Via Cairoli, Via Balbi. GENOA. 18. Route. 89
mana; H. Rigaud, Márchese Ippolifo Durazzo. Admirable porcelain vases
in the centre of the room. — V. Room. Beautiful Chínese porcelain. —
VI. Room. Entrance-wall: Domenichino, Risen Christ appearing to his
mother Death of Adonis; Van Dyck, "Boy in white satín; Van Dyck (?)
Young Tobias; Van Dyck, *Three children with a dog (spoiled); Rubens,
•Philip IV. of Spain, full-length; Ribera, Heraclitus (weeping philosopher),
Democritus (laughing philosopher); Van Dyck, "Marchesa Caterina Durazzo
with two children (spoiled); Titian (1), Ceres with Bacchus, nymph, and
Cupid — VII. Room. Unimportant. — VIII. Room. Window-wall: Un-
known Dutch Master (ca. 1500), Pietá; Gerard David(1), Flight into Egypt;
Fr. Pourbus, Garden of Flora; Flemish Master (lTth cent.), Fete cham¬
pare. — IX. Room. To the right, Rubens, Ambrogio Spinola; Germán
School (attributed to Lombard Sch.), Crucifixión, with saints. — The
Library contains 7000 vols., including many specimens of early printing.
On the left side, No. 4, isthe*PalazzoBalbi-Senárega(Pl.D, 3),
begun early in the 17th cent, by Bart. Bianco, and enlarged in the
18th by Pier Ant. Corradi. It still belongs to the family who built
it, and after whom the street is named. The superb court, with its
Doric colonnades, affords a glimpse of the orangery. The interesting
Picture Gallery on the second floor is shown on introduction only.
Sala, or Large Room, adorned like the others with ceiling-paintings
by Genoese artists. To the left: Van Dyck, Francesco Maria Balbi on
horseback (injured), the prototype of the equestrian portrait of Count
Olivares by Velazquez, now in the Prado Museum at Madrid. To tbe
right: Bern. Strozzi, Joseph interpreting the dream; portraits by Ang.
Bronzino, etc. — Primo Salotto (to the right): Rubens, "Infant Christ and
John the Baptist; Guido Reni, Lucretia, Cleopatra. Titian, «Madonna with
SS. Catharine, Dominio, and donors: 'charming picture (about 1520), thrown
out of focus by abrasión, washing, and repainting; but still pleasing on
account of the grace of the attitudes and the beauty of the landscape'
(Crowe ¿¡ Cavalcaselle). Gaud. Ferrari, Holy Family; Van Dyck, Madonna
with the pomegranate (della Melagrana). — Secondo Salotto: Van Dyck,
Equestrian portrait, Portraits of a gentleman and of a "Lady of the Balbi
family. — Teezo Salotto: Caravaggio, "Conversión of St. Paul, trivial in
conception, but masterly in execution; Master of the Death of the Virgin,
Holy Family and Adoration of the Shepherds; Guido Reni, St. Jerome. —
Quarto Salotto : Guercino, Rescue of Andrómeda; Perin del Vaga, Four
figures of children; Jac. Bassano, Market. — Gallería : Sundro Botticelli
(not Filippino Lippi), Communion of St. Jerome (perhaps a copy); Titian
(or more probably Hans von Calcar), Portrait; Correggio (J), Marriage of St.
Catharine; Van Dyck, Holy Family.
On the right side of the street, No. 5, is the Palazzo dell'
Universitá (Pl. D, 3), begun as a Jesuit college by Bart. Bianco in
1623, and created a university in 1812. The *Court and stair¬
case are probably the flnest at Genoa. The second floor contains a
library, a natural history museum, and an aula with six allegorical
bronze statues and reliéis by Giovanni da Bologna. A staircase
leads henee to the high-lying Botanical Garden oí the UniveTsity
(Pl. D, 2; ring at the iron gate). Adjoining the upper entrance, in
the Corso Dógali (p. 94), is the Botante Institute, founded in 1897
by Sir Thomas Hanbury (p. 107).
On the right is San Carlo, with sculptures by Algardi (1650).
Left, No. 10, Palazzo Beale (Pl. C, 3), erected about 1650
by the Lombard architects Franc. Cantone and Giov. Ang. Falcone
for the Durazzo family, and extended in 1705 by Carlo Fontana