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Art

Baroque in

Itineraries in Art Map of Piedmont Contents

E R L A N D I T Z S W SS N° 30 Introduction P. 4

L in Piedmont P. 6 M. Leone O P. 10 M Itinerary 1: Piazza Castello, Via B and the surrounding area P. 12

A

Varallo ❏ Itinerary 2: Piazza , Piazza San Carlo Motorway Turin/Alessandria/Piacenza VALLE Tunnel del Monte R D’ Motorway Turin//Aosta Bianco and the surrounding area P. 22

D Motorway Turin/Milano Itinerary 3: Via and Piazza Palazzo di Città,

Motorway Turin/Savona Gran I i Quartieri, la Consolata P. 28 Motorway Turin/ A Itinerary 4: The river, the hills Motorway Gravellona / Santhià/Voltri/Genova and the surrounding area P. 38 MONCENISIO SS N° 25

Rocciamelone Alessandria and the surrounding area P. 48 Asti and the surrounding area P. 50

Sauze d’ ❏ Val Germanasca ❏ ❏ ❏ ❏ Parco Nat. and the surrounding area P. 52 della Val Troncea and the surrounding area P. 54 COLLE DEL MONGINEVRO and the surrounding area P. 58 Italian Railways Freephone 1478-88088

Torino Caselle Airport and the surrounding area P. 62 Flight Information Service Tel. +39 011.5676.361/362 For real-time updates see: and the surrounding area P. 64 website A http://www.turin-airport.com I N Genov Cuneo Levaldigi Airport R Savona Local Tourist Boards in Piedmont P. 66 Information U Tel. 0172.374374 G Malpensa 2000 Airport COLLE DI I Information O E TENDA L Alassio Freephone 800 337337 COLLE DI NAVA

Imperia Sanremo S

2 Introduction

ny thematic itinerary castles immersed in fairy- A focussed exclusively on tale parks; of shrines, basilicas the monuments of an epoch, on the and churches embodying the gran- art-istic legacy of a period, style, or diose faith of the powerful and the simple movement, is likely to engender paradoxical devotion of the poor. situ-ations. Like inducing us to deliberately igno- Piedmontese Baroque is the ésprit de geometrie of re whatever is not included in our guide, to close our arcades, squares, and straight urban streets that eyes and wander like sleepwalkers from one monument to enchanted a sentimental rationalist like Jean-Jacques the next, identifying and appreciating only single and isolated Rousseau, that plunged Friedrich Nietzche into folly, that in- fragments of time, history, and art. spired the metaphysical restlessness of Giorgio De Chirico’s If there is a region where none of this happens, that region is Piazze d’Italia. Piedmont. If there is an artistic and historical period to Just outside Turin, we find a of palaces, villas, which this dispersion does not apply, that period is the synagogues, castles. And the precious crown of Holy Baroque age. And not simply because entire quarters, Mounts, proclaimed UNESCO World Heritage Sites and even towns, are intact in their harmony and in 2003. charm and are therefore ideal settings for journeys Piedmont is not just Baroque. But knowing through time, art, and custom. Baroque means understanding Piedmont, Baroque is Piedmontese because Piedmont is because Baroque is the spirit of the quintessence of Baroque. Piedmont. The Baroque era is the Grand Siècle of a small gem-like state that echoed Paris and Enzo Ghigo aspired to rule over . The golden Governor of Piedmont age of urban royal palaces, hillside villas and suburban “Delights”; of Baroque in Piedmont

n Piedmont, Turin in particular, I the Baroque period – from the end of the sixteenth century to the end of the eighteenth century – coincided with the development of the Savoy state, tracing the rise of a dynasty, represent- ing and celebrating the power of a duchy, and later a kingdom, which was to play a fundamental role in the . The key artists of the period all came to work in Turin, and Turin is home to some of the finest examples of Baroque works– just think of the San Lorenzo church or the Palazzina di Caccia di Stupinigi. For many the term “Baroque” evokes images of lavish decorations, scrolls, stuccoes, gilding and . But Baroque is about more than just pomp and ornament. It is not merely a style or aesthetic current: Baroque is the art- istic expression of an era, the period between the late sixteenth and mid-

Palazzo Madama

7 Baroque in Piedmont

eighteenth centuries, which was char- Emanuele Filiberto brought Baroque acterised by radical changes. The end of to Piedmont: in exchange for funda- the Renaissance, the colonisation of the mental support to the emperor Philip Americas, wars and dynastic battles, II, he was given back his father’s lost and the scientific discoveries of the day lands, and in 1578 he transferred the all began to shed doubt on existing capital of the Duchy from Chambéry to dogmas and previous certainties, while Turin. For at least another one hun- this period was also dominated by the dred and fifty years the Savoy king- spirit of the Counter Reformation, the dom was the only state in Italy to have great absolutist monarchies and a an established, acknowledged political society based on rigid hierarchies. and economic structure. Baroque, with its rarely straight lines, The close links between this art form its stuccoes, decorative elements and and the representation of the glories of special effects, reflects the artists’ state mean that the finest examples of ongoing attempt to reconcile opposites Piedmontese Baroque are to be found - science and faith, reason and emotion, in Turin and areas connected to the technique and effect: the very contrasts capital, like the royal residences. which were dividing and at the same However there are traces of Baroque time shaping the world in that period. art in all the provinces of Piedmont, Baroque originated in and soon mainly, but not exclusively in the spread throughout Italy and ; ecclesiastical context. leading figures include , Borro- In this publication we are pleased to mini, Juvarra, Guarini, Pietro da Cor- present the most important sites of the tona and Longhena. Baroque era.

Palazzo Carignano

8 Turin

balanced with the addition of squares, na, celebrated the solemnity of the buildings and monuments, according Savoy State, and the monarchy as the to a precise, strict layout. institution and symbol of authority. Following the French model, attention His majestic but never over-wrought was dedicated to making the most of buildings with their elegant undulat- the city’s main river, the Po, which ing façades and interwoven arches; the became a scenic and architectural ele- use of a “poor” material such as brick, ment reflecting grandiose construc- enhanced by ever-changing effects tions like the Valentino Castle. of space and volume created by the Nobles and court dignitaries had eleg- light; and the hues of the marble used, ant city residences built, where the all serve to convey the vitality and Turin surprises the tourist for two continued for almost two centuries, luxury not shown off on the outside strength of a new, emerging state. main reasons. with various additions. And while this was transferred to the interior. This is Meanwhile Juvarra, who was born in Firstly with its sheer charm, which is transformation all but cancelled the the origin of the splendid, deservedly Messina and trained in Rome, was on an even greater surprise for those traces of Medieval Turin, it made the famous courtyards of Turin, and their the scene a few decades after Guarini, expecting an area dedicated to indus- city into one of the international cap- grandiose marble friezed staircases: in a period which saw the state as an try and work, efficient but a little for- itals of Baroque. these were the areas, service areas in acknowledged, established power, cel- bidding. The second surprise is finding In terms of the radical transformation appearance only, that gave visitors ebrating itself and its glories. that the architecture, and Baroque of the layout of the capital, sumptuous their first, vital impression of their It has been said that while Guarini architecture in particular, of the his- royal residences were erected, from hosts’ standing and wealth. represents the state, Juvarra repres- toric city centre boasts the involve- Palazzo Reale to the Palazzina di In the seventeenth and eighteenth cen- ents the court. ment of the most illustrious names in Caccia di Stupinigi, and existing build- turies the greatest architects and town- Juvarra’s work is highly scenic, build- seventeenth and eighteenth century ings like Palazzo Madama and the planners of the age came to work in ings constructed at “strategic” points art, who created imposing works of Valentino Castle were reworked. Turin, from to Filip- like the hill of Superga or the plains of great beauty here. A new town plan was created, with po Juvarra, who, while embodying two Stupinigi. Windows were not just for This rich heritage is thanks to the com- wide, straight paved streets suited to profoundly different concepts of those inside to look out, but also so plete transformation of the capital heavy carriage traffic, and sometimes Baroque were united by the beauty of that the lit halls, elegant celebrations, brought about by the Savoys from the accompanied by arcades for pedes- their creations. and rich clothing and furnishings, end of the sixteenth century, which trians, as in Via Po. These streets were Guarini, a Theatine monk from Mode- could be admired from the outside.

The Valentino Castle

10 11 Itinerary 1 Piazza Castello, Via Po and the surrounding area

Piazza Castello: The point of departure and arrival for in the Roman period, the remains of townhouse: Ascanio Vitozzi and Carlo Piazzetta Reale, Palazzo Madama, the Dioscuri any tour, Piazza Castello lies at the which are the towers facing Via Gari- di worked on it, adapt- heart of Turin. The square was design- baldi, now incorporated into the Ba- ing the façade and covering the inter- ed by Ascanio Vitozzi at the end of the roque façade. In the 13th century the nal courtyard, which was transformed 16th century to lend form to a space building became a stronghold, and in into a hall. But the most spectacular which until then had been somewhat the 15th century the towers on the side transformation came about during the uneven, and to revitalise the structure facing Via Po were built. 18th century. The Royal Architect Fi- at its centre, the eponymous “Castle”, The building takes its name from the lippo Juvarra designed the façade in now known as Palazzo Madama. fact that during the 17th century it white stone from and the This construction is the result of an ex- was the residence of the Royal ladies grandiose internal staircase in such a traordinary fusion of buildings situated Maria Cristina of France and Maria way that every element, from the win- above and around the Porta Pretoria, Giovanna Battista of Savoy-Nemours, dows to the columns, from the balus- one of the fortified entrances into Turin and was transformed into a royal trade to the statues, strongly conveyed

