HISTORY AND BUILDING STAGES
the project of A. di Castellamonte, design in perspective of the
Villa and the Palace of Venaria Reale with its contents
The "Royal Venaria" of Amedeo
di Castellamonte. In 1659 the grandiose project of the Duke
Carlo Emanuele II came true by
building a fixed abode for hunting (lett. Venatorial) in order to
celebrate through the rituals of hunting the magnificence of the
Duke. So he built this Palace as a design of the "delitie"
of the 17th century and as a crown of Turin the capital.
The work of Castellamonte, which began in 1659 and was ended in
1675, was an "unicum" and consisted of a Village, Royal
Palace and Gardens and extended for an axis of about 2 Km. The Village
had in the center a quadrioval square which reproduced the "Collar
of the order of Annunziata". The Royal Palace included two
courts and had in the center the "Diana Room". Towards
south we can find the stables, kennels, and at west the orangerie,
the "upper park of the deers" and, in front of the Village
the Chapel of S.Rocco.
The new project for the Royal Palace of Michelangelo
Garove. The distruction of the palace in some parts caused by
the French troops of Catinat in 1693 was the reason to begin a new
project of restoration (1699-1713). Michelangelo Garove expressed
in his project the new reference of the Court of Vittorio Amedeo
II: Versailles. But only the south sleeve of the Garove's project
was realized while the north sleeve, simmetric, wasn't built because
of the untimely death of Garove in 1713.
dimension" of Filippo Juvarra. In 1716 the building site
was assigned to Filippo Juvarra. He worked on some principal elements
of the building: the arrangement of the hunting services at south
east, the building of the Royal Chapel, and the formal recomposing
of a single court in front of the Village. In order to define this
huge space, Juvarra raised the gallery by opening towards the outside
with scansion of large windows. Juvarra's works continued between
1717 and 1722, with the accomplishment of the Chapel dedicated to
S.Uberto, a building of smoothed greek cross and diagonally circular
chapels (a similar building to Superga but richer and more well-constructed
than it). The building called "Big Stable" o "Orangerie",
but really including both functions was built by Filippo Juvarra
between 1721 and 1727 and it is situated at the extreme south east
of the complex.
The stables and the completing work of Benedetto Alfieri.
Benedetto Alfieri was charged, after the death of Juvarra, to continue
the work at the Royal Palace. In 1751 the construction of the "L"
building, the church and the Garove's pavillon towards the Village,
the new "Belvedere", and the large stairs to the church
tribuns was started.Between 1754 and 1755 the little Alfieri's gallery
was built which connected the church to the Orangerie. In 1757 the
buildings behind S.Uberto were built and they had the function of
a coach house.
THE RECOVERY OF THE DIANA TEMPLE
They have been recently bring to the light the
foundations of the Diana Temple, a splendid architecture castellamontiana,
that rose once at the end of the park of the Palace and that the
commemorative sources of the epoch defined as "to enumerate
it among the wonder of the art". In this thick tempietto
the courtiers were brought, to find rest and quiet or to consume
The foundations have returned to the light during
the excavations in progress, finalized to the ritracciamento of
the runs of the gardens that you/they once adorned the Palace. This
discovery is very interesting for obvious historical-archaeological
motives, but you/he/she has also aroused great curiosity, and they
have been so many the curious ones that go to see the rests, above
all during the Day of the Parks, unwound in June of the 2001.
The ancient Temple of Daylight was dismantled in the 1700 second
the will of Vittorio Amedeo II in sight of a restoration of the
gardens that foresaw articulated runs of water and perspectives
to the endless one (like french one). The precious marbles that
dressed again the temple came used for other topics (eight columns
were used for the Chapel of S. Uberto and others eight for the Church
of S. Maria, while the marbles had different use inside the Palace.