Even before the Roman conquest of the Cottian Alpsand Graian, Taurasia was already a very important city of the Taurini people, the Ligurian people. From 1280 on, it was almost constantly under the power of the House of Savoy, more particularly the Acaia branch (1295-1418), who decreed the end of the free Commune of Turin. In 1536 it fell into the power of Francis I of France, who established a parliament there, and it became one of the most important towns in western Italy. Under Charles II, Turin’s rise began, and in 1562 his son Emanuel Philibert re-conquered it and made it his capital. Turin, because of the Alps, was harder for the French to attack than the former Savoy capital, Chambéry, and Emanuel Philibert was also more interested in moving his power base to Italy.
The city was transformed into a modern citadel, and between 1564 and 1566, Francesco Paciotto re-planned the entire city. The ducal court transferred to the Bishop’s Palace, later to become the Royal Palace (1646-58). But it was Philibert’s son, Charles Emanuel I, who made sweeping changes to the layout of the city: between 1601 and 1613, the city expanded southwards along the Via Roma, the Royal Palace was embellished, a new Gallery was built, as were Mirafiori and the Royal Park.
Development slowed down in 1630 with an outbreak of the Black Death.
The successors to Charles Emanuel I were weak and short-lived, until Charles Emanuel II became king in 1663; he ordered a second expansion – this time towards the Po River – and the building of the Via Po. From 1666 onwards, Guarino Guarini was one of the most important artists to reside in Turin. He was responsible for the Holy Shroud Chapel, the Noblemen’s College, the Savoy-Carignano Palace, and the Church of St Laurence.
The economic crisis brought about by continuous war between France and Spain was the time when Victor Amadeus II took power (1684). The French, taking advantage of the War of Spanish Succession (1701-1714), occupied Turin for a year (1705-06). It was only liberated with the arrival of Victor Amadeus and his cousin, Eugene of Savoy-Soissons.
In 1713, with the Treaty of Utrecht, the Dukes became Kings and, with the assignment of Sardinia, the Kingdom of Sardinia was born. The capital underwent further transformation under the direction of Filippo Juvarra, one of the leading Baroque architects in the Italy of his time. He was responsible for: the Oratory of St Philip Neri, the Army Barracks, the facade of Palazzo Madama, the Royal Hunting Lodge at Stupinigi, and the Basilica of Superga.
With the advent of Napoleon Bonaparte, Victor Emanuel III managed to stay on the throne. His successor, Charles Emanuel IV was not so lucky, and the Kingdom of Sardinia was annexed to France. During the French occupation it was the capital of the Department of the Po (1798-1814), though it was in the hands of the Austro-Russian forces from May 1799 until June 1800. With the return of the French occupiers, the city walls were destroyed, all Church treasures were confiscated, and the gallery connecting Palazzo delle Segreterie to Palazzo Madama was destroyed. Two years later the whole of Piedmont was annexed to France, but the Congress of Vienna returned Turin and Piedmont to the Savoy family.
In 1821 the revolution against Charles Emanuel broke out, and a provisional government was set up, the king abdicating in favour of his brother Charles Felix. With the death of the latter, the last of the Savoy dynasty, succession passed to Charles Albert, from the Savoy-Carignano cadet branch. This weakest of all kings immediately gave in to the revolutionaries of 1848, and granted freedom of worship to the Waldensians, then a Bill of Rights. In the same year, the king became head of the movement for Italian unity, and declared war on Austria. In 1849, his reign came to an end with the defeat of Italian forces at Novara. Under the reign of his son, Victor Emanuel II, the diplomatic activity of his prime minister, Camillo Benso di Cavour, came to the fore: Cavour it was who brought France into the War on Italy’s side against Austria. The Second War of Independence and the departure of the Redshirts saw the founding, in 1861, of the first Italian parliament.
With the desperate economic and tax situation faced by the Crispi government in 1897, a large number of socialist deputies were elected. They restarted the economy by transforming the former capital (i.e. Turin, the capital of Italy having been Florence since 1864) into an industrial city. The Great War, during which Turin had seen great expansion as well as cultural and social renewal, put a stop to progress.
The Fascists found little acceptance for their theories in Turin: in 1919, offices of the Fascist party opened in Turin, and in 1922 the destroyed the newspaper edited by Gramsci, but dramatic running battles had been seen in the streets of the city between Fascists and workers. With the outbreak of the Emergency, many factories in Turin began to produce armaments; after the bombing raids of 1942 and 1943, production fell and the workers rebelled. At the same time, German forces occupied the city and many Turinese fled to the hills and joined the resistance. A general strike in 1945 paralysed the city, the partisans poured in on 30 April, and on 3 May Allied forces arrived at a city that had already been liberated.
Turin is now one of the corners of the so-called industrial triangle of Italy, and is the capital of Italian motoring firms. FIAT has shaped the entire urban economy, but there are also other industries: fabrics and clothing, chemical, food, electronics, electromechanical, etc.
