Composite armor. The helmet is of the suji-bachi kabuto type (spherical bowl with raised ridges) with 62 plates. The maedate (front decoration) consists of Buddhist characters (え or ふ) inscribed in an openwork rhombus within a gilded iron circle. Buddhist characters are also present on the shoulder guards and the cuirass. The mask is of the me-no-shita-men type with a removable hinged nose.

The shoulder guards consist of a single plate covered in lacquered leather, with the inner part lined in fabric. The arm guards feature a light blue base fabric with a golden-yellow printed floral decoration, equipped with chainmail, an elbow protection plate, and rigid protection for the back of the hand. The cuirass is of the yokohagidō type (horizontal plate cuirass) with a lacquered finish and a chest applique depicting a dragon within a circle.

The tassets of the skirt are composed of an iron base covered in lacquered leather with hexagonal decorations, as for the greaves.

Armor featuring a helmet of the kōseizan no kuji type (nine-plate helmet with a high apex) with a maedate (front decoration) depicting a red shikami (a traditional Japanese Nō theater mask representing a demon or a furious spirit). The side flaps of the helmet are decorated with flowers in the Chinese aesthetic of Period Tang (618–907 d.C.), featuring a three-petal stylistic variation.

A "half-mask" is present, covering the lower part of the face decorated on the chin.

The arm guards consist of a brown base fabric with a straw-yellow printed floral decoration, equipped with chainmail, a plate for elbow protection, and rigid protection for the back of the hand. The cuirass is of the yokohagidō type (horizontal plates armor) decorated with splashes of sahari, a metal alloy of tin and copper that provides a silvery luster.

The tassets of the skirt recall the decorative style of the shoulder guards. The greaves are composed by a section of black fabric with dark green dots within hexagonal cells of the same color, and an iron vertical hinged plates part.

On both sides of the helmet flaps and on the shoulder guards, a crest depicting a pine tree (matsu) with three tufts of needles are represented. The helmet is of the kōseizan no kuji type (nine-plate helmet with a high apex), featuring a front decoration with an oni demon head and two oak leaves. The metal visor has a relief engraving of a flying dragon. A "half-mask" covering the lower part of the face is present. The shoulder guards have long, smooth plates and are fully laced; the top plate is decorated with a repoussé floral motif. The cuirass is of the yokohagidō type (horizontal plate cuirass) with embossed dragons and bamboo leaves in parallel rows. The tassets of the skirt match the style of the shoulder guards, while the greaves have a   fabric section decorated with yellow dots within hexagonal cells of the same color, and a section of vertical iron plates, joined by chainmail. The repetition of the decorative elements suggests that all components of the armor were crafted by the same workshop and that the armor was purchased as a complete set by Edoardo Chiossone.

 

Sculptural face of Goffredo Mameli, modelled in bronze to create his funeral mask.

Apotheosis of Goffredo Mameli with Dante crowning him with laurels and a crowd of historical and literary figures watching the scene.

Rectangular brass display case. At the top centre, protected by an oval glass panel, is a lock of Mameli's hair; around it is an inscription engraved in the metal.

Goffredo Mameli on stage at the Carlo Felice Theatre in Genoa, in front of an applauding audience, reciting a patriotic poem.

The two sculptural groups were created by two Genoese sculptors, Bernardo Schiaffino and Francesco Biggi, probably based on designs by Domenico Parodi, the painter who created the frescoes and oversaw the decorative design of this room. Domenico Parodi was the son of the great Baroque sculptor Filippo Parodi, from whom he learned the art of sculpting marble and thinking in three dimensions, even in the creation of his frescoes, giving plasticity and monumentality to forms. The two sculptures were originally intended to be two fountains - the water flowed from a small pipe hidden inside the mouths of the two animals - and were placed in the small “indoor nymphaeum” commissioned by Anton Giulio, according to Brignole-Sale, inside this mezzanine. Here, in fact, by transforming what were normally service rooms, by 1710 the client had a private and totally exclusive apartment set up, embellished with luxurious furnishings and rich decorations. The choice of subjects is motivated by the fact that both episodes constitute two key points, the beginning and the end, of a narrative that covers the entire room, including the wooden doors of the built-in wardrobes, and retraces the salient episodes that mark the mythical origins of Rome: the birth of Helen, Paris' awarding of the apple of discord to Venus, Paris' abduction of Helen and, opposite, Aeneas' flight from Troy, finally arriving at the birth of Romulus and Remus. Sculpture group depicting Romulus and Remus as children in an affectionate pose next to the Roman she-wolf.

This slab comes from a Roman sarcophagus, datable to the 2nd century BCE, donated by the city of Gaeta to Francesco Spinola, a valiant commander in the defence of the town besieged by Spanish troops. The slab was later used in 1442, the year of Spinola's death, for his tomb in the church of San Domenico. The statue of San Giorgio vessillifero, in the Museum, also refers to it. Sculpted marble front with religious procession of mythological figures and animals.