficias, nec erit sua gloria Musis, 65 neclecteque omni destituemur ope. Aspice, ut illustret totum sol arduus orbem, utque tegant omnem sidera celsa plagam. Hoc tibi prestandum est: vice fungeris ipse deorum, iura tibi mundi tradita cuncta vides. 70 Queque latent oculos et que potes ipse videre, accedunt cure pondera cuncta tue. Ergo in tam magno cetu numeroque tuorum aspicias vatis nomina parva novi. Quoque magis novus est, magis hoc erit ille fovendus, 75 ut tener infirma debilitate puer. Sic soliti agricole vites munire tenellas: tuta suo grandis robore planta viret. Adde quod he plante raris nascuntur in ortis et pereunt, pingui ni foveantur humo. 80 Hoc, Pie, da nobis, si te bene fronde decora cinximus et capiti sunt data serta tuo, si tibi Castalios latices sacrumque Helicona pandimus, alternam prebuimusque lyram, ut posses strictus, posses cantare solutus, 85 et natas docte vincere Calliopes: redde vicem sacrosque iuva, pater alme, poetas. Qui dare multa potest, hunc dare multa licet. 422 CRITICAL EDITION
Non tibi tu natus soli, posuere videndum excelso quodam te tua fata loco, 90 ut late possis hominum genus inde tueri, proque suis meritis premia cuique dare. Utque homines possint palmam spectare paratam, urgeat et celeres fertile calcar equos. Quid tot opes uni superos cessisse putemus, 95 grandiaque arbitrio subdita regna tuo? Esse tibi potuere satis vel parvula tecta, parvus et assiduis influus ortus aquis. Nil temere egerunt superi, ratione moventur, iudicii est illis causa probata tui. 100 Ut quoniam scires, etiam dare munera posses, sic te hominum generi prepositum esse putes. Hactenus hec: tu iusta, pater, ne despice vota, tecum aliquid nostras fac valuisse preces. Hoc te per sceptrumque tuum soliumque rogamus, 105 perque tuos alte nobilitatis avos. Sic pater imperium Enee clavisque potentes Silvius et natum sentiat esse Pium. Sic tibi felici, quicquid meditabere, cursu pergat et inceptum perficiatur iter. 110 Sicque ferus Turcus falsas rescindere leges, et veri cupiat Principis arma sequi. Barbara quam lata est, quantoque extenditur orbe, imperio accedat Teucria tota tuo. Denique quanta potest concedere munera celum, 115 Tot tibi dent larga fata benigna manu.
H 46r / J 136r / U 171r
Tit. Ad Pium pontificem H Ad Pium Papa II pont. max. U Ad Pium II pont. max Jm Ad Pium f 8 vinctas] vinctos fm 11 scit] sit fm quam] qui U 21 celse] precelse fm 23 cum] quem J 24 ceca] victa fm 29 nos] non m sibi] nobis fm 31 ride] rideas m 35 effudimus] effundimus Ufm 49 abesto] adesto f 51 quoque] quo fm 59 e fine] ex orbe fm 74 nomina] numina H novi] tui fm 75 hoc] om. fm erit ille] erit et ille m 79 adde quod] attamen m 89 non tibi] montibus U 98 influus] influis fm 107 imperium Enee] Enee imperium f 107-8 del. m 110 iter] opus U
(5) IV 1
423 APPENDIX III
Ecquid erit cum tot cumulent tibi carmina vates, 1 et terat assiduas improba turba fores? Num, Pie, nostra leges fessasque arrexeris aures, an mitti in tristes spreta iubebis aquas? Fercula fastidit stomachus vulgaria, rarum est, 5 quod sapit, hoc summi principis ora decet. Non igitur laudes, titulos et grandia gesta, auspiciisque tuis concita bella leges. Scilicet invita totiens hec accipis aure, et mea tam lato parva carina mari est. 10 Ergo alii hoc faciant, non est tibi gloria, voces languentes egri sustinuisse, minor cumque canant multi celebres altaribus hymnos, vox quoque grata deo est, que sibi poscit opem. Multa tuum exornant laudum preconia nomen, 15 aure tamen facili vix, Pie, maius habes. Ergo leges: Scythico non hec tibi mittitur hoste, nec procul a templo littera facta tuo est. Ipse mihi dextram iuveni timidoque dedisti, ad sanctos venit cum mea Musa lares. 20 Non ipse ausus eram delubra ad celsa venire, sacraque polluto templa subire pede. Misi Pyerides, ille mandata tulerunt, que timidus certa conditione dedi. Iam tunc expertus quantum pia nomina possent, 25 legatus statui nunc meus esse mihi. Sic tibi, dum vario properat rex omnis ab orbe, gratior est, qui non misit, at ipse venit. Cur, forsan queris, cum tot tua templa frequentent, ad te cessaram pergere solus ego? 30 Est ratio in promptu, quoniam atria ad alta vocari arbitrii nunquam credideram esse mei. Grandia dum volvis, stratumque a cedibus orbem erigis, a curis tempora nulla vacant. Ingerere huc me me tantis de rebus agenti 35 nolueram, gravis est, tempore ni quis agit. Non bene, cum fossis urbes cinguntur et armis, vinosum cingent ebria serta caput. Nec bene, iactatis hiberno navibus imbre, secura legitur parvula concha manu. 40 Nunc ubi, si placeat superis, nova bella parasti, 424 CRITICAL EDITION
summa tui facta est maxima propositi. Eiussi reges aciem, stipendia cogunt, magna parant terra prelia, magna mari. Dii, quorum imperio tellus, freta, sidera parent, 45 inceptis vigili rebus adeste Pio! Iam reparat cursus pelago sacra cymba secundo, et prope stagnanti mersa resurgit aqua, aptantur remi, firmos capit ancora morsus, felici incipiunt vela tumere noto. 50 Cum liceat precepta tibi molimina rerum, iam iam cursuram, perpulerisque ratem, te iam redde tibi, missamque a littore classem prospiciens, terre consule, Dive, tue. Maxima cum certo direxeris ordine, eundum est 55 ad minima, ut nulla machina parte ruat. Sic deus, ut medio solem lunamque locarit, non negat extremo sidera parva polo. Purpureo late vestis si splendeat auro, sordidam, ut Apelles, parva litura facit. 60 Magnarum quanquam stringunt te pondera rerum, et maiore sacer pulvere sudat equus, non minor est parvis intendere lumina rebus, gloria de minimis maxima cura deo est. Cum maria obducant, perstringant flumina terras, 65 vult etiam modici currere fontis aqua. Parvula, sic vigilat, latos spatiatus in agros, ne pereat longo de grege, pastor, ovis. Ipse ego, celestis, tua sector ovilia, pastor, iamque meos crines sancta corona notat. 70 Area, me miserum, sine frugibus et sine flamma fumus, ut hic oculis, sic nocet illa solo. Cum tibi tot sacris errent in montibus agni, de tanto non est, cur grege pellar ego. Destitui ne me sterili patiaris in umbra, 75 - sufficiunt ventri pascua parva meo, non mihi flaventes auri poscuntur acervi, neve tuam ut fraudes in mea vota domum. Da mihi, quo possim titulo mea tempora sacro cingere et a cetu non procul esse tuo, 80 cumque tot adveniant variis e partibus orbis, distribuenda tuum munera ad arbitrium. 425 APPENDIX III
Da mihi, quod non tu cupies retinere, sed illis concedis, quorum gratia parva tibi est. Non, Pie, dimissus per latum nuntius orbem, 85 poscendum referat qui mihi munus, adest. Tu nisi sponte tua dederis, nisi scripseris, hoc sit Campani; spes est nulla tenenda mihi. Ne, precor, expecta precibus, pater alme, rogari, sponte datum munus gratius esse solet. 90 Cum damus orati, cedit pars magna roganti, Nostra puto, si qua munera sponte damus. Forsitan externis videor tibi natus in oris, cum prope Vestinum sint mea tecta Lirim. Per cunctos it cura deum, sol omnia lustrat, 95 sublimi tegimur infima queque polo. Templa coronatis pendent ubi limina sertis, accipere externum finitimumque solent. humana indignum quodsi me forte putaris, celesti non sum destituendus ope. 100 Si mendicato vita est mihi pane tuenda, da, Pie, quo liceat vivere pane Dei. Ille dedit, quecunque latent, quecunque videmus; exemplo largum te iubet esse suo. Pauper ego, fateor, fugiens regum atria et ille 105 pauperibus medicam ferre solebat opem. Non te preterea cunctis mortalibus unum esse, sed in quosdam mitius ire decet. Cum tribuas multis et sis in munera largus, sunt quedam illustri constituenda loco. 110 Larga Pii manus est neque potes ipse negare multa dari iis, patrio qui latuere solo. Concedis cunctis, perituraque dona reportant, seu colat Australem, seu Scythicum ille polum. Que mihi contuleris, nequeunt obscura latere: 115 perveniet munus, quo mea fama, tuum. Non equidem inficior Gauri radicibus ortum, prima tulit cursus Ausonis ora meos. Alitibus celum domus est et piscibus equor, silva nemusque feris, hospita terra viro est. 120 Ergo, ubi sublatis tetigi puer era pennis, Tyrrhena cepi sistere fessus humo, Ales ut e plumis alium decurrit in orbem, 426 CRITICAL EDITION
et quo non orta est, libera penna volat. Hic mihi, dum Auguste vestigia persequor urbis,70 125 precipiti currit septimus annus equo. Non equidem, ut placeam nimium mihi, talia dicam, - heu quantum exigui penitet ingenii - sed ratio est reddenda deo, reddenda parenti: facta deo narro nunc mea, narro patri. 130 In specula tanquam celsaque in puppe locatus, tam claro nequeo delituisse loco. Nobilis obscurum perlustrat gloria nomen, et vaga sublimes undique pungit equos. Campano qui tunc crescebam incognitus agro, 135 Iam prope sum tota cognitus Hesperia. Cognitus Hesperia sum, inquam, ne contrahe vultum, non fueras tantus, cum tibi notus eram. Tempora puniceo fuerant precincta galero, candida sed nullum dextra tenebat ebur. 140 Viveret, o utinam, Novarinus, plurima de me, si non decipior, dixerat ille tibi. hunc tu, si vivens tantum mihi faverat olim, extinctum pro me nunc dare finge preces. Vivendi sancte studio et virtutis amore, 145 mollierant animos otia nulla meos. Primum igitur tenero fictos deflevimus ignes71 carmine, stultitie hec ultima meta mee. Ante velut teretem vitis quam proferat uvam, purpureo sterilis rore madescit aque, 150 utque seges gracili cum nondum turget arista, luxurians vanis floribus ornat humum. Trasimeni72 post hec placidum descripsimus orbem, et qualis, quantus, quove sit ille situ. Piscibus ut vincat Meotida, classibus equor, 155 ut medium exornent oppida culta lacum. Nec tacui laudes Perusine73 gentis, ut omnem Cesareis vincant artibus Italiam. Mille duces armis, totidemque in legibus urbem ornasse, utrumque hoc Cesaris esse putant. 160
70 Urbs Augusta = Perugia 71 His first book of love elegies was dedicated to Diana, the mistress of Braccio Baglioni. 72 De felicitate Trasimeni (1458). 73 Perusinorum ad Pium oratio (1458). 427 APPENDIX III
