Probably in Rome towards the middle of the century at the end of his professional training at home, Hendrik Mommers attended Bent of the Flemish painters with the nickname of “Meleager”, according to Arnold Houbraken. The squares of the city, transcribed in sometimes inaccurate memories and contaminated with engravings, continued to feed the imagination of Mommers even after his return to his homeland, where he specialized in the Italianizing genre fashioned in the same years by Johannes Lingelbach in Amsterdam and by Anton Goubau in Antwerp. Almost always dedicated to the activities of the market, an occasion for tasty pieces of still life, his scenes with small figures are set against the background of Campo Vaccino, the Vatican or the...