A magic town world. Legend has it that one of the Piazza Castello seems to play a crucial It is a well-known fact that, statues at the top of the staircase of the role in this “magic” context, because according to exoteric doc- Gran Madre church indicates the spot the Castor and Pollux statues are said trines, Turin is one of the where no less than the Holy Grail is to mark the area in which the forces of main “magic” cities of the buried, deep into the river bed. good are most powerful. Itinerary 1 Piazza Castello, Via Po and the surrounding area

the opulence and power of a kingdom Palazzo Reale was a complex structure and the Beaumont Gallery, and the cen- Behind the palace, the Royal Gardens in full expansion. which was used not only as a residence tral section of the palace behind are the result of the work of various Overlooking the square are some of the for the sovereign, but represented the Piazzetta Reale, enclosed by the gate- landscape architects, starting from the most important Baroque buildings in real nerve centre for state affairs. In the way designed by Pelagio Palagi, which famed André Le Nôtre, the architect of Turin, starting from Palazzo Reale, second half of the 17th century, with a is topped by the statues of the Dioscuri the Sun King, who designed the initial constructed on the site of the ancient view to this, (Castor and Pollux). Visitors can ad- nucleus, which was later embellished bishop’s palace, which all the court created a large wing comprising a num- mire the Throne Room and a great vari- with round terraces and fountains cre- architects worked on over a period of ber of different structures which linked ety of areas with furniture masterpieces ated by illustrious architects and sculp- around two centuries. the palace to the Contrada di Po (the created by Piffetti and the greatest tors. Also involved were the leading hy- The initial design was created by Asca- present day Via Po). Part of this was the cabinet-makers of the day, the precious draulic engineers of the day, and the nio Vitozzi at the end of the 16th cen- Ala delle Segreterie, or Office Wing, soft furnishings and the chinoiséries great gardener Henri Duparc, who was tury, and in the mid-17th century the which was also worked on by Juvarra fashionable in the 18th century, as well appointed to select and create the lay- façade designed by Carlo Morello was and (this section now as magnificent collections of porcelain. out for the ornamental trees and plants. houses the offices of the Prefecture and the Provincial Council); the State Ar- chives, also designed by Juvarra; the Regio Theatre, designed by Benedetto Alfieri and completed in 1740, then destroyed by a fire in 1936 and rebuilt in the 1970’s; the Military Academy, which was damaged during the Second World War and then demolished to allow for the rebuilding of the adjacent completed. Work continued in the next theatre; and lastly the old stables, the century: Juvarra designed the spectacu- Royal Riding School, also the work of lar Scala delle Forbici; Benedetto Alfieri Alfieri, and now restored to host exhibi- the summer and winter apartments and tions and cultural events. the Beaumont Gallery, named after the The part of Palazzo Reale which is open painter Claudio Francesco Beaumont. to visitors includes the Royal Armoury

Palazzo Reale

14 Itinerary 1 Piazza Castello, Via Po and the surrounding area

After crossing Piazzetta Reale and Shroud, which was brought to Turin taking the passage-way that leads to from Chambéry in 1578. The chapel, Piazza San Giovanni, on the left we which was greatly damaged during a find , a construc- fire in April 1997, was part of Palazzo tion which was initiated in the fifteenth Reale, and linked to the palace. It century, but largely reworked in the represents one of the finest master- eighteenth century by Benedetto Alfieri pieces of the Baroque period. for Carlo Emanuele III. Almost opposite the Duomo are the Though seriously damaged in the remains of the Palatine Tower, one of Second World War, this building still the entrances to Turin in the Roman features much of the original flooring period. and decor, while furnishings were Adjacent to Piazzetta Reale, the little brought in from various royal residen- San Lorenzo church is one of Gua- ces. The palace now hosts the Heritage rini’s masterpieces, designed around and Environment Office. 1665. He created a contained struc- Beside the palace is the San Giovanni ture around a central ground plan, Battista , Turin’s Duomo. with an interplay of volume and space The only example of Renaissance art in that gives rise to very special effects Turin, the Duomo was built in the last of light and colour on the coloured decade of the fifteenth century and marble used for the lavish interior consecrated in 1505. In 1722 Juvarra decorations. The entire construction is completed the bell tower, and the jux- dominated by a in which ribs of taposition of the two styles is visible. the arches come together to form an Inside the cathedral there is a portal eight-pointed star: the outline of the leading to the Cappella della Sindone, octagonal skylight. the Chapel of the Shroud, designed The church features a vestibule (Ora- by Guarini, which housed the black torio dell’Addolorata), with a Holy marble altar with the silver chest with Stairway on the right side that pilgrims seven locks, containing the Holy must climb on their knees.

The San Lorenzo church

16 Itinerary 1 Piazza Castello, Via Po and the surrounding area

The main streets of the city centre all Carlo Alberto asked to be informed of start out from Piazza Castello: Via the debate there on a daily basis, to Accademia delle Scienze, Via Roma, obtain useful indications regarding the Via Pietro Micca, Via Garibaldi, Via developments in contemporary politics. Palazzo di Città, Via Verdi and Via Po. On the left side of the street, at number Designed by Amedeo di Castellamonte, 17, is the 18th-century building which Via Po (the ancient Contrada di Po) hosted the university and now houses links Piazza Castello and Piazza Vitto- the Rectorate. The , rio Veneto and gives the impression of founded at the beginning of the fif- extending on the other side of the river teenth century, numbers among its stu- up to the Gran Madre di Dio church. dents and teachers great scientists and In the eighteenth century this was the academics such as Erasmus of Rotter- main street of the city, with seven hun- dam. In the eighteenth century Vittorio dred metres of arcades on each side. On Amedeo II donated a great library, the left side of the street the buildings which was later transferred to the Nat- are linked by terraces, said to be part of ional Library. The main entrance of the a kind of elevated walkway which en- building was originally on the Via Verdi abled royals and courtiers to go from side (which at the time was known as the Palace to the river without mingling Via della Zecca), and a number of with the commoners. architects worked on the design, The buildings along the street were not perhaps including Juvarra and Bertola. inhabited by the high aristocracy, but One feature worthy of note is the splen- the rich middle classes which were in did courtyard with its portico. great expansion in the 18th century. The two churches on this street, San A few blocks down from Piazza Castello Francesco da Paola and SS. Annun- is the historic Caffè Fiorio, which open- ziata, date back to the end of the seven- ed in 1780, and came to represent a teenth century. The first stands slightly meeting place for politicians and influ- back from the street, interrupting the ential figures. Legend has it that King flow of the arcades: the solemn façade

Via Po: the Rectorate

18 Itinerary 1 Piazza Castello, Via Po and the surrounding area

was designed by Costaguta in 1632 and Taking a left turn into Via San Massimo naissance and Baroque works. the main altar is the work of Amedeo di then continuing on to Via Giolitti, we Continuing along Via Maria Vittoria, Castellamonte. The SS. Annunziata come to the San Giovanni Battista where it meets Via Carlo Alberto is Pa- church, almost on the corner of Via Hospital, which was built in 1680, lazzo dal Pozzo della Cisterna, now Sant’Ottavio, was designed by Carlo designed by Amedeo di Castellamonte. the headquarters of the Turin Provin- Morello in 1650, but redone at the A number of other architects, including cial Administration. Building work beginning of the twentieth century Vittone and Castelli, later worked on began in 1675, but its current appear- according to the original plans. this building. It was one of the first ance is the result of Juvarra-style chan- A short distance from Via Po, in Via public hospitals, and was extremely ad- ges made during the 18th century. Montebello, is the , vanced for its day: a two-storey build- From Via Carlo Alberto we reach the which now hosts the National Cinema ing (the first floor for men, the second square of the same name, overlooked Museum. for women), with four wings in a Greek by the National Library and the 19th At number 55 Via Po you can visit the cross layout and a dome over the centre, century façade of . Accorsi Foundation Museum of Dec- which also had an altar. Part of this Via Cesare Battisti cuts off the square, orative Arts, which opened in 1999 and complex now houses the Regional Mu- the outlook of which is closed by Pa- contains records of every aspect of the seum of Natural Science, which hosts lazzo Graneri (Via Bogino, 9), de- Baroque period, from objects of daily many important exhibitions. signed in 1683 by Gianfranco Baron- use to the priceless furniture of Piffetti. Continuing right into Via Accademia celli. During the siege of 1706, the The street opens onto Piazza Vittorio Albertina we come to Piazza Carlo E- Supreme Command defending the city Veneto, which was completed around manuele II, better known as Piazza made its quarters here. From the mid- 1830. Taking Via Principe Amedeo Carlina, which was designed by Ame- twentieth century the first floor has from there, a few blocks further on is deo di Castellamonte as an octagonal hosted the Circolo degli Artisti. Palazzo D’ (at number 34, Via space surrounded by buildings in a From Piazza Carlo Alberto we can enter Principe Amedeo), built at the end of similar style. Juvarra worked on some the Galleria Subalpina, built in 1873 the 17th century and designed by of these (Palazzo and the and reinterpreting Baroque-style de- Garove. Massimo D’Azeglio was born Santa Croce Church). A little further signs and motifs. Under its vaults there here in 1798, and the building current- on, at Via Accademia Albertina 6, is the are antiquaries, shops and the renown- ly houses the offices of a number of cul- Galleria dell’Accademia Albertina, ed Caffè Baratti & Milano. The arcade tural foundations. which boasts a rich collection of Re- leads back to Piazza Castello.