Mox et in ingratos ardentia prelia movi, ostendi genus hoc nil placuisse mihi.74 Braccius, ut fuerat longos extinctus in annos, mensibus exeruit vix caput ille tribus.75 Tempora si factis, scriptis equentur et anni, 165 etatem vincent cura laborque meam. Virtutem exacuunt et pene et premia, iure pena malis danda est, premia danda bonis. Nunc quoque, quam varia est, quid possit opinio, nostre exigue magnum cuditur artis opus. 170 Cuditur, hei misero, sed non excuditur; errat inter mularum nunc mea Musa greges. Currimus huc illuc nullaque in parte moramur, una vel ingenio non datur hora meo. Dum sedet umbrosa pleno canet arbore ventre, 175 cum ieiuna volat, mesta silebit avis. Sepe etiam posite, quasi truncus, inhereo mense, alterius stomaco metior ipse famem. Perferat ut venter ieiunia longa sitimque vix longum sese stantia crura ferent. 180 Ha, Pie, servassem que tu precepta dedisti76 ostendens, quibus est curia plena malis. Iure igitur plector, monitus discrimen adivi, per notos laqueos cognita tela ruo. At, Pie, maior erit clementia, qui tua sprevit 185 precepta, hunc tristi nolle perire situ. Redde mihi Musas, redde otia, redde quietem, officio hec uno reddere multa potes. Sit mihi, qua tanto nitidus vehar agmine, mula, sit toga, sint unde hec sustineantur opes. 190 Quippe tuum, si quicquid habet sub nubila, celum est, iuraque totius nunc Pius orbis habet. Ipse tuus cum sim, debes, que cura deorum est, de rebus nobis consuluisse tuis. Dives habet fruges, hortos, vineta, legumen: 195 cuncta tamen natis contulit ille suis. Cumque habeant domini vilissima corpora servos,
74 De Ingratitudine Fugienda (1457). 75 De vita et gestis Bracchii (1458). 76 Pius’ De Curialum Miseriis (1444). 428 CRITICAL EDITION
dormire hos nuda non patiuntur humo. Sic hedos numerans, numerans quoque rusticus agnos, non volet hos tristi deperuisse fame. 200 Quicquid habet curam, rerum quodcunque tuetur, qua summa possit, nutrit et auget, ope. Nec ratio hec sola est, prosit ratione moveri, votis accedent pignora multa meis. Si patriam spectes, Musis iubet illa faveri, 205 Pegasides spretis ne repetantur aque. Ut dedit Aoniam Latio Tyrrhenia Musam, sic per Tyrrhenam est auxilianda manum. Sin te perspicias, tenerisque a cursibus annos excutias, Cirrhe pulvere plenus eris. 210 Prelia dum suades facili mortalibus ore, adversus Turcas expedienda manus, non tantum hostis atrox, quantum tua lingua movere, nescio quid graviter diiaculata, potest. Spicula torsisti, nostris non nota pharetris, 215 qualia nec prisca torta fuere manu. Hesimus attoniti, qualis qui tactus ab igni est ethereo: quo sit, non videt ille, loco. Ense gerant alii, moveas tu prelia lingua: ut bene movisti, sic bene mota gerant. 220 Dux acer vestigat equos, vestigat et arma, querit, quem telis, quem quoque donet equo. Prefectos legit ille bonos, legit ille tribunos, ignavus laudum nil ibi miles habet. Musa Pii quamvis longe supereminet omnes, 225 parque fere imperio sit tua lingua tuo, non magis elucere potes, quam si agmine cinctus Pyerio, multos, qui superentur, habes. Serta coronatus cum gestat Olympica victor, primum inter mille gaudet habere decus. 230 Non ego, quo cunctis ingentia munera fundas, postulo, quando tue hoc vix paterentur opes. Munera da paucis, incendent munera multos, paucorum numero sim tamen unus ego. Strenuus ut miles non omnes excipit ictus, 235 sepe cadit, quisquis sepius arma movet. Si semel hic impegit equum, si straverit hostem, perpetuum ceso nomen ab hoste feret. 429 APPENDIX III
Non etiam nummos atque aurea postulo vasa, sed que sunt aliis distribuenda, peto.. 240 Forsitan id queris, quo munus in orbe petamus; arbitrii hoc totum sit, Pie magne, tui. Sint modo, per claras urbes quecunque dabuntur, ut sit et inde tibi gloria sitque mihi. Sic, qui constituit volucrum certamen equorum, 245 illustri gaudet pallia stare loco. Egressum ignotas sedes obscuraque tecta, in celebri, qua vis, urbe manere iube. Sive velis Regno nobis dare munera, non me despiciet, quamvis rex fera bella gerat. 250 Seu placet Etruscis - hac sum quoque cognitus ora - seu alio, quo vis, non mihi clausa via est. Reges accipient, ni fallit numen, et urbes, orbis et in nulla parte molestus ero. Tu modo fac, memori signans mea vota tabella, 255 ‘Campani’, dicas, ‘sit locus iste mei’. Tunc ego, pane tuo vivens nactusque quietem, maiore incipiam cuncta referre tuba. Sive velis strictum, seu dicere gesta solutum, ultimus in multis non tibi testis ero. 260 Innumeras laudes, alte preconia lingue, et grandi partas ore canemus opes. Nobilis ut proavis, totum lustraveris orbem, perque gradus semper gloria adaucta tua est. Nullas unquam es adeptus opes, nil grande parasti , 265 ut subito ad maius non sit aperta via. At Fortuna, tuis si quando erat obvia ceptis, virtuti cessit succubuitque tue, ut primum mitra donatus et inde galero, postremo rerum maxima sceptra geris. 270 Omnia pacasti, bellum quod inhorruit Umbris extinctum sine vi sanguinis, hostis abit. Assisium quanquam, quanquam Nuceria ad illum descierat, nulla hec cede redacta tenes. Cumque tue multum patrie debere putares, 275 huic quoque tam miti es auxiliatus ope. Anguis ut horrendo, quem viderat, omine Penus vastabat, sic tu surrigis Italiam. Quacunque incedas, concordia regna relinquens, 430 CRITICAL EDITION
felici peragras oppida et arva gradu. 280 Grande tuum imperium, quantum nec lingua referre possit, at hac potuit grandius esse via. Edita magnarum superans fastigia rerum, qui se demisit vertice, maius erit. Ulmus ut umbrosum, postquam extulit alta cacumen, 285 hoc uno fiet grandior illa modo, Si late spatietur humo, si gramen opacet et pecus extensa contegat Umbra coma. Ergo, ubi de summa, magnis de rebus, agendum est, non opibus parcis, non tibi, non senio. 290 Stant animi in Turcum iuvenes, ratioque senilis, sic vivam, ut tanto dignus es imperio. Nam qui, cum possunt, faciunt preclara, diu se imperio dignos ante fuisse docent. Sic, ubi sceptra tibi, romanaque iura dederunt, 295 seu homines lecti, seu deus ille fuit, protinus armasti bellum, mandata dedisti, ut celeres properent ad tua iussa duces. Pontifices si quis multos tibi conferat uni, gesta tuus plura hic unicus annus habet. 300 Humanis igitur cum tam sis utilis, annos eripiant aliis sidera dentque tibi. At si te quicquam poterunt mea vota movere, Hoc precor, ut sanctos detur adire pedes. Non ego te obtundam verbis, non munera poscam, 305 Vix salve dicam, vix, Pie magne, vale!
H 66r / J 140v / U 186v
Tit. Ad Pium pontificem commendatio H Ad Pium secundum pontificem maximum epistola J Ad Pium II pont. max Ufm 1 ecquid] equidem U 2 terat] teret fm 5 rarum] rerum U 9 invita] in vita f 12 minor] miror J 14 poscit] querat fm 21 nec fm ipse] tunc Jfm 25 nomina] numina fm 29 cum] cur U 31 quoniam] quando U atria] arva J 32-33] 33-32 U 34 curis] rebus H 36 ni quis] inquis f 45 sidera parent] siderent U 46 adeste] adesse f 47 pelago] pelagi J 49 capit] petit H 51 liceat] liceant m 57 locarit] locavit fm 62 pulvere sudat] pondere sudet fm 65 flumina] limina U 66 aqua coni. De Beer] aquas HJUfm 74 pellar] pellor U 91 orati] oranti fm 111 neque potes] neque enim potes fm 112 iis] om. fm 114 scythicum] scythicumque H 123 plumis] pluviis fm 128 exigui [...] ingenii] ingenii [...] exigui fm 132 nequeo] nequii H 133 nobilis] nobis fm 135 tunc] nunc Hf 136 cognitus] notus 431 APPENDIX III in fm 138 tantus] tantis U 139 precincta] percincta U 159 duces] aures f viros m totidemque] totidem quoque fm in] om. Ufm 160 utrumque] verumque U 165 equentur] equantur U 169 nunc] hunc H 171 hei] heu m 175 canet] canit fm 188 hec] hoc Um 191 si quicquid habet] quod habet totum m 195 fruges hortos] hortos fruges fm 199 numerans quoque] numeransque U 204 votis accedent] accedent votis fm 209 a cursibus] accursibus U 213 movere] movetur m 214 diiaculata] diiacula U 217 hesimus] ne simus H 220 gerant] geras m 232 paterentur] patientur m 241 quo] quod fm 244 ut sit et inde] ut sit inde f utque sit inde m sitque mihi] et inde mihi m 264 tua] tibi U 265 opes] est f 278 surrigis] surripis m 282 hac] hoc fm 284 qui] quod H 288 Umbra] Hetrusca fm 289 magnis] magis m 297 bellum] populum m 303-306 om. Ufm
(6) S 4
Nunc citharam, nunc plectra, miser Campane, reconde, pendeat eiecta tinnula chorda lyra. Non laurus hedereque iuvent, non Thespias unda teque nega extincto vivere velle Pio. Ille, tui suaves fuerant quo iudice cantus, 5 ingenii fautor concidit ille tui. Nunc citharam, nunc plectra, miser Campane, reconde, pendeat eiecta tinnula chorda lyra. Nocte licet centum spatiosa volumina surgant et totidem crescant uberiora die, 10 aure cares, laudat nemo, dat premia nemo, nec te quod possit pungere calcar habes. Ossa Pii ingeniumque tuum studiumque tulerunt queque Pium, hec eadem te quoque busta tenent. Nunc citharam, nunc plectra, miser Campane, reconde, 15 pendeat eiecta tinnula chorda lyra. Thestias incolumi servat si stipite natum moxque dat ardenti fratribus orba rogo. Coniugis Alceste moriens si fata redemit Admetique animam protulit illa suae, 20 visa tua ut Gracho est potior, Cornelia vita cumque tuam posset, perdidit ille suam utque Machaonis proles Theseia succis materna Isiacus vixit ut arte puer. Cur mihi non etiam fatis opponere fata 25 aut uti certa non licet artis ope? Si Stygias movit vates Rhodopeius undas 432 CRITICAL EDITION
et que tunc primum vix patuere fores, cur mihi que cithara est, fidibus caret illa sonoris? Heu non Strymonie par fuit illa lyre. 30 Nunc citharam, nunc plectra, miser Campane, reconde, pendeat eiecta tinnula chorda lyra.
S 121r m CE V 3
Tit. Ad Papiensem de Pii pontificis obitu S 17 Thestias] Theseus m 18 orba] ossa m 31-2] om. m
(7) mVIII42
Quod victore Pio fieri tot prelia cernas invalidasque suis hostibus esse manus, ne mirere: Pium peperit Victoria mater, matris ab uberibus vincere sic didicit. Quod placeant silve et magnum lustraverit orbem: 5 Silvius hac genuit conditione pater. Iure igitur late spatiatur et omnia vincit: patris obire orbem, vincere matris habet.
