The bibliographical value of this print of the Divine Comedy is due precisely to its particular formal beauty, achieved through elegant and refined typographic choices. The pages, in a large 4° format (33 cm) and made of pure white tissue paper, present Dante's work in a composition of rare clarity: the right margin contains brief notes by Paolo Costa; the left margin contains the names of places and the condition of the people; preceding each canto is a copperplate illustrating a specific content or character from the canto itself and the summary of the subject, written in terza rima by Gaspare Gozzi. Finally, the text groups on each page are printed in different typefaces and sizes, according to their function, a measure that makes the page even more dynamic and facilitates the reader's choice. This Bolognese edition is known as the 'Macchiavelliana' because it was edited by Abbot Filippo Macchiavelli with the aim of publicizing the copperplate engravings of his uncle Giovanni Giacomo Macchiavelli (Bologna, 1766 – Rome, 1811). Ugo Foscolo expressed appreciation for the iconographic richness of the 'Macchiavelliana'. In his London edition of the Divine Comedy (Rolandi, 1843), specifically in Notizie e pareri diversi intorno a forse due cento codices, e alla serie dei edizioni della Commedia di Dante, comparing these plates to those in the Florentine edition, printed under the banner of Ancora in 1819 (also in folio and on vellum paper), he wrote of the former that "they have more life and more artistic mastery than the piazzosi that adorn the Florentine edition."