Residences of the Savoy Dynasty
The Royal Palace
Palazzo Reale
In 1563, Emanuel Philibert moved his residence to the Archbishop’s Palace, but shortly thereafter entrusted Ascanio Vittozzi with the construction of a new palace, from 1584 onwards. From the square can be seen the arcaded buildings, with their uniform 17th-century facades. The Palace and the Castle were united by the Great Gallery. With the death of Vitozzi, work was entrusted to Carlo di Castellamonte and later to Carlo Morello, who also began work on the Pavilion for the Holy Shroud.
At the same time, furnishings were chosen for the throne rooms on the first floor. Their splendid wooden ceilings are in complete harmony with the allegorical tapestries exalting the monarch’s virtues. These works are by two of the most prestigious painters from the Baroque period in Europe: Jan Miel and Charles Dauphin. The emblems painted in the Breakfast Hall and the Alcove are by the Dufour brothers. The History of the Savoy Family in the Swiss Hall is by Giovanni Francesco and Antonio Fea. Between 1667 and 1668, Guarino Guarini worked on the Chapel of the Holy Shroud.
In 1688, Daniel Seiter was entrusted with celebrating the Monarch, which he did in fresco work on the arch of the “Daniel Gallery” (named after the painter).
The Garden, which looks over the Green Bulwark, was deliberated by Victor Amadeus, and work was entrusted to Duparc, with ornamental work by Carlo Emanuele Lanfranchi. At the end of the 17th century, extension work was carried out by André Le Notre, who built six water basins, and long avenues which fan out from a central point. Simone Martinez designed the Triton statues.
Palazzo Reale
Further extensions were made to the Palace by Filippo Juvarra after 1713. Special areas for Offices, the State Archive, and the Royal Theatre were built.
This architect from Messina is also responsible for work on the Scala delle Forbici, with its two flights of stairs, and the Gabinetto Cinese.
After 1730, Charles Emanuel III chose Claudio Francesco Beaumont to work on the Gabinetto Cinese, the Galleria della Battaglia, and the Galleria dell’Armeria. After Juvarra, the Court Architect was Benedetto Alfieri, who worked on rooms on the second floor, and renovated several of the Sale di Rappresentanza. Under his direction, the Galleria di Daniel became a Ballroom.
A pavilion which burnt down in 1811 was replaced, in 1835-38, by a wrought iron gate, and in 1846 statues of the Dioscuri were put in place.
Palazzo Madama
Palazzo Madama
Situated at the centre of the Piazza Castello, this building is mediaeval in origin. It was built around the Porta Decumana, and indeed its towers still look extremely old. William VII, Marquis of Monferrato, designed this place as his palace when he became lord of Turin in the 13th century. Alongside is the Porta “Fibellona,” which was moved south in 1408 to accommodate extension work.
Between 1317 and 1320 Filippo d’Acaja built two square towers alongside the polygonal ones on the Roman gate. One final extension was made by Ludovico d’Acaja, who added another two Gothic towers.
Queen Christine of France, the wife of Victor Amadeus I, began work on the decorations in the rooms of her apartment, whereas Mary Jean Baptiste of Savoy-Nemours, the second wife of Charles Emanuel III, entrusted Filippo Juvarra with work on radical changes to the building. He it was who planned the two flights of the enormous staircase that occupies the whole width of the façade. In 1934, the Civic Museum of Ancient Art was opened to the public.
Palazzo Carignano
Palazzo Carignano
This palace was ordered by Philip Emanuel of Savoy-Carignano, entrusted building work to Guarino Guarini. Work on the building began in 1679.
The palace is elliptical in shape, with two wings at the sides which enclose a courtyard. The facade, in brickwork, is an intertwining of convex and concave lines, something completely new in architectural design. Inside are to be found many works by Legnanino, whereas on the outside, above the windows on the first floor is a frieze shaped like a Red Indian, a reminder of the victory of a Carignano contingent in 1667 over the Iroquois tribe during the colonisation of Canada.
Between 1864 and 1867, new work began under the direction of Giuseppe Bollati. This palace was once the Italian Houses of Parliament, but with the arrival of Napoleonic troops, it became the Prefecture of the Po Department. In 1831, it became state property; in 1848 it became the House of Commons of the Sub-Alpine Parliament, with work by Carlo Sada on the Salone delle Feste.
Since 1938, the Palace has housed the Museo Nazionale del Risorgimento, which occupies 26 rooms, covering the events of that period in chronological order.
Castello del Valentino
Castello del Valentino
In 1620, Christine of France decided that the Castle was to become her residence, as indeed happened in 1630 when she became Duchess of Savoy. Work on the buildings was brought to completion by architects Carlo and Amedeo di Castellamonte.
