This essay demonstrates that Harriet Hosmer's Beatrice Cenci (1855–56) not only illustrated a popular literary narrative, but also responded to specific Roman historic, cultural and artistic touchstones as a performance of romanità through visual literacy. It addresses and challenges the accretion of historical myths around Hosmer's sculpture, its models, and its modern interpretations through the written and visual sources available to her in the nineteenth century. I draw attention to the conflation of key historic events in Rome, the execution of Beatrice Cenci, and the production of Stefano Maderno's Saint Cecilia. These narrative parallels and an emphasis on identifiable women's bodies has led to scholarship repeating the rumour of Hosmer's aristocratic model, which I demonstrate is problematic for evidentiary and interpretative reasons. The essay argues that a scholarly emphasis on her biography and psychology as a queer woman has ignored the sophisticated visual and historic citations in her sculpture.

中文翻译：

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“军团一个军团”：哈丽特·霍斯默 (Harriet Hosmer) 的比阿特丽斯·森西 (Beatrice Cenci) 中的殉道者、模特和神话

这篇文章表明，Harriet Hosmer 的Beatrice Cenci（1855-56 年）不仅阐释了一种流行的文学叙事，而且还通过视觉素养作为romanità的表现回应了特定的罗马历史、文化和艺术试金石。它通过她在 19 世纪可用的书面和视觉资源，解决并挑战围绕霍斯默的雕塑、其模型及其现代解释的历史神话的积累。我提请注意罗马的重要历史事件、比阿特丽斯·森西的处决和斯特凡诺·马德诺的《圣塞西莉亚》的制作的混合. 这些叙述上的相似性和对可识别女性身体的强调导致学术界重复霍斯默的贵族模式的谣言，我证明这在证据和解释上是有问题的。这篇文章认为，学术上对她作为酷儿女性的传记和心理学的重视忽略了她雕塑中复杂的视觉和历史引用。