Author: Yvo Reinsalu

Mattia Preti (1613 -1699), Disbelief of Saint Thomas, c.1630-40, Oil on canvas, 23×173 cm, Palazzo Rosso, Genoa

This masterpiece reflects an early phase of Preti’s career, marked by his engagement with Caravaggism. Although born after Caravaggio’s death, Preti was part of a generation of artists heavily influenced by the dramatic realism and chiaroscuro that characterised Caravaggio’s legacy. Caravaggism flourished across Europe, from Valletta to Utrecht, and was particularly noted for its dark, atmospheric settings and vivid naturalism, especially in religious themes.

Preti’s early religious works were often mistaken for Caravaggio’s, mainly due to his adherence to the style of earlier Caravaggio’s followers, especially Bartolomeo Manfredi (1582–1622). Manfredi’s method—a softened interpretation of Caravaggio’s realism, focusing on religious scenes with less dramatic intensity—strongly influenced Preti. Preti produced many religious compositions imbued with this naturalistic style in his early career.

Several near-identical versions of The Disbelief of Saint Thomas exist, suggesting this might have been a prototype for others. Later in his career, Preti moved away from Caravaggism but revisited this subject in different styles. His three-quarter figure composition, strategic lighting, and dark, ambiguous backgrounds in this piece demonstrate a calculated, thoughtful approach, contrasting with the youthful exuberance of his earliest Caravaggesque religious works produced in Rome.

The Basilica di Santa Maria Assunta in Carignano is among the most ambitious architectural undertakings of Renaissance Genoa, a statement of both piety and civic prestige commissioned by the powerful Sauli family. Construction began in 1549 to the design of Galeazzo Alessi (1512–1572), one of the leading architects of the Italian Renaissance, whose work was shaped by the principles of symmetry, proportion, and harmonious geometry. Alessi’s plan adopted a Greek-cross layout crowned by a vast central dome, echoing Donato Bramante’s early design for St Peter’s Basilica in Rome and signalling a conscious alignment with the most advanced architectural thinking of the period. The site chosen for the basilica, on the Carignano hill, allowed the dome to dominate Genoa’s skyline, making the church a focal point visible from land and sea.

Work advanced slowly. Alessi’s death in 1572 left the project without its original guiding hand, and completion stretched across sixty years. Giovanni Ponzello assumed a central role in carrying Alessi’s vision forward, making necessary adjustments while preserving the building’s fundamental design. By 1612 the main structure was complete, though embellishment continued for decades. In the nineteenth century the neoclassical architect Carlo Barabino (1768–1835) designed the monumental staircase that now approaches the façade, enhancing the building’s elevated position.

The interior is striking for its deliberate restraint. White walls, largely unadorned by frescoes, emphasise the clarity of the architecture and the measured rhythm of its spaces. This austerity heightens the impact of the artworks it contains, creating a dialogue between Renaissance purity and the exuberance of later Baroque additions.

Within the Basilica di Santa Maria Assunta in Carignano, a remarkable collection of seventeenth- and eighteenth-century sculpture and painting reflects the range and quality of artists who worked on the building over two centuries. Among the sculptors, Pierre Puget (Marseille, 1620–1694) produced the marble Saint Sebastian (1668) and Saint Alexander Sauli (1668), works whose dynamic composition and intense physical presence embody the theatrical force of the French Baroque. Filippo Parodi (Genoa, 1630–1702), the leading Genoese sculptor of his generation, carved the marble Saint John the Baptist (1667), while Claude David (c. 1678–c. 1721) created the marble Saint Bartholomew (1695), notable for its poised naturalism. Massimiliano Soldani Benzi (1656–1740) designed the high altar (1695–1700) in marmo broccatello with bronze ornament, combining sumptuous materials with refined execution. Diego Carlone (1674–1750), working from models by Francesco Maria Schiaffino (1689–1765), executed eight statues of the Apostles and four statues of the Doctors of the Church (c. 1740) in stucco, set into the side-aisle niches where their expressive modelling enhances the architectural setting.

