In the gables, St Catherine of Siena, a Crucifixion and another female saint. This is thought to be Barnaba's earliest surviving work.
A diminutive female donor kneels next to St Catherine of Alexandria and a diminutive male donor kneels next to St Nicholas.

From the church of San Bartolomeo del Fossato, Genoa. St Bartholomew holds the instrument of his martyrdom - he was flayed alive.
The donors are Bishop Lanfranco Sacco da Pavia (left) and a wealthy layman (right).

• Detail of left panels
1. St Bartholomew exorcises the daughter of Polymius
2. Christens her
3. Forces the devil to enter an idol
4. Is flagellated
• Detail of San Bartolomeo, Annunciation and donors
• Detail of right panels
1. St Bartholomew is crucified before Astyages
2. Is flayed
3. Carrying his skin on his shoulders, St Bartholomew preaches to the Armenians
4. Is beheaded

The Servite church is modern (in Largo S.M. dei Servi to the east of Viale Brigata Bisagno), but Barnaba's image is still displayed in a prominent location.
The men and women of the Compagnia delle Forestieri are protected from the rain of plague arrows by the outspread cloak of the Virgin, while their less fortunate compatriots are struck down.
The plague in Genoa was particularly severe in 1372.
The work has been cut down on all sides.

From the 11th century church of SS Cosmas and Damien in Genoa.
The composition is similar to the central panel of the polyptych commissioned for the Cathedral in Murcia by Donna Juana Manuel, Queen of Castile, who is also associated with the panel in London.

Santa Maria Castello, a Romanesque church on the site of Genoa's Roman castrum, houses a Dominican monastery.
The painting is damaged and cut down - it is in the monastery's museum. Over the staircase leading to the museum is a fresco of Christ supported by seraphim by the Sienese Taddeo di Bartolo, contemporary with Barnaba's residence in Genoa.

Originally in Santa Maria delle Vigne, Genoa.
A large wooden Crucifixion, as is clear when seen in situ in the museum.
The brocade background is decorated with Islamic motifs.

Attributed by the museum's label - the figure of St Anthony is quite different to earlier representations of the saint, and the palette is very light. It is said to be similar to the frescoes of the Last Judgement in Sant'Agostino (which I didn't get to see).

This is thought to be Barnaba's last work in Genoa.
The church has been turned into an auditorium 'for spectaculars', which makes gaining entry a challenge.

Nicolo's painting shows the influence of Barnaba and of the Sienese Taddeo di Bartolo. He continued to work in the Ligurian style well into the next century.
Works of his in Palermo confirm the Sicilian commissions given to him and to Barnaba.

Central panel: Madonna nursing the Child. At the sides, SS. Michael, Dalmasius, Peter and Paul.
In the pinnacles, a Crucifixion and SS. Ambrose, Martin, Bartholomew and James. Signed and dated 1376.
In the same church is another interesting polyptych of the Madonna and Child with Saints by an anonymous Ligurian artist of the 14th century.

On the high altar.

The painting is framed in the centre of an extravagant Baroque sunburst as part of the high altar.
The church was closing and there was no time for a decent photo.

From the church of San Giovanni, Chiavari

This small (35.5 x 80cm) panel is part of a diptych; the other panel, a Madonna and Child, is dated 1370.
The composition is similar to the later London panel.