H 78r / J 147v / L 60r / L¹ 53v / R 210v / U 196r / V 14r / W 61r / Z 99v / f (Vita Campani) 9v-10
Tit. Laudat Pium ab utroque parente H De Pio II. Pont. Max. Epigramma J In laudem Pii II Pontificis LL¹R Ad Cardinalem Papiensem UV om. Wf Assentatur Pio Pontifici Maximo Z In Pium II Pont. Max. m 1 cernas] cernis LL¹R 3 peperit] genuit LL¹R 5 magnum] magnum et H 6 hac] hic R
(8) R 1
Silvius est genitor pape, Victoria mater, non silvas, verum balnea papa colit. Restabat matris spes, sed Victoria mater non se, non hostes vincere posse dedit. Bruta petant silvas, quisquis vult vincere vincat: 5 papa nihil patris, nihil quoque matris habet.
L 60v / L¹ 54r / R 210v / S 79r
433 APPENDIX III
Tit. Contra, subtracto nominis auctore LS Contra Pium pontificem, tacetur nomen poetae (obtrectatoris epigramma est in marg.) L¹ In Pium R
(9) IV 18
De Tiburtina, quam nunc Pius erigit, arce, quid vulgus tota sentiat urbe, rogas. Esse Pium mitem nec tam punisse nocentes, quam, ne quid noceant, consuluisse ferunt. Cumque sit ingenio princeps mitissimus, aiunt 5 Argolici Graiam Tiburis esse fidem. Nil igitur doleas, Tibur, si clauderis arce, non Pius hoc, sed tu surgere cogis opus. Atqui si quereris scimus que causa querele: Eneas Phryx est, Tibur es Argolicum. 10
H 79r / J 155r / U 197r / V 15r / Z 111v
Tit. De arce iuxta Tybrim H De Tiburtina arce J De tyberina ad cardinalem Papiensem U Ad Cardinalem Papiensem Vfm De arce Tiburtina a Pio erecta Z 2 vulgus tota] tota vulgus J 4 quam] quem f 6 Tiburis] Tyburtis m 9 atqui] at tu fm si] om. m 10 es] est fm
(10) IV 19
Que nova sublimi prosurgo Pientia colle, causa mei que sit nominis ipsa loquar. Me Pius ornatam templo murisque refertam esse urbem voluit, que fueram oppidulum. Tecta sue gentis primis in menibus edes, 5 tangere marmoreum sidera iussit opus. Addidit et nomen, lectoque e more senatu, urbanos ritus et nova iura dedit. At vos, vicina que surgitis oppida terra, invidie nihil est, nam genui ipsa Pium. 10
H 79r / J 155v / U 197r / V 15v / Z 100v
Tit. Pientia civitas facta H De civitate Pientina epigramma J De Pientia nova Ufm Pientia V Loquitur Pientia a Pio urbis creata Z 1 prosurgo] surgo fm 5 primis] primisque J 7 lectoque] lectumque fm senatu] senatum Vfm 434 CRITICAL EDITION
(11) IV 17
Ere Pium, Andrea, celas, Pratensis, et auro, vivo ut credatur vivus in ere loqui. Sic oculos, sic ora trahis, numerantur et anni, quos notat artifici ruga magisterio. Certa manus, quam nec tenuis vel linea fallat, 5 queque ipsum possit vincere Pirgotelem. Ars tamen heu manca est umbrasque effingit inanes, nec summi dotes principis illa capit. Quippe animum invictum facundaque pectora nullo hec tractu potuit sculpere docta manus. 10 Tu tamen es dignus, cui prospera vota precemur, si minima effingis, maxima cum nequeas.
H 78v / J 148r / U 197r / V 15r / Z 100r
Tit. Ad Andream sculptorem H Ad Andream Pratensem sculptorem JUfm Ad Andream V Ad sculptorem effigiei Pii Pont. Max. Z 1 Pratensis] Patensis V 5 quam] qua V 10 hec] nec fm 12 maxima] maxime Z
(12) V 6
Ampla crumena mihi, nummi, Pie maxime, desunt; accipere in promptu est, sed dare difficile. Argentum nuper dederas mihi, nunc peto plumbum; maxima tunc dederas, da, Pie, nunc minima.
H 83r / R 222v / U¹ 200v / U² 230r / V 14r / Z 104v
Tit. Ad Pium Tetrastichon H Tetrastichon ad Pium R Ad eundem U¹fm om. U² Ad Pium pont. V Ad Pium max. Z 1 ampla] est HRZ 2 in promptu] inpromptum U²
(13) V 8
Fanum Fortune, per tot vix prelia victum, militibus terra, classe premente mari. A quovis alio potuit Fortuna tueri te, tua solius vincere fata Pij est.
435 APPENDIX III
H 83v / U 201r / Z 105r
Tit. Fanum victum tetrastichon H Assentatur Pio Z De Fano Um De Phano f
(14) IV 6
Ne quere, unde tibi mea venit epistola, Lolli, nunc nunc umbrosis scripta sub ilicibus. Tu quoque, dum lateri supremi principis heres, errantem sequeris per loca senta Pium. Sic placuit, quorum nihil est revocabile, divis: 5 causa mee pestis pernitiosa fuge est. Sic, quia fata iubent, silvis erramus opacis, Musaque iam pridem rustica facta mea est et quanquam Aonides silvas habitare feruntur, Aonis ad nostrum non venit ulla nemus. 10 Est studium casses curve sub margine ripe tendere, quo pavidas decipiamus aves, aut, ubi luciferos Phebus vehit ere currus, audacem sequimur per iuga summa canem. Sobria vix unquam nobis Aurora videtur, 15 primo mane omnes ebria turba sumus. Talis Amazonio iuveni fuit usus in altis saltibus attonitas exagitare feras. Nocte lupos errare vagos et tecta subire cernimus, ac nostris meiere liminibus. 20 Agmine visuntur media inter prandia cervi ante ipsas passis cornibus ire fores. Surgimus e mensa celeres, epulisque relictis precipiti ruimus lustra per alta pede. Ille canem irritat, nemus hic clamoribus implet, 25 ille alius notas currit ad insidias. Forsitan umbrosi nemoris que gratia, queris et quibus assurgat grandius arboribus. Expediam paucis: surgunt iuga solis ab ortu, grandia perpetua frondis operta coma. 30 Dat mare prospectum pars altera, at altera silvas, ostenduntque tuas culmina celsa Senas. Mox tereti excurrunt tractu clivoque recurvo, partibus ut vallis clausa sit una tribus. Qua patet, hac sese pluvius licet ingerat Auster, 35 436 CRITICAL EDITION
a longa fractus non nocet ille via. Convallis media est facilisque ascensus in omne est nemus: ad summum, qualibet, ire potes. Hic laurus Phebo sacra, hic et Iovis ardua quercus, cesaque funereis atra cupresse rogis. 40 Plurima roboribus mediis Cybeleia surgit pinus, que latum prospicit alta nemus. Tum rigidus sterili fugiensque a subare cortex atque tue fluxa fronde, Hymenee, nuces. Hirsute pendent casumque minantur hiulco, 45 quacunque incedas, cortice castanee. Hic cibus est, hec esca fuge, montanus amicas fons vene prebet uberioris aquas. Fistula parva iacit tenuique sipunculus ore, que lavet arentes frigida lympha manus. 50 Obstrepit assidua pellex Philomela querela, ad variosque vocat teque Piumque modos. Murmur aque, silve sonitus, cantusque volucrum, vel superos possent detinuisse deos. huc ergo, cum prima leves Aurora quadrigas 55 exeret, ad silvas tuque Piusque veni! Cortice adhuc tenero et multum candoris habente, castanee facient fercula mille tibi. Atque etiam morsu iam iam matura tenaci spinoso dabimus stipite mespilia. 60 Queque suis pendent etiam nunc vitibus, uvas servata adventu pergula longa Pii est. Ficus, adhuc facili quam miscuit incola silve, implebit cupidas nec subeunda manus. Ipsa suas etiam montana cacumina partes, 65 aurea cum croceo stipite fraga dabunt. Atque etiam, ne quis subsit venientibus error, hoc primo positum limine carmen erit. Nunc laurus ridete sacre, ridete cupressi et tu, que placido murmure curris, aqua. 70 Terrarum domino, postes et tecta, patete: quid potuit maius vos adiise Pio?
H 75r / J 146v / R¹ 22r / U 194r / Z 109v
437 APPENDIX III
Tit. Ad Ghorum Lollium Pij secr. Z Ad Gorum Lollium HJR¹Ufm 6 causa mee pestis pernitiosa fuge est] causa fuit nostre pestis acerba fuge R¹ 10 nostrum] nostram JR¹ 12 pavidas] pavide UZfm decipiamus] decipiantur Zfm 13 ere] era U 14 iuga summa] loca senta Z 20 mingere] meiere Ufm 21 media] mea Z 25 ille canem irritat] irritat ille canem fm 29 iuga] iura U 34 ut] hic m 35 hac] hic m 39 hic et] et hic Z 40 atra] apta fm cupresse] cupressa m 47 est] om. JR¹ 49 iacit] iacet Hm tenuique sipunculus] tenui consipunculus U 50 lympha] om. R¹ 54 possent] possunt H 56 exeret] exerit J 64 cupidas] om. R¹ avidas f avidos m manus] moras fm 66 fraga] fragra Hfm 67 Atque etiam, ne quis subsit venientibus error] Tum vobis ne quis subsit venientibus error R¹
(15) V 7
Pondere dum premeris gravium, Pie maxime, rerum imperiumque tuo vertitur arbitrio, esse aliquid poterit quo sarcina tanta levetur, nec gravis assiduas conterat ansa manus? Hoc aliquid iocus est, Muse hunc peperere loquaces, 5 laxet ut obsessum mordica cura iecur. Bello etiam tuba rara ferit clangoribus auras Eacide ancipiti Marte petita lyra est. Iupiter audaces bello Titanides urgens timpana defecti iussit adesse Phrygis. 10 Sic tibi dum Gallos vincis totaque fugantur Italia in Turcos dum procul arma paras. Dumque Austro Hesperios placas Zephiroque Britannos Germanumque suo se petere ense vetas, deque tuis gestis dum mille volumina surgunt 15 preclarumque facis testis et auctor opus, tunc tibi Campanus versu lusurus amico, qui te onere in tanto sublevet, aptus erit. Tempore si ludam, poteris permittere, sin sim improbulus, facile est pellere et improbulum. 20
H 83r / U 200v / Z 104v
Tit. Ad Pium pontificem H om. U Ad Pium max Z Ad eundem fm 1 gravium] gravi fm 6 laxet] lasset U 7 tuba] turba f 12 Turcos] Turcas U arma] armas U
(16) IV 8
438 CRITICAL EDITION
Cur ventosa tibi mittamus tubera, Lolli Nursia, que gelidis occulit in nivibus, dicam: te magno, fateor, donare volebam munere, vel dama, vel grue, vel lepore, sed novus exoriens sanctis natalibus annus 5 nec dubia expectet retia nec laqueos. Tubera venerunt, placuerunt tubera, cum sint sepe etiam magnis fercula Cesaribus. Forsitan ignoras qua sint hec arte paranda: ignito primum condito sub cinere. 10 Mox, ubi ventoso flatu dant sibila, tolle abrasoque levi cortice, sparge piper. Adde merum tritumque salem seu forsan acetum atque oleum, quamquam hoc non probat Apicius. Sed sua cuique gula est, spreto Pius ipse Falerno 15 et lora et crudo gaudet aquaticio. Sed tamen exacta sint ultima tubera cena, inflant turgentem, sumpta prius, stomachum. Tu cape que Iani mittuntur dona Kalendis talibus auspiciis totus ut annus eat. 20 Dignum te esse scio donis maioribus, at nunc non tibi ego munus mitto, sed augurium.
