Second Florentine edition of the Comedy, very rare, in a splendid copy in its original binding.

“The Aldine Dante will become the new vulgate, but not before a last valiant attempt by the Florentines to reclaim their author with this edition of the poem, commonly called Dante Giuntina. As in the case of Landino, the response had to come from the most authoritative level of Florentine culture. On this occasion, the text was prepared by the greatest living Florentine poet of the time, Girolamo Benivieni (1453-1542). Like most of the cultured Florentines of his generation (including Machiavelli), Benivieni had always possessed a love and a deep knowledge of the poem, informed by a deep religious sensitivity nourished by his attendance at the Florentine Neoplatonic academy and by his friendship with the philosopher Giovanni Pico della Mirandola. Benivieni was also among the first intellectuals of humanist Florence to convert to the impetuous and prophetic preaching of Girolamo Savonarola. Benivieni introduces his Dante edition with a chapter in terza rima entitled, Cantico di Ieronimo Benivieni cittadino fiorentino in laude dell'eccellentissimo poeta Dante Alighieri, e della seguito Commedia da lui dida sua sua composo. From a textual point of view, the Giuntina is the most significant sixteenth-century edition of the poem, other than the Aldine editions of 1502 and the Accademia della Crusca edition of 1595. Benivieni evidently cared a great deal about the text (because the non-Tuscans had again raised the stakes) and on many occasions improved the Aldine text, preferring readings that later proved authoritative. However, Benivieni based his correction of the text on the Aldine of 1502, and it is significant that the Giuntina of 1506 was the last complete imprint of the poem to appear in Florence in the sixteenth century, until the Accademia della Crusca edition of 1595. Dante had by then become an “Italian” classic. And the process by which the Florentine poet became an Italian classic in the course of the sixteenth century is roughly parallel to that by which the essentially Florentine language of the fourteenth-century Florentine classics, Dante, Petrarch, and Boccaccio, became the national literary language of all Italy in the same period.” ( Renaissance Dante in print , 1472-1629. University of Notre Dame; The Newberry Library and the University of Chicago).
Mambelli 20; Gamba 386; Sander 2317.