Via Po: the SS. Annunziata church

21 Itinerary 2: Piazza Carignano, Piazza San Carlo and the surrounding area

Along Via Accademia delle Scienze ose façade, which uses a “poor” mater- delle Scienze, designed by Guarini in ria Vittoria, is the San Filippo Neri from Piazza Castello, we reach Piazza ial like brick to highlight the interplay the second half of the seventeenth cen- church. Guarini was commissioned to Carignano, a Baroque treasure charac- of light and shadow. This façade has tury by appointment of the Jesuits. This design this by Maria Giovanna of Sa- terised by the undulating lines of the another curious feature: the windows building features forbidding, solemn voy-Nemours in 1679, but the architect façade of Palazzo Carignano, one of of the first floor are decorated with a lines in line with its original purpose, died when work had just got underway. Guarini’s masterpieces, which was built frieze depicting the feathered head- and since 1824 it has hosted Turin’s The project was then entrusted to between 1679 and 1685. dress of the American Indians. The Egyptian Museum, the oldest one of its Juvarra, but he left Turin before it was This building played a fundamental frieze was created to celebrate the kind, and the second most important in completed. San Filippo, the biggest role in the history of Italy, as the birth- 1667 victory against the Iroquois of a the world after its counterpart in Cairo. church in Turin, also features the place of the sovereigns (Carlo Alberto regiment sent to aid the French by the The second floor of the building is chapel dedicated to Sebastiano Valfré, and Vittorio Emanuele II) who brought House of Carignano. The palace cur- home to the Savoy Gallery. converted from the room belonging to about the process of national unificat- rently houses the National Risorgi- Opposite the palace, but facing Via Ma- the and hero of the siege of Turin. mento Museum, which explores the history of Italy from 1706 to 1945. This square is also overlooked by other historic buildings. One of these is the 18th-century Carignano Theatre, designed in 1752 by Benedetto Alfieri, Juvarra’s successor. Beside the theatre is the prestigious Ristorante del Cam- bio, founded in 1757, which was ori- ion. In 1848 it became the seat of the ginally a stagecoach stop and was a Parlamento Subalpino, and in 1861, of favourite with illustrious figures from the first parliament of the newly-united Casanova to Cavour. Italy. To this end it was extended, with Adjacent to the square, down Via Ac- the addition of the rear façade which cademia delle Scienze between Via looks over Piazza Carlo Alberto. Principe Amedeo and Via Maria Vitto- Palazzo Carignano stands out from the ria, is the ancient Palazzo dell’Acca- other palaces of Turin for its grandi- demia dei Nobili, now the Accademia

Palazzo Carpano

22 Itinerary 2: Piazza Carignano, Piazza San Carlo and the surrounding area

Facing the church is Palazzo Carpano This is one of the most beautiful, and Torino, which opened in 1903, and ites. This church was also designed by (formerly Palazzo San Marzano), famous, squares in Italy, perfect in its which used to close to the public to Castellamonte, but the splendid façade which was built in the 1680’s, designed layout and harmonious proportions. ensure that Umberto of Savoy could was designed by Juvarra in 1715. by Garove, and then extended in the On the Via Alfieri side, at either side of enjoy a moment’s peace and quiet. Alongside the churches are modern- eighteenth century by Benedetto Alfieri. Via Roma, it is enclosed by the “twin” The two churches are also masterpieces style arcades which date back to the The spiralling columns in the atrium, churches of San Carlo and Santa Cri- of Piedmontese Baroque. The San Car- restyling of Via Roma in the 1930’s. staircase and courtyard are particularly stina, while in the centre of the square lo church, on the right side looking A short way along Via Roma towards spectacular. The building belongs to is the famed Caval ‘d Brons (Bronze from Piazza Castello, was built in 1619, Porta Nuova, we reach Via Arcivesco- Carpano, the name associated with the Horse), a 19th-century equestrian sta- and is attributed to various architects, vado. A right turn on the corner of Via invention of Vermouth at the end of the tue depicting Emanuele Filiberto put- including Castellamonte. It contains XX Settembre takes us to the Visita- eighteenth century. ting his sword back into its scabbard some notable works of art, including zione church, a 17th-century work by Turning right into Via Maria Vittoria, after the victory of San Quintino. In the the main altar by Castellamonte, and a Lanfranchi. Continuing along Via Arci- we come to Piazza San Carlo, the for- arcades are two almost legendary cafés: noteworthy Caravaggio-style painting. vescovado, on the corner with Via Arse- mer Piazza Reale, where wheat and rice Caffè San Carlo, founded in 1822, and The façade was built in the 19th cen- nale is the majestic entrance to Palazzo markets were held. Designed in the known as a meeting place for the polit- tury in line with the style of the twin dell’Arsenale, which was one of the 17th century by Carlo di Castellamon- ical ‘subversives’ of the nineteenth cen- church, Santa Cristina, which was most powerful arsenals in Europe in the te, Juvarra and Alfieri also worked on tury, as well as artists, writers and intel- built in 1639, in correspondence with 17th and 18th centuries and is current- various aspects of the project. lectuals, and its historic rival, Caffè the convent of the Barefooted Carmel- ly the seat of the Scuola di Applicazio-

Piazza San Carlo

24 25 Itinerary 2: Piazza Carignano, Piazza San Carlo and the surrounding area

ne d’Arma. Taking a right turn into Via 1730 and designed by Juvarra, and Arsenale we discover another little Ba- facing that, the Santa Teresa church. roque treasure, the Immacolata Con- This was built in the mid-17th century, cezione church, attributed to Guarini. designed by Andrea Costaguta, and Continuing in the same direction we contains a splendid altar by Juvarra. reach Via Alfieri, and turning left, at If we turn left into Via XX Settembre number 15, we find Palazzo Lascaris, and head along towards Via Pietro Mic- which is currently the headquarters of ca we can also take in the San Tomma- the Piedmont Regional Council. De- so church, which lies at the junction signed by Amedeo di Castellamonte in between Via Pietro Micca and Via San 1665, it was largely reworked in the fol- Tommaso. After Via Pietro Micca, lowing century, but without comprom- which links Piazza Castello to Piazza ising its overall harmony. The entrance Solferino and cuts diagonally across the is marked by two twisting columns criss-cross layout of the streets, was which lead onto an atrium and court- created in the 19th century, the en- yard with an arcade of great elegance. trance of the church was moved. From Via Alfieri we can carry on along The most curious fact about this church to Piazza Solferino, an elegant 19th- is that since 1722 it has been the seat of century square, and a block further on, the “Pious Association of Private and on the right, we can take Via Santa Family Cooks of both Sexes, under the Teresa, which offers various points of Patronage of San Pasquale Baylon”. interest: the San Giuseppe church, Baylon was a 16th-century friar famed between Via San Francesco d’ and for his exceptional culinary talents, Via dei Mercanti, designed by Lanfran- whose confessional was often fre- chi and built between 1683 and 90; and quented by church-goers who asked for at number 20 the splendid Palazzo a few recipes along with their absolu- Provana di , designed by tion. The most famous of these recipes Guarini in 1698. Further on is Palazzo bears his name: “San Baylon”, which Compans di Brichanteau, built in became Sambajùn, namely Zabaglione.

Piazza San Carlo: the Santa Cristina church

26 Itinerary 3 Via and Piazza Palazzo di Città, i Quartieri, la Consolata

shrine by Vittone was then added. Inside it has a grand courtyard, and a Inside the church, a little area enclosed majestic staircase leading up to the Sala by an attractive railing indicates the site Marmi on the first floor. Other import- of the miracle. Some of Turin’s most ant areas include the Sala delle Con- illustrious worked in this church, gregazioni, with many important pain- including Giuseppe Cottolengo; at tings, and the Sala Rossa, which is number 19 Via Palazzo di Città, there is where the Turin City Council sits. A a plaque commemorating the site where corridor alongside the staircase leads to Cottolengo, “with four beds”, began his the Cortile del Burro, the name of apostolate, which ended with the which is a trace of the time when the founding of hospitals for the poor. area was a market place. This tour takes us into the charming that square, the mule carrying his load The street leads into Piazza Palazzo Going along Via Milano, on the corner narrow streets of the ancient Roman dug its heels in, the load tumbled out, di Città, formerly Piazza delle Erbe, of Via San Domenico is the church of quadrilateral, where Baroque churches and a wafer fell out of the stolen mon- where the market of agricultural pro- the same name, the only Medieval and palaces were built on top of much strance. This wafer hovered in mid-air, duce was held. It was built in the mid- chuch which survived the restylings of older sites. and only the Bishop of Turin, after 18th century, designed by Benedetto the Baroque period. Beside the church From Piazza Castello we will set off numerous pleas and prayers, managed Alfieri, who blended it into the street, was the Court of the Inquisition. along Via Palazzo di Città, once Con- to coax it down into a chalice. creating a perfect balance with the ar- Continuing along this street, near Piaz- trada dei Panierai. A few blocks further The site of the miracle became a place cades. In the middle of the square we za della Repubblica, we can see the Ba- along this street opens out onto a of worship: in 1510 a chapel was built find the statue by Pelagio Palagi which silica Mauriziana, built towards the square where the wheat market used to there, and in 1609 this was incorpor- depicts Amedeo VI of Savoy (known as end of the 17th century and then do- be held, but which between the 15th ated into the new church built to fulfil a “il Conte Verde”) hero of the Crusades. nated by Vittorio Amedeo II to the Order and 16th century was renamed Piazza vow made during the plague of 1598. Completing the square is the 17th cen- of St. Maurice. In the sacristy there is a Corpus Domini, after a miraculous Designed by Ascanio Vitozzi, the Cor- tury building which now hosts the processional float made of papier maché event which happened there on the date pus Domini church has a single Turin City administration. Opened in which was designed by Francesco La- of that festivity, in 1453. According to with three side chapels; in the 18th cen- 1663, Palazzo di Città was designed datte. In 1729, Juvarra designed the the legend, on 6 June that year a thief tury it was adapted and extended by by Lanfranchi, and over the following square in front of the church. who had looted the church of ar- Benedetto Alfieri, and Juvarra designed century various architects, including Turning left into Via Santa Chiara, at rived in Turin, but when he reached the magnificent main altar, to which a Alfieri and Castelli, worked to extend it. number 8 is Palazzo Novarina di San

