Orangutan

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Titolo dell'opera:

Orango del Borneo

Author/ School/ Dating:

Orango del Borneo (233833)

Epoca:

VII-IX - 625 - 850

Inventario:

110

Provenienza (nazione):

Indonesia 1866

Tecnica:

naturalizzato

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The Orangutan specimen (Pongo pygmaeus) precedes the foundation of the museum. In 1865, Giacomo Doria and his friend the botanist Odoardo Beccari were visiting Borneo to collect specimens. In January 1866, Doria decided to return to Italy due to health reasons and stopped over in Singapore that February. In Singapore, he bought two young female orangutans on a ship from Pontianak, the current capital of the West Kalimanatan province of Indonesia. One of the orangutans lived in Genoa for a while and is the specimen displayed in the case next to the male.
The Bornean Orangutan is classified in the IUCN Red List as a “critically endangered” species; over the last 60 years, its population has decreased by 50%. It has been estimated that, without immediate and drastic intervention, its decline will continue until extinction! Why are Orangutans disappearing? The destruction of their natural habitat, due to the conversion of forests into urban centres and agricultural areas; fires and wild deforestation, due to the ever-increasing demand for timber; poaching, as Orangutans are being hunted both for sale to zoos and for their meat.

 

 

The Hoopoe starling

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Titolo dell'opera:

Fregilupo

Author/ School/ Dating:

Fregilupo (233832)

Epoca:

VII-IX - 625 - 850

Inventario:

12194

Tecnica:

naturalizzato

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The Hoopoe starling, native to the Mascarene island of Réunion (Indian Ocean), was second to none.
In 1759, to combat locusts damaging crops, the Common myna (Acridotheres tristis) was introduced.
The competition with the myna, along with the destruction of their habitat, rats preying on their nests, and hunting, contributed to the disappearance of the Hoopoe starling.
The last specimens of this species disappeared between 1835 and 1840.
Only 23 specimens are preserved in the museums of the world.

 

 

Mediterranean Monk Seal

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Titolo dell'opera:

Foca monaca

Author/ School/ Dating:

Foca monaca (233793)

Epoca:

VII-IX - 625 - 850

Inventario:

17760

Provenienza (nazione):

Italia 1923

Tecnica:

naturalizzato

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Among the Pinnipeds (Room 5), the Mediterranean monk seal (Monachus monachus) was discovered in 1923 in Camogli, a seaside town not far from Genoa. It represents historic evidence of the presence of the species in the coastal area of the Ligurian sea.
Currently, the monk seal, which is the only pinniped found in the Mediterranean, is sighted only occasionally in Sardinia and no longer has a viable population. It is considered to be at risk of extinction and the main reasons for its decline are accidental capture in nets and the progressive disappearance of stretches of isolated coastline, which it needs for reproduction.

 

 

The Ancient Italian Elephant skeleton

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Titolo dell'opera:

Elefante antico italico

Author/ School/ Dating:

Elefante antico italico (233791)

Epoca:

VII-IX - 625 - 850

Inventario:

35443

Provenienza (nazione):

Italia 1941

Tecnica:

scheletro completo

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The Palaeontology Room is dominated by the large skeleton of an ancient Italian elephant (Elephas antiquus italicus) which lived during the Quaternary in the forests of Eurasia and is now extinct.
It is probable that the elephant, which was found in 1941 in a deposit of diatomaceous earth in the Viterbo area, became trapped in mud in a lake and was unable to get back to the bank. After its death, the elephant sank to the bottom of the lake and slowly became buried in sediment composed of microscopic diatom skeletons. When this turned into rock, the fossil of this large animal was preserved. In order to prepare the skeleton for its display in Genoa, the specimen was moved to the Institute of Geology in Pisa, where the bones were sadly damaged by Allied bombing and thus had to undergo further restoration work. Between 1953 and 1954, the skeleton was finally installed in its current position, thanks to a financial contribution made by the Amici del Museo Society. In 1996, the specimen underwent meticulous restoration work carried out by the Insititute of Geology and Palaeontology at the University of Florence.

 

 

Neptune’s Cup Sponge

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Titolo dell'opera:

Coppa di nettuno

Author/ School/ Dating:

Coppa di nettuno (233789)

Epoca:

VII-IX - 625 - 850

Inventario:

985

Provenienza (nazione):

Singapore 1913

Tecnica:

naturalizzato

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The Neptune’s Cup Sponge (Cliona patera) is a cup-shaped sponge so large that it can be used as a bathtub! Discovered for the first time in 1822 in Pacific waters, this species has been subject to indiscriminate fishing by collectors which has almost led to extinction. The last living specimen was in fact seen in 1908. In 2011, however, biologists found specimens off the coast of Singapore. This discovery allowed to follow the growth path but, above all, to develop strategies for their conservation. The Neptune’s Cup Sponges are exhibited on the first floor, in the Invertebrate Room.

