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

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

E. g. oil, canvas, 73 x97.5 cm, Christie's Milan, November 28, 2007 (n. 128); Oil, canvas, lOOx 100 cm, Rieti, Cassa di Risparmio. Oil, canvas, 74x60 cm, signed, Sotheby's Olympia, London, October 28, 2004 (n. 96). Probably the same picture auctioned at San Marco Casa d'Aste, March 28, 2007 (n. 34). Genty 1986, 22-23. According to the sources, Troppa studied at the Accademia di San Luca in 1664, whose director at that time was Mola. He collaborated with Gaulli in the interior decoration of the Santa Marta al Collegio Romano in 1672. On the dating see Schleier 1989, 85-86, 89. Schleier 1993, 19-20. In Casale, Falcidia, Pansecchi, and Toscano 1976, 217, fig. 325. The fresco bears the following signature: OPVS EQUITES HIERONYMI TROPPE SAB. For Troppa's paintings signed with the indication of his title of cavalière see the further parts of the article. Paris, Musée du Louvre, inv. 8423, pen, ink, brown wash, 125x183 mm. In R. Cocke, Pier Francesco Mola, Oxford 1972, 45, fig. 8. Oil, canvas, 73.5x61 cm; Busiri Vici 1980, 24. A third exemplar of the composition in the Muzeum Narodowe, Krakow. M. Gualandi, Nuova raccolta di lettere sulla pittura, scultura ed architettura: scritte dai piii celebri personaggi dei secoli XVa XIX, III. Bologna 1856, 213-49. L. Spezzaferro, "Pier Francesco Mola e il mercato artistico romano: atteggiamenti e valutazioni", in Kahn-Rossi 1989, 55-59, App. III. Included on the list is a large-size canvas (5x10 palmi) with the representation of Saint Jerome, which, however, is slightly smaller than the Vienna painting with the same subject matter (see note 6). The 1713 inventory published by: F. Petrucci, "Committenti nei Castelli romani", in Fagiolo dell'Arco, Graf, and Petrucci 2000, 227-232. The 1687 list published by Benocci 2001, 117-21; recently on the Sforza-Cesarini gallery: E. Debenedetti, "La quadreria e gli affreschi di Palazzo Sforza Cesarini", Storia delVArte 104/105 (2003), Nuova série nn. 4/5, 207-15. Debenedetti makes a not very convincing attempt to identify certain paintings in the collection: she identifies the item, Una Madalena del Troppi, in tela di quattro palmi (see Benocci 2001, 117-21, n. 95), with the Penitent Magdalen in the Cassa di Risparmio, Rieti, although in Troppa's œuvre there are several compositions with this subject matter of the mentioned size of about 1 m [e.g. the one auctioned at Christie's, Milan, on November 28, 2007 (n. 128, oil, canvas, 73x97.5 cm), or the Budapest painting published here], and in my opinion the laconic description is not sufficient to be able to identify either of the paintings