The Signoria showed itself grateful to Landino. It gave him a tower on the ramparts of Borgo alia Collina, where he dwelt, and its possession was confirmed to his descendants in 1563 by a sentence of the supreme civil court of Florence, the Rota, when the magistrates of the Parte Guelfa claimed it as public property. His work is not remarkable for critical thoroughness and correctness, but for the commentary, which had great influence on opinion at the time and long afterwards. Six if not seven reissues in different places before the end of the century show with what approval this edition was received. It encountered formidable rivals, with respect to the text, in 1502, in the first Aldine, and with respect to the commentary in 1544, in Alessandro Vellutello’s work, which was soon followed by others; yet it retains some value even now. While Landino was earning well-deserved fame by this fruit of diligent study, the lectures in the cathedral on the ‘Divine Comedy’ were entrusted, in 1483, to the preaching friar Domenico da Corella, who had taken part in the council, and dedicated his Latin poem on the life of the Virgin Theotokon to Piero de’ Medici in 1468. Marsilio Ficino had long previously turned his attention to Dante when he dedicated his translation of the ‘De Monarchia’ in 1467 to his friends Bernardo del Nero and Antonio Manetti. The latter, who occupied himself much with copying old codices, is remembered among students of Dante by his dialogue (between himself and Benivieni) on the position, form, and extent of hell. Marsilio’s dedication states that he had held much discourse with the two men named on the questions raised by this political treatise, and that they were thereby led to discuss the ‘Divina Commedia.’ As Dante treated in his poem of the kingdom of the blessed, of the regions of the wretched, and of the place where departed souls abide waiting for redemption, so in his book on monarchy he treated of the realms of those who are still waiting and hoping in this world. The perception, imperfect though it be, of the spiritual connection between the great poem and its author’s other works, shows a progress in the appreciation of Dante remarkable at the time, and to this Cristoforo Landino had practically contributed.