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Die 'Commedia' des Dante Alighieri (1265-1321), von dessen Zeitgenossen Boccaccio als divina gepriesen, war nicht nur in kürzester Zeit außerordentlich häufig kopiert worden (mehr als 600 Handschriften sind erhalten), sondern sie hat in besonderem Maße die bildende Kunst inspiriert - von der frühen Ausgestaltung der Manuskripte bis zu Salvador Dalí und Robert Rauschenberg. Nachdem es in den Jahren zwischen 1440 und 1470 im Zuge der Aufwertung der italienischen Volkssprache zu einer Rückbesinnung auf Dante gekommen war, bemühte man sich in Florenz, der Geburtsstadt des Dichters, verstärkt um die Herausgabe einer 'eigenen' repräsentativen Ausgabe der 'Commedia'. Der früheste Druck war 1472 in Foligno erschienen, weitere in Venedig, Mantua, Neapel und Mailand. Für die Florentiner Ausgabe von 1481 verfasste Christophorus Landinus (1424-1498), prominentes Mitglied der Platonischen Akademie, einen gelehrten Kommentar, der die allegorische Dimension des Werks ins Zentrum stellte. Dieser Kommentar wurde in den folgenden zwei Jahrzehnten in alle Ausgaben übernommen. // Autor: Bayerische Staatsbibliothek, Abteilung für Handschriften und Alte Drucke // Datum: 2019 Englische Version: Almost from the time it was written, the Commedia by Dante Alighieri (1265-1321) enjoyed enormous popularity, being praised by Boccaccio as divina and copied in more than 600 manuscripts. The work has continued to be an undying source of artistic inspiration, from the earliest manuscript illustrations up to work by such modern artists as Salvador Dalí and Robert Rauschenberg. The movement towards a revaluation of vernacular Italian literature reawakened interest in Dante between 1440 and 1470 and led to efforts in the poet's native town of Florence to publish its "own" representative edition of the Commedia to rival the editions previously printed in Foligno (1472) and thereafter in Venice, Mantua, Naples, and Milan. The result was the Florentine edition (1481), which was accompanied by a learned commentary that focused attention on the allegorical character of the work. The commentary was written by Christophorus Landinus (1424-98), a prominent member of the Platonic Academy of Florence and teacher of Lorenzo di Pierfrancesco de' Medici, a cousin of Lorenzo the Magnificent. This commentary was to be included in all editions of the Commedia printed in the subsequent two decades. The different techniques required for printing the text (relief printing) and the copper engravings (an intaglio process) seem to have caused problems in this Florentine edition, printedby Nicolaus Laurentii. Only around 20 copies of the edition contain 19 copper engravings, most of which have been pasted in rather than printed onto the text pages, while others contain only two illustrations to the first two canti of the poem. The ambitiously planned edition thus seems not to have been properly realized. The copper engravings were probably the work of Baccio Baldini and seem to be related to the series of 92 illustrations made by Sandro Botticelli for Lorenzo di Pierfrancesco de' Medici around the end of the 15th century // Autor: Wiltrud Summer-Schindler
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