Via the huge portal on the west side, up the twin flights of stairs and through the lodge, access is given to the Sala d’Onore (or Grand Hall), with decorations which exalt the Savoy family and remind the viewer of the military exploits of the old dukes. These were designed by Isidoro Bianchi and his sons Francesco and Pompeo.
Above the main gate is a depiction of Philip II Lackland, who helped Charles VIII in his attacks upon Italy. On the right is Philip’s natural son, Renato, Earl of Villars and Tenda, who fought alongside Francis I of France and died in the battle of Pavia. On the left is Aymon (he of Caxton’s foure sonnes), who helped the King of France in his wars against the English. On the north wall is a representation of Amadeus V, with Philip IV, King of France, and Count Robert of Flanders. The side panels show Amadeus VI entering into Constantinople and, on the left, the young Charles II of Savoy welcoming Charles VIII into Turin on his way to war against Naples. Ovals on the ceiling show mythological scenes.
Villa della Regina
Giardino della Villa
This villa was built on the orders of Cardinal Maurice of Savoy, following plans by Ascanio Vitozzi. It involved work by such great architects as Filippo Juvarra and Amedeo di Castellamonte.
Completely surrounded by vineyards, it rises above the Church of the Mother of God, in alignment with Piazza Vittorio Veneto. The villa, which has been undergoing restoration work since 1994, has a highly-decorated stairway at the front, a large central hall, Chinese cabinets, and large, sumptuous rooms as well as beautiful gardens. Its name derives from the particular fondness for this villa by Queen Mary Antonia Bourbon. Plans are underway to return the vineyards to their former splendour, bringing the traditions of the villa back to life.
The Stupinigi Hunting Lodge
Stupinigi
Stupinigi was left to Emanuel Philibert in 1563 by the Acaja branch of the Savoy family, when the state capital was being transferred from Chambéry to Turin. The estate was later passed to the Order of Ss Maurice and Lazarus, and in 1729 Victor Amadeus II called upon Filippo Juvarra to build the Hunting Lodge.
From the great central, elliptical salon, four arms spread out in the shape of a St Andrew’s Cross. Further work was carried out by Prinotto, Birago di Borgaro, and by Ludovico Antonio Bo. Gardens were laid out, with a wood behind the lodge. In 1766, a bronze statue of a stag was placed above the dome.
In the middle of the 19th century, the lodge returned to the royal family. In the early 20th century it became state property, and in 1925 it was returned to the Order of Ss Maurice and Lazarus. Nowadays, many of the rooms have been given over to a Museum of Art and Furnishings, with many items from the lodge and other nearby buildings on display.
From the courtyard, access is given to an atrium which leads to the Portrait Gallery and Library.
In 1991, Stupinigi Nature Park was opened: it includes farmland and woods.
La Reggia di Venaria Reale
Reggia di Venaria Reale
The complesso della Venaria comprises a collection of buildings, where the Reggia di Diana is in line with dwelling places. Built between 1659 and 1674 by Amedeo di Castellamonte, it was renovated and enlarged by Garove, Juvarra, and Alfieri.
After the ravages of the 18th century by French revolutionary soldiers, and the return of the royal family, it became a barracks and Juvarra’s gallery stabling for horses.
One of the most interesting rooms is the salone di Diana, with frescoes by Jan Miel from 1663. Frescoes by Giovanni Paolo, Giovanni Antonio Recchi and by Giacomo and Giovanni Andrea Casella can be viewed in the stanze dei Cervi, delle Cacce, nei Gabinetti and the Sala dei Templi dedicated to the goddess Diana.
Castello de la Mandria
Castello de la Mandria
Designed in the 16th century as a hunting Lodge for the Savoy family by Juvarra, working on orders from Victor Amadeus II, horses were reared at the castle for hunting or military purposes.
In the mid-19th century, the castle was renovated by Victor Emanuel II.
There is a 16,000-acre park surrounding the castle, with countless varieties of flora and fauna.
In 1978, this park was opened to the public.
Castello di Rivoli
Castello di Rivoli
Built over the ruins of an 11th century castle, midway between Rivoli and Turin, Rivoli Castle was rebuilt by Emanuel Philibert to become a Savoy family residence. During the 17th century, Charles Emanuel I entrusted the planning of works to Ascanio Vitozzi and Carlo di Castellamonte. Victor Amadeus II entrusted work on the royal palace to Filippo Juvarra, but it was never completed due to occupation by the French army.
When the French occupying forces went home, this property returned to the Savoy dynasty, who gave it to Rivoli Commune in 1860. During the Emergency, the castle was occupied by Nazi troops. In 1978, it became a Museum of Contemporary Art, and restoration work began.