Palazzo di Città

28 29 Itinerary 3 Via and Piazza Palazzo di Città, i Quartieri, la Consolata

Sebastiano, worked on by Vittone and Doubling back and taking a left turn others. The palace, now a private con- into Via Bonelli, we find a picturesque dominium, was the setting for the love little street, with traditional workshops story between Vittorio Amedeo II and and multi-ethnic shops. Crossing Via Teresa Canalis. Both bereaved, the two delle Orfane, the tiny Via Maria Adelai- married and Canalis became Marchesa de leads to Piazza della Consolata, di Spigno, but the story does not have a overlooked by the Basilica di Santa happy ending: after abdicating and then Maria Consolatrice, better known as trying but failing to take the throne La Consolata, Turin’s most important once more in 1731, the couple were shrine. Its origins date back to San arrested and after the death of the for- Massimo, the first bishop of Turin in the mer king the Marquise was imprisoned fourth century A.D. On this site the in in the prostitutes’ jail, then in Benedictines of built a church, the Monastero della Visitazione in Pine- where they took refuge when their rolo, where she died in 1769. abbey was invaded by the Saracens in Turning right into Via Bellezia we come the tenth century. The religious nucleus to Piazza Emanuele Filiberto, behind of the site was an ancient icon of the the huge Porta Palazzo market. This Virgin, reputed to be miraculous. The square is overlooked by restaurants and church was completely rebuilt between shops selling local produce. Taking Via the 17th and 18th centuries, and work Sant’Agostino we come to the Sant’A- continued until the end of the 19th cen- gostino church on the corner of Via S. tury, with the involvement of Vitozzi, Chiara. The current look of the church Guarini and Juvarra, among others. is the result of work on a building The result is a unique structure set out which dates back to the 11th century, in a series of communicating areas, and and is known by the sinister nickname with extraordinary coloured marble of the “hangman’s church”: the city decorations that the recent restoration executioner was entitled to a pew here, has brought back to their original and was buried under the bell tower. splendour. The ancient origins of the

La Consolata: the altar and the icon of the Virgin

30 Itinerary 3 Via and Piazza Palazzo di Città, i Quartieri, la Consolata

church are borne out by the Roman- sions, and in the second half of the 17th GHOSTS IN THE PALACE esque bell tower in the little square in century there was the addition of a The charm of this palace is heightened by the legend front of the entrance to the church. crypt for the burial of residents. of the ghost of Matilde Provana di Druent. Right opposite the church, beside one of Since 2000 the church has been used by the city’s oldest herbalists’ shops, is the Greek Orthodox community, and In 1695 her father promised her hand in marria- another historic venue: Bicerìn, a choc- has been given the name of the Parish ge to Gerolamo Falletti, member of the Pied- olate shop founded in 1763, which Church of San Giovanni Battista. montese high aristocracy. The marriage pro- takes its name from the renowned, Beside the church is one of the most duced three children, but the father of wonderful drink made from chocolate, beautiful buildings in Turin, Palazzo Matilde, burdened by gaming debts, was coffee and cream. . At the beginning of the 17th Coming back to Via delle Orfane, at century this belonged to the counts Pro- unable to pay the dowry and called number 15 we find the Santa Chiara vana di Druent, the last descendant of his daughter back. church, designed by Vittone in 1742. whom married Gerolamo Falletti di Ba- Matilde was forced to leave her The church, and adjoining monastery, rolo. Important extension and restora- husband and children and suf- were built on the site of the convent of tion works were carried out between the the Clarisse nuns. Particularly worthy 17th and 18th centuries by Baroncelli, fered the blow so heavily of note are the effects of light that Vit- who created the atrium and splendid that she committed sui- tone managed to create, knowingly po- staircase of honour, and Benedetto Al- cide by throwing herself sitioning the various architectural ele- fieri. The palace is especially linked to out of one of the win- ments to draw emphasis to the symbol- the figures of Tancredi and Giulia di ic meaning of light and purity evoked Barolo, who established numerous phil- dows of the palace. by the name of the order itself. anthropic and charity institutions in the Continuing along Via delle Orfane, to 19th century. Silvio Pellico also lived the right on the corner of Via San Do- and worked in the building for a menico is the little SS. Annunziata lengthy period, and died here in 1854. church, known as “delle Orfane”, built We have reached the junction with Via in 1579 for the female orphanage Corte d’Appello: immediately on the left which was established in 1550. The is the building that until a few years ago church underwent a number of exten- housed the Turin Court. Designed by

Palazzo Barolo

32 Itinerary 3 Via and Piazza Palazzo di Città, i Quartieri, la Consolata

Juvarra in 1720 and completed by ends in Piazza Savoia, formerly Piazza berto I, built from 1718 from a design built, with an entrance from Via Piave. Benedetto Alfieri, the palace was built Susina, characterised by the small obe- by Plantery). The Carmine church Continuing along this street and then on the site of the ancient Carceri Sena- lisk put there in the 19th century. was Juvarra’s last work in Turin before going back into Via del Carmine, where torie, and also hosted the Senate and At number 1 Via della Consolata, im- he moved to the Spanish court. His skil- this meets Corso Valdocco we find the Camera Regia. To the right, the street mediately to the left of the square, is ful design of the side chapels creates Quartieri Militari, designed by Juvar- Palazzo , designed extraordinary effects of light, and the ra in 1718 for Vittorio Amedeo II, to by Plantery and built from 1715. This church also contains a precious altar- provide quarters for the soldiers of the is a grand, lavish building around a piece by Beaumont. Savoy army, and as a gateway to the huge courtyard with arcades. In recent With the church behind us, we can head city. The imposing style of the two years it has been restored, and current- along via Bligny and then turn left into buildings, placed symmetrically on ly houses offices, company headquar- Via Santa Chiara, where on the left is either side of Via del Carmine, is liven- ters and private apartments. the “Spedale de’ Pazzarelli”, a men- ed up by the red brickwork and mould- From Piazza Savoia, where Via del Car- tal hospital built between 1728 and ing. In the second half of the eighteenth mine meets Via Bligny (formerly Via 1734 by the SS. Sudario Brotherhood, century Ignazio Birago di Borgaro cre- delle Scuole), is the Madonna del Car- which had been appointed by the king ated the upper floor of the complex. mine church, which was built behind to take in the “lunatics” in a discreet A block further on from Corso Valdoc- the ancient Monastery of the Shod Car- location. Beside the Spedale, a few years co, we come to Via Garibaldi (formerly melites (later renamed Convitto Um- later the SS. Sudario church was Via Dora Grossa), a pedestrian street

Above: La Consolata, the Quartieri, the SS. Sudario church. Left: theCarmine church

35 Itinerary 3 Via and Piazza Palazzo di Città, i Quartieri, la Consolata

which links Piazza Castello and Piazza dei Maestri Minusieri. This leads to found on the streets. Inside, as well as Statuto and offers a splendid view of Vicolo Santa Maria, where at number 7 a splendid wooden choir, there is an Juvarra’s façade of Palazzo Madama. there is a plaque commemorating the altar dedicated to Sant’Avventino, the A little further on, just past Via della foundation of the aforementioned uni- saint that migraine-sufferers turn to. Consolata, we come to Via della Miseri- versity in 1636 (in actual fact this was Once back in Via Garibaldi, we can cordia, with the San Giovanni Decolla- not an academic institution but a cor- continue on a little way to find two ad- to, or della Misericordia church, from poration). This little road, which veers jacent religious buildings: the first is the name of the Brotherhood it belong- slightly to the left, leads to the Santa the Cappella dei Banchieri e Mercanti ed to, which assisted prisoners and the Maria di Piazza church, of which – the Chapel of Bankers and Mer- condemned. Also known as the there are records as far back as the 11th chants - now part of a building which “church of the hanged men”, who were century, and which was completely belonged to the Jesuits, with pews laid buri-ed here, it was adapted by Filippo rebuilt by Vittone in the 18th century. out lengthwise in two groups, so that Nicolis di Robilant in the mid-eigh- Leaving the church behind us, a left the members of the two corporations teenth century, while the façade was turn first into Via Santa Maria (which could resume their negotiations at the built in the nineteenth century. after Via Botero takes the name of Via end of the service. Beside the chapel is We will now head up Via Barbaroux, Monte di Pietà), and then again into Via the SS. Martiri church, commissioned one of the oldest streets in Turin. In the San Francesco d’Assisi, takes us to the by Emanuele Filiberto at the end of the square which opens up at the junction church of the same name, which dates 16th century. The main altar was de- with Via Stampatori we find the Archi- back to the visit of the Saint in 1214. signed by Juvarra and there are some vio Storico della Città di Torino, The San Francesco d’Assisi church splendid wooden sculptures dating which conserves seven centuries’ worth was rebuilt by Vittone in 1761. Its cha- from the seventeenth century. The vault of records of city life and an example of pels are dedicated to the patron saints was completed by Vittone. The church Theatrum Sabaudiae, the work com- of various corporations: also contains the ashes of the Martyr missioned by Vittorio Amedeo II in Sant’Omobono (tailors), Sant’Anna Saints Solutore, Avventore and Ottavio. 1682 to illustrate the cities, castles and (bricklayers and architects), and San Continuing towards Piazza Castello, on lands of the Savoy kingdom. Pietro (Master Blacksmiths). A little the corner of Via XX Settembre is the A little further on, to the right, the further on is the church of San SS. church. It was designed by street widens out, and there is a “Toret- Rocco, designed by Lanfranchi and Ascanio Vitozzi, who is buried there, to” (the traditional drinking fountain of built in 1667 for the Brotherhood and the marble decorative elements Turin): this is Piazzetta dell’Università which handled the burial of corpses were designed by Juvarra.

