Collected poems 1909-1935.

A cura di Alfredo Obertello. Milano, Valentino Bompiani Editore, 1947, cm.14x21, pp.236, brossura Esempl. privo di sopraccop. Coll.Portico, Critica e Saggi, 14.

Con testo a fronte. Traduzione e prefazione di Luigi Berti. IV edizione riveduta. Parma, Guanda 1949, cm.15x22, pp.190, brossura Coll.Fenice,4. Ediz.fuori serie. Quarta edizione aumentata.

Traduzione e prefazione di Luigi Berti. Parma, Guanda 1941, cm.15x22, pp.136, brossura Coll.Fenice.4 fuori serie.

Frankfurt am Main, Suhrkamp Verlag 1960, cm.16x24, pp.359,(1), legatura ed. in tutta tela, titoli in oro al dorso. (Dorso un po' insolato.)

Mostra celebrativa nel sesto centenario della nascita. Museo Nazionale del Bargello, 28 maggio- 312 ottobre 1977. Firenze, Soprintendenza ai beni Artistici e Storici 1977, cm.17x24, pp.45, brossura copertina figurata a colori.

Firenze, Pontecorboli Editore 2020, cm.14,5x21, pp.88, brossura con copertina figurata a colori. This elusive monument is classic, early Christian, Byzantine, Lombard or Romanesque? Is it really an ideal model of perfect unity or has been transformed in several times? And moreover: it’s born as a true baptistery or – perhaps – it was once a ‘Temple of Mars’? Although studied for centuries in every aspect by a crowd of scholars and historians, the topic of the origins of the Florentine Baptistery of San Giovanni remains debated and obscure, since the authors are divided between those who believe it ancient and those who medieval. Thus, being it still not related with certainty to a specific historical context, the «bel San Giovanni» loved by Dante does not find a ascertained and firm placement in the texts, and it is not even clear the role it played in the birth of the Florentine Renaissance. This book tries to give an answer to the lasting problem in a synthetic view that resumes documents and researches, pointing most of all to what the architecture suggests.