lead, he often painted directly from models. One of the witnesses at the trial, Giovanni Molli, a 73-year-old pilgrim from Palermo, said that he had posed for several pictures around 1610–11, including a full length St Jerome. Gentileschi also made studies from life for later use: he seems to have based the head of Abraham in the Sacrifice of Isaac, painted in the early 1620s, on studies of Molli's head made more than ten years before. Between around 1613 and 1619 he did much of his work for patrons in the Roman Marches, in the cities of Ancona and Fabriano. Genoa In 1621, Gentileschi moved to Genoa, at the invitation of Giovanni Antonio Sauli, who had previously commissioned works from his brother, Aurelio Lomi. Gentileschi's works for Sauli included a Magdalene, a Danäe and Lot and his Daughters. He found other patrons in the city, including Marcantonio Doria, for whom he carried out an elaborate scheme of frescoes of Old Testament subjects in a "casino" (since destroyed) in the grounds of his palace at Sampierdarena. France and England In the summer or autumn of 1624, Gentileschi left Genoa for Paris, and the court of the Queen Mother, Marie de Medici. He stayed for two years, but only one picture from his time there has been identified, an allegorical figure of Public Felicity, painted for the Palais du Luxembourg, and now in the collection of the Louvre. In 1626, Gentileschi, accompanied by his three sons, left France for England, where he became part of the household of the King's first minister, George Villiers, 1st Duke of Buckingham. He was to remain in England for the rest of his life. One of his first major works there was a large ceiling painting (since destroyed) of Apollo and the Muses for Buckingham's newly rebuilt London home, York House, in the Strand. He had already received a certain degree of royal patronage by the time of Buckingham's murder in April 1628, and all his commissions after this event came from the royal family. He was a favourite artist of Queen Henrietta Maria, for whom he carried out the ceiling paintings at Queen's House, Greenwich (later transferred to Marlborough House, London). The paintings of his English period are more elegant, artificial and restrained than his previous works. They include two versions of The Finding of Moses, (1633) one of which was sent to Philip IV