It was a cold winter evening in 1896 when, in an improvised screening room in Turin, the first flickering images appeared on a white sheet. The people of Turin were speechless: before their eyes, a mischievous child soaked a gardener with water, and a train seemed to come rushing out of the screen. The films were French, of course: *L’Arroseur arrosé* and *L’Arrivée d’un train en gare*. In those early years, cinema spoke French… even the word *film* was feminine! It was short for *pellicola cinematografica* (cinematographic film), and remained feminine in Italian until the 1930s.
Then, something changed. A visionary optician from Turin, Arturo Ambrosio, began making films. His first production — the Susa–Moncenisio car race — was a resounding success. And so, the Italian film industry was born.
In Turin, Ambrosio built the first glass houses — huge studios with glass walls and roofs designed to capture as much natural light as possible. The phenomenon exploded: companies like Itala Films sprang up, along with many others, some of which lasted no longer than a film reel. Turin became an open-air set: filming took place in Art Nouveau villas, along tree-lined hill roads, and even inside the Medieval Village. It was during this period that the local expression “Non fare il cine!” emerged — a playful way of saying “Don’t be so dramatic!” or “Stop acting!” At the time, Turin’s directors and technicians were in high demand, and their films were bought “sight unseen.” By 1912, the city already boasted 20 cinemas, half of them along Via Roma. But sound cinema had not yet arrived, and once screenings ended, films were often destroyed to salvage the silver salts. Luckily, one legend was preserved: Cabiria — a groundbreaking epic filmed across Turin, Sicily, and Tunisia. The title? It was the idea of Gabriele D’Annunzio, who was hiding out in Paris from his creditors. He wrote the intertitles, chose the names, and gave the film its epic tone. It also marked the birth of the myth of Maciste, portrayed by the enormous Bartolomeo Pagano, a dockworker from the port of Genoa turned movie star. But the true mastermind behind Cabiria was Giovanni Pastrone, who signed the film as “Piero Fosco” — because back then, cinema was still considered by many as a frivolous pastime.
And yet, right here in Turin, the seventh art was learning to walk, driven by dreams and creative genius.
Enjoy a truly unique experience in the heart of Turin: uncover the secrets of the National Cinema Museum inside the spectacular Mole Antonelliana! Book your guided tour now and let yourself be enchanted by the magic of cinema.
Turin’s hidden city
/in Trip Inspiration /by AndreaBeneath the present-day Cathedral of Turin, a surprising world unfolds. Archaeological studies have revealed that here, before the Renaissance building we admire today, three interconnected early Christian churches once stood. Near the city walls rose the main basilica dedicated to the Holy Saviour; beside it, the baptistery dedicated to Saint John the Baptist — later incorporated into a third church — and finally a basilica devoted to Saint Mary. Three sacred buildings communicating with one another, forming an imposing complex for a city that was still far from becoming a capital. Imagine the medieval urban landscape: behind the churches, stretching as far as the Roman walls — exactly where the Royal Palace stands today — lay the episcopal palace, the canons’ residence of Santo Salvatore with its cloister, quiet courtyards, gardens, and even the cemetery. This was the spiritual heart of ancient Turin.
Then, in 1482, came a turning point. Cardinal Domenico della Rovere, a member of a powerful family and related to Pope Sixtus IV, decided to offer the city a new cathedral. His name is still carved on the portals, like a signature in stone. For the construction, he commissioned the Florentine architect Amedeo di Francesco Settignano, bringing to Turin a breath of artistic renewal.
The ancient churches were demolished, making way for a cathedral inspired by Santa Maria Novella in Florence. The two large lateral volutes of the façade, which conceal the slope of the roof, echo the innovation introduced by Leon Battista Alberti — a detail that marks the arrival of the Renaissance in Piedmont, a region still deeply rooted in the Gothic style influenced by France.
Today, the Cathedral may appear modest compared to other famous Italian cathedrals. Yet when it was inaugurated, Turin had fewer than five thousand inhabitants, and its diocese still depended on Milan.
Visiting the Diocesan Museum of Turin therefore means embarking on a vertical journey: from the Renaissance down to early Christian origins, from Renaissance splendour to Roman and medieval Turin. It is an experience that enriches any walk through the historic centre, reminding us that a city is not only what we see on the surface, but also what continues to live, silently, beneath our feet.
