A girl, half-length, turns towards us, almost answering a call. A turban wraps her head, from which long locks of blond hair escape. A cloak, ivory white like the turban, wraps around her shoulders. The clothing has no specific social connotations, even if the headgear refers to the sixteenth-century iconographic tradition of the Muses.In its absolute simplicity the work lends itself to being filled with meanings. ; Annals of Italy & nbsp; had recalled the painful figure, a lasting tradition came to life that identified Beatrice Cenci, protagonist in spite of herself in the crime news of the late sixteenth century: with other members of the family she was accused of the murder of Francesco Cenci, incestuous father , and violent, and sentenced to death by beheading, performed at the foot of Castel Sant'Angelo on 11 September 1599. Up to the present day this story has inspired countless artistic and literary creations, including this alleged portrait; with its aura of defenseless innocence, it was commented and exalted by writers and intellectuals from Stendhal and Hawthorne to Artaud and Moravia, while a parallel tradition attributed the work to Guido Reni, portraying Beatrice shortly before the execution: an intriguing but unlikely story, in those circumstances. Currently this work is attributed to the painter Ginevra Cantofoli, active in Bologna in the important workshop of Elisabetta Sirani and author of numerous works in public and private contexts, characterized by the same soft, melancholy and modestly sensual atmosphere that also distinguishes the our mysterious protagonist.