Genoa, as described in the late 1700s and early 1800s, was majestic and beautiful. It was a large city filled with immense talent from musicians of all kinds. According to the book Paganini of Genoa written by Lillian Day, Genoa was a “city of a thousand towers and twice a hundred churches.” The beauty of the city and Italy in itself allowed for inspiration. It is a place that allows a common middle to exist for everything just. In this extent, this describes a great contrast between statuses of wealth- the poor and the rich- and a fine balance between order and chaos. “Northern Italy had been the cradle of nearly all the famous composers of baroque music for strings which formed the nucleus of Court and Church instrumental programmes at the time Nicolo was born,” (Suden 12). Creativity bustled in Genoa and church played a big role in the lives of the people who lived there. Poets referred to Genoa as “a people bristling with hate” (Day 8). Genoa is a picturesque scene: it is surrounded by a body of sea, circulated with many semi-circular terraces, the shapes and cuts of the outline of buildings fill in the gaps of the surrounding city, and to top it off is a beautiful, luscious green mountainous background that lured in people to develop and xhibit their talent among the city. Many musicians at this time stayed among the deep valleys as an inspiration for their artistic work. The fresh air, the picturesque view, and the abun dance of land allowed for them to sit and practice night and day. Genoa stood out as one of the most gorgeous settings than any of the other cities within Europe at the time. On the other hand, the poor really struggled and would have the hardest time fighting for strength and survival during the harsh winters. This was the worst component of Genoa and the worst for the poor in all of Europe. Genoa struggled at it was ruled by the dominating powers of Germans, Neapolitans, Mileanes, and
