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Thomas Wyatt (1503-1542): The longe love that in my thought doeth harbar (text from Egerton MS. 2711, British Museum)
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Petrarch: Canzoniere and Trionfi: Italian miniaturist, Incunable (inc. Ven. 546), 1470 (Biblioteca Nazionale Marciana, Venice)
Amor che nel penser mio vive e regna
e ’l suo seggio maggior nel mio tène,
talor armato ne la fronte vène,
ivi si loca, et ivi pon sua insegna.
Quella ch’amare e sofferir ne ’nsegna
e vòl che ’l gran desio, l’accesa spene,
ragion, vergogna e reverenza affrene,
di nostro ardir fra sé stessa si sdegna.
Onde Amor paventoso fugge al core,
lasciando ogni sua impresa, e piange, e trema;
ivi s’asconde, e non appar più fòre.
Che poss’io far, temendo il mio signore,
se non star seco in fin a l’ora estrema?
ché bel fin fa chi ben amando more.
Francesco Petrarca (1304-1374): Amor che nel penser mio vive e regna, in Canzoniere: Rerum Vulgarium Fragmenta (codice Vaticano 3195)
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Battle of Anghiari (Tavola Doria):Leonardo da Vinci, 1503-05, oil on panel, 85 x 115 cm (formerly private collection, Munich; now lost)
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Group of riders in the Battle of Anghiari:Leonardo da Vinci, 1503-04, black chalk, white highlights, 160 x 197 mm (Royal Library, Windsor)
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Lady Elyot: Hans Holbein the Younger, 1532-33; chalk, pen and brush on paper, 28 x 20.9 cm (Royal Collection, Windsor)
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Rearing horse:Leonardo da Vinci, 1503-04, red chalk and pencil, 153 x 142 mm (Royal Library, Windsor)
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Jane Seymour: Hans Holbein the Younger, 1536-37; black and coloured chalks on paper, 50 x 28.5 cm (Royal Collection, London)
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Studies of Leda and a horse:Leonardo da Vinci, 1503-07, black chalk, brush and ink on paper (Royal Library, Windsor)
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Study of battles on horseback and on foot:Leonardo da Vinci, 1503-04, pen and ink on paper, 145 x 152 mm (Gallerie dell'Accademia, Venice)
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Head of a Warrior ('The Red Head'):Leonardo da Vinci, 1504-05, red chalk on brownish paper, 226 x 186 mm (Szépmûvészeti Múzeum, Budapest)
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The Battle of Anghiari (detail):Leonardo da Vinci, 1503-05, black chalk, pen and ink, watercolour on paper, 452 x 637 mm (Musée du Louvre, Paris
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Head of a Woman: Hans Holbein the Younger, c. 1522, drawing (Musée du Louvre, Paris)
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Battle Scene: Michelangelo Buonarroti, 1504, pen and ink on paper, 179 x 251 mm (Ashmolean Museum, Oxford ![]()
Kneeling Female Nude in Profile (recto): Michelangelo Buonarroti, 1503-04, pen and brown ink on paper partly prepared in red, 258 x 153 mm (Musée du Louvre, Paris)
Petrarch: Canzoniere and Trionfi: Italian miniaturist, manuscript (Plut. 141.1), c. 1463 (Medicea Laurenziana, Florence)
The longe love that in my thought doeth harbar
...and in myn herte doeth kepe his residence
...into my face preseth with bold pretence
...and therin campeth spreding his baner
She that me lerneth to love & suffre
...and will that my trust & lust negligence
...be rayned by reason shame & reverence
...with his hardiness taketh displeasur
Wherewithall unto the herte forrest he fleith
...leving his entreprise with payn & cry
...and ther him hideth & not appereth
What may I do when my maister fereth
...but in the feld with him to lyve & dye
.....for goode is the liff ending faithfully Thomas Wyatt (1503-1542): The longe love that in my thought doeth harbar (text from Egerton MS. 2711, British Museum)
Petrarch: Canzoniere and Trionfi: Italian miniaturist, Incunable (inc. Ven. 546), 1470 (Biblioteca Nazionale Marciana, Venice)
Amor che nel penser mio vive e regna
e ’l suo seggio maggior nel mio tène,
talor armato ne la fronte vène,
ivi si loca, et ivi pon sua insegna.
