Palazzo Nicolosio Lomellino, Via Garibaldi 7
By 1623, Bernardo Strozzi had already cemented his reputation as one of Genoa’s most important artists, despite being a Capuchin monk. His patrons included leading aristocratic families, such as the Centurione family, who commissioned him to paint frescoes in their palazzo. These frescoes, notably ‘The Allegory of Faith’ and ‘Astrology and Navigation with Tritons’, were painted at a pivotal moment in Strozzi’s life, just before significant personal and professional changes would force him to leave his native city.
The frescoes were left unfinished in 1625 due to a dispute with Luigi Centurione. As a result, they were hidden under plaster for centuries until their rediscovery in 2002. ‘The Allegory of Faith depicts Catholicism arriving in the New World, with a woman, likely modelled after his unmarried sister, bringing Christianity to the Indigenous peoples. Strozzi often used his sister as a model in his works, reflecting their close familial bond, which persisted until her later marriage.
The historical context surrounding Strozzi’s career is fascinating, as local artists had to navigate the political tensions of the time to maintain their positions. Unlike international artists, who often contributed to Genoa’s art, native artists like Strozzi were more vulnerable. Strozzi’s teacher, a prominent Genoese affairs Cesare Corte (1554–1613), had been killed by the Inquisition for possessing Protestant literature. Moreover, Strozzi faced criticism for the sensuality in some of his works, which went against the strict guidelines of the Counter-Reformation.
The rediscovered frescoes, though damaged, offer a rare insight into Strozzi’s process, revealing preparatory sketches beneath the paint. While the building suffered additional damage during World War II bombings, which affected nearby structures, fragments of these frescoes survived. They showcase Strozzi’s dynamic use of religious and maritime themes, reflecting Genoa’s deep ties to the sea and exploration.