H 77r / R 221r / S 79v / U 195v / V 25v / Z 98r
Tit. Ad Gorum Lollium HRSUVfm Ad Ghorum Lollium Pii secretarium Z 3 fateor] fatear fm 6 expectet] expectat Hfm 16 aquaticio] aquatico fm
(17) III 32
Par unum, Gore, turturum volebam largiri tibi. Iam peracta grandis, que centum cavea obserat columbos, confecti numeri, quibus pusillum munus cresceret, ut solent poete, 5 cum cepit subito mihi liene torqueri stomacus, dolere venter, et plus reddere, quam datum fuisset. Accitus medicus iubet repente hos ipsos mihi turtures parari 10 et factus nimium licentiosus, 439 APPENDIX III audaci ipse manu, nihil timentes primum feminam et hinc marem perimit, tam penna varios obesulosque, ut credas oculos Pii tenere 15 iucundum potuisse qua strepentes connectit Philomena cantilenas. Nunc ne decipiare, neu queraris, servatam tibi mitto portionem. Cum venter sibi turtures rogarit, 20 tu versus si habeas, nihil querele est.
H 65r / U 186r / Z 102v
Tit. Ad Gorum Lollium Hfm Ad Gorum Lollum Pij II consobrinum U Ad Ghorum Pij pont. Max. Secret. Z 7 torqueri] torquens fm 8 reddere] redderet U 13 perimit] peremit Z premit fm 17 connectit] comedit U
Ad Chapter 2: Giacomo Ammannati
(18) III 24
Vadas, mea Musa, ad deos minores, 1 Lucensem, solidum meum favorem, quando indigna Iovis videre frontem, nec mirere, tuam me opem invocare et sanctas totiens remitti ad edes. 5 Solum si quis inops habet clientem, si solamque togam, unicumque amicum, hoc uno utitur ille parte in omni. Idem pistor erit, coquusque idem, idem portet aquam, thorumque sternet. 10 Ergo cum ipse habeam togam aut amicum Nullum, quam te, alium, negotiorum in te, quicquid erit, refundo curam. Vade ergo intrepida ad Pii Penates Lucensique meo refer sub aurem: 15 ‘Campanus tuus et tibi salutem dicit plurimam, et orat, ut iuves se. Promittit tibi se tuum futurum vita omni reliqua; et viros iuvare cum possis, nihil est magis deorum. 20 440 CRITICAL EDITION
Crescas muneribus licet, peribunt. Cetus te medium tegant, peribunt. Nunquam, que facies bonis, peribunt.
H 61r / J 140r / U 183r
Tit. Ad Lucensem H om. JU Ad Papiensem fm 4 tuam me] me tuam fm 6 solum] solus H 9 coquusque] coquus et fm 10 om. U sternet] sternat m
(19) VI 24
Urbe tua fessus tandem discedo, Quirine, et repeto Adriaci littora salsa maris, Saxa Iuvantinus tumidum qua volvit in equor, auctus ad hibernas turbidus amnis aquas. Care, vale, et nostrum serva, Papiensis, amorem 5 et dato pro reditu prospera vota deo. O, titulos habiture meos post ultima fata, queque superfuerint ossa dature tuos. Fortunam equasti mecum rebusque secundis queque tibi, hec eadem flavit et aura mihi. 10 Fidus ego Pylades tibi sum, tu carus Orestes, taurica nec nostram vicerit ara fidem. Non eadem semper rerum mensura petenda est, robustum sequitur fessa iuvenca bovem. Sic minor Alcida magno Peantius heros 15 perstitit assiduus per nemora alta comes. Impar et Egide petulanti Ixione natus ad Stygias una nocte tetendit aquas. Ardua Titides Troie dum menia pulsat, inferior potuit Ithacus esse comes. 20 Sic quoque post cineres, quamquam tua gloria maior, non erit hec titulis invidiosa meis. Nos quoque in exemplum rari veniemus amoris nec potior nostro nomine Damon erit. Tu facis, invitus Roman Tiberimque relinquam, 25 cogar et abscessu tristior esse meo. Divellor tristique abeunt mea viscera corde, in partes videor sectus et esse duas. Qualis erat, tunc cum vidit miseranda iacentem, Egialum toto littore Calliope. 30 441 APPENDIX III
Qualis et ultrici defessus lumina dextra Dircea genitor ductus ab Antigone. Una tamen spes est, tanti medicina doloris, longa quod absenti non sit habenda mora. Ad paucos me, magne, dies, Papiensis, habebis: 35 vix duo que Phebus signa recurrat, erunt. Cum primum roseos flores et gramina tellus exeret et tepido crescet in orbe dies iucundamque ferent sulcis gaudentibus auram per fata Agenorei cornua torva bovis. 40
U 206v m VI 23
Tit. Ad Iacobum Cardinalem Papiensem U Ad Papiensem f Ad Cardinalem Papiensem m 1 fessus] fossus U 2 salsa] fulva U adriaci] adriatici fm 15 Alcida] Alcidae f 19 Titides] Titide Uf 38 exeret] exercet U
(20) V 1
Ille tuus stella natus, Papiensis, iniqua Campanus, grandis nomine, parvus ope, ille tibi de se, quanto licet ore, fatetur, ante oculos nudans vulnera queque tuos. Hec partim Fortuna tulit curamque moratur, 5 partim multa tua facta fuere manu. Ipse, meam primus solvens e littore puppim, depuleras cursus in maria alta meos. Coniectum in dubios fluctus vastasque procellas, 10 heu miserum, mediis deseris equoribus. In medio pelago peregrinis deseror oris, unde nec ut properem cerno, nec ut redeam. Missus ad incultos Calabros, onagria regna, 15 Arcadicis fiam tensior auriculis atque illic utinam liceat consistere, sed me sanguinee extrudunt martia turba manus. Heu, quanto utilius meliusque nobis fuisset, intonsum premeret si mitra nulla caput. 20 Quid nunc pendentes circum sacra tempora criste curvaque deflexo cuspide sceptra iuvant? Illic infelix Scythie deserta videbor, inter et elingues vivere Troglodytas 442 CRITICAL EDITION
Ambrachiosque sinus Ioniaque equora cernam, 25 Scillea forsan deperiturus aqua. Dextra Tarentinos ostendit, leva Sicanos, littora Tyrrheno vix bene nota mari. Scilicet in medio, canibus succincta nefandis, evomit assiduas ore Charybdis aquas. 30 Non illo transire rates, aut humidus Auster, aut Scythico veniens sustinet orbe Notus. Sed fac, posse viam terra ve mari ve patere, impediat longum nec ferus hostis iter. Ingenii seges alta mei vel tota peribit, 35 vel vires certe supprimet illa suas. Eoo rugosa venit de littore, sed fit Cantabrico sterilis carica in Oceano. Non eadem tellus fert omnia, mel parit Hybla, excrescit letas Gargarus in segetes. 40 Dant Arabes cassiam, Panchaia thura Sabei, Ebrus Bistoniis est memorandus equis, imbellis Syrus est mollisque ad prelia Phenix, Sarmata finitimis acer Iapydibus. Ingenia e celo veniunt sublimia Tusco, 45 sed Calabro fiunt languidiora solo. Eripe scylleo tu me, Papiensis, ab estu, ne ductu videar naufragus esse tuo, cumque habeas multos in quos tua maxima confers, munera servatus, vatis non tibi turpis ero. 50
H 80v / U 198v
Tit. Ad Papiensem conqueritur H Ad Iacobum Cardinalem Papiensem U Ad Papiensem f Ad Cardinalem Papiensem m 9 depuleras] depulerat U 10 dubios fluctus] fluctus dubios fm 11 mediis] dubiis fm 19 meliusque nobis] nobis meliusque fm 30 ore] ora m 35 seges] sedes fm 46 fiunt] fecit fm 47-50 = V 3, 1-4 Ufm 50 turpis] vilis fm
(21) V 12a
Que venit Hybleo condita cucurbita melle, a domina nunc nunc est mihi missa mea. Ipsa suis manibus patulos extendit in orbes, et misit nobis ipsa suis manibus. Impressitque notam ciste, brevibusque tabellis 5 443 APPENDIX III
ornavit munus cauta puella suum. ‘Atque hac estivis utare caloribus’, inquit, ‘ignivomis cum sol flammeus ibit equis. Hanc tu si vitrea sitiens infuderis unda, ardentem extinguent frustula parva sitim.’ 10 Est ita, et experior, iam nunc abiere calores, quando mee recreor muneribus domine. Scire quis hoc possit, dederit si basia ciste, atque hanc collecto presserit in gremio? Quis, si etiam dulci dederit mandata querela, 15 et molles etiam ruperit in lacrimas? Nunc partem exiguam mitto tibi muneris huius, ut domini fiat, quod fuerat domine. Illa mei, nec me pudeat tibi vera fateri, imperium quondam, nunc Papiensis habet. 20
H 84r / R 222v / V 26r / U 210v / Z 106r
Tit. Laudat munus domine sue ad Papiensem H Ad Papiensem Cardinalem R Ad Cardinalem Papiensem V Ad eundem Ufm De dono cuiusdam amice ad Cardinalem Papiensem Z 1 cucurbita] concurbita Z 2 nunc] om. R 7 hac] hic R 9 infuderis] infunderis Z 10 extinguent] excutient Z 11 ita et] ista U abiere] abire V 12 mee] me V 15 quis] quid HR 16 molles] dulces UVfm 17 nunc] hanc U
(22) VII 11
Mille tuam vellunt aurem, Papiensis, amici, queque rogant, miro conficis ingenio. Solus ego studium nequicquam operamque requiro, Campano soli non operosus homo es.
R 225r / S 86r / U 210v
Tit. Ad Papiensem RSf om. U Ad Cardinalem Papiensem m 1 tuam] tua U Papiensis] Papienses U
(23) VI 2
Dure, quid optatas claudis mihi, Ianitor, edes, stare diu cur me sic facis ante fores? Non tuus hoc iussit dominus, non sacra parantur 444 CRITICAL EDITION
Istic Eleusine Triptolomea dee. Prandia non fiunt, arcana domestica cessant, 5 iam multo somnus nec solet esse die. Cur mihi suspenso prope tertia labitur hora, nec sinis ad dominum, Ianitor, ire meum? Scilicet ignoras, que sit mihi gratia secum, nescis, Campanum quam Papiensis amet. 10 Pande fores, aperi, mi Ianitor, exere postem, prebe aditum domino, non ego multa loquar. Vana precor: nescit precibus mens rustica flecti, ianitor his ipsis durior est foribus. Pendeat hoc igitur primo sub limine carmen, 15 officio functum quo sciat ille meo. Sepe tuas olim venio, Papiensis, ad edes, sepe tuis iubeor pendere pro foribus. Si me audire fores occlusaque ianua possent, non opus hic aures esset adire tuas. 20 Preteriens possem celsas spectare fenestras, dicere ‘Salvete’ iis et mea facta loqui. Nunc, quoniam surdi postes me audire iubentur, que dixi, e mutis postibus accipies. Cur igitur raro veniam, iustissima causa est, 25 expectare tuas non placet ante fores.
