In late August 1603, Giovanni Baglione filed a suit for libel against Caravaggio, Gentileschi, Ottavio Leoni, and Filipo Trisegni in connection with some unflattering poems circulated amongst the artistic community of Rome over the preceding summer.

[4] After Caravaggio's flight from Rome, Gentileschi developed a more personal Tuscan lyricism, characterized by lighter colours and precision in detail, reminiscent of his Mannerist beginnings.

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.

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.

[1]: p.203 In 1626, Gentileschi, accompanied by his three sons,[1]: p.226  left France for England, where he became part of the household of the King's first minister, George Villiers, 1st Duke of Buckingham.

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.

[5] In England van Dyck made a drawing of Gentileschi for inclusion in his Iconographia, a series of portraits of the leading artists, statesmen, collectors and scholars of the time, which he intended to publish as a set of engravings.