Quella ch’amare e sofferir ne ’nsegna
e vòl che ’l gran desio, l’accesa spene,
ragion, vergogna e reverenza affrene,
di nostro ardir fra sé stessa si sdegna.
Onde Amor paventoso fugge al core,
lasciando ogni sua impresa, e piange, e trema;
ivi s’asconde, e non appar più fòre.
Che poss’io far, temendo il mio signore,
se non star seco in fin a l’ora estrema?
ché bel fin fa chi ben amando more.
Francesco Petrarca (1304-1374): Amor che nel penser mio vive e regna, in Canzoniere: Rerum Vulgarium Fragmenta (codice Vaticano 3195)
Francisci Petrarchae: Poetae laureati, epitome virorum illustrium: Italian miniaturist, manuscript (Ms. Latin 6069F), 1379 (Bibliothèque Nationale, Paris)
Jeanne de Boulogne, Duchess of Berry: Hans Holbein the Younger, 1524; black and coloured chalks, 39.6 x 27.5 cm (Kupferstichkabinett, Öffentliche Kunstsammlung, Basel)
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Battle of Anghiari (Tavola Doria):Leonardo da Vinci, 1503-05, oil on panel, 85 x 115 cm (formerly private collection, Munich; now lost)
Portrait of Anna Meyer:Hans Holbein the Younger, c. 1526; black and coloured chalks, 39.1 x 27.5 cm (Kupferstichkabinett, Öffentliche Kunstsammlung, Basel)
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Group of riders in the Battle of Anghiari:Leonardo da Vinci, 1503-04, black chalk, white highlights, 160 x 197 mm (Royal Library, Windsor)
Lady Elyot: Hans Holbein the Younger, 1532-33; chalk, pen and brush on paper, 28 x 20.9 cm (Royal Collection, Windsor)
Rearing horse:Leonardo da Vinci, 1503-04, red chalk and pencil, 153 x 142 mm (Royal Library, Windsor)
Jane Seymour: Hans Holbein the Younger, 1536-37; black and coloured chalks on paper, 50 x 28.5 cm (Royal Collection, London)
Studies of Leda and a horse:Leonardo da Vinci, 1503-07, black chalk, brush and ink on paper (Royal Library, Windsor)
Portrait of Lady Mary Guildford: Hans Holbein the Younger, c. 1527; black and coloured chalks, 55,2 x 38,5 cm (Kupferstichkabinett, Öffentliche Kunstsammlung, Basel)
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Study of battles on horseback and on foot:Leonardo da Vinci, 1503-04, pen and ink on paper, 145 x 152 mm (Gallerie dell'Accademia, Venice)
Head of a Warrior ('The Red Head'):Leonardo da Vinci, 1504-05, red chalk on brownish paper, 226 x 186 mm (Szépmûvészeti Múzeum, Budapest)
The Battle of Anghiari (detail):Leonardo da Vinci, 1503-05, black chalk, pen and ink, watercolour on paper, 452 x 637 mm (Musée du Louvre, Paris
Head of a Woman: Hans Holbein the Younger, c. 1522, drawing (Musée du Louvre, Paris)
Battle Scene: Michelangelo Buonarroti, 1504, pen and ink on paper, 179 x 251 mm (Ashmolean Museum, Oxford
Kneeling Female Nude in Profile (recto): Michelangelo Buonarroti, 1503-04, pen and brown ink on paper partly prepared in red, 258 x 153 mm (Musée du Louvre, Paris)