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Titolo dell'opera:

Gioco del Biribis

Acquisizione:

Matteo Luxoro 1945 - legato

Ambito culturale:

manifattura genovese

Author/ School/ Dating:

Gioco del Biribis (198739)

Epoca:

Inventario:

M.G.L. 220

Misure:

Unità di misura: cm; Altezza: 66; Larghezza: 91

Tecnica:

olio su tela

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Titolo dell'opera:

Portolano of the Black Sea and Genoese Colonies

Acquisizione:

Mercato antiquario

Autore:

Agnese, Battista

Object Type:

globe

Epoca:

Inventario:

3373

Misure:

Unità di misura: cm; Altezza: 34; Larghezza: 47

Tecnica:

pergamena- inchiostro

Descrizione:

From the middle of the 13th century, small communities from all over Liguria settled on the coast of the Black Sea. The overseas Genoese made up more than 80% of the western population of those lands. Cities such as Soldaia, Pera and Caffa, experienced exceptional development, built walls and resisted the assaults of the Greeks and Mongols, although two centuries later they did fall into the power of the Ottomans, who were superior in numbers, ships and firepower. The Genoese coexisted with the Orientals, not integrating, converting or subduing them as was the logic of 19th century colonialism. The Genoese colonies in the Black Sea were the privileged meeting point between the world of the steppe and the forest and the Mediterranean merchant cities, places where the most important local resources - wax, honey, furs, cereals, even slaves - were traded in exchange for cloth, canvas, wine.

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Titolo dell'opera:

Altare di Santa Maria della Pace -Trittico con Madonna della Cintola e Santi

Ambito culturale:

Arte dell'Italia Centrale

Author/ School/ Dating:

Altare di Santa Maria della Pace -Trittico con Madonna della Cintola e Santi (13224)

Epoca:

Inventario:

MSA 256

Misure:

Unità di misura: cm; Altezza: 195; Larghezza: 238; Profondità: 16

Tecnica:

marmo scolpito e dipinto

Descrizione:

Framed in an elaborate structure reminiscent of the wooden frames of polyptychs of the time, this composition, in purely Lombard style, is characterised by having almost entirely preserved its original colouring. In particular, note how the central Madonna, dressed in blue, is surrounded by angels dressed in the colours of the theological virtues: red for faith, green for hope, white for charity. The figures are inspired by northern Gothic, while the decoration, with its elegant carved woodwork, shows inspiration from painted polyptychs.

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Titolo dell'opera:

Psicostasia dell'Arcangelo Michele

Ambito culturale:

ambito pistoiese

Autore:

Manfredino da Pistoia

Epoca:

Inventario:

MSA 3641

Misure:

Unità di misura: cm; Altezza: 272; Larghezza: 138

Tecnica:

Affresco staccato su resina di vetro

Descrizione:

The fresco depicts psychostasy, or the weighing of the soul by the fighting St Michael. Part of the demon's wings can be seen on the left, possibly depicted in the form of a dragon (St. Michael the Archangel draconus). The work is signed and dated 1292 and decorated the apse of the demolished church of San Michele di Fassolo. Manfredino brought the novelty of painting as it was evolving in Assisi, from where the painter probably moved to Genoa, staying there at least until 1305.

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Titolo dell'opera:

Convito in Betania

Autore:

Manfredino da Pistoia

Epoca:

Inventario:

MSA 3640

Misure:

Unità di misura: cm; Altezza: 226; Larghezza: 205

Tecnica:

Affresco staccato su resina di vetro

Descrizione:

The fresco comes from a side wall of the choir of the Church of San Michele di Fassolo, demolished in 1858; the detachment was executed in 1849 by the painter Tammar Luxoro. Manfredino brought the novelty of painting in the way it was evolving in Assisi, from where the painter probably moved directly to Genoa, living there for at least until 1305. The fresco depicts Jesus at Simon's supper, as he is seated with other guests (and an apostle); below, Mary Magdalene washes and anoints Christ's feet. A city with large buildings forms the backdrop to the scene.

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Titolo dell'opera:

Burial of an elderly person from the Pollera Cave

Author/ School/ Dating:

Burial of an elderly person from the Pollera Cave (Finale Ligure, SV)

Object Type:

sepoltura

Epoca:

Misure:

Unità di misura: UNR (

Tecnica:

osso

Descrizione:

The burial was that of a 60-year-old male. The elderly individual had lost most of his teeth and had alveolar resorption. The subject had: a left parietal depression with hairline fractures; possible trauma and attempted trepanation; a fractured right clavicle with pseudoarthrosis; osteophytic spurs on the thoracic vertebrae. In addition to the skeleton, only a green stone axe, heavily worn from use, has survived, which was probably a personal tool of the deceased. The axe is a common working tool among Neolithic populations and is considered a male symbol because it has only been found in the burials of men in this and other prehistoric cultures. The artefact comes from the Caverna della Pollera (Finale Ligure – SV).

