A–J) range from stanzas of 10 and 9 verses (of which there is one representative each (categories
Iand
J), respectively
Aand
B), of which there is one representative each, respectively
D= 34.48% of the canzoni) contains 15 verses per stanza (10 compositions:
F= 13-verse stanzas, contains five compositions (17.24% of canzoni):
E, stanzas composed of 14 verses, there are three examples:
C= 16vv per stanza:
G= 12vv per stanza:
H=
V” of
Pof
P
er fare una leggiadra […]. Notably the first letter of every verse that is not rubricated in both the fair and the service portions of the work is a capital letter of the same size as the
1.syntactic punctuation to mark short, medial, and long pauses;
2.instructional punctuation to provide information for the rubricator (such as guide letters and hash marks for pilcrows and paragraph markers), the corrector (parenthetical marks to indicate erasures) or even the reader (the
3.occasional marks to note metrical features of the poem, including (but not consistently applied to) a rhyme that is mid-verse, the elimination of a syllable (letter) that make the verse hypersyllabic. The essential forms of
1that the copyists of MS Vaticano Latino 3195 use are: the virgule (with variations), the
archivewe use this term and assign code to the structure to denote Petrarch’s use of the writing space of most of the chartae of the partial holograph MS Vaticano Latino 3195. His visual poetics in this codex depend upon a 31-line canvas. His basic “sonnet page”, one side of a charta that contains four sonnets — each written on seven lines and each separated from the next by a blank space (7+1+7+1+7+1+7), and his “sonnet+sestina page” (7+1+23) constitute the primary formulae for the 31-line canvas. 43.3% of all the used chartae in Part I and half of Part II are “sonnet pages”. There are seven “sonnet+sestina pages” in Part I. Just over half of the