In the sequence Regarding the Male form, You will see an atypical rhymescheme in Sonnet #3, this is what may be termed a “Reverse Italian,” or “Reverse Petrarchan,” if you prefer the more formal name.

Also in this sequence, the piece directly preceding this one is a more direct companion.  Sonnet #2  in the sequence is a conventional Italian or Petrarchan.

I enjoy reversing forms in order that I might see how they work, sound, feel, etc.  A Petrarchan is difficult to reverse, because in the first section you have

ABBA, ABBA,

which when reversed gives one BAAB, BAAB, which is identical in sound.  So I can see the best possibility here might be to reverse one quatrain which gives:

ABBA, BAAB, which does have a unique sound.

Also the second section of a Petrarchan–the final six lines–are never set to one form so they may be

CDECDE, or CDCDCD, or CDECED, or even occasionally, CDCDEE,

which is something of a rarely; but even Petrarch did it that way once.  You will see any number of possibilities in the final six lines.  Except you will never (that I know of) see something like:

CCDEDE, which a reverse of CDCDEE,

So that seems a logical target for a Reverse Petrarchan.

All this together gives

ABBA BAAB CCDEDE,

One could perhaps try CCDEED, or possibly a third use of C, but the couplet really must, I think, be in lines 9 and 10.