Via Barbaroux

37 Itinerary 4 The river, the hills and the surrounding area

There are other extraordinary Baroque On the other side of the Po, the road into whose possession it had passed in time and then reworked and extended: pieces in less central areas, such as on from the Gran Madre church leads to the meantime, gave it to the Capuchin the dome, for example was incorporat- the hills which frame the city, and in the , commissioned by friars, and also commissioned the con- ed into the octagonal drum which is the surrounding area. Cardinal Maurizio of Savoy at the be- struction of a church with adjoining key feature of the complex today. Overlooking the Po, where its reflection ginning of the 17th century. It takes its monastery. Various architects, including Devastated by bombing in the Second is of great effect, the Valentino Castle name from the fact that at the end of Ascanio Vitozzi and Carlo di Castella- World War, the complex has recently has late Medieval origins, but the most the 17th century the villa passed to An- monte, were involved in the work, and been restored. It is once again a mona- illustrious chapter in its history begins ne of Orléans, wife of Vittorio Amedeo in the 18th century the church was em- stery, and one wing of the building hosts in the second half of the 16th century, II. It was likely to have been Vitozzi who bellished with a number of precious the National Museum of the Mountains. when it became the property of the Sa- created the general outline of the pro- paintings. After monastic orders were Following the course of the river, in voys. Around 1630 Carlo and Amedeo ject, but the grand complex, which fol- outlawed in the Napoleonic period, the Corso Casale after Piazza Borromini is di Castellamonte worked there, appoint- lows the line of the hills, with an alter- monastery was abandoned for some the Madonna del Pilone church. This ed by Madama Reale Cristina of France. nation of stairways, pavilions, gardens They transformed the huge villa into a and water features was worked on by various architects, including Amedeo di Castellamonte and Juvarra. After a long period of abandon and decay, an impor- tant restoration project was initiated, and most of the building and gardens have already been restored. Following the directions along the hill road we come to the Santa Maria al Monte church, better known as Monte castle and skilfully blended French and dei Cappuccini. Since ancient times Italian styles. Inside it is richly decorat- the hill it lies on was used as a strategic ed, each room with a different theme defensive point, and the presence of a which features both in the stuccoes and church there is documented from the the ceiling frescoes. The castle currently thirteenth century. In the second half of houses the Faculty of Architecture. the sixteenth century the Savoys,

Above: the Valentino castle Right: Villa della Regina as represented in the “Theatrum Sabaudiae”

38 Itinerary 4 The river, the hills and the surrounding area

takes its name from the shrine dedic- Basilica di Superga, which in chrono- had just suffered many years of war. behind it Juvarra created a building ated to the ‘Vergine Annunziata’ which logical terms was ’s first However that was the time when Filip- destined for the Congregation of the was situated here in ancient times, and masterpiece in Turin. po Juvarra came to Turin, and though Canon Regulars which was responsible which was replaced by the church after It was built to fulfil a vow made by Vit- the designs he presented to the king for training the bishops of the Savoy the miracle which occurred here on 29 torio Amedeo II during the siege of Tu- were more costly, they were undoub- kingdom. April 1644: a little girl fell in the river rin in 1706. He had climbed up the hill tedly much better able to represent the Inside, the church is ornately decorated and only the intervention of the Virgin with his cousin, Prince Eugenio of Sa- glories of the young Savoy state. and the SS. Sacramento Chapel con- prevented her from being squashed by voy, to study battle plans, and in front The essential components of the Basi- tains the wooden statue of the Virgin the blades of the watermills on this of a shrine there made a vow to build a lica, which lies on a hill top and can be before which Vittorio Amedeo is said to stretch of river. The shrine was not great place of worship in the event of seen from a great distance, were built in have taken his vow. The lower section demolished, but incorporated into the victory. In 1710 he appointed Antonio a relatively short time, and it was con- of the church houses the tombs of the church, which became a place of wors- Bertola (the great military architect who secrated in 1731. It features a central Savoy kings and princes from Vittorio hip of some importance, and an entire designed the Fort of ) to plan along Roman lines with a majestic Amedeo II to Carlo Alberto. district of the city developed around it. work on the project, and chose the pronaos with eight columns that is In the avenue which runs behind the Further along we reach Borgata Sassi, cheapest of the designs which were pre- accessed from three grandiose stair- Basilica there is a plaque commem- where it is possible to take the train up sented, in view of the fact that his de- cases. The church has a 65 metre high orating the place where the plane carr- the characteristic cog railway through sire to keep his promise had to fall in dome, and two bell towers standing ying the Torino football team crashed the greenery up 670 metres to see the line with the conditions of a state which alongside the main section. In the part on 4 May 1949.

Above: Monte dei Cappuccini, Basilica di Superga, Palazzina di Caccia di Stupinigi

40 41 Itinerary 4 The river, the hills and the surrounding area

In the seventeenth and eighteenth cen- At Stupinigi, just like in all his works, turies the Savoys commissioned the Juvarra was in complete charge: he per- construction or embellishment of many sonally selected all the painters, cabi- buildings around the capital which net-makers and decorators and strictly became residences to be used according supervised their work, supplying in- to the season, needs and preferences of structions, sketches and designs. the sovereigns (for hunting, entertain- While the central hub was constructed ing, affairs of state and so on), in addi- in the space of two-three years, the tion to their town residences. building of Stupinigi went on through- In the the best known out the 18th century, and even after are the Palazzina di Caccia di Stupinigi Juvarra had left Turin for Madrid and the castles of , Rivoli, (where he died in 1736) his work was Venaria and Agliè. continued by skilled architects such as Prunotto, Benedetto Alfieri and Ludo- The Palazzina di Caccia di Stupinigi vico Bo, who completed the project The Palazzina is the last of the great without compromising the overall style. Savoy residences, in chronological Opened on 5 November 1731, the terms, and was built from scratch (that Palazzina hosted balls, concerts, ban- is, not adapted from an older building), quets and visits of state and was often designed by Filippo Juvarra as a mar- frequented by the royal family up to the vellous white complex which appears beginning of the twentieth century. unexpectedly on the horizon, at the end The layout of the building, comprising of a straight, wide, poplar-lined avenue. a central section with four arms exten- In 1729, Vittorio Amedeo II commis- ding out and forming a double court- sioned the royal architect to construct a yard, creates a marvellous interplay venue for socialising and entertaining between internal and external areas. before and after the great hunting trips The heart of the Palazzina is the great that the king and court engaged in, Hall with its majestic windows and accompanied by scores of servants. copper-covered dome, topped by the

Stupinigi: the great hall

42 Itinerary 4 The river, the hills and the surrounding area

bronze deer by Ladatte (the French- in Stupinigi the furniture was even Castello di Moncalieri Castello di Rivoli sounding version of his real name, more spectacular than the artwork, Piazza Baden Baden, Moncalieri Piazza Mafalda di Savoia, Rivoli Ladetti). In recent years this has been some of it original and some from other This ancient construction dates back to Rivoli Castle is also of Medieval origin, replaced by a copy and the original is Savoy residences, created by the great- before the thirteenth century. and for a long time remained a fort- on display in the ticket office. est master cabinet-makers of the day. Originally a fortress, in the mid- ress, which Emanuele Filiberto extend- The Palazzina is set in vast grounds, Beside the Palazzina is the splendid Stu- 15th century it was restyled and turn- ed and built up. which were part of the king’s hunting pinigi Parish Church, or Church of the ed into a castle. In the seventeenth century it became estate. Juvarra supervised all the decor- Visitation, designed by Juvarra as part At the beginning of the seventeenth one of the “delights” of Carlo Ema- ative work on the Palazzina, starting of the complex which also included the century Carlo Emanuele I and Cristina nuele I, who entrusted the project to from the great hall, with rather unas- farmhouses and was completed by his of France appointed Carlo and Ame- . suming frescoes by the brothers Giu- successors. The church is very simple in deo di Castellamonte to convert the However its strategic position at the seppe and Domenico Valeriani. There terms of both structure and decoration, castle and the result was a structure start of the road to France meant that are works of a higher standard by other and this is due to the fact that it was composed of four pavilions united by the building suffered serious damage artists, such as Giovan Battista Crosato, mainly destined for the farm workers galleries and corner towers which in various conflicts. who created the most beautiful in from the farmhouses, as the court and recall the original construction. In 1718, Vittorio Amedeo II commis- the entire complex, The Sacrifice of sovereigns used the lavish Sant’Uberto It was a particular favourite of Vittorio sioned Juvarra to transform the com- Iphigenia, which decorates the ceiling Chapel inside the Palazzina. Amedeo II, who made it his main resid- plex, but the grandiose plans to make of the Queen’s Antechamber; the qua- The church has a single nave, with bar- ence, and in the second half of the it into a splendid official residence drature painter (i.e. a painter of archi- rel vaults, and conserves the remains of eighteenth century work got underway were left off in 1730 and after that the tectural designs, scrolls and frames) Gi- Sant’Uberto. At the end of the eigh- on the gardens. castle’s fortune varied. rolamo Mengozzi Colonna; and above teenth century it was extended, accord- At present part of the castle is the In recent times it was restored and all Scipione and Vittorio Amedeo Ci- ing to a design by Ludovico Bo, and an headquarters of the “” First since 1984 it has hosted the Museum gnaroli. The latter created the four external was added. Battalion of Carabinieri. of Contemporary Art, one of the main famous canvases in the Sala degli Scu- How to get to the Palazzina: How to get to the Castle: institutions of its kind in Europe. dieri dedicated to the deer hunt. The The Palazzina lies at the end of a long Cross one of the bridges over the Po, How to get to the Castle: sculptors, apart from Ladatte, included avenue which is a continuation of Corso turn right and follow Corso Moncalieri Travel the length of Corso Francia up to Giuseppe Marocco, who created the Unione Sovietica. along the riverside. Rivoli, then follow signs to the castle. thirty-six appliqués in the great central Distance from the centre of Turin: Distance from the centre of Turin: Distance from the centre of Turin: hall, designed by Juvarra himself. But around 15 km. around 10 km. around 15 km.

