In the work of Olivier Vitalis, published in Paris in 1842, which contains researches into almost every opinion concerning Laura and Petrarca, that of her marriage is rejected: “_Des couches fréquentes_,” says the author, “_des chagrins domestiques peuvent convenir et s’appliquer à la Laure de De Sade, mais non à la Laure célébrée par Pétrarque, qui mourut dans le célibat_.” Several Italian authors declare on the other hand that the objection against Laura’s celibacy is made by Petrarch himself, who, in his Latin Dialogue with St. Augustin, frequently makes use of the word _mulier_, in speaking of her. The dictionary of Vanieri, and others, tell us that: “_Fæmina propriè sexum significat, mulier quæ virgo non est._” Unfortunately, our poet, in all matters appertaining to his mistress, has intentionally, or by chance, only very vaguely mentioned, by allusions, or by figures of speech, dates or circumstances bearing reference to her. Besides the striking difference that exists on many points in the manuscripts which have served as foundations for the various editions of Petrarca, it must be confessed that nowhere have primary and incontrovertible facts been produced on which to ground a true and faithful biography of Laura. It is stated that an allusion to Laura’s death, and burial at Avignon, is to be found in a manuscript Virgil which belonged to Petrarca, and which is preserved in the _Bibliotheca Ambrosiana_ at Milan; but learned critics, among whom we may name Alexander Tassoni, one of the most reliable authors of Italy, A. Vellutello, and others, consider this note as very apocryphal, and even as a forgery: for the writing has never been proved to be that of the poet, and moreover this memorandum is in open contradiction with the sonnets of Petrarca written on the spot where the lovers first met. It was not until towards the beginning of the 16th century that the desire sprang up among the Italians to know who the Laura really was, that had been the theme of song for twenty years. Alexander Vellutello made two journeys to Avignon for the express purpose of collecting information regarding her, and from that time innumerable discussions arose from all quarters. Tomasini, Maria Suarez, G. Ferrari, F. Orsino, Muratori, &c., on the one side, and Vellutello, Gesualdo, Tassoni, le Bastie, &c. on the other. But they were all staggered by a remark made by Giacomo Colonna, Bishop of Lombez, with whom Petrarca lived for some time, and who consequently must have known him intimately. The bishop writes: “Your Laura is only a phantom of your imagination on whom you exercise your muse. _Un nome imaginario di Laura per avere un oggetto di cui ragionare._” Amid such a multiplicity of conflicting opinions where can reliance be placed!