Autour de l’iconographie du “Triomphe d’Amour” dans deux mises en prose, entre manuscrit et imprimé

Abstract

The French translations of Petrarch’s Triumphi attracted the attention of many scholars at various times. They repeatedly studied the considerable success that some of these adaptations in both verse and prose enjoyed in the kingdom of France between the 1470s and 1550s. The study of this corpus is not new, and all specialists agree that the turn of the 16th century corresponds to a unique moment. This article aims to contribute to further reflection on the influence of Italian models in the illustration of the Triumphi in France and, more particularly, of the Triumphus Cupidinis. Through a few examples drawn from manuscripts and prints, this study provides some original suggestions to better identify the possible origin of a small detail appearing in a woodcut included in the Verard edition of the ‘‘long’’ prose translation (1514). This article will show the common thread that seems to unite the print in question, not only to two manuscripts containing the anonymous translation of Ilicino’s commentary as has already been noted by critics, but also to a manuscript of the ‘‘short’’ prose version as well as to two Italian incunabula of the end of the 15th century.