La Comedia di Dante Aligieri con la nova espositione di Alessandro Vellutello

Autore ALIGHIERI, Dante (1265-1321)-VELLUTELLO, Alessandro (1473-?).
Tipografo Francesco Marcolini ad istanza di Alessandro Vellutello
Dati tipografici Venezia, 
Prezzo Venduto/Sold
La Comedia

4to (220x150 mm). [442] leaves. Lacking the last blank leaf BI8. Collation: AA-BB8 CC10 A-Z8 AB-AZ8 BC-BI8. Colophon and register at l. BI7r. Illustrated with 87 woodcuts, including 2 repetitions. Three of these are full-page blocks marking the beginning of Inferno, Purgatorio and Paradiso. The first 10 blocks are in Vellutello's preface and illustrate the structure of Dante's Hell. The others illustrate the Cantos. Three lines (“Dianzi venimmo […] ne parra gioco”), omitted by mistake in the setting of Canto 2 of the Purgatorio, have them supplied by hand at the foot of leaf V7r, as often. Recent brownish calf, blind tooled fillets on sides, spine in compartments with five raised bands, gilt fillets and morocco lettering piece, upper edge gilt. Upper margin a bit short, faint waterstain affecting few leaves, inner margin of first and last two leaves reinforced, all in all a very good copy.

The illustrations are attributed to Marcolini himself, who was a good drawer and a friend of Titian and Sansovino. L. Volkmann (Iconografia dantesca: le rappresentazioni figurate della Divina Commedia, Firenze, 1898, pp. 72-73) considers them “as the first modern illustrations of the Divina Commedia”.

THIS EDITION presents for the first time Alessandro Vellutello's commentary on the poem, the first of two new commentaries to be published during the 16th century. Born in the Tuscan city of Lucca, Vellutello was active in Venice during the early part of the century. Vellutello first made a name for himself by publishing a commentary on Petrarch in 1525 and an edition of Virgil's works in 1533. By the time he turned to Dante, the Petrarch commentary had been twice reprinted and was well on its way to becoming one of the great editorial successes of the period. A sign of the commentator's stature: Vellutello dedicates his Dante to Pope Paul III (1534-1549), sometimes known as “the last Renaissance pope” for his nepotism, his broad culture and patronage of the arts and letters. Vellutello's commentary is particularly noteworthy for its rebellion against Pietro Bembo's literary authority. In his “Letter to the Readers”, Vellutello does not demur from accusing Bembo (though without naming him) of having provided corrupted texts of Petrarch and Dante to Aldus Manutius… The inconsistency between text and commentary created by Bernardino Stagnino's editions of Aldus' text with Landino's commentary [1512, 1520 and 1536] was another major inconvenience which Vellutello's edition was designed to overcome. Yet, while Vellutello's textual departures from the Bembo-Aldine text are many, they do not go far enough to dethrone the Bembo-Aldine text as the 16th-century vulgate. Rebelling against Pietro Bembo on the one hand, Vellutello found himself battling on the other against his great predecessor Cristoforo Landino, whom he frequently criticizes and corrects. Vellutello's strict subordination of the commentary to the text contrasts greatly with the digressive Landino. And as a Tuscan from Lucca, it is significant that Vellutello observes the linguistic situation of Florence with considerable detachment. In a rare digression (Purgatorio XXIV) he rejects, from a Pisan and Lucchese point of view, the supposed preeminence of the Florentine dialect. Against Landino, Machiavelli and the Florentines, Vellutello champions the “Italian” (vs. the Florentine) Dante, whose linguistic theory, according to one interpretation of the poet's De vulgari eloquentia (On Eloquence in the Vernacular) promoted a supra-regional “volgare illustre” (illustrious vernacular). But attention to the language of Dante is not otherwise a particular strength of Vellutello's commentary. In fact, it is perhaps his interest in the historical background of the poem which represents his most significant contribution. For example, he recognized in Giovanni Villani's Cronica, unpublished at thetime, a necessary source for the interpretation of the poem. Generally, Vellutello's references to historical sources reveal a broad knowledge of and curiosity about medieval history which was exceptional among litterati of his time. Finally however, the Vellutello commentary illustrates how the Comedy had become separated from any living literature which might have sought inspiration in the poem. The editor presents the Comedy, as if from a remote plateau, to an audience seeking general intellectual education or perhaps simple diversion. The success of Vellutello's Dante commentary was not as great as that of his Petrarch. Cannibalized in the Lyons editions of Rovillé in the following decades, it was reprinted independently only once, in 1554, although it will appear together with Landino's commentary in the Sessa imprints of 1564, 1578 and 1596 (Renaissance Dante in Print (1472-1629), at

D. Pirovano, ed., La Comedia di Dante Aligieri con la nova esposizione di Alessandro Vellutello, Roma, 2006;Edit 16, CNCE1163; C. de Batines, Bibliografia Dantesca, Prato, 1845, I, pp. 82-83; G. Mambelli, Gli annali delle edizioni dantesche, Bologna, 1931, no. 30; Adams, D-94; Gamba, no. 387; Prince d'Essling, Les livres à figures vénitiens, Firenze-Parigi, 1908, no. 545; R. Mortimer, Italian 16th Century Books in the Harvard College Library, Cambridge, 1974, no. 146; S. Casali, Gli annali della tipografia veneziana di Francesco Marcolini, Bologna, 1953, no. 72.

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