The trenches are spanned by rocky ribs, forming bridges by which the central cavity can be reached. Here we find for the first time devils, in the ordinary acceptation of the term, employed as tormentors. The sinners in this circle are those who have been guilty in any way of leading others into sin, deceiving or cheating them, without any aggravating circumstances of ingratitude or breach of natural ties. In the first pit are those who have led women astray; these are scourged by fiends. In the next lie flatterers immersed in the most loathsome filth. In each Dante notes two examples: one of recent times--indeed, in both cases an acquaintance of his own,--and one taken from ancient history or legend. Jason, for his desertion of Hypsipyle and Medea, is the classical example of the first offence. Of this use of mythological persons we have many examples, but the typical flatterer of old time is a more curious selection, being a character in a play, whom Dante has borrowed from Cicero. In the next, or third pit (Canto xix.), we again find fire as the instrument with which the sinners are punished. Those who have made money by misuse of sacred offices are buried head downwards in holes with their feet projecting, and fire plays about their soles. Naturally an opportunity is here presented for some strong invective against the recent unworthy occupants of the See of Rome. Canto xx. brings us to the fourth pit, in which those who have professed to foretell the future march in a dismal procession with their heads turned round so that they look down their own backs. The sight of Manto, daughter of Tiresias, suggests a description of the origin of the city of Mantua. The last lines of this canto contain one of the most important indications of time which Dante gives in this part of the poem. The sinners of the fifth pit correspond in some degree with those of the third, except that in their case the traffic which is punished has to do with secular offices. Canto xxi. opens with the famous description of the work in the arsenal of Venice, which is introduced in order to afford an image of the boiling pitch in which sinners of this class are immersed. For some reason, which is not very clear, Dante devotes two whole cantos to this subdivision of the subject. There is no doubt that _baratteria_, peculation or jobbery, was rampant throughout Southern Europe at the time, and, as has been said, it was one of the charges brought against the poet himself at the time of his banishment.[29] We find here again one of “the torments of heat;” with one exception, that of the evil counsellors in Canto xxv., the last instance in which heat plays a part. It would be interesting, by comparison of the various sins into the punishment of which it enters, to see if any ground can be suggested for its employment in their case.