Month: October 2024

Lazzaro Tavarone (1556 – 1640), Raffaele Adorno (1375- 1458) besieges the city of Tunis, 1624, Fresco, The central box of the vault on the ground floor, Palazzo Cattaneo-Adorno, Genoa 

Lazzaro Tavarone trained under Luca Cambiaso (1527–1585), a significant figure in Genoese school who laid the groundwork for the widespread fresco decoration of Genoa’s public and private spaces. Cambiaso’s workshop introduced large-scale, high-quality frescoes and intricate facades that lent distinction to Genoa’s architecture. His influence inspired a generation of artists, including Giovanni Andrea Ansaldo, Simone Barabino, Giulio Benso, Battista and Bernardo Castello, Giovanni Battista Paggi, and Francesco Spezzini, all of whom carried on and expanded this tradition.

This visual storytelling became a well-established local custom, with historical frescoes and architectural decorations serving as essential expressions of identity. Patrons, especially from Genoa’s oldest dynasties, embraced this art form to convey their role, power, heritage, and public duty. By depicting military victories and ancestral figures, these artworks linked family lineages to Genoa’s historical narratives, fostering public admiration and a sense of civic pride.

Chiesa di Santa Maria di Castello in Genoa is a landmark of both architecture and devotion, with roots stretching deep into the city’s medieval past. It was built on the foundations of a ninth- or tenth-century church, set beside a fortified bishop’s residence that once dominated the ridge above the harbour. In the first half of the twelfth century it was rebuilt by Antelamic craftsmen, whose work defined its enduring Romanesque character. The layout follows the familiar plan of three naves separated by columns, a timber truss roof, a transept, and three apses, its proportions balanced and its structure plain but imposing.

A new chapter began in 1442 with the arrival of the Dominican Order. The friars extended the complex, adding chapels, a cloister, and a refectory, and made the church a hub of religious and cultural life. Their patronage brought fresh artistic energy, most notably in the Chapel of Santa Caterina, where Nicolò Corso (1446–c. 1513), also known as Nicolò di Lombarduccio, painted a sequence of frescoes devoted to Saint Catherine of Siena. Corso’s work is marked by clear, luminous colour and a deliberate arrangement of figures, serving both narrative clarity and devotional focus.

One scene, showing Saint Catherine receiving the Dominican habit, occupies a central place in the cycle. Based on Dominican sources, Raymond of Capua’s Legenda Major, and Catherine’s own writings, it depicts the moment she turned from the world to a life of humility, service, and spiritual dedication. For the Dominicans, this was more than a pious story: it was a visual statement of their ideals, intended to inspire those who worshipped within the chapel to follow her example.

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References

Whitfield, P. (2020) Historic Churches of Genoa: A Brief Guide. Genoa: Peter Whitfield

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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.

Palazzo Angelo Giovanni Spinola, located at Via Garibaldi 5 in Genoa, is a notable example of Genoese Mannerist architecture from the Renaissance period. Commissioned in 1558 by Angelo Giovanni Spinola, one of the major art collectors of his era, ambassador of the Republic of Genoa to Spain, and banker to Emperor Charles V Habsburg, his son Giulio Spinola completed the palace only in 1576.

The architectural design was executed by Giovanni Ponzello (1520–1598) and his brother Domenico Ponzello (active 1548–1571), Mannerist architects who contributed to several Genoese palazzi during the same period. The palace’s facade is frescoed with motifs attributed to the workshops of Lazzaro Tavarone (1556–1641) and Pantaleo Calvi (1510–1595). The allegories here celebrate the family’s role as defenders of Catholicism, with scenes from the Stories of Rome.

The atrium of the palace serves as a visual narrative of the Spinola family. Its pavilion-vaulted ceiling on a square base is adorned with frescoes by the Calvi brothers—Aurelio Calvi and Felice Calvi—created in the early 1590s. At the centre of the atrium’s vault is an octagonal fresco entitled ‘The Battle of Gherardo Spinola against the Florentines’, recounting a significant family victory from around 1330. The Calvi brothers’ work reflects the influence of Perin del Vaga (1501–1547), a disciple of Raphael who had brought such Renaissance ideals to Genoa.

