Palazzo del Tribunale, Finalborgo cronologia storica

Ultimo aggiornamento il 19 ottobre 2026

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È l’edificio da cui il Marchesato di Finale veniva amministrato, ed è sopravvissuto allo Stato che serviva di due secoli e mezzo. Stava già in piedi prima che i Del Carretto fossero al loro apice, fu rifatto quando lo erano, continuò a funzionare da tribunale sotto gli Asburgo e poi sotto Genova, e fu riallestito un’ultima volta da un governatore genovese undici anni prima che tutto l’ordinamento feudale venisse abolito. Quello che resta è il suo prospetto, col Quattrocento ancora dipinto sopra.

Cronologia

primi del Trecento Il palazzo è già in piedi: la fonte ne colloca l’esistenza almeno a quest’epoca, senza dare una data di fondazione. È la sede del governo carrettesco.
1462 Il marchese Giovanni I Del Carretto lo ristruttura e affida il progetto di recupero a Giorgio Molinari, che ne modifica interni ed esterni con una nuova scala e l’apertura di bifore intramezzate. Quelle finestre sono ancora in facciata.
Quattrocento La facciata riceve le tipiche decorazioni pittoriche del secolo che ancora porta, e che ne fanno un documento di pittura quattrocentesca tanto quanto di edilizia quattrocentesca.
1602 Il dominio carrettesco finisce dopo quattro secoli e il marchesato passa sotto gli Asburgo. Il palazzo continua a funzionare da centro giudiziario e amministrativo sotto il nuovo potere.
1627 Il governatore Diaz de Zamorano lascia un’iscrizione dedicatoria sul dipinto della cappella interna del palazzo, davanti al quale prestavano giuramento le magistrature finalesi. È l’unico oggetto datato proveniente da dentro questo edificio che sopravviva da qualche parte.
1713 Il marchesato è ceduto ai genovesi e Finalborgo perde importanza. I tribunali restano dove sono.
1781 Gli spazi interni vengono rivisitati, con l’interessamento del governatore Giovanni Benedetto Centurione della Repubblica di Genova. È l’ultimo lavoro documentato sull’edificio.
1797 Viene cancellata la legislazione feudale e istituita la Repubblica Ligure. Il marchesato che questo palazzo amministrava cessa di esistere come entità giuridica.
1805 Il dipinto della cappella del palazzo è fra le opere che finiscono in San Biagio, dove sta nella cappella a sinistra del presbiterio.

Che cosa lascia un edificio di governo quando il governo se ne va

La vita amministrativa di Finalborgo è finita a tappe e il palazzo le ha registrate tutte. I Del Carretto lo rifecero nel 1462; gli Asburgo ereditarono un tribunale funzionante nel 1602; Genova lo prese nel 1713 e ne riallestì le sale nel 1781; e nel 1797 la legislazione feudale che esisteva per applicare fu abolita. Le funzioni municipali del paese si spostarono poi in Palazzo Ricci, sede del comune di Finalborgo dal 1863 circa fino alla fusione del 1927 in Finale Ligure. Di questo è rimasto ciò che non si poteva spostare: una facciata in cui la pittura quattrocentesca e le tracce di ogni intervento successivo sono ancora leggibili insieme, che è esattamente il motivo per cui la fonte la definisce di grande interesse.

Verificato su Wikipedia, ottobre 2026.

