Dante Alighieri. Le terze rime di Dante. [Lyon: Baldazare de Ga𒅌biano and/or/for Barthélemy 🐎Trot?, 1502-1503?]

T🔥he first edition of Dante printed outside o💖f Italy.

"The counterfeits of Aldus’s 1501 Petrarch and 1502 Dante editions were produced almost immediately, probably at Lyons, possibly by or for Barthélemi Trot. They are not mentioned, though, in the Monitum in Ludgunenses typographos, 🦩the broadside warning issued by Aldus on 16 March 1503, so they might not have been printed before March 1503 or Aldus might not have been aware of them.

"As it was the case for the counterfeits of Aldus’s Latin enchiridia of 1501, the pirate edition copied the Aldine Dante in every aspect, also in the unusual title Le terze rime given to the poem by Pietro Bembo. Unlike Aldus’s edition, however, it had no colophon 🌞and ꧒was therefore unsigned and undated.

"Without the guidance of Aldus's Monitum a reader could only distinguish it from the original edition by carefully assessing its printing and types, indeed more elegant and closer in appearance than those in the counterfeit Horace [by the same printers and publishers, about 1502]. Despite their eff🍌orts, though, the Lyonnaise printers failed to match the sophistication of Aldus's Italic founts. The ligatures between the lower case letters, beautifully attained by Griffo’s types, are beyond the reach of his French competitors, as is immediately apparent when comparing the rendering of letter groups such as "in", "mi", "st" and "sp" in the two editions" ("Aldus Manutius: A humanist printer for humanist readers," Cambridge University Library online exhibition; //exhibitions.lib.cam.ac.uk/manutius/).

8vo (159 x 95 mm). Italic type, 30 lines plus headline. collation: a-z⁸ A-F⁸ G¹²: 244 leaves (l2 blank). Three-line initial spaces with guide letters at the beginning of each cantica. (Washed, lower fore-edge corners of i3, l4, and n5 restored.)

binding: Nineteenth-century French crushed red morocco by Jean-Edouard Niedrée (162 x 103 mm), signed at lower front turn-in, blind-panelled and gilt-tooled in period style, spine gilt in six compartments, marbled endpapers, edges marbled un🍃der gilt. Modern red clo♛th slipcase, chemise.

provenance: Jean Grenet of Chartres (Joannes Grenetius Carnutensis, 1531-1571, neo-Latin poet), inscription at end — Biblioteca Cameriniana, Piazzola sul Brenta, booklabel and bibliographical notes in Italian on front flyleaf (the library, mostly assembled by Paolo Camerini, 1868-1937, was rich in incunabula, Aldines and other sixteenth-century works) — possibly Charles Fairfax Murray, who had a copy in a Niedrée binding, sale, Sotheby's, 17 July 1922, lot 320, though his bookplate is not present. acquisition: Purchased from Georges Heilbrun, Paris, 1976. references: UCLA 1107; Adams D84; Aldo Manuzio tipografo 134.7; Baudrier, VII, 11-12; Edit16 1145; Gültlingen, I, p. 64:13; Renouard 307/9; D.J. Shaw, “The Lyons counterfeit of Aldus’s italic type,” in The Italian Book 1465-1800 (1993), 5; USTC 808778/130004