We also learn, from the records of _Bailia della Moneta_ in the bank of St. George, that sixty citizens having, on the 21st of March, 1484 engaged, to extend the mole of the harbour twenty-five or thirty goe (a goe was ten palms or nine feet) the Doge and the elders authorized the rectors of the commune to quarry stone on private property, and for this purpose some lands were ceded by the same Bartolomeo Fieschi, thus decreasing the extent of his estate southward, though it did not reach the sea before this cession. Behind the palace, lay a botanical garden which Sinibaldo had enriched with rare species of plants and beautified with little lakes and fountains making it, according to Spotorno, among the first of its kind in Italy. Sinibaldo employed excellent architects and builders, whose names have not come down to us, to decorate and enrich his home, some time before Paul III., on his return from Nice, lodged here as Fieschi’s guest. The wrath of man, rather than the hand of time, has so completely destroyed these monuments that not even the ruins remain for our admiration. The reader will therefore receive with favour the results of our researches into the true position and boundaries of the Fieschi palace and gardens, which in their time were famed for their outward magnificence and for the sculptures, carved work and pictures within the palace. Of these works of art all but one have perished from the memory of man. This was a painting in the vestibule which treated the fable of the giants hurling thunderbolts at Jupiter and some enterprises of the Fieschi family. We think it just to inform our readers of its origin and character. The wealthy citizens of Genoa were accustomed, like those of every part of Italy, to adorn their mansions with paintings allusive to the exploits of themselves or their families. For example, history has preserved the memory of an allegory given to Gerolamo Adorno by Paolo Giovio, which was sketched in colours by Titian, and wrought into a rich embroidery by Agnolo di Madonna, a Venitian embroiderer. Giovio, in his brief dialogue, speaks of three emblems which were painted in many places in the Fieschi palace. The bishop of Nocera writes that Sinibaldo and Ottobuono, with whom he was on familiar terms, asked him to execute an allegorical picture, representing the vengeance they had taken for the death of their brother, Count Gerolamo, whom the Fregosi had cruelly murdered. This revenge had removed from among the living the instruments of the deed, Zaccaria Fregoso, Signors Fregosino, Lodovico and Guido Fregosi. With this bloody reprisal the Fieschi satisfied their anger, saying that no Fregoso lived to boast that he had spilled the blood of a Fieschi.