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Wikipedia

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Verificato su Wikipedia — Among the religious architecture of Finalborgo: the basilica collegiata di San Biagio -- the present parish building, the third, built in the seventeenth century to a design by the Finale architect Andrea Storace, containing important sculptures by Pasquale Bocciardo and his brother Domenico, and interesting pictorial works among them the Martirio di Santa Caterina by Oddone Pascale and the Madonna delle rose by Vincenzo Tamagni, and in which is kept the mausoleum of the last descendant of the Carretto family, Giovanni Andrea Sforza Del Carretto; the conventual complex of Santa Caterina, founded in 1359 and subsequently completed with the addition of two fine Renaissance cloisters, today the seat of the civic museum, in whose adjacent conventual church, now transformed into an auditorium, are fifteenth-century frescoes; and the chiesa di San Giuseppe Calasanzio, outside the walls of the borgo. Among the civil architecture: the Palazzo del Tribunale, formerly the seat of the Del Carretto government and later the judicial and administrative centre of the Marquisate of Finale, existing at least from the early years of the fourteenth century, restructured by the marquis Giovanni I Del Carretto in 1462 who entrusted the recovery project to Giorgio Molinari, the latter modifying both interiors and exteriors with the construction of a new staircase and the opening of intermediated bifore, the palace being revisited again internally in 1781 with the interest of governor Giovanni Benedetto Centurione of the Republic of Genoa, its facade of great interest for the presence both of typical fifteenth-century pictorial decorations and of traces of all the subsequent interventions; Palazzo Ricci, a Renaissance building in front of the former church of the Santa Caterina complex, which is said to have been the palace of the powerful cardinal Carlo Domenico Del Carretto, acquired and restructured in 1528 by the noble Ricci family and subsequently, from about 1863 to 1927, the seat of the comune of Finalborgo; Palazzo Cavasola, an ancient Carretto palace, the "casa della Camera", which at the end of the sixteenth century was donated to Erasmo Cavasola by the marquis Alessandro Del Carretto, notably restructured in the eighteenth century, with a facade with rococo decorations and a majestic slate portal; and Palazzo Brunenghi, a medieval building in whose portico the pillory was placed., Between 1142 and 1148 the marquis Enrico I Del Carretto, called il Guercio, inherited from his father Bonifacio del Vasto the territory of the march of Savona, of which he obtained the investiture from Frederick Barbarossa on 10 June 1162. While the comuni of Savona and Noli were making themselves independent, Enrico's domains were divided between his two sons. Towards the end of the twelfth century Enrico II Del Carretto began to use the title of marquis of Finale and girded the urban nucleus with walls, giving origin to the "burgus Finarii", today's Finalborgo. The Del Carretto family would govern the Marquisate of Finale until 1602. The town then passed under Habsburg domination until 1713. In this period the marquisate of Finale is an indispensable staging post for transferring Spanish troops into the Milanese domains without having to ask the permission of Genoa, and for carrying goods without paying tolls; Finale therefore has a great economic and artistic development. With the extinction of the Spanish Habsburgs the marquisate of Finale was ceded to the Genoese, and Finalborgo lost importance. The Republic of Genoa held the marquisate of Finale in fief with varying fortunes until 1797, when feudal legislation was cancelled and the Ligurian Republic instituted. Finale was then incorporated first into the Ligurian Republic and then into the Napoleonic French Empire, under which the rioni of Borgo, Pia and Marina were temporarily reunited in a single administration and inserted into the newly constituted Dipartimento di Montenotte. After the Restoration the Ligurian republic passed to the Kingdom of Sardinia in 1814 and then, after the unification of Italy, to the Kingdom of Italy from 1861. In 1877 the suppressed comune of Perti was aggregated to the comune of Finalborgo. Finalborgo remained an autonomous comune until 1927., In the first altar of the right nave of San Biagio is the triptych of the Mystic Marriage of saint Catherine of Alexandria, among her witnesses san Gottardo and san Sebastiano, ascribable to the school of Bernardino Fasolo and made for the Confraternita dei Disciplinanti of the convent of Santa Caterina, transported into San Biagio on the occasion of the unification of the conventual confraternity with that of San Biagio, which took place in 1626; a rich frame decorated at the