The article provides a first analysis of the eleven canzoni Berardino Rota included in the third and final edition of his book of Rime (1572), with special regard to metrics, macrotext and imitational dynamics. The profile of Rota’s canzoni emerges from the comparison with some vernacular models (Petrarca, Bembo, Della Casa) but also with the practice of contemporary Neapolitan lyric poets and from the observation of the Rime’s different editions. The remarks made on the different levels are synthesized and deepened in the close reading of the first canzone of the book, Qual più lontan, qual più deserto loco (XVIII).
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