The Diocesan Museum offers the opportunity for an in-depth knowledge of the city, through the rediscovery of works documenting the history of the Church.
Artistic artefacts and testimonies in fact closely bind art for worship and spirituality expressed by local communities: a high production, high quality, sometimes accompanying the history of the diocese, is presented in a chronological order, in the halls of the Museum.
Archaeological finds from the Roman period and stone materials, collected in the subterranean environments, illustrate the history of the earliest site.
The bright "gold funds" by Barnaba da Modena and a fragment of the fresco executed in 1468 by Cristoforo De ' Lombard Morris for the chapel in the Cathedral Dakin exemplify the painting in Liguria in the 14th and 15th centuries, while the contemporary sculpture is represented by the exceptional funerary monument of Cardinal Fieschi, Luke artwork of a Pisan active workshop around the middle of the fourteenth century.
The beautiful polyptych of San Lazzaro di Pietro Francesco Sacchi, the altar frontal with stories of the Baptist, painting by Teramo Piaggio and Andrea Semino, the Pietà with St. John the Baptist and St. Nicholas of Tolentino by Agostino Bombelli document, along with other works, the evolution of figurative culture in Genoa in the first half of the 16th century.
Extraordinary charm, an antependium embroidered with the Lamentation over the dead Christ, made by an unknown Flemish embroiderer to 1515.
A little further on we find a valuable Repository in embossed silver, partially gilded, engraved and offered in 1615 to the Church of San Siro by Placidia Doria, nephew of the great Admiral, whose portrait is on the basamentale next to that of the donor.
On the first floor, two rooms whose walls to keep tracks of interesting medieval frescoes, are a precious Byzantine scope Stauroteca Cross and the series of basins of German manufacture embossed brass, chiseled and engraved (secc. 15th and 16th).
A section dedicated to the exhibition of furniture, furnishings and paraments, presented with a spectacular staging that evokes the charm of a Baroque altarpiece and the choreography of a procession.
The Madonna of Loreto by Domenico Fiasella and towering canvases by Gregorio De Ferrari, transit of St. Scholastica and Tobias buries dead, finally, are magnificent examples of the great artistic season.
A rich heritage of artworks that attests the profound Christian tradition and the glories of a Republic that, in 1637, had wanted to Crown the Virgin Mary "Queen of cities", as depicted in little beyond 18th-century frescoes of the upper ring of the cloister.

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