H 87r / U 203v / Z 108v
Tit. Ad Ianitorem Cardinalis Papiensis HZm Ad Ianitorem Papiensis Cardinalis U Ad Ianitorem Papiensis f 3 hoc] hic Z non tuus] hoc tuus fm non sacra] num sacra m 4 istic] istuc Ufm 9 ignoras] horrescis U hoc nescis fm tecto] secum HZ 19 possent] posset UZfm 22 iis] his fm 23 nunc] hunc U
(24) VI 32
Scurra tibi iam sum, non sum, Papiensis, amicus; mensa patet, clausa est arca, retenta manus. Olim muneribus mecum prelargus agebas, nunc risu, nugis, ficubus et talitro. Sit licet; incipiam verus iam scurra videri: 5 meiere iam in vultus, pedere iam licitum est.
U 208v / V 13v / m VI 30 445 APPENDIX III
Tit. Ad Papiensem Uf Ad Cardinalem Papiensem Vm 4 talitro] tadutro U 5 sit] sic V 6 in vultus] multus U
(25) U 6
Campanum veterem tuum clientem ad cenam, Papiensis, acciisti. Ad cenam ut veniam, parato cenam, nam cenam volo, non crepationem. Caulatam dabis et cutem suillam 5 ac flavum cicer ac levem fabatam. Noli ficedulas avesque certis Tota querere copiosus urbe. Parcas turturibus meis tenellis et perdicibus atque phasianis, 10 quos nuper dederat meus poeta. Tantum caseolis licebit uti. Ventri cetera pone delicato nobis in tenui placet catino, fumans brassica sinciputque porci, 15 nervosique pedes lenisque grunnis et quod Marsica nollet attulisse. Congressus tibi Phebe tam proterve hoc pacto veniam semelve bisve atque omni quotiens vocabis hora, 20 nam cenare volo crepare nolo.
U 212r / ASV Arm. XXXIX t. 10 f. 114v (CE X 4)
Tit. Ad eundem in marg. U 7 cortis] certis U 8 querere] quere U 11 nuper dederat meus poeta] mihi tibi non gule Kalendas U 14 in tenui placet] intereti placent U
(26) VII 16
Non mihi quod dederit natalia dona Ravennas, sed quia non dederis, expedit accipiam. Ieiunus ieiuna tibi dictabit Homerus, cum vacua est, nihilum fictilis olla sapit. Non est cena satis, poscuntur prandia, mavult 5 esuriens venter rodere, quam legere. 446 CRITICAL EDITION
Tit. Ad eundem fm 2 dederis] dederit m
(27) VI 28
Ad cenam quotiens venio, properare ministros ereptaque iubes me spoliare toga. Non placet hoc primum primo, Papiensis, adortu exuor, in predam visus ab hoste dari. Mox nudo iniicitur genialis purpura tergo 5 eque rudi videor milite factus eques. Tunc placeo conviva mihi, spectabilis ostro gestio, tunc sapiunt fercula, mensa mea est. Mirantur qui pone sedent, miratur et ille qui cyathum dextra porrigit arte puer. 10 Cenatum subito incurrunt spoliantque ministri eripiturque humeris purpura et ipsa meis. Rideor, illudunt comites, abscedo pudendus eque unis epulis bis spoliatus eo. Vis veniam posthac? tantum vestire iubeto. 15 Induar id iubeas, exuar, haud iubeas.
U 208r / V 29v / m VI 27
Tit. Ad Cardinalem Papiensem UVm Ad Papiensem f 10 dextra] dextre U docta fm
(28) ASV 1
Accipe non castos veterum, Papiensis, amores, quos tuus Augusto mense poeta canit. Forsitan hoc dices: ‘Non est sine amore poeta, sepe foris vates quod canit intus habet.’ Esse ita confiteor, nec me mea flamma reliquit, 5 sed nova que culpa est, si vetus instat amor?
ASV Arm. XXXIX t. 12 f. 143v (CE X 1)
(29) V 27 Eruca Veneris
Quod passim tot succrescam fertilis horto, hec fuit uxori maxima cura tue. 447 APPENDIX III
H 86r / R 224r / U 203r / V 31r / Z 107v
(30) V 31 Turtur viduus
Sum viduus, fugio cetus ramosque virentes, nec liquido, amissa coniuge, fonte bibo.
H 86r / R 224v / U 203r / V 31v / Z 108r
(31) VII 37
Campano favisse deos Cirrheque puellas Iuli, ais, intonsa dum fuit ille coma, mox ubi mitrato rasi cecidere capilli fugisse hunc Musas, deseruisse deos. Accipe quid contra dicat Campanus et eius, 5 si sapis, exemplo tu quoque rade caput. Dum sterilem coleret Cirrham siccamque Aganippem, Campanus sitiit semper et esuriit, at postquam diti cinxit cava tempora mitra, propulit ille sitim, propulit ille famem. 10 Raucus erat cum nudus erat Papiensis, amictus sindone cygneos extulit ore sonos. Pauperis extiterunt culices, rosa, copa Maronis, dives adit Lybiam, Pergama regna, deos. Culta volat tollitque altas super ethera pennas, 15 serpit humi in tenui sordida Musa toga. Meonides vacuo cecinit Ranalia ventre bella satur, Graios Dardaniosque duces et vinosus erat: nulli saliuncula vocem fecit pampinei palmitis alta tuba est. 20 Cum quis Hyperboreis caneret num tibia festis quereret, ‘Haud vites sunt’ Anacharsis ait. Sunt Bacchi crotalum, sistrum, lyra, tympana, cornu et cithara et tremula cymbala pulsa manu: Ipsa etiam septem que cantat fistula nodis 25 vinoso primum coepit in Anthamiro. Iulius ad potum friget stringitque gelato dente nivi similem, cum sitis urget, aquam; contemnunt Musae rodentem crustula, Phebus 448 CRITICAL EDITION
spernit et a tristi Pallas abit genio. 30 Calvus, Aricini sordent cui prandia porri, letum, nec bulbos ore obolente, canit: Non faba duritiem stomacho facit aut cicer aut nux nec varia est ratio ventris et ingenii. Dulce canit qui dulce bibit: Pomponius unda 35 quam bibit et Scythica durior est hieme, Campani ludunt versus carmenque iocatur ridet et in rosea cyclade Calliope. At, bruma feriente nates, Pomponius horret et cadit attonita frigida penna manu, 40 nec tamen est quod quis sacrum contemnat honorem, sacricoli magni saepe fuere duces. Infula triptolemum Cereris tegit alma, sacerdos extiterat magni Cesar uterque Iovis sacraque Niliaci reges fecere nec unquam 45 hostia plebeia concidit icta manu. Vatibus hec eadem ratio est que regibus: Orpheus tradidit afflatis orgia Menadibus et Linus et Mopsus et qui cecinere deorum munera curarunt quos cecinere deos . 50 Diis igitur cari vates Cirrheque puellis, mitrati si sint abiciantque comam: nulla fames, similes regum, letissima vota quos colit haec, repetet altera vita deos.
R 226r / S 80v / U 213v
Tit. Ad Julium R Campanus Iulio S om. U Iulio Pomponio fm 2 ille] ipse fm 16 humi] om. U 19 saliuncula] salviuncula U 21 caneret] caveret U num] non fm tibia] tibi S 27 gelato] celato U 31 sordent] solvent S 41 quis] qui S 43 cereris] cesaris U 45 nec] neque RS 47 est] om. S 54 repetet] repetit R vita] vota R
(32) U 13
Sindone donaras qualem non Lydia texit, utraque cum tonsa [palma] peruncta coma, sacrorum antistes niveo spectatus amictu, te duce, te primo munera dante fui. Semper aperta manus tua tot mihi contulit uni, 5 pollicitus multis quot fuit Andronicus. 449 APPENDIX III
Addita cerulea est nuper toga nullius usu trita, sed ex humeris nunc nova facta meis. Cautus es: e nostro petitur tibi gloria tergo, ingenii laudes nec satis esse putas. 10 Quanto splendidior nostris toga adacta lacertis, quam si sublimi pendeat alta trabe. Ceruleus niveusque fui, spectabor et ostreo murice, cum plus tu quam Papiensis eris. Nostra tuis varios sumit fortuna colores 15 auspiciis, ex te tingor ego et niteo.
U 215v
2 palma] coni. Cecchini
(33) IV 29
Lucensis fueras, nunc es Papiensis, adhucque, cum mea fulgebunt sidera, maior eris.
H 80v / R 222r / U 198v / V 16v / Z 104r
Tit. In laudem Papiensis disticon H Distichon in laudem Papiensis R om. U Ad Cardinalem Papiensem V Ad Jacobum Cardinalem Z Ad eundem fm
Ad Chapter 3: Pietro Riario
(34) VIII 15
Non ego ad augurium prima hec tibi munera mitto, institui tecum non dare sed capere. Cum totum afficias donis ingentibus orbem et capiat larga femina virque manu, esse tui poterit, qui det, detractor honoris, 5 hic tibi, qui capiet, gloria maior erit. Sin facere augurium iubeas, sic auguror ut tu me donis, ego te versibus accumulem, tuque meo celeber fias, Petre maxime, cantu, muneribus fiam clarus et ipse tuis. 10 Ergo prima tibi cum dem nunc munera, testor, non prima hec tecum, sola sed esse volo. 450 CRITICAL EDITION
S 83r / U 220r / V 18v
Tit. Petro Card. Sancti Sixti S om. U Ad Card. S. Sixti V Ad eundem fm 2 institui] nam statui fm 9 tuque] utque m 11-12 om. U
(35) U 22
Cum tibi tot scribant passim, cum nemo poeta qui non laudator nunc sit in orbe tuus, cur solus taceam queris: fortuna timenda est, laudari tuto non satis illa potest. Aut cautas blanditor ero suspectus ad aures, 5 aut laus ad stolidas non satis ulla fuit. Nec mihi mercede est mens vendere carmen iniqua, quod facit iste cibo, quod facit ille toga. Horum, si nescis, et terga et venter emuntur, Campanum si vis, totus emendus ero. 10 Vis tuus ut fiam vates et carus amicus? Ne servire tibi me puta, amare puta. Non mihi serva iacet vili sub pectore fibra, nec metuisse volo quos amo, amare volo. Sit mihi lex stabilis iurataque federa tecum, 15 quicquid ero in primis, hoc tibi semper ero. Nil breve cum pretio est, totum seges exigit annum, que facit una dies, deserit una dies. Nec tibi pro scurra fuero bibuloque lyrista, sed colar, admittar, lauder, honorer, amer. 20 Ianua fac pateat semper, fac mensa sit una, fercula sint eadem cuncta, bibamus idem. Sit mihi fas cubitum socia flexisse fenestra, in faciem liceat dicere, siqua volo. Excludar nunquam, pateant arcana vocerque, 25 auribus accessus sit mihi ubique tuis. Des mihi que posco, tu nil nisi carmina poscas, carminibus maius nec dare nec capere est. Addere communi si quid pro iure volemus, lex mihi restat adhuc una, sed hanc taceo. 30 Hec, Petre, si placeant, tuus est Campanus, habebis qui digitos rodat in tua gesta suos, primaque solliciti vincat praeconia galli, 451 APPENDIX III
et fraudet somnum nocte, dieque cibum. Sin minus, ad Marsum redeo Baccique coraulem, 35 inter opes tetrica tu tibi fronte vale, divinasque tuas laudes et maxima facta et genus et patriam qui canat, alter erit.
