Handel's first oratorios Il trionfo del Tempo and La Resurrezione were produced at Rome in 1707 and 1708, respectively, under circumstances of private patronage, and the domestic records of his patrons Cardinal Pamphili and Marquis Ruspoli provide some clues about practical details of the performances. Pamphili's accounts include a payment for copying the performing material for Il trionfo – four part-books for the vocal soloists, and parts for a substantial chamber orchestra of strings and oboes. The copying account, dated 14 May 1707, gives us our only documentary evidence for the period of the oratorio's composition, but it tells us neither the exact date nor the place of the performance, which had presumably taken place in Pamphili's Roman palace at some time during the preceding couple of months. For La Resurrezione, Ruspoli's accounts provide rather fuller information, including a complete list of the orchestral performers employed (which does not exactly match the resources required in Handel's score). There were two performances, and the larger scale of the enterprise is indicated by the fact that 1500 copies of the libretto were printed: although the performance may have been a private one in Ruspoli's Bonelli Palace, it was hardly a chamber-scale event.