44 45 Itinerary 4 The river, the hills and the surrounding area

Reggia di hunts, and the internal decorations Castello Ducale di Agliè Abandoned after the invasion of Easily accessible from the north Turin repeatedly echo this theme. This castle, in the south of the Cana- , the castle flour-ished once ring road, “La Venaria” was intended During the 18th century the complex vese area, has Medieval origins and in more in the 19th century, as King to be the Versailles of the House of gradually lost this role, in favour of Stu- the 17th century its owner entrusted its Carlo Felice chose it as his favourite Savoy: not only a magnificent venue, pinigi, and in the 19th century it beca- conversion to Carlo di Castellamonte, residence, along with the castle of but also the representation of the mon- me a barracks. It was then abandoned whose work can still be seen in the part . The castle still features a archy and its glories. This is why it was for a long period of time, until the re- which overlooks the gardens, the main variety of Baroque furnishings, and is conceived on such a large scale, a single cent restoration work which has ena- hall and the chapel. In the 18th cen- famed for its gardens and greenhouses. project which encompassed the castle, bled it to be opened to the public and tury the complex was bought by the How to get to Agliè: grounds and village. created a venue for cultural and musi- Savoys and became the residence of Turin-Aosta motorway, San Giorgio Work began under Carlo Emanuele II in cal events. Linked to Venaria is the the Duke of Chiablese (the son of Carlo exit, S.P. 53, once in Agliè the second half of the 17th century and enormous Parco della Mandria, cre- Emanuele III), and the architect follow signs to the castle. continued for over one hundred and ated as a hunting estate for the king, Ignazio Birago di Borgaro was appoint- Distance from the centre of Turin: and within which the Juvarra-designed ed to make a number of changes. around 39 km. Palazzina della Mandria was built. This is where the horses used during the hunt were bred and stabled. The castle and park were keenly frequented by Vittorio Emanuele II, and in the nine- teenth century more constructions were added onto it, such as that known as La Bizzarria, where the king used to meet fifty years. Various architects worked his favourite, “La Bela Rosin”. on it, including Carlo di Castellamonte, How to get to the Reggia: but the palace became particularly Corso Grosseto, north ring road, famous for the contribution made by Venaria/ exit, then follow signs Juvarra, with the spectacular Galleria for the Reggia. di . As its name suggests the pal- Distance from the centre of Turin: ace was mainly built for the royal around 15 km.

Castello Ducale di Agliè

46 Alessandria and the surrounding area

The remains of the Baroque period in World Heritage Sites, are monumental Alessandria include the Conservatorio, complexes located on hillside sites. They which dates back to the 18th century, feature a natural upward progression, and the Prefettura, created by Bene- offering believers a path towards wis- detto Alfieri in 1731. This was his first dom and expiation marked by prayer in important work, and made him known a series of chapels, and represent one of to the Savoy court. the main expressions of popular reli- In the , there is gious spirit between the 15th and 18th an illustrious example of Baroque art in centuries. Piedmont has a total of thir- , namely its splendid teen of these sites. synagogue, a tribute to the importance Not far from Casale, the Sacro Monte of of the Jewish community in Casale, Crea is the only one in southern Pied- which is recorded as far back as the mont and lies on a hill which was con- 15th century. While the exterior of the sidered holy land from pre-Christian synagogue does not present any out- times, and which first featured a small standing characteristics, the interior chapel dedicated to the Virgin, and then shows the ornate decorations which res- the Sacro Monte itself, built in the six- ulted from the 18th century reworking teenth century to copy the one in Va- in Baroque-Rococo style, which has not rallo. Baroque sites in Crea, as well as been compromised by later work. In the the Basilica, which was built in the women’s gallery there is a permanent seventeenth century but later reworked, exhibition featuring religious fur-nis- include the so-called Cappella del hings and artefacts dating from the Paradiso, created in the seventeenth 17th and 18th centuries. century by two Flemish brothers Jean Outside the city is an important site and Nicolas De Wespin, known as “I from the age which goes from Manner- Tabacchetti”. The vast composition fea- ism to Baroque: the Sacro Monte of tures over three hundred figures set out Crea. The ‘Sacri Monti’, or Holy in three circles and decreasing in size to Mounts, recently proclaimed UNESCO create an effect of perspective.

Sacro Monte di Crea: the Cappella del Paradiso

48 Asti and the surrounding area

The most important Baroque sites in building befitting the status of the bis- fifteen kilometres from the city after Asti and the surrounding area are lin- hop who commissioned it, an ad-voca- Isola and Costigliole. This building, ked to the name of Benedetto Alfieri te of a sober lifestyle. designed by Antonio Bertola, was con- (1699-1749), of the well-known Asti Alfieri also worked on the building of structed between the end of the seven- family, whose most illustrious repre- the Archivio di Stato, at 24 Via Tan- teenth century and beginning of the sentative was the man of letters credi, a complex which was created in eighteenth century, therefore over a Vittorio. the thirteenth century as a monastery, rather long period, because at the time Benedetto Alfieri became an architect then later reworked. Bertola, a great military architect, was after a brief legal career, and worked In the Baroque period new dormitories, involved in numerous projects which with Ignazio Bertola and Filippo Ju- a choir and bell tower, later demolish- became urgent due to the wars varra, who he succeeded as First En- ed, were added, based on designs by Piedmont was waging at the time. gineer of the Savoy Court in 1739. In Alfieri and later Francesco Dell’Ala. Another important site is Magliano his home town Alfieri worked on the The most outstanding building in Asti Alfieri Castle, the result of a mid- project to extend and convert Palazzo is the Santa Maria Assunta Cathedral 17th-century conversion of a building Alfieri, the family residence (at 175 (8 Piazza San Giovanni), a construc- dating back to the . The Corso Alfieri), which now hosts the tion which represents many centuries castle, which lived in on Civic Library and the Alfieri Museum. of art. The structure of the cathedral is several occasions, lies on the top of a On the same street, at number 350, we Gothic, but in the seventeenth and hill and now hosts a Museum of find another of Alfieri’s works, Palaz- eighteenth centuries chapels and Popular Art and Traditions. In particu- zo Ottolenghi, with its great, lavishly altars were added, such as that of SS. lar there are examples of the ancient decorated and frescoed hall featuring a Trinità and the Chapel of the Epiphany, plaster ceilings which were widespread spectacular gilded lamp. embellished with a large silver statue in the area, also in many farmhouses Alfieri also worked on the Municipio, of the Virgin, built to fulfil a vow after and rural dwellings. The presence of in Piazza San Secondo, creating the the defeat of the French in 1706. In the many gypsum quarries in the area façade, extending the town council hall second half of the eighteenth century made this material widely available and grand stairway of honour. Vittone worked on this building, ad- and enabled people to reproduce and Alfieri was also responsible for the apting the and choir. reinterpret the decorative motifs of Seminario Vescovile, in the square of Outside the city, another important site courtly Baroque, at prices that even the the same name. It is a solemn-looking is San Martino Alfieri Castle, around lower classes could afford.

Asti: Palazzo Alfieri

51 Biella and the surrounding area

In the , in a natural Unlike the other Holy Mounts in Pied- THE BLACK MADONNA, AN ANCIENT WORSHIP setting of extraordinary beauty, is the mont, which developed in wooded According to ecclesiastical history, the worship of the , which dev- areas, Oropa mostly lies in a huge slop- “Black Madonna” was introduced into this area by eloped around the Shrine dedicated to ing meadow, in such a way that the cha- the Black Madonna, still a popular pels are all visible, and only at the sum- Sant’Eusebio, who brought two sculptures and a object of worship. mit does the field give way to wooded painting of the Virgin by St. Luke Evangelist The complex extends up the ridge of land. In common with the other Holy back from the Holy Land in the third cen- Monte Mucrone and features 17 cha- Mounts, however, this complex was con- tury. He is said to have left one of the sta- pels, some of great architectural value, structed using local materials and built between 1620 and 1720. labour: clay from Biella for the sculp- tues in Oropa and the other in Crea. Building work thus got underway while tures, and local craftsmen who put the The worship of the Black Madonna is the Counter Reformation was in full experience gained in Varallo and Crea widespread in many areas of Eu- swing, and in the context of the great into practice. rope and is believed to originate revival of popular religious spirit which There are splendid chapels created by from the custom of the early ensued, the Shrine and Holy Mount the brothers Giovanni and Melchiorre immediately attracted great numbers of d’Errico: the one dedicated to the Christian communities of pilgrims and believers. At the same time Coronation of the Virgin, or Paradise using ebony or painted the construction and adornment of the Chapel, features a total of 156 life-sized statues of Egyptian di- structures was greatly aided by legacies figures, many of which have hair and vinities in their wor- and donations from the local aristocratic beards made of plant fibre. families and the Savoys. In the 18th It is interesting to note that the chapel ship, “recycled” as century great architects such as Fran- dedicated to the Nozze di Cana was fun- images of the cesco Gallo and Pietro Giuseppe Beltra- ded by the town of , renowned Madonna. mo worked on it. In the second half of for its , which wished to link this the 18th century the latter created the product with the religious setting. splendid grey stone staircase that leads How to get to Oropa to the “sacred square”, or Prato della Turin- motorway, Santhià exit, Madonna, the original design of which SS 143 towards Biella, then SS 144. was probably the work of Juvarra. Distance from Turin: around 89 km.