U 220r
Tit. om. U 6 stolidas coni. De Beer] stolidos U 33 vincat coni. Cecchini] vincant U
(36) VIII 23
Desinite, externe gentes et barbara regna, iactare Ausonium iam periisse decus, neu lege, quisquis es, prisce miracula fame, nil opus audiri est inclita facta: vides. Restituis magnam sic, Petre Riarie, Romam 5 ut veteres frustra iam memoremus avos. Nunc vada Velitras superare Sabatia possunt, et Latii vincit Cesaris acta lingua. Herculis ara fuit Varo coniuncta Moneci, una Sabatinis notior ara vadis. 10 Hic deus appendi Ligurum pia dona iubebat et responsa tremens inde ferebat anus. Hic cecinit quondam Ligurum de gente futurum, qui regat Ausonidas altaque regna virum priscaque qui revocet veteres ad festa Quirites, 15 Romanumque petat, Volscus ut ante, forum, et maiora cavo resonent certamina campo, et celeber fiat, quam fuit ante, Tibris. Non alium, quam te, cecinit de rupe Monecus namque sacerdotii ius habet ille deus. 20 Te Ligurum de gente fatus, te regna salutant omnia, tu Ausonidum, tu Latiique decus. Arbor ut in sterili, quamvis sit nobilis, agro serpit humi, in pingui crescit ad astra solo. Sic tua, dum latuit Ligurum per littora, virtus 25 pressa fuit, Romam cum venit, alta patet. Tu facis, ut redeant veteris spectacula Circi, currat et ad ludos nunc quoque Roma suos. Proxima currebat puero comitante Sabina, 452 CRITICAL EDITION
que Latium peteret longius, Osca fuit. 30 Nunc tibi festinat Scythico spectator ab axe, quasque ibi non vidit, hic stupet ille feras. Que fuerat Tuscus fulva miratus arena, Spectatum extremo Cantaber orbe venit. Adde animum mitem natamque ad munera dextram, 35 et subitam, si qui forte premantur, opem. Non auro incumbis grandes facturus acervos, sed large possis ut dare, queris opes. In cenasque vocas reges, donantur amici, per largas populum pascis, ut ante, dapes, 40 attonitique facis referant tua prandia Galli, imperium et dicant nunc quoque, Roma, tuum est. A Iove demissus terris, ne Roma careret Cesareisque animis Cesareaque manu. Roma tibi acclamat, surge hic, mea Musa, canamus 45 ingentes animos pectora et alta viri. Roma tibi acclamat, totus te nominat orbis famaque iam toto latior orbe tua est. Ad Nili venit illa caput, Tanaimque nivosum extremum et Gangem, auriferumque Tagum. 50 Et terras egressa omnes vicinaque celo fulmineum iamiam contigit illa Iovem. Cumque homines vincas unus potes esse deorum, nam magnos fecit gloria sola deos. Sola coli Ogigiumque patrem magnumque tonantem 55 et cui mille aras bellica parma dedit. Natus es ad rerum curas hominumque salutem curaque celestes hec decet una deos, nec deus est aliud preter clementia facta: est deus, et numen, qui benefecit, habet. 60
U 218v
Tit. om. U Ad eundem elegia fm 3 es] eris m 9 Moneci] Moneco fm 14 Ausonidas] Ausonides m 24 humi] humili U 27 veteris] veterum U 30 Osca] esca U 38 ut] quo m 44 cesareisque] cesareis U 46 viri] viro U 58 deos] duos m 60 numen] lumen U
(37) VIII 19
453 APPENDIX III
Edificat celo non terris Petrus, et illic vicinos merito querit habere deos. An potius, solis hec regibus atria fiunt, par sit ut hic illis hospes et hospitium. Terra satis non est nate ad celestia menti, 5 Petri animos tellus non capit, astra petit.
U 223r
Tit. om. U Ad eundem fm
(38) U 23
Noster herus cenat: nunc, sol pulcherrimus, exi, nam cenare aliter non ego credo deos. Fercula ab auratis hic lancibus aurea pendent, aurum nec solum tango sed et comedo. Candida circumstant formosi turba ministri , 5 vir quos invideat coniugi et illa viro. Hic canit et dulci vincens Acheloides ore, arte comam iactat, percutit arte lyram, emula nec illo lingua Philomena loquaci, mollius in dulces dividit ore notas. 10 Vertere me in statuam, sed non sine lumine, vellem: fac videam quos hic audio, vivus ero. Qua propter cenare Petro cum principe malim, quam qui convivias ivit ad Ethiopes. Illic ambrosie fuerat modo copia, verum hic 15 pars datur una oculo, una auribus, una gule.
U 221r / V 19r
Tit. om U De cena Card. S. Sixti V 3 lancibus] lantibus U pendent] pennant U 9 nec] non U 16 datur] dato U
(39) VIII 20
Tres aliis menses non sunt satis ire per omnem Italiam, hanc Petrus quinque diebus obit. Aut volat et celeres gestat sub corpore pennas, illius aut animis exigua Italia est. 454 CRITICAL EDITION
Vix transisse Padum, hunc Insubria regna putatur; 5 cum venit, incertum, num iit an rediit. Pella sui, tum Roma sui pernicia facta principis ad celum tollit, at iste volat.
U 222v / V 20v
Tit. om. U De card. S. Sixti V Ad eundem fm 3 et celeres] aut celeres V 4 animis] animo fm 5 putatur] putatum fm 6 num] non Uf 8 tollit] tollat V
(40) VII 30
Coctilis Augusti fuerat per secula Roma, nunc Sixti faciunt tempora marmoream. Quantum Agrippa foris, Latio clivisque Sabinis, intra Urbem tantum nunc Petrus edificat. Duxit aquas Agrippa, Petrus sublimia tangit 5 sidera, plus celum est iungere, quam sit humum. Par erat, Augustum socerum vel Petrus haberet, vel Petrum Augusto sors dederit generum, nam de marmorea fieret nunc aurea Roma, aureaque ex vero secula nostra forent. 10 Et tamen iste nepos Sixti maiora peregit et dedit Augusti quam dedit ille gener. Ergo animo imperium constat, non viribus auri, plus habet in pretio, qui minus illud habet.
U 223r / V 20v / f¹m¹ VII 30 f²m² VIII 18
Tit. om. U De eodem V Ad Petrum Card. S. Sixti f¹m¹ Ad eundem f²m² 2 marmoream] marmorea V 3 Sabinis] Scilinis f¹m¹ 8 Augusto sors dederit generum] sors dederit generum Augusto V 14 imperium] imperio V
(41) VIII 11
Quisquis iter facis hac, noli contendere qui sim nosse, brevi nam tu marmore multa leges. Nomen erat Petrus, minor ordo, Riaria proles, nutrierat Sixtus quartus et ipse Ligur. Ingentes animi, resonans facundia, vultus 5 gratia et ingenii maxima dexteritas. 455 APPENDIX III
Magnanimo cordi nateque ad grandia menti una fuit semper gloria posse dare. Defendi oppressos, Musas prelargus amavi, publicus externis regibus hospes eram. 10 Scire cupis quantus fuerim? Dicetur, ut olim pauperiem, sic nunc divitias, tuleram. Invidie exposita fuerat mea vita, quod essem splendidus et possem tam prope quam cuperem. Egi magnifice vitam nec morte pudendam: 15 in vita princeps, sanctus et interitu.
U 218r
Tit. om. U Epitaphium Card. Sancti Sixti fm 1 hac] hoc m 3 Riaria] varia U 11-12] om. U 13 Invidie exposita] exposita invidie fm 16 et] in fm
(42) VIII 24
Purpurei qui te donavit honore galeri, et capiti imposuit premia digna tuo teque animumque tuum generosaque pectora norat rebus, ut expertus, grandibus esse parem. Omnia si tentes prestabis et omnia, tantum 5 consilio, ingenio, viribus, arte vales. Ardua tu quamvis et dura negotia tractes, re tibi pro minima maxima queque putas. Defendis quorum virtus oppressa laborat inque tuo dormit Roma quieta sinu. 10 Nauta bonus moto nullos timet equore fluctus adversoque infert lintea frena mari. Lora et eques cohibet, laxat, moderatur equumque incitat et si qua est obvia fossa tenet. Sic tu que Romam vexare pericula possunt 15 ante vides, quam quis cogitet, ante caves. Nil potuit maius nec Roma videre, nec omnis curia quam frontis premia honora tue. Te genus et mores, te frons commendat amica inque oculis quedam gratia mira tuis. 20 Sive domi peragis causas seu templa frequentas, ire per Aprici seu Latii arva placet, semper agis laetus, semper iucundus haberis, 456 CRITICAL EDITION
te viso gaudent atria, templa, fora. Invidie nihil est nisi quorum pectora livor 25 urit et occulta stant nigra corda face. Quisquis te aut odit, aut non tibi multa precatur, humanus non est, ebibit ille feras.
U 219v
Tit. om. U (follows VIII 23 without extra space) Ad eundem fm 1 honore galeri] herere galere U 3 norat] notat m 4 expertus] expertis f 12 adversoque] adverso U adversosque fm 13 lora et] loraque U 19 te] et U 21 sive] si f seu m 24 atria] arrida U 27 aut non] vel non m
(43) VIII 10
Mille trahis tecum comites, altissime Princeps, continuatque omnes turba secunda vias, visque parem cenam non hospite ditior illo, cui brevior flexo poplite lectus erat. Cum maiora tuis nunquam convivia quisquam 5 viderit et modica est regia cena tua, accipe Campanus quantum nunc offerat; et te invitat tamen hac conditione domi. Vis tibi que exacuat dentes lactuca priores fervet et estivi tempora solis? Eme. 10 Vis que longa levi subnixa cucurbita filo frondosa latitans arbore pendet? Eme. Vis etiam Syria veniunt que pruna Damasco? Ausonie hec iam dat fertilis arbor. Eme. Vis pepones dulcesque uvas et sole perustas 15 flavaque ut Hesperidum poma feruntur? Eme. Vis gallina decem que nondum fecerit ova, sed teneat primi pignora ventris? Eme. Vis Veneri natoque sacros det mensa columbos? Non una hos passim dat tibi turris. Eme. 20 Vis tibi ponatur crocea ficedula clune et perdix, cui sit iam grave pectus? Eme. Vis addatur et his ales Iunonia, caudam mortua que in gyrum coctaque verset? Eme. Seu leporem et strictis frendentem dentibus aprum , 25 seu cervi cupias terga fugacis? Eme. 457 APPENDIX III
Vis veterem et solidam seu sit lucanica pernam? Est etiam vendat qui tibi sumen. Eme. Vis quoque que veniunt fessa bellaria mensa? Hec puer ante fores ‘currite’ clamat. Eme. 30 Non sapiunt hoc nata solo premollia vina, sed peregrina placent? Invenientur. Eme. Vis stipulam que prima focis exuscitet ignem, seu sub equis strator spargere possit? Eme. Denique aquam atque salem, mordax seu poscis acetum, 35 vilius aut aliud si tibi desit, eme. Sic tibi more tuo fiet lautissima cena et quecunque petes, cuncta dabuntur. Eme. Disce igitur quid sit dives cum pauperis edes intras, cum donat vel tibi pauper: emis. 40 Non igitur mirum tibi sit si carmina donem nulla: dabas, non das; vendo ego tu quia emis.
