Schmap Genoa Historical Background

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Genoa - Historical Background
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Genoa Home
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The name Genoa is believed to derive from Genua, founded by the two headed Giano, protector of ships and coins. This was a city of two faces, which looks both inland and towards the sea. Genoa, as well as being full of mythical origins, has always been a crossroads of traffic and culture, between continental Europe and the Mediterranean, thanks to it natural position and the initiative of its inhabitants. After the conquest of the Padana plain in 569, Genoa became the main, Byzantine stronghold with its own fleet, uniting the commercial and seafaring sides of the city. Conquered and plundered by the Rotari from 641 to 643 and then by Saracen pirates, the city only began to develop again after the tenth century, thanks to help from the monasteries and abbey and the first wall that finally surrounded the city.

Ruler of the Seas

The great, powerful and prosperous, sea commerce of Genoa started in the eleventh century and, the city rivalled Pisa and Venice. Genoa's participation in the Eastern Crusades, as well as responding to religious needs and the aspirations of the Genoan soldiers, made the city a valued importer of riches and new products. In 1098, the merchants took over the commercial district of Antiochia, and the Compagna was set up the next year, as the first communal associative institution, giving life to a mixed, ruling class of aristocratic, feudal and mercantile origin. The historic centre was divided into eight districts and the houses had to have porticoes to show the limits of each area. These are still visible in Via di Sottoripa and were opened in 1125. Churches in roman style were built here, including the Chiesa di S.M. di Castello, Chiesa di S.Donato and the Cathedral of S.Lorenzo, which was built in 1118. The del Barbarossa walls were built from 1155 to 1160, of which there are still some remains including Porta Soprana or di S.Andrea and Porta dei Vacca (o di S.Fede).

Genoa increased its business in the east, and in 1284, in the naval battle of Meloria, it defeated Pisa, which was also an important port, and so gained control of the Tyrrhenian Sea. Contrary to its naval victories, it had a bitter fight on land for supremacy and power, led by the Doria and Spinola families who were Ghibellines and the Fieschi and Grimaldi families who were Guelfs. Even the election in 1339 of the first doge, Simon Boccanegra, did nothing to placate the struggles. In this atmosphere of conflict and tension, the population got together in alberghi, organised around the most prestigious families. Those who followed them, gave up their own name and political rank to assume that of the house they had chosen on the basis of geographical vicinity or family ties. This period produced gothic architecture, characterised by the use of black and white marble to decorate facades. Popular with the religious orders from the thirteenth to the fifteenth century, this led to the construction of around ten churches including, the churches of S.Agostino and S.Domenico, the façade of S.Lorenzo, and also the civil palaces and towers. The Doria district, facing onto Piazza S.Matteo, is a magnificent example of this and is still relatively untouched, as is the Palace of the Capitano del Popolo and the Grimaldi houses in Piazza S.Luca. As there was a large population increase because of the economic success of the city, it almost tripled in size, and in the first half of the fourteenth century, a new city wall was built.

In the Aftermath of Columbus

At the end of the next century, which was characterised by a profound artistic transformation, with the intervention of Lombardian and Tuscan painters and sculptors, the Genoan Christopher Columbus discovered America. There followed a period in which Genoa, defeated by Venice, was dominated by Charles VII of France, by Francesco Sforza, the Visconti of Milano and then by the French again. In 1522, the Republic was set up and in 1528, the Admiral Andrea Doria seized power and the city came under the rule of Spain. A number of pirate attacks occurred along the Ligurian coast in the second half of the sixteenth century, when barbarians destroyed, plundered and kidnapped in Rapallo, Recco, Lavagna, Moneglia and Sori. Watch towers were built after this from Arenzano to Moneglia. Despite the loss of the Mediterranean colonies, the next thirty years of the dictatorship of Andrea Doria gave stability and a new constitution to the Republic with a radical renewal of building carried out by the most famous, renaissance masters, from Rome, Tuscany, Venice and abroad, including Rubens and Van Dyck.

The Genoan Baroque

The end of internal fighting and foreign domination led to an extraordinary blossoming of art and a period of great ecomomic prosperity. The noble families competed to commission masterpieces by the most famous artists of the time. The Genoan baroque, which was very elegant and sophisticated, was innovated mainly by P. Puget and F. Parodi, followed later by A. Maragliano and the sculpture of F. Schiaffino. Outstanding eighteenth-century painters include A. Magnasco. In 1746 Genoa was occupied by the Austrians but managed to overcome them led by Balilla. In 1797, the Democratic Ligurian Republic was set up on the French model. Besieged by the Austrians again and defended by the French General Massena, in 1805 Genoa became part of the French Empire, and in 1815, the new Duchy of Genoa was united with the Kingdom of Sardinia.