Sacro Monte di Oropa: the great staircase

52 Cuneo and the surrounding area

Govone Castle The Certosa of Valcasotto The original nucleus of this structure, This complex, which lies in the Valca- in a strategic hill-top position, dates sotto hamlet of , started life back to just after the year 1000. in ancient times as a Carthusian monas- At the end of the 17th century the tery. During its long history it has been owner of the manor appointed Guarino subject to fire and looting, and in the Guarini to extend and embellish the 17th and 18th centuries it was largely building, but the work was never finish- reworked by Francesco Gallo and Ber- ed due to the wars which Piedmont was nardo Vittone, who designed the faça- involved in between the end of the 17th de. The complex is composed of a cen- century and the Battle of Assietta in tral section with two front wings. The Baroque sites in the Cuneo area Nôtre (the famous landscape architect 1747. Work restarted in 1778 under At the end of the 18th century the include some important Savoy resid- of Louis XIV) in the French style, with various architects, perhaps including monastery was occupied by Napoleon’s ences, and one of the main Marian fountains, statues and water features. Alfieri. In 1792 the castle was purchas- troops, and after the order to abolish all shrines. The Neoclassical style south façade, ed by the Savoys and after changing monastic orders it was sold off to priva- which faces the town of , was fortunes in the Napoleonic period, te individuals, before being recovered Racconigi Castle created at the end of the eighteenth Govone, along with Agliè, became the by Carlo Alberto, who turned it into a This castle, around thirty kilometres century by Giovan Battista Borra, a favourite residence of King Carlo royal residence, restoring a number of outside Turin, owes its current aspect student of Vittone’s, but does not com- Felice. Since the end of the 19th cen- sections. His successor Vittorio Ema- to work carried out between the seven- promise the stylistic unity of the struc- tury the castle has been the property of nuele II also came here often, using it as teenth and nineteenth centuries to ture. This castle stands out for having the town of Govone. Inside it boasts a hunting estate. It was later sold once adapt a Medieval structure which been inhabited continuously throu- ornate decorations, many from the more by Umberto I. In 2000 the monas- belonged to the Marquises of Saluzzo, ghout its history. It hosted official , chinoiséries and fur- tery passed to the Piedmont Region and and Acaia, and lastly to the Savoys. functions, visits of state, and in 1904 nishings in particular. is now open to the public. Around 1620 Guarino Guarini worked Umberto II was born there. How to get to the Castle: How to get to the Certosa: on the conversion of the complex and How to get to the Castle: Turin-Piacenza motorway, Asti Ovest Turin-Savona motorway, Niella designed the façade which overlooks South ring road, exit, exit, SS 231 towards Isola d’Asti, exit, Strada Provinciale 60 towards the beautiful gardens, which were SS 20 to Racconigi. Costigliole, Govone. San Michele Mondovì, Pamparato. created in the same period by André Le Distance from Turin: around 39 km. Distance from Turin: around 75 km. Distance from Turin: around 110 km.

Cuneo: Racconigi Castle

54 55 Cuneo and the surrounding area

As well as the Savoy residences in the diose project with the feature that still there is also one of makes its unique today: a huge ellipt- the region’s top religious destinations, ical dome, 74 metres high and with the Santuario di , or to give diameters of 25 and 36 metres – it its proper name, the Santuario making it the largest in Europe. Basilica del Monte Regale. The decorative work on such a large This is a place with a fascinating surface - over six thousand square history. In Medieval times there was a metres - was a colossal job, completed modest shrine with a fresco depicting a in the mid-eighteenth century by Madonna and Child. At the end of the Mattia Bortoloni and Felice Biella. 15th century, during a hunting trip, a Alongside the Shrine was a Cistercian hunter mistakenly hit the image of the monastery and other constructions to Virgin herself. Stunned, he hung his accommodate pilgrims and provide harquebus on the shrine (the gun is assistance to the sick. still kept in the Shrine) and set about Inside, the frescoed dome and the skil- repairing the damage and making ful positioning of the huge oval win- amends for his sin, with prayers and dows creates some extraordinary fund-raising. effects of light. In a short space of time, the image and In the centre of the building there is a the chapel acquired fame as a miracu- lavishly decorated little shrine housing lous setting, attracting increasing a silver case with the fifteenth-century numbers of pilgrims, including Duke image of the Madonna. The site also Carlo Emanuele I of Savoy, who com- hosts the tomb of Carlo Emanuele I, missioned Ascanio Vitozzi to construct who so desired it to be built. a large shrine there in 1596. Work was How to get to the Santuario: interrupted after the deaths of the Turin-Savona motorway, architect and the duke, and resumed exit, Strada Provinciale 60 towards S. again in the eighteenth century under Michele Mondovì-Vicoforte. Francesco Gallo, who created a gran- Distance from Turin: around 93 km.

Cuneo: the Santuario di Vicoforte

56 Novara and the surrounding area

The historic town centre of Novara, Between the end of the 16th century with its Medieval layout, does not pre- and the beginning of the 17th century, sent many Baroque sites. However the in particular, the work of two figures Basilica di San Gaudenzio, which such as San Carlo Borromeo and dates back to the 16th century, con- Cardinal Federico had a determining tains 59 Baroque and Mannerist-style influence on local art and culture. statues created between the 17th and Along with his philanthropic and pas- 19th centuries, and Casa Bossi is a toral work Carlo was also keenly com- beautiful example of an 18th-century mitted to imposing the dictates of the house, although it was largely modified Council of Trent. It was with a view to by An-tonelli in the following century. this that he commissioned the restora- Also of interest is Palazzo Caccia- tion and radical transformation of the piatti Fossati, built in the second half oldest, mostly Romanesque, churches of the 17th century and featuring win- in the area. These were reworked in dows adorned with white stuccoes. Baroque style. To honour the memory Meanwhile there are more important of his beatified ancestor, Cardinal sites in one of the most picturesque and Federico commissioned the construc- famous areas of Piedmont, that of La- tion of the Sacro Monte at Arona, go Maggiore, which is now part of the and the famous "Sancarlone", a provinces of Novara and Verbania. colossal statue over 23 metres high, In its strategic position between the Po which was built in 1697. plains and , Lago Maggiore At the same time the first villas with has always been a crossroads for com- gardens were being constructed: bet- munications and cultural and commer- ween 1620 and 1670 the Borromeo cial exchanges. With a central role in palaces on Isola Bella and important historic events since the Me- were built, with magnificent Italian- dieval period, for over four centuries the style gardens which according to the area was dominated first by the Visconti canons of the era were to represent family then by the Borromeo dynasty. man’s dominion over nature.

Lago d’Orta

58 Novara and the surrounding area

There are some interesting sites in Bor- tablished before the year 1000, but in Monte San Nicolao (now known as school, the “Fratelli Righi”, almost cer- gomanero. The San Bartolomeo parish the Baroque period the ancient Roman- Monte Francesco), a promontory tainly a pseudonym of Giovanni and church, which has a main altar in the esque nucleus was covered over and which juts out into the lake, forming Melchiorre D’Errico, and many other style of Antonio Pini, is a triumph of partially replaced. In particular, at the the inlet of the town of Orta. talented sculptors and painters. spiralling columns, statues and gilding. end of the 17th century a three-nave The construction of the Sacro Monte of The episodes depicted feature a com- Other sites include Villa Marazza, the crypt divided with marble columns was Orta began in the late 16th century and bination of grandiose scenes of great Oratorio della Trinità and the Oratorio built to house the remains of a number continued for over a century, giving rise dramatic effect and intimate sketches of di San Giuseppe. In , the of saints, including Giulio himself, to a site featuring around 20 chapels, daily and family life, with children pla- Assunta Parish Church, by Vittone, whose body was placed in a sumptuous with 376 life-sized statues in painted ying, eliciting identification and a sense reworks and accentuates some classic silver and crystal urn made in 1749. terracotta and great series of frescoes of familiarity, a highly effective way of Guarini motifs. On the mainland, right in front of the depicting episodes from the life of the fulfilling the didactic and ex-planatory In the stunning area around Lago d’Or- island, is another Sacro Monte, that of saint which correspond closely to the aims of the complex. ta is the , on the , dedicated to Saint. life of Christ: the scene of the Birth of How to get to Orta San Giulio: island of the same name. This was es- Francis of Assisi. This extends up Francis, for example, is represented as Turin-Milan motorway, at almost identical to the Nativity, and so take the Autostrada dei Trafori, Borgo- on. Great artists came to work in Orta, manero exit, then Strada statale 229 like the sculptors Cristoforo Prestinari towards Gozzano-Orta. and Dionigi Bussola, of the Milan Distance from Turin: around 123 km.

