GENOESE GARDENS AND VILLAS. 
383 
409. — INTERIOR OF THE LOGGIA OF THE VILLA PARADISO. 
tlie centre feature of each end bay (Fig. 417). The present glazing of the loggia detracts from the 
force and depth of the centre, already encroached upon by the width and emphasis of the 
wings. Galeazzo Alessi (1512 — 1572) was a native of Perugia, and is classed as a follower of 
Michelangelo. He played at Genoa the part of Palladio at Vincenza, and the contrast is 
of great interest — the higher artistic quality of 
Palladio’s work has spread his influence wider 
and deeper, but the strength and character 
of Alessi ’s Genoese Palaces deserves recog- 
nit ion. The internal peace, restored by 
Andrea Doria, who devised a new oligarchic 
constitution in 1528, must have been favourable 
to the great architectural development with which 
Alessi was associated in Genoa. P. P. Rubens 
(1577 — i6.fo) was in Genoa 1606 — 1608, and he 
appears to have been greatly impressed by the 
architecture in the city. Another great painter, 
Sir Antony Van Dyck (1599 — 1641), resided in 
Genoa from 1621 to 1625, and felt its influence. 
It is worthy of remembrance that both of 
these great artists proceeded to England, where 
they associated on terms of equality and friend- 
ship with Inigo Jones (1629). We know how 
Van Dyck praised Jones’s draughtsmanship, 
while Rubens must have felt that the interior 
of the new Banqueting House (1619) at 
Whitehall, which he was called upon to paint. 
410. — GROUND AND FIRST FLOOR PLANS OF 
THE VILLA PARADISO, GENOA. 
From Palasl Archi/ectiir, Genoa. 
