{"meta":{"version":"2.1","_links":{"self":{"href":"https://api.vam.ac.uk/v2/object/O82162"},"collection_page":{"href":"https://collections.vam.ac.uk/item/O82162/"}},"images":{"_primary_thumbnail":"https://framemark.vam.ac.uk/collections/2006AF8963/full/!100,100/0/default.jpg","_iiif_image":"https://framemark.vam.ac.uk/collections/2006AF8963/","_alt_iiif_image":[],"imageResolution":"high","_images_meta":[{"assetRef":"2006AF8963","copyright":"© Victoria and Albert Museum, London","sensitiveImage":false}]},"see_also":{"_iiif_pres":"https://iiif.vam.ac.uk/collections/O82162/manifest.json","_alt_iiif_pres":[]}},"record":{"systemNumber":"O82162","accessionNumber":"4876-1901","objectType":"Enamel miniature","titles":[{"title":"Portrait of Beatrice Cenci (d. 1599), after Guido Reni","type":"popular title"}],"summaryDescription":"This portrait is painted in enamel on metal. The advantage of enamel over traditional miniature painting (watercolour painted on vellum or, from about 1700, on ivory) is that it does not fade when exposed to light. The process of painting with enamels is, however, less free than the miniature technique and is fraught with danger. The first colours to be laid on the metal support have to be those needing the highest temperature when firing. More colour is added and the enamel refired, the process ending with the colours needing the lowest temperature. Such labour meant that it was an expensive option. \r\n\r\nEnamel was first practised in England in the 1630s by the Swiss goldsmith Jean Petitot at the court of Charles I. It was reintroduced around 1680 by a Swede, Charles Boit, and achieved wide popularity with the work of Christian Friedrich Zincke of Germany. Both Boit and Zincke were goldsmiths by training. In the early 18th century a number of miniaturists took up enamel in order to offer their clients a choice. But as the market for all portraiture grew and as miniature painters worked on ivory with increasing confidence and bravura, enamel painters decided to learn their rivals’ art. In the 19th century the rich colour of enamel made it popular as a copyist’s art. \r\n\r\nThis is a typical example of the taste for enamel copies. Like his grandfather, Henry Bone, and father, Henry Pierce Bone, Charles Richard Bone made a successful living providing the public with such works.  The tragic and sensational story of Beatrice Cenci (1577-1599), a young Roman noblewoman who murdered her brutal father and was condemned to death by Pope Clement VIII, would have made this a popular subject for early 19th-century audiences. The original by the influential 17th-century Italian painter Guido Reni hangs in the Galleria Barberini, Rome.","physicalDescription":"Enamel portrait miniature on metal of Beatrice Cenci, after Guido Reni","artistMakerPerson":[{"name":{"text":"Bone, Charles Richard","id":"A9768"},"association":{"text":"artist","id":"AAT25103"},"note":""},{"name":{"text":"Reni, Guido","id":"A5307"},"association":{"text":"artist","id":"AAT25103"},"note":"after"}],"artistMakerOrganisations":[],"artistMakerPeople":[],"materials":[{"text":"enamel","id":"AAT14910"}],"techniques":[{"text":"painting","id":"x30598"}],"materialsAndTechniques":"Enamel on metal","categories":[{"text":"Portraits","id":"THES48906"}],"styles":[],"collectionCode":{"text":"PDP","id":"THES48595"},"images":["2006AF8963"],"imageResolution":"high","galleryLocations":[{"current":{"text":"LVLF","id":"THES49656"},"free":"","case":"RMC","shelf":"8","box":"K"}],"partTypes":[[{"text":"miniature (painting)","id":"AAT33936"}]],"contentWarnings":[{"apprise":"","note":""}],"placesOfOrigin":[{"place":{"text":"England","id":"x28826"},"association":{"text":"painted","id":"x30138"},"note":"probably"}],"productionDates":[{"date":{"text":"1842","earliest":"1842-01-01","latest":"1842-12-31"},"association":{"text":"painted","id":"x30138"},"note":""}],"associatedObjects":[],"creditLine":"","dimensions":[{"dimension":"Height","value":"56","unit":"mm","qualifier":"","date":{"text":"","earliest":null,"latest":null},"part":"","note":""},{"dimension":"Width","value":"46","unit":"mm","qualifier":"","date":{"text":"","earliest":null,"latest":null},"part":"","note":""}],"dimensionsNote":"Dimensions taken from <i>Summary Catalogue of Miniatures in the Victoria and Albert Museum</i>, Emmett Microform, 1981.","marksAndInscriptions":[{"content":"Signed and dated 1842","inscriber":{"name":{"text":"","id":""},"association":{"text":"","id":""}},"date":{"text":"","earliest":null,"latest":null},"description":"","interpretation":"","language":"","medium":"","method":"","position":"","script":"","translation":"","transliteration":"","type":"","note":""}],"objectHistory":"","historicalContext":"","briefDescription":"Portrait miniature of Beatrice Cenci, by Charles Richard Bone after Guido Reni, England, 1842","bibliographicReferences":[{"reference":{"text":"","id":""},"details":"","free":"<i>Summary Catalogue of Miniatures in the Victoria and Albert Museum</i>, Emmett Microform, 1981"}],"production":"","productionType":{"text":"","id":""},"contentDescription":"","contentPlaces":[],"associatedPlaces":[],"contentPerson":[{"text":"Cenci, Beatrice","id":"N2639"}],"associatedPerson":[],"contentOrganisations":[],"associatedOrganisations":[],"contentPeople":[],"associatedPeople":[],"contentEvents":[],"associatedEvents":[],"contentOthers":[],"contentConcepts":[],"contentLiteraryRefs":[],"galleryLabels":[],"partNumbers":["4876-1901"],"accessionNumberNum":"4876","accessionNumberPrefix":"","accessionYear":1901,"otherNumbers":[],"copyNumber":"","aspects":["WHOLE"],"assets":[],"recordModificationDate":"2025-12-19","recordCreationDate":"2003-07-10","availableToBook":false}}