The basilica’s paintings form a survey of Italian art from the late sixteenth to the early eighteenth century. Giovanni Francesco Barbieri, known as Il Guercino (1591 – 1666), is represented by Saint Francis of Assisi Receiving the Stigmata (c. 1640–1650). Giulio Cesare Procaccini (1574 – 1625) painted The Madonna with Saints Charles Borromeo and Francis of Assisi ( c. 1620), an elegant blend of Lombard softness and Roman monumentality. Luca Cambiaso (1527 –1585) is present with his Pietà (1571), a work of contained emotion and formal balance. Domenico Fiasella ( 1589–1669) painted Blessed Alexander Sauli Halting a Plague (c. 1630), commemorating the saint’s miraculous intervention. Francesco Vanni (1563–1610) produced The Magdalene Receiving the Viaticum from Saint Maximin, combining beatiful colourism with Genoese narrative clarity. Paolo Gerolamo Piola (1666–1724) contributed The Virgin with Saints Dominic, Ignatius of Loyola, and Rose of Lima, a luminous composition rich in theological symbolism. Carlo Maratta (1625 – 1713) painted The Martyrdom of Saint Blaise ( c. 1680), exemplifying Roman High Baroque classicism. Domenico Piola (1627–1703) is represented by Saint Peter Healing a Lame Man (1694–1696), whose vibrant composition and fluid handling typify the height of Genoese Baroque painting.

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Bibliography

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

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 Peter Paul Rubens (1577 – 1640), Venus and Mars, Oil on panel, 133 x 142 cm, Palazzo Bianco, Genoa

Rubens was a child of Flemish refugees, spending his childhood in German Westphalia when Antwerp was in the turmoil of war. By the end of his life, Germany was devastated, with thousands of towns depopulated. The territory had lost a third of its population, and European cities were filled with German refugees while apocalyptic messages spread everywhere. As both a painter and diplomat, Rubens had to tread carefully in his works, but the context of his 1630s paintings, which often depicted Venus and Mars, clearly reflects the turbulent era. His works from this period were highly political, showcasing the intellect of one of the most significant artists of the 17th century.

The symbolism of the mythological figures in this painting was widely recognised. Mars, the god of war, dressed as a German mercenary soldier, is seduced by Venus, the goddess of love, while Bacchus offers him wine, symbolising the dangerous allure of indulgence amidst the chaos. Amore attempts to take Mars’ sword away, representing a desire for peace, yet war looms large in the figure of Fury, symbolising unstoppable destruction in the background. The burning, desolate landscape underscores the real-life devastation that ravaged much of Germany and Europe during the Thirty Years’ War. In Rubens’ hands, this classical allegory conveys a clear message about the horrors of conflict, reflecting on the senselessness of war and the urgent need for peace, both in his own time and for future generations.

The fragmentary nature of the painting reflects its complex history, as it was significantly reduced in size over the years. This reduction impacted its composition but did not diminish the power of Rubens’ message. There are other versions and variations of this theme in different museums, which demonstrate the continuing relevance of the allegory of Mars and Venus in his oeuvre

 Joos van Cleve (c. 1485 – 1540 /1541), The Madonna and Child, Oil on panel, 61 x 45.5 can, Palazzo Bianco, Genoa

While Rhenish artist Joos van Cleve’s work was rooted in the tradition of earlier Netherlandish painters like Hans Memling and Gerard David, he broadened his style by incorporating various international influences. His familiarity with German prints, particularly those by Albrecht Dürer, his nuanced engagement with the Antwerp Mannerist style, and most importantly, his response to the Italian Renaissance—especially Leonardo da Vinci’s sfumato and Raphael’s balanced compositions, which he likely encountered during travels to France and Italy—made his art appealing to the international market. These influences enabled van Cleve to create diverse artistic styles, making his work highly sought after across Europe.

This private devotional piece was painted for a patron in Genoa, where local churches purchased at least four altarpieces from the artist. The harmonious and serene composition creates a tender, intimate atmosphere, featuring a graceful Virgin holding the sleeping Christ child in a natural, human-like pose. The artist’s technique includes the use of subtle, overlapping layers to achieve a smooth, enamelled finish, particularly noticeable in the skin tones. 

The areas of green landscape and a branch with fruit were intended to contrast with the red glow of the Virgin’s cloak. However, 500 years of light exposure have caused oxidation of the green pigments, which now appear brown. Van Cleve also skillfully rendered the Virgin’s transparent veil, the gold accents of her red cloak, and the fur trim on her dress. The scene is bathed in clear light, revealing a detailed landscape through a window on the right, with small, precise brushstrokes depicting a traveller on horseback and distant blue mountains. A red marble column on the left symbolises the pagan world, contrasting with Christ’s sacrifice.

Unidentified Tournai workshop, Histories of Alexander the Great, c.1460, Tapestry, gold, silver, silk and wool, approximately 40 m/q, Salone dei Giganti, Villa del Principe, Genoa

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.