U 221v / V 4r
Tit. om. U Ad. Card. S. Sixti V Cena fratris Petri cardinalis S. Sixti fm 2 omnes] omnis fm 6 tua] tuae UV 10 fervet] frenet Ufm 12 frondosa] frondoso V 13 Damasco] Damasci U 15 perustas] per austas U 22 iam] tam V 27 pernam] parvam fm 28 qui] que U 29 fessa] sexta m 30 currite] curritur U 31 sapiunt] capiunt U hoc] hec Ufm 32 invenientur] inveniuntur V 34 strator] stratum m 41-42] om. Ufm
(44) VIII 13
Mors stetit ante fores, digitos pressura minaces, calva comam, nigras horrida falce manus. Decedens tristi linquebat sidera nocte, Campani Stygias umbra petebat aquas. Phebus adest, Museque simul, mortemque repellunt 5 et clamant: ‘nihil hic impia iuris habes, Campanum tenuit Papiensis, nunc habet illum Petrus; sub Petri numine tutus agit’. Cessit et audito Petri que nomine nobis parcere noluerat, seva pepercit hero. 10 Nil veteri, Papiensis, habes de iure: poeta sub maiore tuus numine sacra facit.
458 CRITICAL EDITION
Tit. Ad Papiensem proximum morti f Ad Papiensem morti proximum m 10 noluerat] voluerat m
Ad Chapter 4 : Ferrante of Aragon
(45) VIII 27
Nunc, Alfonse, meis faveas, Dux inclite, votis, non obscura tibi gloria fautus ero. Quid referam poscis; non est dare praemia regi, at mea si quid habet vena, perennis eris. Gloria sola potest factis extendere vitam 5 et spatii metas vincere fama sui. Occidit imperium, labuntur regna cadentque omnia, sola diu vivere fama potest. Fama tamen nulla est homini, nec gloria maior presidio multos quam relevare suo. 10 Regibus hoc proprium est, hec summa in principe virtus, hoc opus est superum, cetera prestat homo. Sic, Alfonse, tuo, quo nil tulit altius orbis, illustri fies nomine maior avo, cumque alios possis, primos extollere debes, 15 commendant regni, quos tibi iura tui. Terra rogata, quid esset, et unde quod insita tarde nataque per sese cresceret herba cito, respondit: ‘facilis mater, predura noverca, largius hec, modice prebet at illa cibum’. 20 Iure igitur merito debes, Alfonse, iuvare et dare, quo possint crescere ad alta, tuis.
U 224r
Tit. om U Duci Calabriae f Alphonso, Duci Calabriae m 2 fautus] factus m 3 poscis] queris fm 22 tuis] tui m
(47) U 26
Inclite dux, validam cui prospera fata salutem restituere, preces hoc potuere mee, hoc populi, hoc procerum pro te iustissima vota, hoc quecumque potest flectere lingua potest. 459 APPENDIX III
Namque tua stat nostra salus: pendemus ab uno 5 cuncti, in fortunam consequimurque tuam. Reddita cum tibi sit subita valitudo medela, reddita sunt regno gaudia vera tuo. Tu spes, tu columen, tu post patris aurea regna, non defecturo sanguine sceptra reges. 10 Quam bene dii certa dispensant omnia lege, quam bene magnanimo crescis et ipse patri. An transisse canam Picena per arva cohortes Arimini et victos agmina mille duces? An quoque Boiorum pulsos e finibus hostes, 15 omnia Aragonio libera facta duce? Te populi laudant Tusci, Florentia nomen et colit et semper feret ad astra tuum. Altera pacate tua sunt preconia gentes quamque domi es placidus tam quoque Marte ferox. 20 Quantum patre tuo claris non dispar in armis tam nec pace tuo dispar haberis avo. Sic ille externos homines in vota trahebat, sic illi ingenia extollere cura fuit. Vixerat Alfonsus toto preclarus in orbe, 25 sic quoque tu toto clarus in orbe vives.
U 224v
Tit. om. U 1 fata salutem em. Cecchini] facta salute U 15 Boiorum em. Cecchini] bonorum U
(48) VIII 26
Bellorum fulmen, peperit cui dextera regnum et virtus nulli cedere, cuncta pati, per medios hostes gladio precinctus et hasta, rumpere vi, latam ferro aperire viam. Gloria prima tua est, quantum victricibus armis, 5 quantum pugnaci stes violentus equo. Altera non minor est nostre coniuncta saluti, quod tu iura soles reddere cuique sua, ut cum munieris regnum felicibus armis, illud idem tutum legibus esse velis. 10 Tum pacis, qua tu feliciter omnia vertens 460 CRITICAL EDITION
auctor consilio, provide, cuncta geris. Laudibus accedit laus altera, menibus urbem instruis, et regnum est, cernere Parthenopen. Tot castra aut pelago, media aut surgentia terra, 15 ut regnum dicas regia Parthenope est. Tum virtus divina tibi est, namque omnia firmo nexu conservas officiumque colis. Quos tibi devinxit res aut fortuna, perenni numquam dediscis continuare fide. 20 Semper amicus erit, semper tua gratia durat, qui tibi amicus erit, semper amicus erit. Ferdinande, alii reges et regna fuerunt, nemo tamen qui sic regna tenebit, erit. Invictus bello iustusque in pace triumphas, 25 armis, consilio, milite, rebus, equis. Dii tibi perpetuent regnum, pia pignora servent, sanguis Aragonius quolibet orbe regat.
U 225v
Tit. om. U Ad regem Ferdinandum fm 1-2] Bellorum fulmen regnum cui robore partum est / atque animo adversus non pereunte tuo / namque tibi palmam discrimina mille dederunt / et virtus nulli cedere cuncta pati U 3 gladio precinctus et hasta] gladium cum stringis et hastam U 8 quod] quam U 9 munieris] innumeris U 15 media aut] aut media U 17 est] om. U 25 iustusque [...] triumphas] iustaque [...] triumphos U 28 Sanguis Aragonius quolibet orbe regat] vivat Aragonius sanguis et orbe regat U
(49) U 28
Omnia cum faciat Diomedes, omnibus unus sufficit et prestans quod facit extat opus. Publica Parthenopes privataque munia solus tractat habens faciles in sua vela Notos. Miramur veterum statuas, monumenta, figuras, 5 hec, Diomedes, sunt tibi signa domus: Romulus et Remus, Brutus, constansque Camillus, Papirius, Fabius, Lelius, Athylius, ambo Scipiade, gemini virtute Catones, Pompeius, Crassus, Julius, Octavius. 10 Cum tibi se ostendant omnes et ab omnibus alta 461 APPENDIX III
ediscas, mirum non erit alta sequi. Sed te non omnes normam hanc docuere, Lucullus solus vivendi provida fila dedit. Sic edes excelsa domi, sic pensilis hortus, 15 ut Babylona queas vincere et Assyrios. Sed desunt solum vane spectacula plebis, nec per septa natant ostrea vina tua.
U 226v
Tit. om. U 6 Diomedee U
(50) VIII 28
Splendor Aragonie stirpis regumque, Ioannes, cui natura dedit prodiga, quicquid habet. Illa tibi ingenium virtutis et aurea dona, non ferro aut igni deperitura dedit. Illa tibi placido castos in pectore mores, 5 unde amor et studium nascitur, unde fides. Illa etiam vultus et lete gaudia forme, quale auro docilis dextera iunxit ebur. Omnia virtuti cedunt, fuit Herculis illa dux ad Tartareas tendere posse vias. 10 Illa Iovi ad celum sublimiaque astra beatis omnibus, ut dicas, unica fecit iter. Contemnit ferrum flammeque incendia ridet, digna olim claris regibus illa fuit. Hanc tu vel teneris, princeps, complexus ab annis 15 ipsius eterno munere vivus eris. Eripit hec homini mortem preduraque solvit fata, docet vitam longius ire tuam. Regum animos hec sola decet, stat sola decori hortatrix, monitus huius iniqua fugis, 20 et sequeris laudem, nunquam moriturus habebis post mortem nomen, quod dare fama potest. Dii regem statuere locumque dedere priorem, cum loquimur regem, dicimus esse deum. Namque deus totum regit orbem legibus equis, 25 regis erit partes quemque tenere suas, commissos homines servare et cernere, qui sint 462 CRITICAL EDITION
digni luce, alios cogere digna pati. Denique et hoc verum et primum et super omnia sanctum, virtus sola facit et benefacta deos. 30
U 226r
Tit. om U Divino Jo. Card. de Aragonia f Domino Ioanni Card. de Aragonia m 5 castos] sanctos fm 8 auro] aurum Uf 13 ridet] rident U 17 hec] om. U 18 docet] licet fm 27 commissos] commissis U 29 sanctum] sanctum est U
(51) CE IX 24
Cum puer in silvas irem, clarissime Princeps, uno nos apros cepimus octo die. Seu fuit augurium, seu vani certa laboris causa, canem invasit nocte premente lupus. Semper ego posthac gestare minantia tela 5 suevi et odorata ducere nare canem. Si me igitur cupias inter venabula tutum urgentemque feras prendere, mitte canem.
Ad Chapter 5: Federico da Montefeltro
(52) U 27
Si media erepta est coniunx Baptista iuventa, fata nec accuses nec, Federice, deos. Dii sua iura petunt, sua fata negare protervum est, fata diem nobis, dii statuere locum. Venerat in terras e celo, reddita celo est, 5 non fugit, in patriam sed redit illa suam. Tu superis debes, quod tali coniuge dignum te fecere, sinas cetera velle deos.
U 225v / V 12v
Tit. om. U Ad Federicum V 2 accuses] accusas V accusa coni. Cecchini
(53) U 56
Octo puerperiis totidem, Federice, tulisti 463 APPENDIX III
femellas, nono fata dedere marem. Hunc ideo Lucina diem tot distulit annis, Herculeas vincant ut pueri astra moras. Tanto maior erit natus puer Hercule, quanto 5 nox gemina est annis amplius octo minor. Cresce, infans, animosque hauri generose paternos, Alcidem si vis vincere, vince patrem.
U 238v
Tit. om. U
(54) U 32
Octavi insignis maioribus inclite fama, clareque fraterno nomine, clare tuo. Bella placent illi durique insignia Martis, at tibi tranquillo convenit esse domi. Hunc movet horrenti stridens cava buccina cornu, 5 excitat armatos cum tuba rauca viros. Te lyra, te quicquid dulces cecinere puellae, dum se Libetrides ore sonante canunt. Sic bene partita est regni communis utrique res et succedet sic bene Guido puer. 10 Artibus instructus patriis et moribus, ambos effinget, patrui consilia, arma patris.
U 229r
Tit. om. U 8 Libetrides coni. Cecchini] lebetrides U
(55) VII 32
Gallica spectamus rutilo fulgentia in auro aulea, in latas ordine passa domos. Materia est bellum Troianum ardensque rapina et Paris et patrie natus ad Hector opem. Quicquid tot proceres multos nequiere per annos, 5 hoc uno poteras tu, Federice, die. Nam tot victe urbes, tot oppida capta repente, ut dicas longo tempore capta Troia est. 464 CRITICAL EDITION
U 228v
Tit. om. U Ad Ducem Urbini, de Auleis fm
(56) U 33
Gratia tanta tibi, quantam, Federice, meretur eximium munus magnificumque tuum. De me sic statuas pergratum vivere et omnes ingenii vires invigilare tibi. Nemo interpellat mea scripta, epigrammata nemo: 5 Campanum totum dux Federicus habet.
