84 Route 18. GENOA. 5. From the Harbour
choir, a *Crucifixion with saints and angels (covered), the masterpiece of
Fed. Baroccio. In the choir, handsome stalls with inlaid work by Franc.
de' Zambelli and olhers (1514-46). In the chapel to the left of the choir,
six pictures and a statue of Fides by Luca Cambiaso. — In (he first chapel
in the left aisle are seven statues by Gugl. della Porta. The second chapel
(women not admitted), that of 'San Giovanni Battista, erected in 1448-96,
containa a atone arca of the 13th cent, (below the altar) with relies of John
the Baptist. The six statues at the sides are by Matteo Civitali (p. 443);
the Madonna and John the Baptist by Andrea Sansovino (1503); the canopy
and the other sculptures by Giacomo and Guglielmo della Porta (1532). The
external decoration of the chapel, with admirable reliéis above (best light
in the afternoon), was executed by the Lombardic masters, Dom. and Elia
Oagini and Giov. da Bissone (1448-50).
In the sacristy is the Cathedral Treasdrt (adm., p. 78; entrance,
Via dell' Arcivescovado 21). Among the relies here are a silver shrine
for the Procession of Corpus Domini, executed in 1553-1611 by Franc.
Rocchi of Milán and other artists; and (to the left) a 13th cent, cross from
Ephesus, captured at Phocsea in 1308. To the right is the Sacro Catino, the
vesael out of which the Saviour and his disciples are said to have partaken
of the paschal lamb, or that in which Joseph of Arimathea caught some
drops of the blood of the Crucified (an ancient Oriental glass vessel, cap¬
tured by the Genoese at Cesárea in 1101 and supposed to be made of a
large emerald, until it waa broken at Paris, whither it had been carried
by Napoleón I.). The setting dates from 1827. Beneath is a silver altar-
front by the Germán goldsmith Melchior Siiss (1599); opposite is a silver
shrine for the procession on Ash Wednesday, by Teramo di Daniele (1437).
On the third wall are two choir vestments (15th and 16th cent.) and costly
To the left of the cathedral are Romanesque cloisters (12th
cent.). — Opposite, Via dell' Arcivescovado 14, are the State Archives.
Farther on the Via San Lorenzo leads to the Piazza Umbebto
Primo and to Sant* Ambrogio (Pl. E, 6), a church of the Jesuits,
profusely decorated (1589).
Interior. 3rd Altar on the right: Assumption by Guido Reni (restored
in 1898; covered). High-altarpiece, Presentation in the Temple, by Rubens
(an early work of about 1605). The four black monolithie columns are
from Porto Venere (p. 118). Third Altar on the left: "Rubens, St. Ignatius
healing the sick (ca. 1620, restored in 1896; covered).
The house Vico dei Notari No. 1, to the right of the church, has
a fine Renaissance portal.
On the N. side of the Piazza Umberto Primo rises the Palazzo
Dncale (Pl. E, 6), the grand oíd residence of the doges, originally a
building of the Í3th cent., to which the tower on the left (Torre del
Popólo) belonged, but completely remodelled by Rocco Pennone in
the 16th cent, (fine * Staircase), and modernised after a fire in 1777.
Facade by Simone Cantoni. It now contains the telegraph-offlce and
From the Piazza Umberto Primo the short Via Sellai leads to the
left to the bnsy and recently enlarged but still unflnished Piazza
Deferrari (Pl. E, F, 5, 6; 78 ft. above the sea; starting-point of
most of the electric tramways, p. 76), which is embellished with a
large Equestrian Statue of Garibaldi, by Aug. Rivalta, unveiled in
1893. — On the N.W. side of the piazza stands the Palazzo Deferrari
(18th cent.). Opposite are the Teatro Cario Felice (Pl. E, F, 5; see
p. 77) and the Accademia di Belle Arti (Pl. E, F, 6), on the flrst floor