Mattia Preti (163-1699), Clorinda frees Olindo and Sofronia from the stake, c.1646, Oil on canvas, 248 x 245 cm, Palazzo Rosso, Genoa

Torquato Tasso’s Jerusalem Delivered (1581) became one of the most celebrated literary works of early modern Europe, its dramatic episodes inspiring painters, and composers alike. The poem’s fusion of Christian heroism, passionate love, and supernatural intervention offered artists a rich repertoire of scenes that could be shaped into visual spectacle. Its resonance was heightened by Europe’s ongoing struggles with the Ottoman Empire, which gave new urgency to Tasso’s crusading narrative and lent contemporary meaning to its portrayals of conflict between faiths.

In this early version, Mattia Preti crafted a highly original work that synthesised three artistic legacies he admired: the dramatic tenebrism of Caravaggio, the colouristic breadth of the Venetians, and the graceful idealism of the Bolognese school. Clorinda Frees Olindo and Sofronia from the Stake takes one of Tasso’s most theatrical episodes, where Sofronia, a Christian maiden, falsely confesses to a crime to save her people, and her lover Olindo insists on sharing her fate. Both are condemned to die by fire until Clorinda, a warrior-maiden in Aladine’s service, intervenes to win their release.

Clorinda is one of Tasso’s most complex heroines: outwardly aligned with the Muslim forces yet consistently portrayed with nobility, courage, and compassion. In the poem she is described as a fearless warrior, but also as a figure of inner tension, destined for a dramatic conversion when, fatally wounded by the Christian knight Tancredi, she receives baptism at the moment of her death. This later episode charged her interventions earlier in the poem with a sense of providential foreshadowing. For Counter-Reformation audiences, Clorinda’s actions could be read as the stirrings of grace working even within a figure initially fighting for the ‘enemy’ side.

Preti makes this moral ambiguity central to his painting. He depicts Clorinda not as a caricatured adversary but as a dignified and commanding presence, halting the execution with decisive authority. Her upright bearing and controlled gesture convey authority, while her slightly illuminated figure contrasts with the shadowed forms of Aladine’s retinue. In this way she becomes the true moral axis of the scene, embodying both the poem’s theatricality and its latent theology of redemption.

Preti’s composition closely echoes the text of Jerusalem Delivered. Sofronia’s steadfast self-sacrifice recalls Tasso’s line: ‘She, steadfast, went, clothed in faith and courage, to meet the cruel death prepared for her‘ (Book II). Olindo’s attempt to take her place finds its source in ‘If guilty blood must quench the fire, then strike at me, for I share her crime and fate‘. Clorinda’s noble intervention is foreshadowed in the passage: ‘She came, strong in spirit and fair in form, and with a voice of command stayed the tyrant’s hand‘. These verses authorised and shaped Preti’s interpretation, allowing him to render Clorinda as the agent of salvation whose later destiny gave the scene heightened theological resonance.

 Antonio Canova (1757 –  1822), The penitent Mary of Magdalene, c.1793-1796, Carrara marble, 90 cm, Palazzo Bianco, Genoa

While the Baroque period was characterised by dramatic movement, emotional intensity, and theatrical compositions, Canova’s work signifies a shift towards the restraint, harmony, and idealisation of form that would define Neoclassicism. The sculpture bridges these two artistic periods, offering a poignant reflection of the transitional period.

Completed in 1796, this sculpture is an important example of Canova’s departure from Baroque dynamism. Canova retains traces of Baroque emotiveness, seen in Mary Magdalene’s anguished pose and sorrowful expression, but tempers them with a sense of order and grace. Her contrite posture, open arms, and delicate depiction of her body reveal Canova’s mastery of marble and his ability to express both spiritual and physical beauty.

What makes Penitent Magdalene particularly significant in the context of this transitional period is its embodiment of Neoclassical ideals while retaining a profound sense of human emotion. Unlike the cold academic style that sometimes characterised later Neoclassical works, Canova found a balance between emotional depth and classical restraint. The figure of Mary Magdalene, a repentant sinner, allows for both an idealised physical form and a narrative of redemption and grace, two central themes in Classical and Christian art.

The sculpture was widely appreciated, not only because of its technical mastery but also because it resonated with the tastes of European patrons, who were increasingly drawn to antiquity’s ideals and the Enlightenment’s emphasis on reason and humanity. Canova’s ability to evoke intellectual and emotional responses made him one of the most sought-after artists of his time.

