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 The old Commentator Benvenuto da Imola launches out into a burst of admiration at the beauty of the above passage, in which Dante represents himself as having been ignorant of the place where Buonconte was buried, but puts the revelation of the mystery into that warrior's own mouth, and begs his readers to consider with what art the Poet has elevated a subject which was, in itself, humble and of no great importance.

We have now brought to a conclusion the striking contrast between the death-scene of Guide, the father, and Buonconte, the son, noticing the dissimilarity in the subsequent fate of each ; and here my Lecture would end, were it not that the last seven lines of the Canto contain an episode which, some think, surpasses in beauty any in the Commedia, and I have ventured to include it in our subject.

We mentioned above that seemingly three spirits had stepped forward out of the band. The narrative of Jacopo del Cassero we omitted; we have given full consideration to that of Buonconte da Montefeltro; and now we find that the third spirit of the three makes her petition to Dante. This is Pia, generally reported to have been of the Tolomei family of Siena, a statement which is supported by Benvenuto and the Anonimo Fiorentino. This Pia must not be confused with Pia Guastelloni, widow of Baldo Tolomei, who was still living in 1318. The name of her husband was Paganello (shortened into Nello) deTannocchieschi, lord of the Castle of la Pietra, nine miles to the east of Massa Marittima. He was Podesta of Volterra in 1277 and of Lucca in 1313. He was alive, and made a will, in 1318. It is said that Nello wanted to get rid of Pia in order that he might be free to marry the beautiful Margherita degli Aldobrandeschi, the widow of Guy de Montfort. According to some, he caused his retainers to hurl her out of a window of his castle in the Maremma down the tremendous precipice below. Another account says that Nello simply waited until the pestilential air of the district, so fatal to life, should destroy her.