Novara: the island of Orta San Giulio

61 Verbania and the surrounding area

Also on Lago Maggiore, in , bet- As its name suggests, the devotional and ween Verbania and , is the Sa- liturgical themes of the Sacro Monte cro Monte della Santissima Trinità, Calvario regard episodes from the Way a small but atmospheric complex with a of the Cross and the Passion of Christ, shrine, three chapels and a long arcade but despite this the construction and in a vast protected natural area on Mon- decoration of the chapels does not te Cargiago. The construction of this appear to follow a single design, fea- complex began at the end of the 16th turing a variety of concepts and styles. century, adapting an older shrine which The sculptors who worked in Domo- was already known as a miraculous site, dossola include Dionigi Bussola, who and continued, with a number of inter- among other things created the chapel The Baroque sites in Verbania, which worked in France for a long time. ruptions, up to the mid-18th century. dedicated to the Deposition of Christ was created in 1939 from the union of Also in the province of Verbania is one The shrine features some excellent fres- from the Cross, with ten statues in the towns of Intra and Pallanza, include of the most popular tourist destinations coes from the school and an coloured terracotta which make up a the interesting historic centre of Intra, in Piedmont: Isola Bella, in Lago Mag- ornate main altar. The chapels are ded- composition of great dramatic effect. with its narrow streets overlooked by giore, opposite . On the island is icated to episodes and figures from the How to reach the area: Turin-Milan palaces and villas of the 17th and 18th the grandiose Baroque complex which Scriptures. The oldest, dedicated to the motorway, at Biandrate take the centuries, as well as the San Fabiano includes Palazzo Borromeo, a com- Coronation, was created in 1630; this Autostrada dei Trafori church, built in 1630, and the 18th- pact building with four storeys in the was followed in 1659 by the Chapel of Isola Bella: Carpugnino exit, then century Basilica di San Vittore, with its central section and three at the sides. It St. John the Baptist, which shows the Strada statale towards Brovello- famous copper dome. In the surround- also has a beautiful gallery with paint- Baptism of Christ, and lastly that ded- Carpugnino-Stresa. ing area, the town of in Val ings by Antonio Tempesta and Giovan icated to Abraham (1703). Distance from Turin: around 137 km. Vigezzo features the Santi Giacomo e Battista Tiepolo. The gardens are laid In there is a more com- Ghiffa: -Stresa exit, then head Cristoforo Parish Church, and the out on ten descending terraces with a plex structure, the Sacro Monte Calva- towards Verbania-Ghiffa. small, picturesque , total drop of 37 metres, and present rio, which comprises a shrine, 14 cha- Distance from Turin: around 157 km. which is overlooked by various build- some spectacular fountains, statues pels and an oratory. Building began in Sacro Monte Calvario: Baveno-Stresa ings, dominated by the Oratorio di and water features. Inside, the palace the mid-17th century and by the end of exit, then E62 to the Domodossola exit, Santa Marta by Antonio Ferino, an ar- features lavish decorations, tapestries, the century the shrine and most of the then Strada Provinciale 166. chitect who was born in the town but furniture and paintings. chapels had already been completed. Distance from Turin: around 177 km.

Lago Maggiore: Isola Bella

62 63 Vercelli and the surrounding area

While Vercelli, the historic part of which new popular religious tradition. With a called Bernardino Caìmi. After a stay in 700 statues and 4,000 painted figures has conserved its Medieval character, different approach, and more complex Jerusalem he decided to try and repro- representing the most sacred episodes has few traces of the Baroque period, than the traditional shrines, the Holy duce a “miniature Holy Land” and and sites of Christianity. the surrounding area presents some Mounts represented a more accessible identified an ideal site for it on the hills Building work on the chapels ended in interesting examples. and infinitely safer alternative to peril- above the town of . 1737 with the construction of the San- In is the San Giacomo ous pilgrimages to the Holy Land. They Work began in 1486, and much was t’Anna chapel in the Piazza dei Tri- Parish Church, designed by Filippo Ju- depicted the main episodes from the carried out during the 17th century. In bunali, and the completion of a number varra. The political significance of this Scriptures and had a clear didactic pur- all the complex features 44 chapels cul- of frescoes. In the same period the old building overtook its artistic import- pose. Moreover, in the context of the minating in the Basilica dell’Assunta, church was replaced, chapels and a ance, and it became the symbol of a new Counter Reformation they enabled the which Benedetto Alfieri worked on, and crypt were added to the main church, order, namely the passage of the area Church to direct and control flows of which features a total of 142 statues of and the gallery of the main altar and from Lombard to Savoy influence in the pilgrims, and came to represent out- angels, patriarchs and prophets, and Golden Gate were constructed. mid-eighteenth century. posts of Catholicism, standing up to the around 600 painted cherubs above the How to get to Varallo Sesia: Also in the is the spread of the Protestant religion. altar. The chapels make up a path- Turin-Milan motorway, at Biandrate Sacro Monte Nuova Gerusalemme in The Varallo site is the oldest Holy way/pilgrimage dedicated to the Stories take the Autostrada dei Trafori, Roma- Varallo Sesia, the success of which led Mount of all: it came into being at the of the Mystery of Salvation, which are gnano Sesia exit, then Strada Statale to the construction of its counterparts in end of the 15th century thanks to the illustrated with frescoes and life-sized 229 towards -. the area, and heralded the advent of a work of a Franciscan monk from Milan sculptures. There is a total of around Distance from Turin: around 127 km.

The Holy Mount of Varallo Sesia

64 65 Local Tourist Boards in Piedmont

Sede operativa: For any information DIREZIONE TURISMO, SPORT E PARCHI Via Panoramica - 28016 Orta San Giulio (NO) Direttore and to receive materials Tel. 0322.905163 - Fax 0322.905273 Dott. Gaudenzio De Paoli on tourism-related activities Sede operativa: in Piedmont, please contact Via Giovanni XXIII, 1 - 28845 Domodossola (VB) SETTORE COORDINAMENTO Tel. 0324.482541 - Fax 0324227277 the following addresses. DELLA PROMOZIONE TURISTICA E-mail: [email protected] Via A. Avogadro, 30 - 10121 Torino Tel. 011.4321504 - Fax 011.4323925 AGENZIA DI ACCOGLIENZA E PROMOZIONE AGENZIA DI ACCOGLIENZA E PROMOZIONE e-mail: [email protected] TURISTICA LOCALE DI ALESSANDRIA "ALEXALA" TURISTICA LOCALE DELLA PROVINCIA DI NOVARA Piazza Santa Maria di Castello, 14 Baluardo Q. Sella, 40 - 28100 NOVARA Dirigente Responsabile 15100 ALESSANDRIA Tel. 0321.394059 - Fax 0321.631063 Dott.ssa Anna Maria Costa Tel. 0131.288095/227454 - Fax 0131.220546 Internet: www.turismonovara.it Internet: www.alexala.it E-mail: [email protected] AGENZIA REGIONALE PER LA PROMOZIONE TURISTICA DEL PIEMONTE E-mail: [email protected] Via A. Avogadro, 30 - 10121 Torino AGENZIA DI ACCOGLIENZA E PROMOZIONE Te. 011.4321354 - Fax 011.4326218 TURISTICA LOCALE DELL'AREA METROPOLITANA AGENZIA DI ACCOGLIENZA E PROMOZIONE e-mail: [email protected] TURISTICA LOCALE DI ASTI DI TORINO "TURISMO TORINO" Corso , 8 - 14100 ASTI Via Bogino, 8 - 10123 TORINO OSSERVATORIO TURISTICO REGIONALE Tel. 0141.353034 - Fax 0141.356140 Tel. 011.8185011 - Fax 011.883426 Via A. Avogadro, 30 - 10121 Torino Internet: www.terredasti.it Atrium Torino - Piazza Solferino - 10123 TORINO Tel. 011.4322479 - Fax 011.4325718 E-mail: [email protected] - [email protected] Tel. 011.535181/535901 - Fax 011.530070 e-mail: [email protected] Internet: www.turismotorino.org AGENZIA DI ACCOGLIENZA E PROMOZIONE E-mail: [email protected] www.regione.piemonte.it/turismo TURISTICA LOCALE DI BIELLA www.piemonte-emozioni.it Piazza Vittorio Veneto, 3 - 13900 BIELLA AGENZIA DI ACCOGLIENZA E PROMOZIONE Tel. 015.351128 - Fax 015.34612 TURISTICA LOCALE DEL CANAVESE FREEPHONE NUMBERS Internet: www.atl.biella.it E DELLE VALLI DI LANZO I E-mail: [email protected] Corso Vercelli, 1 - 10015 IVREA (TO) I taly 800 329 329 Tel. 0125.618131 - Fax 0125.618140 F France 0 800 907 674 AGENZIA DI ACCOGLIENZA E PROMOZIONE Internet: www.canavese-vallilanzo.it TURISTICA LOCALE DI CUNEO E-mail: [email protected] D 0 800 181 94 57 Via Vittorio Amedeo II, 13 - 12100 CUNEO Tel. 0171.690217 - Fax 0171.602773 AGENZIA DI ACCOGLIENZA E PROMOZIONE GB Great Britain 0 800 967 951 TURISTICA LOCALE DELLA VALLE DI SUSA Internet: www.cuneoholiday.com E 900 993 943 E-mail: [email protected] E DEL PINEROLESE “MONTAGNE DOC” Viale Giolitti 7/9 - 10064 (To) CH Switzerland 0 800 551 129 AGENZIA DI ACCOGLIENZA E PROMOZIONE Tel. 0121.764003 - Fax 0121.794932 TURISTICA LOCALE DELLE E DEL Internet: www.montagnedoc.it RA 00 39 800 303 47 34 Piazza Risorgimento, 2 - 12051 ALBA (CN) E-mail: [email protected] Other countries 00 39 011 522 10 35 Tel. 0173.35833 - Fax 0173.363878 [email protected] (international call fees apply) Internet: www.langheroero.it AGENZIA DI ACCOGLIENZA E PROMOZIONE www.langheroero.com Publishing coordination TURISTICA LOCALE "TURISMO E-mail: [email protected] Anna Maria Costa, E VERCELLI " Giorgino Giordano, Antonia Ferrero AGENZIA DI ACCOGLIENZA E PROMOZIONE Sede legale: TURISTICA LOCALE "DISTRETTO TURISTICO Corso Roma, 38 - 13019 VARALLO (VC) Editorial coordinationa and layout adaptation DEI LAGHI" Scrl. Tel. 0163.564404 - Fax 0163.53091 Michelangelo Carta Editore - Torino, M.P. - Collegno (TO) Sede: Corso Italia, 18 - 28838 STRESA (VB) Internet: www.turismovalsesiavercelli.it Tel. 0323.30416 - Fax 0323.934335 E-mail: [email protected] Printing Internet: www.distrettolaghi.it Sede operativa: Edicta - Torino E-mail: [email protected] Corso Garibaldi, 90 - 13100 Vercelli Tel. 0161.58002 - Fax 0161.257899 Photos Lucilla Cremoni page 45, 52, 57, 58-59, 60: Archivio Fotografico Assessorato al Turismo Regione Piemonte

Translation: Anna Carruthers 66