The itinerary dedicated specifically to painting (“From Byzantium to the Renaissance) further documents the richness and vitality of the artistic scene in Genoa. It begins with the beautiful Byzantine altarpiece of the Madonna di Pera, datable to the end of the 13th - beginning of the 14th century and proceeds, in a path that also includes sculptures and wooden furniture coeval to the paintings, with the Madonna and Child and saints (ca. 1380), by the Modenese Barnaba, one of the finest representatives of the post-Giotto Po Valley school.

Then there is the Crucifixion by Giovanni Mazone from Alessandria, one of the leading protagonists of Ligurian painting at the turn of the 15th and 16th centuries, faced by another Crucifixion this time by Ludovico Brea from Nice, demonstrating an artistic language mixed with northern European and Italian influences.

In the small rooms that follow one another the mixing of the arts continues (note the precious chest lid of Carthusian workmanship), with some paintings of the highest level, such as the panel by Pavese Pier Francesco Sacchi, depicting the Saints Paolo Eremita, Antonio Abate and Ilarione. In the "Collector's Room" works from acquisitions or donations are collected (notable, among them, the beautiful Romanesque wooden Crucifix) to finally then conclude our journey in the "Large Format Room", with large works such as the fresco of the last supper by the great Carlo Braccesco, a Milanese active in Genoa and Liguria, and two frescoes by Luca Cambiaso. This large space is dominated by the imposing 17th century wooden statue of a Guardian Angel of Neapolitan production.