Surrounding the central fresco are allegorical depictions of virtues, including Christian Faith and Eternal Glory, reinforcing the family’s prominent position within the Catholic Church. On the sides of the atrium, other Spinola family members are represented in Roman attire, bearing the family coat of arms. These include Gherardo Spinola (active 14th century), lord of Lucca and Tortona; Oberto Spinola (active 14th century); and Galeotto Spinola (active 14th century), who held positions of civic authority in Genoa during the 14th century. Latin inscriptions further narrate their deeds, blending visual artistry with narrative—a common practice in the Renaissance for showcasing aristocratic power.

The history of art cannot be separated from the history of its patrons, whose triumphs and failures often shaped the course of artistic achievement. The Church of San Matteo in Genoa, founded in 1125, embodies this relationship, being intrinsically linked to the powerful Doria family. It was built by Martino Doria as a private chapel and served as a sacred space and a family memorial. Located in Piazza San Matteo, the church is encircled by Doria palazzi, forming a self-contained enclave that underscored their prominence in Genoese society.

In 1278, the church was transformed into a Ligurian Gothic structure, combining simplicity with grandeur. The facade, adorned with alternating bands of white Carrara marble and dark slate, is a defining feature of Genoese medieval architecture. A large rose window and detailed stone reliefs add to its solemnity. Inside, the single nave and small chapels maintain an understated elegance, while Baroque additions later enriched the space. The presbytery and choir are lined with finely crafted wooden stalls where family members once attended services.

A unique element of San Matteo is the series of marble inscriptions on the facade, commemorating the Doria family’s military triumphs. These memorials include Lamba Doria’s victory at the Battle of Curzola (1298) and Oberto Doria’s success at the Battle of Meloria (1284), pivotal in Genoa’s conflicts with Venice and Pisa. Inside, plaques honour Andrea Doria, the esteemed admiral whose achievements solidified his family’s power. Andrea commissioned works from Renaissance artists, including frescoes by Luca Cambiaso depicting scenes from Saint Matthew’s life, while the high altar, crafted by Giovanni Giacomo and Giovanni Battista Paracca, features intricate Gothic-inspired sculptures.

Beneath the main altar, the crypt holds family tombs, with Andrea Doria’s as its centrepiece. Andrea Doria (1466–1560), an essential figure in Genoese history, is memorialised with a marble effigy in classical armour, symbolising his military might. This effigy was created by a Michelangelo pupil, Giovanni Angelo Montorsoli (1507–1563).

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References

Whitfield, P. (2020) Historic Churches of Genoa: A Brief Guide. Genoa: Peter Whitfield

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Built between 1671 and 1677 under the direction of Pietro Antonio Corradi (1630–1709) and supervised by Matteo Lagomaggiore (1620–1690), the Palazzo Rosso was commissioned by the Brignole Sale family, among the most politically and culturally influential of Genoa’s patriciate. Its construction coincided with the maturity of Genoese Baroque, a period when local patrons and artists had developed a distinctive style that blended Roman grandeur with Ligurian colourism and a preference for complex decorative cycles.

The palace’s interior decoration brought together a remarkable concentration of talent: Domenico Piola (1627–1703), Gregorio De Ferrari (1647–1726), Paolo Gerolamo Piola (1666–1724), Giovanni Enrico Haffner (1640–1702), Antonio Haffner (1654–1732), Gio. Andrea Carlone (1639–1697), Nicolò Carlone, and Bartolomeo Guidobono (1654–1709). Three artistic dynasties—the Piola, Haffner, and Carlone families—were central to the project. Domenico Piola and his son Paolo Gerolamo oversaw complex narrative fresco cycles, relying on a well-developed stock of preparatory drawings and cartoons to coordinate assistants and ensure compositional coherence. Gregorio De Ferrari introduced a fluid, elongated figural style with daring foreshortenings, while the Haffners were responsible for illusionistic architectural frameworks that visually expanded the rooms. The Carlones contributed both figural painting and sculptural elements, and Guidobono’s refined palette and attention to surface texture brought an additional layer of pictorial richness.

The execution of such a programme was made possible by the disciplined structure of Genoese workshops. Leading masters directed the major scenes, while assistants adapted established designs for subsidiary areas or for clients of more modest means. Through this system, motifs and stylistic innovations developed for the Palazzo Rosso circulated widely, appearing in other noble residences, parish churches, and private chapels. The palace thus not only expressed the Brignole Sale family’s cultural ambitions but also served as a catalyst in shaping the broader visual language of late seventeenth-century Genoa.