The continued production of copies of Canova’s works, even more than a century after his death, reflects the lasting impact of his legacy. Canova was viewed not only as a sculptor who mastered the art of Neoclassicism but also as one who instilled a sense of timeless beauty and humanism in his works.

Matthias Stom (c.1600– c.1652), Salome with the Head of St. John the Baptist, 1630-1652, Oil on canvas, 95x 85 cm, Palazzo Bianco, Genoa

Matthias Stom, a largely forgotten figure in art history, was a Flemish or Dutch painter about whom little is known. His entire career unfolded in Italy, where most details of his life and work remain obscure. His work is characterised by a distinctive fusion of Northern European interpretations of Caravaggio’s dramatic use of light and elements from his regional artistic traditions. He was notably influenced by the Utrecht Caravaggisti, particularly the Dutch artist Gerard van Honthorst, whose use of chiaroscuro and expressive realism had a significant impact on Stom’s style. At the same time, his work reflects early 17th-century Flemish traditions, which are evident in his compositions and figure treatment.

This particular depiction of Salomè, drawn from the biblical account in Mark 6:17-29, shows her holding a silver basin containing the head of John the Baptist. Behind her stands her mother, Herodias, her gaze suggesting that she was the one who instigated the execution. 

The circumstances of the painting’s commission and creation remain unknown, complicating its precise dating within Stom’s broader body of work. It was only correctly attributed to Stom in 1971. This canvas demonstrates his ability to merge sensuality with religious themes, a combination that resonated with the tastes of his time. 

The inherent drama of the narrative provided rich opportunities for artistic exploration, allowing painters to investigate themes of power, desire, and the consequences of sin while meeting the period’s demand for religious, sensual, and emotionally charged subjects. The subject was particularly popular in 17th-century art due to its dramatic tension and moral symbolism, encapsulating themes of vengeance, sin, and mortality. Salomè’s role in John’s execution at the behest of her mother presents a stark contrast between beauty and brutality.

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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Bibliography

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

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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.

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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Bibliography

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.

Luca Giordano ((1634-1705), Rape of the Sabine Women, c.1680, Oil on canvas, 285 × 366 cm. Palazzo Spinola, Genoa

According to the historian Titus Livius (Livy, 59 BC – 17 AD), Romulus orchestrated the abduction of the Sabine women to ensure a population for the city of Rome, which he had only just established. In Giordano’s works, this dramatic moment is rendered with vivid theatricality, capturing the desperation and conflict that marked the founding of Rome.

This popular theme resonated with artists of Giordano’s time, appealing for its complex interplay of aggression and unification. It offered a pseudo-historical and moral narrative, symbolising the sacrifices linked to the birth of Roman civilisation and the blending of cultures—concepts that deeply resonated with audiences of the Baroque era. The composition’s forceful, dynamic qualities reflect the period’s artistic emphasis on movement and emotional intensity, essential in Baroque iconography.

In the early 19th century, the painting underwent a significant alteration to reflect the era’s increasing religious conservatism; the female figures were repainted to cover their nudity. This modification was later removed during restoration, restoring Giordano’s original portrayal.

Giovanni Pisano (c. 1248 – c.1315), Margaret of Brabant (1276- 1311) Raised from the Tomb by Two Angels, c.1313-14,  Carrara marble, 78 x 116 x 47 cm, the Museo di Sant’Agostino, Genoa

Margaret of Brabant died unexpectedly in Genoa en route to Rome for her husband Henry VII’s coronation as Emperor of the Holy Roman Empire (c. 1275 – 1313). Grieving his loss, Henry commissioned Giovanni Pisano to create a funerary monument in her honour, reflecting both her revered status and the political importance of their union. Margaret’s reputation for charity and piety made her widely respected, and her contemporaries immediately began venerating her as a saint.

The preserved tomb fragment depicts Margaret’s soul being lifted towards heaven by two angels. Pisano’s portrayal of Margaret captures an intense sense of spiritual elevation: her expression is serene yet filled with hope, her gaze directed upward, her mouth slightly open as if in awe or in the act of breathing anew—a powerful symbol of her passage from mortal life to divine grace. This detail of her open, hopeful expression resonates with themes of resurrection and redemption, embodying the theological ideals of her time.

Pisano’s approach, especially in his last works, broke from the traditional architectural constraints of Gothic art, blending fluid, expressive forms with a distinctly Italian sense of volumetry and movement. This gave his figures a sense of life and grace that was rarely seen in European sculpture of the period. His innovation is evident in how Margaret’s figure is freed from strict architectural framing, creating a dynamic sense of elevation and conveying her sanctity in a manner that seems to lift her soul beyond earthly bounds.