From Merchant Port to Cultural Capital

In the nineteenth century, Genoa went through another phase of urban renewal led by Carlo Barabino and the Cantone brothers with the opening of large roads and some important public works, such as the Cimitero Monumentale di Staglieno (Cemetery of Staglieno) and the Carlo Felice Theatre. Some famous figures from the Risorgimento have Ligurian origins such as Mazzini, Bixio and Mameli. Garibaldi's expedition left from the Quarto rock, at the east of the city, which led to the unification of Italy. Genoa was the first merchant port at the end of the nineteenth century. In the twentieth century, the entire region contributed both men and means to the two world wars and the fight for liberation. After the industrial boom of the 1960's and the successive economic stagnation, the port and the iron and steel industry was faced with crisis, and Genoa became a cultural centre, a new tourist destination and a city of art. It then faced the G8 in 2001 and was European Cultural Capital in 2004.

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Carlo Felice Theatre

A piazza in a theatre

Passo E. Montale, 4
Genoa 16121
Italy
+39 10 5 3811
http://www.carlofelice.it

Built between 1826 and 1831, designed by the architect Carlo Barabino, it is an example of the traditional Italian horseshoe shaped, development. It has a capacity of 2,000. It was badly damaged by bombing in the Second World War, and almost completely rebuilt at the beginning of the 1990's by the architects I. Gardella and A. Rossi. The original neo-classical features of the pronaus and the portico were incorporated into the new building, whose imposing triangular tower, visible from many parts of the city, hides a sophisticated scenic mechanism which places this theatre among the most advanced in Italy. It has provoked both great amazement and furore among the Genovese on account of the internal design, including balconies, shutters and slate coverings, as if it were several houses in the historic centre facing onto a typical Ligurian piazza.

Review © 2007, Wcities

Carlo Felice Theatre photo by carolina1954

Photo: carolina1954

Carlo Felice Theatre photo by Danilo Paissan

Photo: Danilo Paissan

Carlo Felice Theatre photo by terralance

Photo: terralance

Carlo Felice Theatre photo by chiara modotti

Photo: chiara modotti

Carlo Felice Theatre photo by simone d'aumiller

Photo: simone d'aumiller

Carlo Felice Theatre photo by Barbara Sgarzi

Photo: Barbara Sgarzi

Carlo Felice Theatre photo by Franco Forni

Photo: Franco Forni

Photo: bia.hvid

Gate of the Cow

The gate to the old city Via del Campo
Via delle Fontane
Genoa 16124
Italy
This gate corresponds in appearance to the Porta Soprana or of S.Andrea (XII secolo), (12th century). It was the main western access to the city, near the now destroyed St. Faith's church. Built at the same time as the walls to defend the city from invasion by the Barbarossa forces, it consists of two semi-circular towers, linked by a crenellated arch with sharp curves. In the eighteenth century these features were incorporated into the neighboring buildings. The name "Vacca" (cow) has a determined origin: it refers to the family who once lived there.

Review © 2007, Wcities

Gate of the Cow photo by wcities
Photo: wcities

Piazza S.Matteo

The Doria residence Piazza S. Matteo
Genoa 16123
Italy
+39 10 247 1770 This is perhaps the best preserved example of a private square belonging to a noble Genovese family from the thirteenth century, onto which face the Chiesa di S.Matteo, the superb residences of the various members of the Doria family, and, the half-hidden, attractive cloister with its twinned marble columns. Opposite the church is the former Palazzo Lamba Doria, displaying, after post-war cleaning, the many arched gallery which used to characterise all the buildings facing onto the square. The ground floor gallery was actually both a public and private space, where family members met to discuss their most important private issues, or to exchange goods and greetings with the other families. Some of the buildings still retain their original façades with black and grey stone stripes, common to many of the Romanic-Gothic churches of the city, and reserved solely for the members of the most important families; that is, the Doria, the Spinola, the Fieschi and the Grimaldi families.

Review © 2007, Wcities

Photo: Bruno C.

