Rørbye stayed in the Monastery of St. Francesco at Amalfi from 1 August to 17 August during his visit to the region in 1835. In his travel journal 1 August 1835 he writes enthusiastically about his room (in Danish):

“Here I met Primaveci [Eduard Primavesi] a young Painter from Cassel, whom I had already gotten to know in Rome, and the two of us now live alone in the wonderful, ancient Capuchin Monastery. I live in two lovely little cells that have been turned into a Chamber, and I have arranged myself so neatly that since my arrival in Italy I have never lived more beautifully or been more pleased with it. The nature here is Everything one could wish for of Beauty. In the morning, I began on a study of the monastery yard and in the afternoon: on one in the garden. In the evening, we strolled down to Amalfi. I'm missing Nothing here but my dear Rose.”

(Martinus Rørbye's travel journals in “Kilder til Dansk Kunsthistorie” (ktdk.dk), (Primary Sources in Danish Art History) by MA and PhD in art history Jesper Svenningsen and published by the The New Carlsberg Foundation).

Addition to catalogue text:

On the back wall, several of the artist's oil sketches can be seen, which he worked on prior to and during his stay at the monastery. This includes the sketch behind the door, “Scene from Castellamare” from 29 July 1835 (unknown owner), with the characteristic arches, and the sketch placed top right “Yard in the Franciscan monastery in Sorrento” (private collection) and in the bottom left “Pergola at the Capuchin monastery in Amalfi” (unknown owner) – the latter sketch is also mentioned in the quote from the diary: “This morning I began working on a study in the monastery yard and in the afternoon: one in the garden.”