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Titolo dell'opera:

"Skull of Ursus Spelaeus, Ros." dalla Caverna delle Fate

Ambito culturale:

ambito pleistocenico

Author/ School/ Dating:

"Skull of Ursus Spelaeus, Ros." dalla Caverna delle Fate (SV)

Object Type:

skull

Epoca:

Misure:

Unità di misura: cm; Altezza: 16,5; Larghezza: 25; Lunghezza: 39

Tecnica:

ossa

Descrizione:

This skull was found in the Caverna delle Fate (SV) together with other bone remains documenting the presence of cave bears in numerous prehistoric caves in Liguria. Larger than today's grizzlies and predominantly herbivorous, it was widespread in Europe in the Upper Pleistocene. On its hind legs it could reach up to 3.5 metres in height and had long teeth and sharp claws. These animals took refuge in caves during the winter and some individuals could die or be hunted by Neanderthals: hunting cave bears could procure a large amount of meat, but also fur, tendons and fat. In Toirano (SV), in the Caverna della Bàsura, cave bears lived between 50,000 and 24,000 years ago and an excavation inside the cave uncovered a level where traces of fossilised fur were found. A large specimen reassembled from the bones of different individuals from the Caverna del Pastore (Toirano, SV) can also be admired in the museum. Skull of "Ursus Spaeleus" (order: carnivores; family: ursidae), somewhat chipped and covered with clay incrustations. It preserves 'in situ' all the teeth except the incisors. Found in the Caverna delle Fate (Finalborgo).

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Titolo dell'opera:

Bucket

Acquisizione:

sec. XIX fine

Author/ School/ Dating:

Bucket

Object Type:

bucket

Epoca:

Inventario:

3475

Utilizzo:

sgottare l'acqua dai bacini chiusi fissato per mezzo della catena ad una gru a bilanciere girevole detta 'cicogna' quando il bacino è stato delimitato da palificate

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Descrizione:

Iron bucket with pivoted reinforcement and chain. Before the invention of dredgers - vessels used to excavate the seabed of a harbor - operations were carried out manually.

Having delimited the area concerned by means of a wooden piling, “cicogne” were mounted on the edge of it: sort of wooden cranes equipped on one side with a chain holding an iron bucket; on the other by a counterweight.

With the cicogne, the basin was emptied of water, after which workers would remove the bottom from the mud by the use of baskets carried on their shoulders. Women were also engaged in this kind of labor, which was very tiring.

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Titolo dell'opera:

Genoese galley

Acquisizione:

Arsenale della Repubblica di Genova e Museo Civico - Provenienza

Ambito culturale:

ambito italiano

Author/ School/ Dating:

Genoese galley

Object Type:

model

Epoca:

Inventario:

3382

Misure:

Unità di misura: cm; Altezza: 150; Larghezza: 220; Lunghezza: 38

Tecnica:

legno

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Descrizione:

The galea was a type of vessel used by European fleets until the early 19th century, although its ‘golden age’ coincided with the 16th-17th centuries. Its strong points - whose conception dates back to the ancient Greco-Roman triremes - did not change over the centuries: the possibility of sailing and rowing, its manoeuvrability, its shallow draught (that is, the submerged part of the hull), and its function as both merchant and military vessel: in fact, it could embark a few dozen ‘naval soldiers’, armed at one time with bows and arrows, then with crossbows, and finally with arquebuses and muskets; artillery pieces could be few and light, a shortcoming that eventually made the galley lose its centuries-old confrontation with the great vessels. The hull is banded in alternating courses to reveal the internal ribs. The galley is rigged but without sails. The oars are of the ‘scaloccio’ type (one for every 4-5 men) and in rowing position. The sternpost, rather than the wheel, indicates a late-period type of galley.

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Titolo dell'opera:

Lastra commemorativa della presa di Porto Pisano - tratto su vico Dritto Ponticello

Ambito culturale:

ambito genovese

Author/ School/ Dating:

Lastra commemorativa della presa di Porto Pisano - tratto su vico Dritto Ponticello (198053)

Epoca:

Inventario:

MSA 18

Misure:

Unità di misura: cm; Altezza: 39; Profondità: 12; Lunghezza: 81,5

Tecnica:

marmo bianco apuano scolpito e inciso

Descrizione:

Originally this stone, the product of a Genoese sculptor, was placed on the façade of a private house in Vico dritto di Ponticello, which went to Porta di S. Andrea, today Porta Soprana, the main entrance to the city from the east. The stone celebrates the victory of the Genoese who, after defeating the Pisans in the naval battle of Meloria (1284), had inflicted a stringent peace agreement on them, which was largely broken. This led to a naval expedition in 1290, aimed at forcing the rival city to respect the pacts: having broken the chains protecting the port, the Genoese devastated it. The chains of the harbour were displayed as a trophy in Genoa in some of the city's important buildings.

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