vision of heaven found in the Cantos is Dante's personal vision. The Divine Comedy finishes with Dante seeing the Triune God. In a flash of understanding that he cannot express, Dante finally understands the mystery of Christ's divinity and humanity, and his soul becomes aligned with God's love: History Manuscripts According to the Italian Dante Society, no original manuscript written by Dante has survived, although there are many manuscript copies from the 14th and 15th centuries – some 800 are listed on their site. Early translations Coluccio Salutati translated some quotations from the Comedy into Latin for his De fato et fortuna in 1396–1397. The first complete translation of the Comedy was made into Latin prose by Giovanni da Serravalle in 1416 for two English bishops, Robert Hallam and Nicholas Bubwith, and an Italian cardinal, Amedeo di Saluzzo. It was made during the Council of Constance. The first verse translation, into Latin hexameters, was made in 1427–1431 by . The first translation of the Comedy into another vernacular was the prose translation into Castilian completed by Enrique de Villena in 1428. The first vernacular verse translation was that of Andreu Febrer into Catalan in 1429. Early printed editions The first printed edition was published in Foligno, Italy, by Johann Numeister and Evangelista Angelini da Trevi on 1472. Of the 300 copies printed, fourteen still survive. The original printing press is on display in the Oratorio della Nunziatella in Foligno. Thematic concerns The Divine Comedy can be described simply as an allegory: each canto, and the episodes therein, can contain many alternative meanings. Dante's allegory, however, is more complex, and, in explaining how to read the poem (see the Letter to Cangrande) he outlines other levels of meaning besides the allegory: the historical, the moral, the literal, and the anagogical. The structure of the poem is also quite complex, with mathematical and numerological patterns distributed throughout the work, particularly threes and nines. The poem is often lauded for its particularly human qualities: Dante's skillful delineation of the characters he encounters in Hell, Purgatory, and Paradise; his bitter denunciations of Florentine and Italian politics; and his powerful poetic imagination. Dante's use of real characters, according to Dorothy Sayers in her introduction to her translation of the Inferno, allows Dante the freedom of not having to involve the reader in description, and allows him to "[make] room in his poem for the discussion