The painting was awarded to the Municipality of Genoa in the annual draw held by the Società Promotrice di Belle Arti (Society for the Promotion of Fine Arts) in 1858. The painting depicts a view from the terrace of Villa delle Peschiere in Genoa.

The head is broken at the neck with a clean cut at the back, allowing it to be identified as a hermit or decorative element, to be viewed only from the front. The face is oval, slightly asymmetrical on the right, with a low forehead. The eyes are large and the eyelids fleshy. The lower eyelid is emphasised by an incised line. The nostrils are marked by deep wrinkles. The mouth has a lower lip that is much fuller than the upper lip and is emphasised by a deep dimple. The forehead is framed by hair that falls in large waves from the centre parting and then falls in a compact mass along the neck. The hair is topped by a double crown of wheat ears, a reference to the cult of fertility, which is linked to the college of the Fratres Alvares, an institution founded by Romulus and reformed by Augustus, with frequent appearances of the attribute in various imperial portraits. Perhaps the hermit is to be identified as the personification of Ceres. From the theatre of Libarna, in the province of Alessandria.

Dating back to the 5th century BC, it was discovered in 1884 in Savignone, in the province of Genoa. The funeral rite in question was cremation: the ashes of the deceased were to be kept in the two larger clay pots, the urns, which were closed with a bowl-shaped lid. Double box tomb enclosed by three stone slabs. The folded iron sword and spearhead indicate that the deceased was a Ligurian warrior. The grave goods also include several smaller vases, a fibula and metal fragments.

Mutilated milestone, in which the upper surface is missing. The first line of the inscription is somewhat affected by the lacuna. Until 1885, the artefact was located in the chapel of St. Limbania under the church of St. Thomas, where it remained until 1885, when the church was demolished for the construction of the Principe station.

Jar with a square mouth, lenticular body topped by a tall prismatic neck, with two horizontal handles on the shoulder. The surface is decorated with graffito with triple bands of lines on the shoulder and three pairs of vertical lines with horizontal hatching on the upper part. Found in the Caverna delle Arene Candide, in the province of Savona.

This type of protome is particularly widespread in Asia Minor. Downward-facing bovine head with amygdaloid eyes and protruding eyeballs. The eyelids are marked by a fairly obvious furrow. On the muzzle and forehead are asymmetrically painted strands of hair. The nose has, before the raised nostrils, two grooves. Under the attachment of the horns, on the right, a series of lines to draw the folds of the neck. On the back it has a hole, suggesting an architectural element. This type is particularly widespread in Microasia.

Certainly one of the best-known works of the Strada Nuova Museums and of seventeenth-century Genoese painting itself, this canvas, internationally known as Strozzi's “The Cook,” rather depicts a scullery maid intent on plucking a goose among chickens and pigeons, with a turkey hanging behind her, in the kitchen of a seventeenth-century Genoese aristocratic residence. In fact, among local aristocratic families, the profession of cook was at that time reserved exclusively for men, while women could only take care of more menial tasks, such as precisely plucking poultry. It is certain that this is an aristocratic dwelling, given the presence in the foreground of a rich, embossed silver tinplate with an elaborate handle depicting a female herm. The painting is first mentioned in the 1683-84 inventory of Gio. Francesco I Brignole Sale, commissioner of the Palazzo Rosso mansion; from the second decade of the eighteenth century, however, and at least until 1774, the work is always remembered-in inventories and guidebooks-in the family villa on the Albaro hill (today's Marcelline Institute): it is very likely that this less prestigious location was motivated by the painting's immediate everyday subject matter, which was probably judged not to be in keeping with the decorum of the city palace, whose picture gallery had been enriched in the late seventeenth and early eighteenth centuries with canvases of historical subjects or sacred iconography. The work of Strozzi - referred to in documents of the time as 'the Capuchin' because he entered the Order as a friar at the age of seventeen - is an admirable synthesis of the various influences that made up the fabric of local painting in the early decades of the seventeenth century: on the one hand, the Flemish fashion for depictions of 'kitchens,' 'markets,' and 'pantries,' which had found examples as early as the mid-sixteenth century in paintings by painters such as Aertsen and Beuckelaer, documented in the collections of Genoese families (two plates by these artists are now in Palazzo Bianco); on the other, the new attention to the genre of 'still life', due to the presence in the city of painters, still coming from Flanders, such as Jan Roos or Giacomo Liegi; finally, the first establishment of that naturalism of Caravaggio's matrix that constituted the other pole of updating of the local school. This canvas, datable to c. 1625, exemplifies the painter's best qualities: textural brushwork, “tasty and suave...manipolar of tints,” “mellow and robust coloring,” as the sources write. From the iconographic point of view, the desire to measure himself with the representation of popular subjects is clear, showing an adherence to reality still unknown to Genoese painters, and singular if one considers this choice by a religious man; it is not excluded, however, that beyond this immediate meaning there may be other symbolic contents concealed in the painting, perhaps-as has been proposed-an allegory of the four elements, to which the birds, for “air,” the elaborate tinner, for “water,” the 'cook,' for “earth,” and “fire,” which the painter paints with great skill in its crackling under the cauldron, would allude. Boccardo (La cucina italiana. Cuoche a confronto, 2015) speculates that the commissioner of the work had been Gio. Carlo Doria in late 1625; when the commissioner died that same year, the canvas would later enter the Brignole-Sale collections.