base was then added, and san Gottardo was modified into san Biagio by the addition of a carder's comb in his hand. In the second altar is the monumental altarpiece representing the Martyrdom of saint Catherine with san Domenico, san Pietro, san Paolo, the Annunciation and the Pieta, by the Piedmontese painter Pascale Oddone (1533), a work coming from the high altar of Santa Caterina; the episcopal arms at the top and the Carretto arms indicate the donor, whom G. Castelnovi identified as Luigi Del Carretto, count and bishop of Cahors, who however died in 1524, so that it would be his nephew Paolo Del Carretto, who held the same offices from 1525. At the third altar is a wooden crucifix by Francesco Agnesi called il Corsetto (1693), previously placed behind the high altar and moved here without its decorations in 1949. At the fourth altar, seat of the old eighteenth-century organ, is a canvas dedicated to san Giovanni Nepomuceno, patron of Bohemia, between the saints Francesco da Paola and Lucia among angels, the work of Giuseppe Paganelli da Bergamo of 1798; this saint, protector against floods, is also represented on the internal surface of Porta Testa, from which the waters of a sudden flooding would potentially burst in. At the fifth and last right altar is the canvas of the Madonna delle Grazie among the souls in purgatory, the work of Pier Lorenzo Spoleti of 1723, positioned on a support perhaps made by Pietro Ripa between 1718 and 1728, with columns faced in marble, comprising material reused from the nearby site of Castel Gavone. On the walls of the presbytery are copies of Raphael's Transfiguration and of the Assumption of the Virgin by the Fleming Peter Paul Rubens, made by the Finale painter Pier Lorenzo Spoleti in 1722; under the latter picture is conserved a marble ciborium of 1521 by the sculptor Giovanni Lorenzo Sormano. The wooden walnut choir was completed in 1721 by the master Gio Benedetto Mora. Of particular interest is the pipe organ, built by Gioacchino Concone in 1784 and reformed by the Savonese Giovanni Battista Dessiglioli in 1894. In the left nave, the panel of the Madonna delle Rose, already from the convent of Santa Caterina, in which the saint, a king's daughter, presents the marquis of Finale Alfonso I del Carretto while san Domenico presents his brother, the cardinal Carlo Domenico; the work, later than the disappearance of the two figures (1517), has been attributed to Vincenzo Tamagni, a painter originally from San Gimignano who, after moving to Rome in the middle of the sixteenth century, worked on the papal commissions of the Vatican Loggias beside Raphael., The new church of San Biagio was enriched with paintings and statues and decorated from the Baroque-Rococo period onward. A good part of its present furnishings, however, comes from the conventual complex of Santa Caterina, the "superga" of the Del Carretto, which was confiscated first by Napoleon Bonaparte during the Ligurian Republic and then by the Italian government in 1864 for civil uses. The walls were subsequently frescoed and stuccoed thanks to the work, in 1878, of the painters Francesco Semino and Domenico Buscaglia -- frescoes of the dome and of the presbytery vault -- resumed in 1911 by Luigi Gainotti and Antonio Bertolotto in the vault. Above the middle portal can be admired the funerary monument of Sforza Andrea Del Carretto, last marquis of the Carretto family, a work commissioned by his heir Giovan Andrea Doria and transported into San Biagio only in 1805, when the church of Santa Caterina was confiscated by Napoleon Bonaparte and used to billet troops; the statue is the work of Battista Orsolino, of the sculptural school of Taddeo Carlone. To the left of the portal is the baptismal font; the basin and the balustrades were made by Girolamo Bocciardo in 1798, while the statues of Gesu Cristo and San Giovanni Battista are a neoclassical work of 1811, the first and only work in marble by a sculptor in wood, the Genoese Angelo Olivari. To Girolamo's father, Pasquale Bocciardo, is attributed the curious and fanciful marble pulpit of 1764-1765, in which he carved the Vision of Ezekiel with the divine chariot and the tetramorphs. In the presbytery, the marble balustrade with angels is the work of Pasquale Bocciardo, in which four figures of angels support the cloth decorated with fine burin work; Pasquale Bocciardo is also the author of the high altar of 1799, during whose making he was helped by his uncle Andrea Casareggio, with whom he shared the workshop in via Giulia in Genoa. The famous peculiarity of this altar is the drape of the table, which seems to be of embroidered cloth but is in reality pure marble. (ottobre 2026).

Palazzo del Tribunale, Finalborgo cronologia storica

Cronologia

Che cosa lascia un edificio di governo quando il governo se ne va

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