U 229v
Tit. om. U
465
APPENDIX IV: LIST OF CONSULTED MANUSCRIPTS AND EDITIONS
Manuscripts
Germany
Berlin, Staatsbibliothek Hamilton 131 = H Man. Latina 433
Italy
Città del Vaticano, Archivio Segreto Vaticano (ASV) Armarium XXXIX, t. 10 Armarium XXXIX, t. 12
Città del Vaticano, Biblioteca Apostolica Vaticana (BAV) Chig. J. VII 233 Chig. J VII 260 = J Ottob. Lat. 662 Ottob. Lat. 1199 Ottob. Lat. 1305 Ottob. Lat. 1982 Ottob. Lat. 2056 Ottob. Lat. 2280 Reg. Lat. 1995 Urb. Lat. 301 Urb. Lat. 324 Urb. Lat. 325 Urb. Lat. 326 Urb. Lat. 338 = U Urb. Lat. 1022 Urb. Lat. 1193 Urb. Lat. 707 Vat. Lat. 1595 Vat. Lat. 1670 Vat. Lat. 2859 Vat. Lat. 2874 = V Vat. Lat. 3606 Vat. Lat. 5167 = V² Vat. Lat. 5225 = V¹ APPENDIX IV
Vat. Lat. 5245 = Z Vat. Lat. 6835 Vat. Lat. 6848 Vat. Lat. 8750
Florence, Biblioteca Nazionale Centrale Magl. VII 1087 Magl. VII 1136 Magl. VIII 1390 Magl. XXXII 39 Manoscritti Rossi C. 372 II
Florence, Biblioteca Laurenziana Ashburnam 1174 = L Acquisti e doni, 82 Plut. LXXXX sup 47 Plut. XXXVIII 38 = L¹
Florence, Biblioteca Riccardiana 152 636 = R¹ 906 907 915 = R
Florence, Biblioteca del Seminario Arcivescovile Maggiore B V 2 = S
Naples, Biblioteca Nazionale V C 39
Perugia, Biblioteca Comunale Augusta Fondo Vecchio C 61 Fondo Vecchio F 5 Fondo Vecchio J 25
Rome, Accademia Nazionale dei Lincei Cors. 147
Rome, Biblioteca Angelica Cod. Lat. 1077 468 MANUSCRIPTS AND EDITIONS
Rome, Accademia dei Lincei Cors. 147
Siena, Archivio di Stato Concistoro 2038, 16
Siena, Biblioteca Comunale A IX 61
Verona, Biblioteca Civica 1366 (Comunale 280) = W
Printed editions
Campanus, J.A., Oratio funebris pro Baptista Sphortia Urbini comitissa ac principe illustrissima (Cagli: R. di Fano & B. di Bergamo, 1476) Campanus, J.A., Tractatus V, Orationes XV, Epistolarum IX libri, Vita Pii, Historia Bracchii, Epigrammatum VIII libri continentur. A Michaele Ferno Mediolanensi editi (Rome: E. Silber, 1495). Campanus, J.A., Opera Omnia (Venice: A. Torresanus, 1502) Campanus, J.A., Epistolae et poemata, una cum vita auctoris recensuit J.B. Menckenius (Leipzig: J.F. Gleditsch, 1707) Campanus, J.A., Opera selectiora, recensuit F.O. Menckenius (Leipzig: I. Schuster, 1734) Jovius, P., Elogia virorum literis illustrium, quotquot vel nostra vel avorum memoria vixere, ex eiusdem Mvsaeo (cuius descriptionem una exhibemus) ad vivum exprissis imaginibus exornata (Basel: P. Perna, 1577) Livius, T., Historiae romanae decades. Ed. J.A. Campanus (Rome: U. Hahn, ca. 1470) Martialis, Epigrammatum libri XV cum variorum doctorum virorum commentariis, notis, observationibus … cum indice omnium verborum (Paris: C. Morellus, 1617) Pius, Commentarii rerum memorabilium, quibus accedunt Iacobi Piccolominei cardinalis epistolae et commentarii (Milan: G. Gherardi, 1506) Pius, Commentarii rervm memorabilivm qvæ temporibus suis contigerunt. Quibus hac editione accedunt Jacobi Picolominei rerum gestarum sui temporis et ad Pii continuationem commentarii luculentissimi (Frankfurt: Aubriana, 1614) Plutarchus, Vitae parallellae. Ed. J.A. Campanus (Rome: U. Hahn, 1470) Quintilianus, Institutiones oratoriae. Ed. J.A. Campanus (Rome: G.F. de Legname, 1470)
469
LIST OF ILLUSTRATIONS
Introduction i. 1 Luca Signorelli, J.A. Campanus (Orvieto, The Albèri library in the Cathedral) i. 2 Anonymous, Pius II (Rome, Private collection, eighteenth century) i. 3 Palazzo Ammannati (Pienza) i. 4 The Cathedral of Siena i. 5 Tobias Stimmer, J.A. Campanus (in: Giovio, Elogia, 1577)
Chapter 1
1.1 Justus van Ghent, Pius II, ca. 1475 (Urbino, Galleria Nazionale delle Marche) 1.2 Pinturicchio, Pius II in Mantua, ca. 1505 (Siena, Libreria Piccolomini) 1.3 Pinturicchio, Pius II and S. Catherine, detail with Campano? ca. 1505 (Siena, Libreria Piccolomini) 1.4 Tobias Stimmer, F. Filelfus (in: Giovio, Elogia, 1577) 1.5 The Rocca Pii in Tivoli 1.6 City plan of Pienza 1.7 The church of Pienza 1.8 Andrea Guazzalotti, Bronze medal of Pius II, ca. 1464 (Faenza, private collection) 1.9 Piero della Francesca, Sigismondo Malatesta, ca. 1451 (Paris, Musée du Louvre) 1.10 Ms. Reg. Lat. 1995, f. 339v (Città del Vaticano, BAV) 1.11 Ms. Corsiniano 147, f. 1r (Rome, Accademia dei Lincei) 1.12 Ms. Ricc. 636, f. 1r (Florence, Biblioteca Riccardiana) 1.13 Ms. Ricc. 636, f. 21v (Florence, Biblioteca Riccardiana) 1.14 Ms. Chigi J VII 260 (=J), f. 1r (Città del Vaticano, BAV)
Chapter 2
2.1 Funeral monument for Ammannati (Rome, Courtyard of Palazzo Sant’Agostino) 2.2 Autograph letter by Campano (Armarium XXXIX, t. 10, f. 209r, Città del Vaticano, ASV) 2.3 Autograph letter by Campano, address (Armarium XXXIX, t. 10, f. 209v, Città del Vaticano, ASV) 2.4 Tobias Stimmer, B. Platina (in: Giovio, Elogia, 1577) 2.5 Tobias Stimmer, Pomponius Laetus (in: Giovio, Elogia, 1577) 2.6 Ms. Vat. Lat. 5245 (=Z), f. 97r (Città del Vaticano, BAV) 2.7 J.A. Campanus (Taken from Mencken, 1707) 2.8 Tobias Stimmer, Cardinal Bessarion (in: Giovio, Elogia, 1577) ILLUSTRATIONS
2.9 Melozzo da Forlì, Platina as papal librarian, ca. 1477 (Città del Vaticano, Vatican Museums)
Chapter 3
3.1 Andrea Bregno and workshop, Funeral monument for Pietro Riario, detail (Rome, Santi Apostoli) 3.2 Andrea Bregno and workshop, Funeral monument for Pietro Riario (Rome, Santi Apostoli) 3.3 Ms. Vat. Lat. 2874 (=V), f. 3r (Città del Vaticano, BAV) 3.4 Andrea Mantegna, Francesco Gonzaga in the ‘Camera degli Sposi’, 1468-74 (Mantua, Ducal Palace) 3.5 Tobias Stimmer, Nicolaus Perottus (in: Giovio, Elogia, 1577) 3.6 Tobias Stimmer, Domitius Calderinus (in: Giovio, Elogia, 1577)
Chapter 4
4.1 Guido Mazzoni, Alfonso of Aragon, Duke of Calabria (Naples, Capodimonte Museum) 4.2 Domenico da Montemignano, King Alfonso I of Aragon (Vienna, Kunsthistorisches Museum) 4.3 Domenico Gagini, King Ferdinand of Aragon (Paris, Musée du Louvre) 4.4 The Castle in Naples 4.5 Tobias Stimmer, I. Pontanus (in: Giovio, Elogia, 1577)
Chapter 5
5.1 Piero della Francesca, Diptich with Federico da Montefeltro & Battista Sforza, inside, ca. 1474 (Florence, Galleria degli Uffizi) 5.2 Piero della Francesca, Diptich with triumphs of Federico da Montefeltro & Battista Sforza, outside, ca. 1474 (Florence, Galleria degli Uffizi) 5.3 Pedro Berruguete, Federico da Montefeltro & his son Guidobaldo, ca. 1475 (Urbino, Galleria Nazionale delle Marche) 5.4 Ms. Urb. Lat. 1193, f. 3v (Città del Vaticano, BAV) 5.5 Ms. Urb. Lat. 1022, f. 67r (Città del Vaticano, BAV) 5.6 Ms. Urb. Lat. 1022, f. 69r (Città del Vaticano, BAV) 5.7 Francesco di Giorgio, Stone relief of Federico da Montefeltro & Ottaviano Ubaldini (Urbino, Galleria Nazionale delle Marche) 5.8 The Ducal Palace in Urbino 5.9 The Studiolo (Urbino, Galleria Nazionale delle Marche)
472 ILLUSTRATIONS
5.10 Piero della Francesca, Madonna with Saints & Federico da Montefeltro, ca. 1474 (Milan, Pinacoteca di Brera) 5.11 Ms. Urb. Lat. 1193, f. 4r (Città del Vaticano, BAV) 5.12 Ms. Urb. Lat. 324, f. 87r (Città del Vaticano, BAV) 5.13 Ms. Urb. Lat. 324, f. 1r (Città del Vaticano, BAV) 5.14 Ms. Urb. Lat. 325, f. 1r (Città del Vaticano, BAV) 5.15 Ms. Urb. Lat. 326, f. 1r (Città del Vaticano, BAV) 5.16 Ms. Urb. Lat. 338 (=U), f. 2r (Città del Vaticano, BAV)
Appendices a.1 Ms. Urb. Lat. 338 (=U), f. 1v (Città del Vaticano, BAV) a.2 Ms. Urb. Lat 338 (=U), f. 135r (Città del Vaticano, BAV) a.3 Ms. Hamilton 131, f. 1r (Berlin, Staatsbibliothek) a.4 Ms. Civica 1366 (= Comunale 280 = W), f. 52r (Verona, Biblioteca Civica) a.5 Ms. Ricc. 915 (=R), f. 217r (Florence, Biblioteca Riccardiana) a.6 Ms. B V 2 (=S), f. 79r (Florence, Biblioteca del Seminario Arcivescovile Maggiore) a.7 Ms. Ashb. 1174 (=L), f. 60v-61r (Florence, Biblioteca Laurenziana) a.8 Ms. Plut. 38, 38 (=L¹), f. 53v (Florence, Biblioteca Laurenziana) a.9 Ms. Vat. Lat. 5225 (=V¹), f. 982v (Città del Vaticano, BAV) a.10 Ms. Urb. Lat. 325 (=U¹), f. 0v (Città del Vaticano, BAV) a.11 Campanus, Opera omnia ed. Ferno, title page, 1495 (Leiden, University Library) a.12 Campanus, Opera omnia ed. Ferno, Epigrammatum libri VIII, 1495 (Leiden, University Library) a.13 Campanus, Epistolae et poemata ed. Mencken, title page, 1707 a.14 Campanus, Epistolae et poemata ed. Mencken, f. Oo2v en Oo3r (p. 2-3), 1707
473