Would you like to learn more? Then book a guided tour of Turin in English
Turin: a capital before its time
/in Trip Inspiration /by AndreaMany people believe that Turin became the capital of Piedmont with the return of Emmanuel Philibert of Savoy after the French occupation, but this is more a legend than a historical fact. As historian Alessandro Barbero points out, the city had already taken on this role much earlier, thanks to deliberate and well-defined choices.
At the end of the Middle Ages, Turin had around 5,000 inhabitants, a figure similar to that of Pinerolo and smaller than cities such as Moncalieri, Vercelli, or Mondovì. It was therefore not demographic size that made it important, but its strategic location and the measures adopted by the Savoy rulers.
Between the fourteenth and fifteenth centuries, the Princes of Achaea (the cadet branch of the House of Savoy that ruled Piedmont) resided in Pinerolo, about 40 km (25 miles) from Turin, when they decided to found a university. The aim was to train jurists and officials capable of administering an increasingly complex state. Until then, Piedmontese students had to travel to Pavia, in the Duchy of Milan—a rival state—to complete their studies.
After the crisis of the Duchy of Milan in 1402, following the death of Gian Galeazzo Visconti, professors and students sought a new location. Turin proved to be the most suitable thanks to its position and connections. Thus the University of Turin was founded, the first concrete step toward its role as a capital. Even when the university was temporarily transferred to Chieri, the Turin city council worked to bring it back, recognizing its strategic and cultural importance.
This was followed by the permanent establishment of the Cismontane Council, the governing body and high court of Piedmont, initially based in Pinerolo and later moved to Turin. With both the university and the central government located there, the city effectively became the capital of the Savoy state.
When the French invaded Piedmont in 1536, Turin was already the capital. Therefore, when Emmanuel Philibert returned in 1561, there was no relocation: the duke simply settled in a city that had long been the political and cultural heart of Piedmont.
Would you like to learn more? Then book a guided tour of Turin in English
A refined passage through Turin’s history
/in Must-see /by AndreaThe Galleria Subalpina, which connects Piazza Castello with Piazza Carlo Alberto, is one of the most elegant and representative spaces of nineteenth-century Turin. Designed in an eclectic style by engineer Pietro Carrera, it rises in an area of great historical significance: this was once the site of the ancient defensive bastions, built in 1610 to protect the city’s first expansion and later incorporated into the block designed by Carlo di Castellamonte to house the Ministry of Finance. A complex that lost its original function after the transfer of the capital, making way for the creation of this refined covered passage. The gallery was completed in less than two years and inaugurated in 1874. It measures approximately 50 metres in length and reaches 18 metres in height, immediately offering a monumental, bright and scenographic setting. Originally, the premises overlooking the gallery housed important, highly specialised commercial establishments, designed to cater to Turin’s upper bourgeoisie. Enhancing the pleasure of a stroll were the celebrated historic cafés, such as Baratti & Milano and the Caffè Concerto Romano, now converted into a cinema. It was precisely here, during the magical 1920s, that artists and soubrettes of great renown made their debut. The upper floor, once used as storage for the shops below and now occupied by offices and ancillary spaces, is accessible via two elegant marble staircases. This level is surrounded by a projecting balcony, characterised by a refined, finely worked cast-iron balustrade, punctuated by marble pilasters and completed by a wooden handrail. From the upper floor rises the majestic roof of iron and glass, pavilion-shaped, which floods the entire hall with natural light, giving it a sense of openness and freshness. In 1887, at the request of the Banca Subalpina, the original structure was modified with the insertion of a skylight, designed to improve ventilation and air circulation throughout the commercial space. Further enhancing the setting is the large central plant composition: three broad flowerbeds – one elliptical, larger at the centre, and two smaller and more rounded at the sides – surrounded by a band of rectangular concrete planters. The whole arrangement ideally recalls the design of a nineteenth-century parterre, creating a pleasant dialogue between architecture, light and nature.
Do you want to know more? Then book a guided tour of Turin in English
The New Wing of the Royal Palace of Turin
/in Must-see /by AndreaAt the end of the 19th century, Turin changed its face. The city, already projected towards modernity after the transfer of the capital, was preparing for a profound urban renewal. Amid this ferment of construction sites and new visions, the old Via del Seminario – today’s Via XX Settembre – was extended up to Corso Regina Margherita, completely redesigning the layout of an entire district.
