ers of one-third of Italy, there now remained only
two women, Bonifazio's widow Beatrice, and his daughter Matilda.
Beatrice married Godfrey, Duke of Lorraine, who was recognised by
Henry IV. as her husband and as feudatory of the Empire in the full
place of Boniface. He died about 1070; and in this year Matilda was
married by proxy to his son, Godfrey the Hunchback, whom, however,
she did not see till the year 1072. The marriage was not a happy one;
and the question has even been disputed among Matilda's biographers
whether it was ever consummated. At any rate it did not last long; for
Godfrey was killed at Antwerp in 1076. In this year Matilda also lost
her mother, Beatrice, who died at Pisa, and was buried in the
cathedral.

By this rapid enumeration of events it will be seen how the power and
honours of the House of Canossa, including Tuscany, Spoleto, and the
fairest portions of Lombardy, had devolved upon a single woman of the
age of thirty at the moment when the fierce quarrel between Pope and
Emperor began in the year 1076. Matilda was destined to play a great,
a striking, and a tragic part in the opening drama of Italian history.
Her decided character and uncompromising course of action have won for
her the name of 'la gran donna d'Italia,' and have caused her memory
to be blessed or execrated, according as the temporal pretensions and
spiritual tyranny of the Papacy may have found supporters or opponents
in posterity. She was reared from childhood in habits of austerity and
unquestioning piety. Submission to the Church became for her not
merely a rule of conduct, but a passionate enthusiasm. She identified
herself with the cause of four successive Popes, protected her idol,
the terrible and iron-hearted Hildebrand, in the time of his
adversity; remained faithful to his principles after his death; and
having served the Holy See with all her force and all that she
possessed through all her lifetime, she bequeathed her vast dominions
to it on her deathbed. Like some of the greatest mediaeval
characters--like Hildebrand himself--Matilda was so thoroughly of one
piece, that she towers above the mists of ages with the massive
grandeur of an incarnated idea. She is for us the living statue of a
single thought, an undivided impulse, the more than woman born to
represent her age. Nor was it without reason that Dante symbolised in
her the love of Holy Church; though students of the 'Purgatory' will
hardly recognise the