I stumbled about the following text, which uses the terminus "
Protestatio", which was used for Alberti's contribution at 22 October 1441.
http://www.dantecollection.com/index.ph ... g%5D=23249
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A precious composite manuscript or zibaldone, probably produced in the milieu of the Studio Fiorentino, containing an almost complete text of the Commedia (the first two cantiche are complete but the compiler suddenly broke off, in the middle of the verso of the last leaf, the transcription of the Paradiso at verse 192 of Canto xvii) and supplemented with earlier encomiastic and exegetical texts, reflecting how Dante's poem circulated, and was read and re-interpreted in the fifteenth century. It represents an attempt to create, in a kind of personal notebook, an introductory ‘manual' to the Commedia, and is a striking example of the lasting influence of the earlier fourteenth-century works relating to Dante. The miscellany opens with the sermo or protestatio de iustitia held on 15 May 1456 by Pandolfo de' Pandolfini, a friend of Leonardo Bruni and Giannozzo Manetti. In the first half of the fifteenth century the protestatio de iustitia was a traditional Florentine public ceremony, held – as stipulated in the 1415 Statutes – on the installation of the city's new Priors, who undertook in rhetorical declarations to perform their duties with impartiality and equity. Texts of protestationes are often to be found in the zibaldoni assembled and transcribed by Florentine students, as standard pedagogical practice. This manuscript, written in a single hand in humanistic script, could have been produced after 15 May 1456 in the milieu of the Studio Fiorentino. The group of codices of the Commedia transcribed in humanistic script between 1425 and ca. 1450 is limited, increasing the importance of the manuscript presented here.
The miscellanea dantesca in the strict sense begins on fol. 11r with the Libro della vita, studii costumi di Dante Allighieri [et] di messer Francescho Petrarca, the text of the Vitae of Dante and Petrarch composed in 1436 by Leonardo Bruni (1370-1444). The version included in this manuscript is especially noteworthy: it presents vernacular marginal glosses in red ink, identical in content to those extant in a manuscript of Bruni's Vita di Dante copied in 1440 by the Florentine notary and reader of Dante, Piero Bonaccorsi, or Bonaccorso da Montemagno (1410-1477), preserved in the Biblioteca Laurenziana in Florence (ms Plut. 90 sup. 131, fols. 81v-86v). Bruni had carefully read Boccaccio’s Trattatello in laude di Dante, and in the proemio comments critically on numerous details of this earlier work. It is no coincidence that, following Bruni’s account, the unknown compiler of this zibaldone copied an excerpt from the first redaction of the Trattatello (dated between 1351 and 1355; Boccaccio’s autograph is preserved in the Biblioteca Capitolar in Toledo, ms Zelada 104.6), containing the famous description of Dante’s appearance: a choice that mirrors the popularity of Boccaccio’s work in Florence in the fifteenth century.
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Actually I was interested in the person Piero Bonaccorsi, who appeared in this German text:
Bernhard Huss: Petrarcas Trionfi als Versuch poetischer Selbstermächtigung gegen Dante
inside the book: Poetische Selbstautorisierung in der Frühen Neuzeit (2021)
https://www.degruyter.com/document/doi/ ... 09-003/pdf
Francesco Petrarca wurde in eine Zeit hineingeboren, da der (gemessen an der eifrigen Tätigkeit von Kopisten und Kommentatoren) vielleicht größte Rezeptionserfolg der italienischen Literaturgeschichte in vollem Gange war: Alle Welt kannte und las Dantes Commedia. Im späteren vierzehnten und im fünfzehnten Jahrhundert verbreitete sich angesichts dieser Situation der ironisch-kritische Gemeinplatz vom‚Dante villano‘ – ein villano war Dante demnach, weil er alles Sagenswerte bereits gesagt und niemandem die Möglichkeit gelassen hatte, nach ihm noch weitere relevante Äußerungen zu tätigen und nennenswerte literarische Texte zu verfassen: «Dante è villano [. . .] perché à decto ogni chosa degnia di memoria e fama nelle sue opere poetiche e non à lassato a dire nulla ad altri». (Footnote 1)
Francesco Petrarca soll nach einer anekdotischen Notiz von Vincenzo Borghini(Zibaldone B.N.F. II.x.116) seinen Gefühlen gegenüber Dante villano unter anderem auf seinem Schreibtisch sehr konkret Ausdruck verliehen haben: Petrarca habe, so heißt es da, eine bildnerische Darstellung eines an den Füßen aufgehängten Dante vor sich stehen gehabt, als beständiges Erinnerungszeichen daran, dass der derart als Räuber bestrafte Dante ihm «ogni occasione di scriverecosa che buona fosse» geraubt habe.
automatic translation
Francesco Petrarch was born at a time when what was perhaps the greatest success in reception in Italian literary history (measured by the eager activity of copyists and commentators) was in full swing: everyone knew and read Dante's Commedia. In the later fourteenth and fifteenth centuries, in view of this situation, the ironic-critical truism of 'Dante villano' spread - Dante was a villano because he had already said everything worth saying and had given no one the opportunity to make further relevant statements after him and to write notable literary texts: «Dante è villano [. . .] perché à decto ogni chosa degnia di memoria e fama nelle sue opere poetiche e non à lassato a dire nulla ad altri».(Fotnote 1)1
According to an anecdotal note by Vincenzo Borghini (Zibaldone B.N.F. II.x.116), Francesco Petrarch is said to have expressed his feelings towards Dante villano very concretely on his desk, among other things: Petrarch, it says, has a pictorial representation of one on his feet hanged Dante standing in front of him as a constant reminder that Dante, punished as a robber in this way, had stolen from him «ogni occasione di scriverecosa che buona fosse».
I don't claim to understand these notes completely myself.
Something else happened in the year 1440 ...
https://en.wikipedia.org/wiki/Andrea_del_Castagno
Andrea del Castagno was born at Castagno, a village near Monte Falterona, not far from Florence. During the war between Florence and Milan, he lived in Corella, returning to his home after its end. In 1440 he moved to Florence under the protection of Bernadetto de' Medici. Here he painted the portraits of the citizens hanged after the Battle of Anghiari on the facade of the Palazzo del Podestà, gaining the nickname of Andrea degli Impiccati.
Andrea del Castagno worked later (1449-50) on pictures of Dante, Petrarca and Boccaccio, further 3 Florentine condottieri and 3 Sybils.
In the same years he collaborated with Filippo Carducci to paint a series of Illustrious People for the Villa Carducci at Legnaia. These include Pippo Spano, Farinata degli Uberti, Niccolò Acciaioli, Dante Alighieri, Petrarch, Giovanni Boccaccio, the Cumaean Sibyl, Esther and Tomiri.
We discussed these objects earlier ... It's strange to find for the year 1440 a report about a Dante, hanged in the manner of Trinfi card hanged man.