But this was not just any district. It was the so-called Swiss Quarter, so named because of the presence of the Swiss Guards who once lived there. A labyrinth of courtyards, adjoining buildings and narrow passages, which had developed over the centuries around the Palace of San Giovanni, the first Turin residence of Duke Emmanuel Philibert. Here, among the ancient houses of the cathedral’s canons, also stood the remains of the vanished palaeochristian basilica of San Salvatore: an area of inestimable archaeological value, buried beneath centuries of construction.
The renovation project was entrusted to engineer Emilio Stramucci, under an agreement between the Royal House and the Municipality of Turin. The goal? To share the costs of compensation for the demolitions and, at the same time, to ensure that this area – so symbolic for the city – would be redeveloped with the dignity it deserved, even after losing its status as capital.
Then, the unexpected happened: in 1899, during the excavation of the new foundations, the Roman Theatre of ancient Turin emerged from the depths of the earth. A monument until then completely unknown, which suddenly brought the city back to its past as Augusta Taurinorum.
A few years later, between the bell tower and the cathedral, another twist: the layout of the basilica of San Salvatore reappeared, with an extraordinary mosaic floor of black and white tesserae depicting Fortune turning her wheel – now preserved in the Diocesan Museum. The excavations also revealed remains of medieval cloisters, whose sculptures were transferred to the Civic Museum.
These entirely fortuitous discoveries allowed Alfredo d’Andrade, then director of the Office for the Conservation of Monuments, to reconstruct with greater precision the topography of Roman Turin – a true leap back in time beneath the feet of late 19th-century Turinese citizens.
In 1909, the building designed by Stramucci was finally completed. It was an elegant rectangular structure in 16th-century style, 116 metres long and 20 metres wide. Stramucci himself, already the author of the furnishings of the Royal Palace – where he had decorated the dining room, thus gaining the trust of Queen Margherita of Savoy – would also collaborate with her on the decoration of the romantic Castle of Gressoney-Saint-Jean.
The new Turin building, in turn, would go on to serve many different purposes over time: guesthouse and offices for royal officials, archives and storage facilities, and even a military hospital during the war. In fact, in 1898, the Royal Palace of Turin alone employed as many as 378 servants – a small city within the city, reflecting an era in which Turin lived suspended between the splendour of the court and the unstoppable energy of a modern age in full progress.
Do you want to know more? Then book a guided tour of Turin in English or discover with a guide the Royal Palace of Turin
Venaria Reale: Courtly Splendour and the Art of Silk
/in Must-see /by AndreaOnce known simply as Altessano, the town we now call Venaria Reale originally consisted of two small villages — the Lower and the Upper Borgo. The latter was considered healthier thanks to its higher elevation above the surrounding plain. The name Venaria was introduced by Duke Charles Emmanuel II of Savoy, who wished to transform the area into a royal hunting reserve, inspired by the French word vénerie, meaning “the art of horseback hunting.” From that moment, the two villages were united under one name: Venaria Reale. More than just a place of leisure for the royal court, Venaria soon became a hub of productive and commercial activity, thanks to its proximity to Turin and its abundant water sources. The goal was clear: to turn Venaria into a centre of manufacturing excellence, particularly in the lucrative silk trade — one of the most prized commodities of the time. To promote the town as a centre for silk production and trade, the architect Amedeo di Castellamonte designed Piazza dell’Annunziata with remarkable urban vision. The many shops and workshops facing the arcades were clearly visible from the street, allowing artisans to work silk and fine fabrics in view of passersby, showcasing their skills and techniques. The concept was that of an open-air laboratory, where craftsmanship and commerce could merge into one elegant urban space. The manufacturing complex was built on the right bank of the nearby Ceronda stream, carefully located to accommodate every stage of the production cycle. The plant was equipped with hydraulic wheels powered by the waters of a canal diverted from the Dora Riparia, providing the energy needed to operate the machinery. Silk production — initially carried out by women working from home — gradually evolved into an organised and profitable industry. To support this new industrial centre, the House of Savoy introduced tax exemptions, financial incentives and protectionist measures, encouraging the establishment of the first silk manufactories around 1670. By the mid-19th century, silk spinning employed more than 600 workers, and in the 20th century the factory was taken over by the company Snia Viscosa, which eventually employed over 6,000 people. It was mainly Venetian immigrants, recruited directly by Snia, who gave the town its new identity. The company provided them with housing in a vast workers’ district, around which the church of San Francesco was later built. Many chose to settle permanently in Venaria: in nearby Turin, housing was scarce or unaffordable, and newcomers from southern Italy often faced discrimination. Thus, through factories, workshops, new communities and the lingering splendour of the Savoy court, Venaria evolved from a rural village into a lively royal — and later industrial — town, where work, creativity and beauty have continued to intertwine up to the present day.
