I.—[A SKETCH OF VAUCLUSE BY PETRARCH'S HAND] Cover
II.—[PORTRAIT OF PETRARCH] Frontispiece
III.—[A PAGE FROM PETRARCH'S COPY OF THE ILIAD]
Through the kindness of M. de Nolhac, and with the generous permission of the École des hautes Études at Paris, the editors have been enabled to reproduce three plates of unusual historical interest.
I.—THE SKETCH OF VAUCLUSE with the inscription, Transalpina solitudo mea jocundissima—my delightsome Transalpine retreat—which appears on the front cover of this volume, was discovered by M. de Nolhac in Petrarch's own copy of Pliny's Natural History. A reference in the book to the Fountain of the Sorgue suggested to its owner the idea of recalling by a few strokes of the quill his memories of a spot where he had spent so many years. This sketch, his only essay at pictorial reproduction which has come down to us, is an interesting illustration of the versatility of self-expression which distinguished him from his predecessors and contemporaries.
II.—THE PORTRAIT, which forms the frontispiece, is taken from a manuscript in the National Library at Paris, and its history has been carefully traced by M. de Nolhac (op. cit., pp. 376 sqq.). It adorns the first page of a copy of Petrarch's own work, The Lives of Illustrious Men, which was transcribed with unusual care for his last princely patron, the ruler of Padua, by one of the poet's most intimate and trusted friends, Lombardo della Seta. A note at the end of the work states that Lombardo completed his task January 25, 1379. We may, therefore, assume that this portrait was executed not later than four and a half years after Petrarch's death, in the city where he spent much of his time during the closing period of his life, and by an artist selected by the poet's devoted friends. It is maintained by some modern historians of art that there was, in those days, no real feeling for portraiture; without, however, venturing into the domain of art criticism, we may, at least, claim for this sketch almost unimpeachable historical authenticity.
III.—THE FACSIMILE of a page from one of Petrarch's own volumes will give some idea, to those unfamiliar with manuscripts, of the appearance of a book in the fourteenth century; it shows us, too, the untiring energy of the first modern scholar in emending and elucidating the scattered and neglected fragments of ancient literature, for which he made such diligent search.