Arnold & Richter stage light which belonged to the set designer Pepi Morgia, whose nickname was the "prince of lights" due to his extraordinary ability to give maximum effect to the sets, worked with many of the major Italian and international artists in the course of their long tours in Italy and Europe.
Among them Fabrizio De André, Laura Pausini, Claudio Baglioni, Elton John and many others.

Fabrizio De André’s handwritten note dedicated to Pepi Morgia is better known as the “napkin”, Morgia was a scenographer and lighting technician, and, from his first appearance on Faber's stage, De André’s friend. The 1981/82 tour touched some of Europe’s  foremost stages such as that of Vienna and it was during a "boozy" evening on this tour that De André gave “the napkin” to Morgia.
Pepi, kept the "gift" for many years, and only made it public in the decade after the death of the songwriter with whom he had shared a long “journey”.

Original poster of the concert by Fabrizio De André and PFM held in Genoa on January 3, 1979 at Pavilion C of the Genoa International Fair.
It is the only known Italian copy and bears the official stamp indicating municipal “approval” for display.
It is a memento of a memorable evening in Genoa which was caught on camera and later was turned into a film “The concert rediscovered” directed by Walter Veltroni.

Gramophone "Gallorini Oreste" (1920) in inlaid cherry, which belonged to Riccardo Mannerini, the Genoese poet and Fabrizio De André’s friend with whom the singer-songwriter had an intense collaboration that led to the creation of albums such as "Senza tempo, senza Bandiera”(1967) by the New Trolls and “Tutti morimmo a stento” (1968) in which Mannerini's poem “Eroina” is transformed into “Il cantico dei drogati”.

Report cards, diplomas, school registers and class photos of Fabrizio Cristiano De André from his studies at (Section A) of the Liceo Cristoforo Colombo which he attended until his highschool graduation in 1959 (after initially having failed Latin, Greek and philosophy).

Fabrizio De André’s  “Esteve 97” is one of the legendary guitars that belonged to the Genoese singer-songwriter and which accompanied him on his last tour in 1997/98.
Made in the small artisanal factory of Alboraya (Valencia) which was once the workshop of Francisco Esteve and Manuel Antonio Monfort Adalid, the instrument returned to Genoa, in Via del Campo, following an auction held on January 6, 2001. The auction raised 168.5 million lire for the charity “Emergency” money that was used to build a ward of the Goderich Hospital in Sierra Leone which now bears the name of the street  to which Faber refers in one of his most famous songs.

The climb to the top of one of the two towers that flank the arch of Porta Soprana is unquestionably challenging, but well worth it!

To the east you can see the modern city: Piazza Dante, whose construction involved the demolition of the church and monastry of Sant’Andrea, and the Torre di Marcello Piacentini, which, inaugurated in 1940, was one of the first skyscrapers in Europe.

Towards the west the medieval city presents itself in all its splendour, with its sloping roofs and bell towers that project the gaze towards the sea, the port and the lighthouse - the “Lanterna” symbol of the City.

Just in front of the south tower (on the left as you enter the gate), you can see a tall brick building. This is the Turris matonorum of the Fieschi, property of one of the most powerful families in the city who had it built for its own garrison, emphasizing the importance of this access to the city. From there the Fieschi’s could control who entered - Guelph allies or the Ghibelline adversaries - but above all they could take advantage first of all to conclude good deals with the merchants coming from the East, who came down to the Apennine passes coming from the Po area of Piacenza and Reggio. 

The two slender towers of Porta Soprana have guarded the eastern part of the city for over eight centuries. In reality, such tall towers did not have a significant defensive value, but, with their grandeur, they served more as a warning to eventual enemies, as in the case of the memorial tablets of 1155 built into the wall near the arch of the gateway that invites the visitor to come in peace rather than war.

The history of the Porta Soprana, with its towers, are closely connected to the urban development of the area.
In 1892 an important restoration project was undertaken supervised by Alfredo d'Andrade, an architect of Portuguese origin who had long been active in Genoa and committed to protecting the city's monuments. The work was continued by his successors until 1935, it freed the original structure from  the heavy overlapping construction which had become stratified over the centuries and which had hidden its elegant and “pure” medieval appearance.

The first medieval walls of Genoa date to the 9th century, in the Carolingian period. Under the threat of an attack by Frederick Barbarossa, between 1155 and 1158, it was decided to quickly erect new walls. The two impressive surviving gates belong to this effort: Porta dei Vacca, to the west, and Porta Soprana, to the east. The new walls protected a much larger area, about 55 hectares, compared to the 20 of the Carolingian walled city. But in reality these mighty walls, with doors, towers and hatches, were of limited use. Genoa was defended by its ships which dominated the seas. The walls were therefore in large part a symbol for the powerful and proud city with which Frederick Barbarossa would have to come to terms.

Inside the Columbus House you discover many interesting details which provide an idea of life in a medieval house. To the right of the entrance, the room currently used as a ticket office was originally the typical space used as a shop; small, in the case of the Colombus family, where Cristopher's father sold fabrics and, later, cheese. In the back room, recessed in the left corner, you can see a roughly worked stone: it is clearly a hearth. Quite different from the huge "chimneys" that were the liveliest space of the aristocratic houses. It is possible that the family’s cooking took place on this modest stove and that the meal, instead, was consumed in the slightly larger rooms on the floor above. Finally, again on the ground floor, it is worth noting a kind of 'impluvium' for collecting water and, immediately alongside it, a rough latrine, an eloquent indication of the standards of hygiene of the time.