 

Southern Cassowary

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Titolo dell'opera:

Casuari

Author/ School/ Dating:

Casuari (233786)

Epoca:

VII-IX - 625 - 850

Tecnica:

naturalizzati

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In Room 12 the group of cassowaries is of particular scientific importance and visual impact.
These elusive, flightless birds are native to the rainforests of New Guinea, nearby islands and north-eastern Australia. They have a keratinous skin-covered casque on their heads and several functions have been proposed: to amplify deep sounds, as a secondary sexual characteristic, or used to batter through underbrush.  They are 1.5 to 1.8 m tall and weigh up to 60 kg. Cassowaries have three-toed feet with sharp claws. The second toe, the inner one in the medial position, sports a dagger-like claw that may be 125 mm long. This claw is particularly fearsome since cassowaries sometimes kick humans and other animals with their powerful legs.
The specimens exhibited were collected in Moluccas (Indonesia) and in New Guinea, at the end of the 19th century, by the explorers Odoardo Beccari, Luigi Maria D’Albertis, Lamberto Loria and Antonie Augustus Bruijn, who were in south-east Asia at the time and had contacts with the Museum of Genova.
There are 11 specimens, at different age levels, and some eggs; all three existing species are represented: Casuarius casuarius, Casuarius unappendiculatus  e Casuarius bennetti.

 

 

The Fin Whale skeleton

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Titolo dell'opera:

Balenottera comune

Author/ School/ Dating:

Balenottera comune (233783)

Epoca:

VII-IX - 625 - 850

Inventario:

31906

Provenienza (nazione):

Italia 1878

Tecnica:

Scheletro completo

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In 2017 the Museum celebrated 150 years of life, the Friends of the Museum association celebrated 90 years since its foundation and on this special occasion the Hall of Cetaceans was set-up with the contribution of the association: an immersion in an all-blue room with models, skeletons, posters and a spectacular sperm whale that occupies an entire wall.
The most impressive exhibit is the fin whale (Balaenoptera physalus) skeleton hanging from the ceiling of Rooms 7 and 8.
On 1 October 1878, the specimen – already deceased – was sighted in the sea a few miles off Punta Mesco and then dragged to shore at Monterosso (in the province of La Spezia). The local fishermen extracted over 20 barrels of oil from the carcass and, during drying, it was discovered that the whale was a pregnant female containing a 4.5 metres long foetus. Once cleaned, the bones (which weighed 3,000 kg in total) were mounted in the University of Genoa’s Zoological Museum. In 1927, the skeleton was taken apart and transferred to Genoa’s Natural History Museum, where it was put back together again and mounted in its current position in 1932. The animal was 22 or 23 metres long, with a maximum circumference of 5 metres, while the skeleton measures nearly 20 metres in length.

 

Antonello da Messina, Ecce Homo

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Author/ School/ Dating:

Antonello da Messina (Messina, 1426 circa - 1479)

Object Type:

Painting

Technique and Dimensions:

Oil on panel, 39.5 x 32.5 cm


The authorship of the work became certain after the discovery of the cartouche with the signature "Antonellus Messaneus me pinxit." and the critics agree on a date from the late 1460s by comparing the Spinola panel with other works by the artist dedicated to the same subject, studied and replicated  by him, creating various versions, among which the closest are judged to be that of the College Alberoni of Piacenza and that in the Metropolitan Museum of New York.

The work is part of the Spinola picture gallery held in palazzo di Pellicceria thanks to its purchase, made by Giacomo Spinola di Luccoli documented in 1833.

 

Luca Giordano, Allegory of Peace and War

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Author/ School/ Dating:

Luca Giordano (Napoli, 1634-1705)

Object Type:

Painting

Technique and Dimensions:

Oil on canvas, 226 x 303 cm

 

Together with the famous work in the Prado depicting Rubens painting the Allegory of Peace, the painting of Palazzo Spinola constitutes an extraordinary tribute made by Luca Giordano to the Flemish master whose influence is evident in his work. Here Peace, majestic in his nudity, is surrounded by companions who play and paint, recalling the arts that thrive in peace, and scornfully dispels Mars, god of War, and Hate.

Painted around 1660, shortly after the painting now in Madrid, the canvas comes from Marco Antonio Grillo’s collection and was purchased in 1740 by Costantino Balbi in whose collection it remained until it was inherited by his descendant Violantina Balbi, wife of Giacomo Spinola who in 1824 became owner of  Palazzo di Pellicceria and hence brought it to this building where it is still preserved.

Filippo Parodi, Portrait of Maria Mancini

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Author/ School/ Dating:

Filippo Parodi (Genova, 1630–1702)

Object Type:

Sculpture; Forniture

Technique and Dimensions:

Carved and gilt wood, 44 x 40 cm; painted on copper, 21 x 16 cm

 

The picture frame is the result of the surprising transformation of its functional nature into an artefact charged with meaning and binds it closely to what it contains. With surprising technical skill, given the small size and the freedom of the lively composition, Filippo Parodi in fact proposes through it the representation of the judgement of Paris, who was designated to indicate the most beautiful of three goddesses, Juno, Minerva and Venus: the latter, however is not among the carved figures, but she is, indicated by the pointing finger of Paris, the one depicted in the painted portrait or, if the hypothesis that the frame may have originally contained a mirror is accepted, the person whose reflection appears and, thanks to the message of the frame, it is proposed to us as the goddess of beauty.

 

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