Les Cenci (1935), play by Antonin Artaud, adaptation of the Shelley play The Cenci, essay by Alexandre Dumas in Volume 1 of Celebrated Crimes (1840) Legende und Wahrheit der Beatrice Cenci (1926), short story by Stefan Zweig The Cenci (1951–52), an opera by Havergal Brian (abridged from Shelley's play) The Cenci Family (2004), a radio play by Lizzie Hopley directed by Lu Kemp Beatrice Cenci (2006), musical drama by Alessandro Londei and Brunella Caronti Béatrice Cenci : Telle une fleur coupée, a novel by Jean Rocchi, editor Esmeralda (10 May 2004) "Finis the Cenci" (1954), a 17-line poem by F. R. Scott in Events and Signals; also in his Selected Poems (1966) and Collected Poems (1981) A Tale for Midnight (1955), a novel by Frederic Prokosch the Canadian opera Beatrice Chancy, written by George Elliott Clarke and James Rolfe (and inspired by the Shelley play), transplants the story to nineteenth-century Nova Scotia. 11 settembre 1599, A Beatrice Cenci , a piece in poetic prose by Sabrina Gatti (Italian writer), in Il trono dei poveri (2020) Statues, paintings, and photography also provide numerous portraits and homages to Beatice Cenci: The Italian painter Caravaggio witnessed Beatrice's public execution and may have used it as inspiration for the decapitation scene in his painting Judith Beheading Holofernes. A statue by American sculptor Harriet Goodhue Hosmer entitled Beatrice Cenci (1857) is on display at the Mercantile Library on the University of Missouri–St. Louis campus in St. Louis, Missouri. The early photographer Julia Margaret Cameron posed her model, May Prinsep, as Beatrice in an 1866 albumen print portrait among a series she devoted to Beatrice Cenci. The possible portrait of Beatrice Cenci by Baroque painter Guido Reni (1575–1642) and the legend surrounding Beatrice figure prominently in Nathaniel Hawthorne's The Marble Faun (1860). The book's two principal female characters, Hilda and Miriam, debate the nature and extent of Beatrice's guilt. Hilda believes Beatrice's act to be an "inexpiable crime" but Miriam believes it was "no sin at all, but the best possible virtue in the circumstances". Hawthorne draws many similarities between Miriam and Beatrice, and the reader must decide whether Miriam is an avenger or a culprit. In Letitia Elizabeth Landon's short story "The Bride of Lindorf" (1836), the main character has an emotional attachment to the painting of Beatrice Cenci. The Reni painting and the story of Beatrice figure in the plot of Liza Marklund's novel