Although only fragments survive, these pieces reveal Pisano’s mastery of symbolism and his ability to convey personal and political messages. Margaret is depicted in various states—Caritas (Charity), transitus (her death), and resurrection—symbolising her preparation for the visio Dei (divine vision) and her eternal life. Pisano’s emphasis on Margaret’s ascension illustrates her sanctity and her connection to Henry’s vision of a unified empire.

The architectural ensemble of Piazza San Matteo in Genoa marks the centre of the Doria family’s influence over the city. It reflects the particular structure of the Genoese Republic, where the authority of noble families outweighed that of the communal state. Unlike Florence and Venice—where power was consolidated through guilds or strong civic institutions—Genoa remained dominated by urbanised feudal dynasties.

The Doria quarter, centred on Piazza San Matteo, brings together palazzi from the 13th to the 16th centuries and a family chapel, preserving a sequence of styles from medieval Genoese building to Renaissance forms.

The palace dedicated to Andrea Doria (1466–1560), completed in 1528, represents the transition between medieval traditions and Renaissance style. It was presented by the Senate to honour Andrea Doria’s role in freeing the city from French control. The portal, attributed to Niccolò da Corte (active c. 1530–1552) or his workshop, is built in the black-and-white marble characteristic of Genoese Gothic and decorated with high-relief motifs—mermaids, monstrous fish, peacocks, gryphons, and lion heads—symbols of Doria’s maritime standing. Above, an inscription reads: SENAT: CONS: ANDREA DE ORIA PATRIAE LIBERATORI MVNVS PVBLICV. The frieze combines Renaissance ornament with Gothic elements, such as floral tendrils, birds, and dolphins, motifs deeply rooted in Genoese iconography.

Other structures on the piazza reinforce the dynasty’s presence. The Loggia degli Abati (early 14th century), donated by Guglielmo Doria (died 1311), became the seat of doge elections. The Palazzo Branca Doria (late 13th century) preserves the memory of Branca Doria (1225–after 1295), whose notoriety was immortalised by Dante Alighieri (1265–1321) in the Inferno. The Palazzo Lamba Doria (13th century) commemorates the naval victory of Lamba Doria (1245–1323) over Venice. The so-called Domenicaccio Doria Palace (14th century), with its distinctive two-tone marble, reflects Genoese Gothic design and adds further architectural variety to the square.

Taken together, these buildings form a carefully articulated programme of dynastic authority. Their stylistic range, from medieval Gothic to Renaissance, mirrors the family’s endurance across centuries, while their inscriptions, symbols, and siting within the heart of the city proclaimed Doria dominance in both civic life and artistic patronage. Unlike Florence, where Medici power was anchored in civic institutions and monumental projects linked to the republic, or Venice, where architecture expressed the sovereignty of the state over individual families, Genoa displayed its political order through the architectural presence of ruling dynasties. Piazza San Matteo thus functioned as a dynastic manifesto in stone, embedding the Doria’s supremacy within the urban fabric and making their family power inseparable from the city’s architectural identity.

Palazzo San Giorgio, the former headquarters of the Banco di San Giorgio, is a powerful symbol of Genoa’s influence over European finance and trade. Founded in 1407, the bank became one of Europe’s most important financial institutions in history, managing an extensive network of territories and establishing Genoa as a dominant maritime and economic force.

The bank’s reach included the administration of Corsica (from 1453 until the 18th century), Chios (1346 to 1566), the Taro Valley, parts of Sardinia, and crucial trading posts in Crimea, such as Caffa (modern-day Feodosia in Ukraine) and Soldaia (Sudak), from the mid-14th century until the Ottoman conquest in 1475. It also controlled parts of Cyprus, notably Famagusta, under Genoese rule from 1373 until the Venetian takeover in 1489. Additional territories in Mytilene on Lesbos, North Africa, and the Aegean Sea further strengthened Genoa’s influence over Mediterranean trade routes, linking Europe with the Middle East and Asia.

The Palazzo San Giorgio, constructed in 1260 by architect Frate Oliverio, was expanded in the 16th century and decorated with frescos by Lazzaro Tavarone (1556-1640), showcasing the bank’s prestige. The Banco di San Giorgio cemented its legacy as one of Europe’s most historically important banks by financing key imperial projects, especially for the Habsburg Empire, and supporting European royal endeavours.

Ubi sunt qui ante nos fuerunt?

Yvo Reinsalu

October 2024