The painting depicts the salient episode of the stora of the Jewish heroine Judith - to whom is dedicated an entire book of the Christian Bible entitled to her - set during the reign of the Babylonian king Nebuchadnezzar, who entrusts the western campaign against the people of Israel to the Assyrian general Holofernes.  During the war, the city of Bethulia was under siege for thirty-six days and its population was reduced to starvation and thirst. Here the plan of the rich and beautiful widow Giuditta enters the scene, who, with the help of a ruse, goes into the enemy camp, pretends to give in to the seductions of Holofernes and, during a banquet, makes him drunk and kills him, hitting him twice in the neck with his sword.The canvas by Veronese, dating to about 1580, depicts with extreme realism the moment when Judith delivers the macabre remains to her handmaid Abra, ready to receive them in the saddlebag of food. The general’s head, subsequently exposed by the walls of the besieged city, induces the Assyrians to retreat.
The work, one of the most famous in the collection of Palazzo Rosso, originally belonged to Count Cuccina of Venice, an important client of Veronese; it then passed to the Franco-Flemish painter and merchant Nicolas Régnier who, among the many collectors interested in buying it, sold it to Giuseppe Maria Durazzo in 1670, from which it was inherited by the Brignole - Sale.The artist uses the theme of Judith, however addressed at least on another occasion in the eighties of the sixteenth century, to create a painting based on wise chromatic and uministic contrasts given by the contrast of the dark incarnations of the decapitated body - made with a particular anatomical realism - and that of the servant in respect, respective, the white sheets and the ivory complexion of Judith, illuminated with great effect by a light that peeps from the right.

The Portrait of Alessandro Bonvicino from Brescia, known as Moretto, belongs to the Venetian painting tradition of the 16th century. The artist, originally from the hinterland of the Serenissima, was formed in Venice or Padua, but was active mainly in the city of his birth.
The canvas, dated 1533 and initialled on the left side with the artist’s initials, belongs to the period of the painter’s full expressive maturity and the Greek motto that follows the date, has been translated into "relief of the mind", for the appreciated interest shown by the effigy for the study of nature, to which allude the flowers represented in the foreground at the bottom left.The subject of the portrait, however, has not yet been identified with certainty, considering some the Brescian philosopher Vincenzo Maggi, professor at the University of Padua from 1528 to 1543, and then in Ferrara, and others the Sienese Pietro Andrea Mattioli (1500-1577), Caesarean physician to the emperors Ferdinand and Maximilian II of Austria and author of a famous treatise on botany.

The large canvas depicting the Crucifixion by Paolo Veronese, one of the greatest artists active in Venice in the second half of the '500' has a very dark and tragic intonation due to the brightness corrusca and the point of view heavily lowered. The altarpiece, signed in the lower area, the only one of the artist to have always been visible in public in Genoa, because it is located in the town church of Saints James and Philip, now destroyed.
The work was fundamental for the evolution of the school of Genoese painting during the seventeenth century: in fact, many local artists looked at it, to learn the novelties of the way of painting "Venetian", all soaked in light and color.

Next to the Crucifixion of Veronese, are currently at the Museums of Strada Nuova - as a result of the loan stipulated with the owners - another late work of the artist, Susanna and the elders, already owned by the Marquis of Carpio, an extraordinary Spanish collector of the seventeenth century, and the Mystical Marriage of Saint Catherine of Alexandria painted by Paris Bordon during the third decade of the sixteenth century and also characterized by a high-sounding provenance, since it is identified with the painting that belonged to Cardinal Leopoldo de' Medici, the greatest collector of the Florentine grand-ducal family.Both these paintings are documented in Genoa as early as the eighteenth century and therefore well represent in Palazzo Bianco what was found in the local collections of the past.

In this painting we find the link with the late works of Veronese, confirming the references that the Venetian artist always maintained with the Venetian tradition of the previous generation. The episode of Christ and the Samaritan woman is taken from the Gospel of John and can be interpreted, following the principles of sacred painting of the period of the Counter-Reformation, in a Eucharistic-baptismal key. The client of the painting is not known, but the work is dated 1599 and was executed in Venice.