G.F. Baroncello 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.

The "big 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.


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 furtive loves.
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.



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