S. Lorenzo Cathedral

Genoa's Cathedral Piazza San Lorenzo
Genoa 16123
Italy
This church, dedicated to S. Lorenzo became the city's cathedral in the 10th century AD after it was deemed to be safer than the more primitive S. Siro cathedral, as it was situated inside the fortified walls built in 864 AD. 1099 saw the start of the construction of a better-suited building. The apsidal part was consecrated by the pope Gelasio II in 1118, while 1160 saw the building of the lateral walls with their beautiful sculpted portals dedicated to S. Giovanni and S. Gottardo. The three black and white striped marble portals on the front are sculpted with stories of the Virgin Mary and are similar to those on the Cathedrals in Chartres and Rouen. They can be traced back to 13th century Franco Norman craftsmanship, providing the most interesting example of the French gothic style in Italy. The construction of the cathedral, which can be said to have lasted for centuries thanks to artists from Pisa, Lombardy and France, gave rise to an interesting mixture of styles, especially visible in the black and white facade. The statue of a saint with a sundial called the Arrotino is French gothic, the column-bearing lions are nineteenth century, the rose window is 15th century, the two towers, one of which is unfinished are 15th and 16th century. The inside is made up of three naves flanked by columns and reclaimed roman capitals, and owes its current appearance to the refurbishment carried out after the fire in 1296. During the refurbishment props were used to rebuild the lower part using pointed gothic arches, maintaining the overhead round Roman arches. In general, however, the church is mostly characterised by the bare medieval style enhanced by the lack of wall decoration, except for the important fresco in the lunette on the internal front wall (Giudizio Universale, fourteenth century). The largest of the side altars is dedicated to S. John the Baptist, patron of the city, whose relics are thought to have been brought to Genoa after the crusades and now sit in a valuable 14th century urn made by Norman craftsmen. The fifteenth century sculptor G. Gaggini was very involved in the adorning of the chapel with several statues of Sansovino. The Lercari chapel at the end of the left-hand nave dates back to the 16th century. The frescoes were done by L. Cambiaso and G.B. Castello il Bergamasco. The sober dome by G. Alessi and the presbytery are also from the same period. The bronzes on the altar in the presbytery are interesting. Everyone from Genoa knows the story of the bomb that sits at the beginning of the right hand nave. On 9th February 1941 it hit the cathedral destroying part of the casing, but remaining miraculously unexploded. The sacristy leads to the valuable Museo del Tesoro di S.Lorenzo.

Review © 2007, Wcities

Photo: Wong Hau Keong
Photo: Wong Hau Keong
Photo: Marcus Puschmann
Photo: Donna J Belfield
Photo: Federico Perola
Photo: Pedro
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Photo: Levente Toth

S.M. di Castello Church

Dominican church Salita S.Maria di Castello
Genoa 16128
Italy
+39 10 254 9511 The church was first built around 650 AD in the early fortified area of the city. It was rebuilt by Pre Lamica masters at the beginning of the 12th century. Since 1441, when it was taken over by the Dominican fathers, it has undergone regular redecoration. The Predicatori brothers, who also organised the construction of the adjacent Convent of Santa Maria di Castello, made the complex into one of the most important centres of humanist thought. The church has three naves lined with granite columns with reused Roman headbands. It has valuable vaults, decorated with 15th-century decorations which replace the original medieval trusses. It has numerous frescoes, paintings, altarpieces, sculptures and wooden groups. There are noteworthy canvasses by D.Piola, B.Castello, A.Lomi; a venerable medieval wooden Christ figure and the remains of the holy Jacopo da Varagine (Varazze), who was the author of the Golden legend. The marble entrance of the Sacristry was built in 1452. This graceful room has been made even more precious by the 18th-century walnut furnishings. The museum area in the convent is reached from here.

Review © 2007, Wcities

Staglieno Monumental Cemetery

Seekers of immortality Piazzale Resasco
Genoa 16137
Italy
This is one of the most interesting cemeteries in Italy and is visited by many foreign tourists. It owes its fame to its amphitheatre on the slopes of the hill and the continuous succession of monumental buildings and little woods. It was created by G.B.Resasco in successive phases since the middle of the nineteenth century. It is dominated by the Chapel of the Intercession (or Pantheon). Here are all the headstones of the famous people of the city. There are sculptures and architecture throughout the galleries, tree-lined avenues and in the English and Jewish cemeteries. They are not only a sample of art from the second half of the nineteenth century; they also show the self-congratulatory nature of the upper-classes of this period. They spared no expense in order that they should be remembered by a chapel or a monument next to the city's heroes. Caterina Campodonico is a well-known example. She was a simple salesgirl who stood at streetcorners selling nuts and canestrelli. She saved money all her life so that she might have a funeral monument which was similar in stature to that of Mazzini.

Review © 2007, Wcities

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