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.

The sacred subject, painted with bright and bright colors, is one of the most frequent in the painting of Orazio De Ferrari, a pupil of Andrea Ansaldo, in whose work are evident the influences of Van Dyck, Rubens and Reni.
The canvas, made in 1650, was purchased in 1959, but its origin is still unknown; it is one of the masterpieces of the maturity of the Genoese artist who, in this kind of medium compositions - Large, he found the most congenial dimension to express his expressive abilities.The painting presents at the center of the composition the figures of Christ and the adulteress, around which the other characters are arranged in a semicircle, while the architectural base on the right in foreshortening measures the space.