In the first decade of the seventeenth century Orazio’s career began to take off, as he became a member of the Congregazione dei Virtuosi al Pantheon (1605) and produced mosaics for the basilica of Saint Peter’s. In 1611–12 he painted frescoes alongside Agostino Tassi in the Palazzo del Quirinale and Scipione Borghese’s Casino delle Muse. In March 1612 Orazio pressed charges against Tassi for ‘deflowering’ his daughter, Artemisia – the lengthy trial resulted in Tassi’s conviction and Artemisia’s departure for Florence. Although Orazio continued to gain commissions and broaden his private clientele (including the powerful Savelli family), it seems that the trial may have compromised his career prospects in Rome. He sought to move out of the city, producing works for churches and monasteries in the Marches, but his attempts to win commissions in Venice and Pesaro were unsuccessful. A pivotal moment in Orazio’s career came in 1621 when he was invited to Genoa by Giovan Antonio Sauli and worked for the Duke of Savoy in Turin. A few years later he was in Paris, working for the Queen of France, Maria (Marie) de’ Medici. Here Orazio met George Villiers, 1st Duke of Buckingham, who was quick to invite him to London. The painter left Paris in 1626 to assume a position at the court of the newly crowned Charles I. In London Orazio seems to have painted almost exclusively for Buckingham and, after his assassination in August 1628, for Queen Henrietta Maria. He died following an illness in 1639, aged seventy-six, and was granted the honour of burial in the Queen’s Chapel at Somerset House.