Cabianca describes the arrival of the unwitting Pia de’ Tolomei, taken to Castel di Pietra by her jealous husband. The painting style used is that which the artists of the Accademia reserved for sketches in the 19th century: a rapid synthesis of stains of colour designed to focus on volumes and relationships of light and shade, rather than on the precision of the drawing. This pictorial style became the favoured medium in the circle of the Macchiaioli who studied the painting of the past masters in Florence, renewing it with a modern focus on the natural element and abandoning the theatrical conventions of academic painting. For a long time, this canvas was believed to have been the sketch for a much larger painting with the same subject and setting. However, recently critics have restored the autonomy of this sketch, which appears to be an exercise in style based on a literary theme, carried out with the modern medium experimented by Cabianca as he regularly frequented the animated discussions held in the Macchiaolo meeting place, Caffè Michelangelo. And in fact, Adriano Cecioni, one of the theoreticians of the group, and an artist himself, stated that the modernity of a work did not necessarily consist in the abandonment of the traditional theme, but in the innovation of its form.

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　　这幅《琵亚被领进马雷马城堡》现藏于皮蒂宫的现代艺术馆里，画面描绘的正是“琵亚事件”的另一个版本：琵亚的美貌引起了丈夫的怀疑，涅洛认为她不忠而将其在不知情的情况下锁在皮耶特拉城堡中，最终琵亚怀抱着绝望死去。

　　这件画的作者是19世纪活跃于佛罗伦萨的“斑痕画派”艺术小组的成员之一：文森佐·卡碧昂卡。19世纪下半叶，佛罗伦萨的米开朗基罗咖啡馆(Caffè Michelangiolo)是艺术家们的“根据地”，他们经常聚在一起讨论艺术和政治问题。而诞生于此的意大利“斑痕画派”(Macchiaioli)，它通常被人们拿来与法国印象派中的“点彩派”进行类比，但二者的本质区别在于：前者虽然在某种程度上能称之为后者的“革命性”先导，但其“革命性”的强度却不及后者来得激进。基本上，包括文森佐·卡碧昂卡、乔瓦尼·法多里(Giovanni Fattori)等代表艺术家在内，他们所追寻的新艺术风格，虽然在表面上诉诸于打破学院派的古典传统，但在根本上仍是以伦勃朗、卡拉瓦乔、丁托列托等古典大师在光影上突出的技法为榜样，并结合同时期的法国巴比松画派艺术家在光影画法上的创新，为意大利的古典艺术向现代艺术转向探索出的一条相对温和的革新路径。

　　具体上看，这幅油画更像是未完成的草稿——文森佐用大色块快速区分对象间的冷暖色调，拉开明暗间的对比关系，突出最亮的部分，而非面面俱到地刻画所有细节——这就是“斑痕画派”风格的重要特征之一。另外，画家运用不同的亮度和色调，除了能够显示出对象在物性上的差异外，琵亚和涅洛两人一明一暗，不但增强了画面的叙事性，且突出了人物之间矛盾对立的关系。