Czére Andrea szerk.: A Szépművészeti Múzeum közleményei (Budapest, 2007)

ZSUZSANNA DOBOS: New Additions to the Art and Research of Girolamo Troppa

owner of the title of cavalière. In all probability Troppa was given a knighthood as a mature artist in recognition of several public commissions, but its exact date is not mentioned in the written documents. Literature has hitherto regarded the altarpiece of Cittaducale from 1692 as among the earliest of those works which Troppa signed with the indication of his knighthood. Since the altarpiece of Montecastrillo dated to 1678 is not signed in this way, and in 1686 Troppa is mentioned as cavalière, it seems probable that this biographical circumstance of outstanding importance can be placed between these two dates. Troppa's works not only became part of the collection of the Grand Duke of Tuscany, but according to inventories from the end of the seventeeth and the beginning of the eighteenth centuries, they also figured in several outstanding Roman collections: Cardinal Luigi Alessandro Omodei's testament of 1682 enumerates three,

29 the inventory of Federico Sforza and Livia Cesarini's gallery drawn up in 1687 mentions nine, while the list drawn up in 1713 of the same collection names a further eleven paintings by the master.'

0 It can be assumed that these latter works were directly commissioned from the master by Federico Sforza, between 1687 and Troppa's death around 1710. According to Stella Rudolph, who noted the fact without commentary, four works by Troppa were included in the collection of the composer and violinist Arcangelo Corelli, also known as "Father of the Concerto Grosso" and the "Founder of Modern Violin Technique"." Corelli was first patronised by Queen Christina of Sweden and Cardinal Pamphili, then in the 1690s by Cardinal Ottoboni. Similarly to Sebastiano Conca and Francesco Trevisani, Corelli also lived in the Ottoboni-residence, the Palazzo della Cancelleria, exemplifying the ideal relationship between patron and protégé. However, he kept his collection of one hundred and forty-two pieces, mainly Italian seicento and settecento pieces, elsewhere in his apartement that he rented in the Palazzetto Ermini on the Piazza Barberini.

32 The testament made on 5

th January 1713, describes the works in the following way: GIROLAMO TROPPA. JACOB'S LADDER. FORMERLY IN THE COLLECTION OF MIKLÓS SZÉCHENYI