Castello Ducale di Aglič
Castello Ducale di Aglič
This castle was built in the old hamlet of Aglié, and is the result of four different building projects. The first began in the 12th century, whereas by the middle of the 16th century all that could be seen were the foundations for the keep, the moat, and some rustic buildings. In 1646, the architect Amedeo di Castellamonte designed a building comprising two parallel blocks, one to the north and one to the south, connected by two galleries. The transformation of the castle into palace was due to Earl Philip di San Martino di Aglié. In 1764, it was handed over to the Savoy family, and under French occupation it became a field hospital.
In 1825, after its return to the royal family, new work was started by Michele Borda di Saluzzo. In 1939, the Savoy family sold it to the state.
The castle is surrounded on three sides by a park, consisting of three levels of terraces with different layouts (Italian and English), according to the level and the type of plant being grown.
Castello di Moncalieri
Castello di Moncalieri
The castle was built in 1200 and, in 1475, became a ducal palace upon the orders of Yolande de Valois. It was used as an occasional residence by Emanuel Philibert, whereas Charles Emanuel I began restoration work, which was to continue under Victor Amadeus I and Christine of France, daughter of Emperor Henry IV. The castle became a place of confinement upon the orders of Charles Emanuel III for Victor Amadeus II, who died there. Under Emanuel III, work was undertaken by Benedetto Alfieri, whereas architect Francesco Martinez was responsible for the chapel by the main stairs, modifications to the interior facade, refurnishing work in the rooms, and re-designing of the park.
The French transformed it into a hospital and prison, but under Victor Emanuel I in 1817 restoration work began. During the Emergency, the castle was occupied, successively, by Nazis, partisans, and then evacuees.
Castello di Racconigi
Castello di Racconigi
This belonged to the Carignano branch of the Savoy family, who entrusted renovation work to Guarini in 1976. It was Charles Albert’s favourite summer residence, and he entrusted renovation work on the apartments to Pelagio Palagi.
The Parade Room was intended for courtiers and ministers. The broad Salone d’Ercole, with six sculptures by Giuseppe Bolina in its niches, then the Sala di Diana (which takes its name from the subject-matter of stuccoes by Bolina), and the Chinese Apartment, where late 17th century exoticism can be seen in the painted wallpapers.
Apollo’s Cabinet is dedicated to poets and playwrights, and is followed by the Etruscan Cabinet, dedicated to the Etruscan and Greek arts.
The Palace Chapel contains the mortal remains of the last member of the Racconigi branch of the Savoy family, and relics of St Gręcinia.
Castello di Pollenzo
Castello di Pollenzo
Dating from the 12th century, this castle is a variety of styles (with a preference for the Neo-Gothic).
In 1842, King Charles Albert set up the first Farmers’ Union there, with a view to vitalising agriculture. The Castle is connected to the St Victor’s church, which houses the 16th century wooden choir stalls from Staffarda Abbey.
Restoration work was entrusted to Ernest Melano and, from 1832 onwards, to the Genoese Pelagio Palagi. The latter would later work on Racconigi Castle and the Royal Palace at Turin.
Cabinetmaker Gabriele Capello, called “il Moncalvo,” worked at Pollenzo Castle, alongside Enrico Tomaso Peters, who became the royal cabinetmaker in 1835.
Castello di Govone
Castello di Govone
Jean-Jacques Rousseau came to stay here in 1730, a Savoy family residence between 1792 and 1870. The main, twin staircase with bas-reliefs from the gardens of the Venaria Reale. Built on two main floors and a smaller, third floor connected by great staircases.
Inside are splendid 19th century frescoes. The Ballroom was decorated by Luigi Vacca and Fabrizio Sevesi, with depictions of the Myth of Niobe, whereas the Main Hall has chiaroscuro works which seem real statues.
Not to be forgotten are the Chinese painted papers, with porcelain, tea, rice, and silk production, and the 18th century floor. Not to be forgotten are the gardens (the so-called rose gardens) and the surrounding park, famous for its tulips.
La Reggia di Valcasotto
Reggia di Valcasotto
This building was erected some time around the 10th century, and later became a Carthusian Monastery. Destroyed by a series of fires, it was renovated during the 18th century. Under occupation by French troops, the monks were suppressed in the early 19th century.
Charles Albert purchased the property in 1837, and it remained in Savoy hands until 1881. In that year it became a castle (with only slight alterations to the original monastery), and was mainly used by Victor Emanuel II for his hunting trips. Humbert I decided, after 44 years as a Savoy possession, to sell it to private owners.
UNESCO INSCRIPTION
Residences of the Savoy Dynasty
Id N° 823 1997 C (i) (ii) (iv) (v)
The Committee has decided to inscribe this place under criteria C (i) (ii) (iv) and (v).
The residences of the Savoy dynasty in Turin and other places give a complete picture of large-scale European architecture in the 17th and 18th centuries. The styles, dimensions, and areas are a good illustration in material terms of the uppermost doctrine of absolute monarchy.