Do you want to know more? Then book a guided tour of the Royal Palace of Venaria in English
Turin and the Charm of the Po River
/in Trip Inspiration /by AndreaOn the banks of the Po River, where Turin now stands, a legend tells that an Egyptian prince arriving in these lands in search of new conquests, saw a bull drinking from the river. The animal reminded him of Apis, the Egyptian deity depicted as a sacred bull, and this vision inspired him to found a new city right there: Turin. This myth, passed down through generations, has strengthened the special connection between the Piedmontese capital and ancient Egypt—a bond that today finds its fullest expression in the renowned Egyptian Museum of Turin, second in the world only to Cairo.
But the Po is not only a keeper of myths and stories: the great river has shaped the city itself. Viewed from above, Turin’s layout resembles a chestnut, as suggested by writer Tobias Jones during his journey along the river. A poetic image that perfectly reflects the blend of nature and urban design. In the city center, the famous Murazzi tell another story: originally built as warehouses and workshops along the stone riverbanks, over time they transformed into bars and social spaces, becoming a symbol of Turin’s nightlife, where social differences seemed to dissolve amid music and gatherings.
The Po then caresses one of the city’s most beloved spots for locals and tourists alike: Valentino Park. Here, nature meets art and history, offering romantic views and scenic walks. Within the park lies Turin’s Medieval Village, a late 19th-century historical reconstruction complete with a fortress, drawbridge, artisan shops, and a church. A magical corner that transports visitors back in time, perfect for families, couples, and history enthusiasts.
Turin is a city that lives in harmony with its river, able to tell legends, offer green spaces, and reveal unique views. A walk along the Po becomes a journey through myth, culture, and nature.
Don’t miss the chance to experience Turin like never before: book your guided tour today!
Turin: Hollywood on the Po River
/in Must-see /by AndreaIt was a cold winter evening in 1896 when, in an improvised screening room in Turin, the first flickering images appeared on a white sheet. The people of Turin were speechless: before their eyes, a mischievous child soaked a gardener with water, and a train seemed to come rushing out of the screen. The films were French, of course: *L’Arroseur arrosé* and *L’Arrivée d’un train en gare*. In those early years, cinema spoke French… even the word *film* was feminine! It was short for *pellicola cinematografica* (cinematographic film), and remained feminine in Italian until the 1930s.
Then, something changed. A visionary optician from Turin, Arturo Ambrosio, began making films. His first production — the Susa–Moncenisio car race — was a resounding success. And so, the Italian film industry was born.
In Turin, Ambrosio built the first glass houses — huge studios with glass walls and roofs designed to capture as much natural light as possible. The phenomenon exploded: companies like Itala Films sprang up, along with many others, some of which lasted no longer than a film reel. Turin became an open-air set: filming took place in Art Nouveau villas, along tree-lined hill roads, and even inside the Medieval Village. It was during this period that the local expression “Non fare il cine!” emerged — a playful way of saying “Don’t be so dramatic!” or “Stop acting!” At the time, Turin’s directors and technicians were in high demand, and their films were bought “sight unseen.” By 1912, the city already boasted 20 cinemas, half of them along Via Roma. But sound cinema had not yet arrived, and once screenings ended, films were often destroyed to salvage the silver salts. Luckily, one legend was preserved: Cabiria — a groundbreaking epic filmed across Turin, Sicily, and Tunisia. The title? It was the idea of Gabriele D’Annunzio, who was hiding out in Paris from his creditors. He wrote the intertitles, chose the names, and gave the film its epic tone. It also marked the birth of the myth of Maciste, portrayed by the enormous Bartolomeo Pagano, a dockworker from the port of Genoa turned movie star. But the true mastermind behind Cabiria was Giovanni Pastrone, who signed the film as “Piero Fosco” — because back then, cinema was still considered by many as a frivolous pastime.
And yet, right here in Turin, the seventh art was learning to walk, driven by dreams and creative genius.
Enjoy a truly unique experience in the heart of Turin: uncover the secrets of the National Cinema Museum inside the spectacular Mole Antonelliana! Book your guided tour now and let yourself be enchanted by the magic of cinema.
Deer hunting, a French tradition in the States of Savoy
/in Must-see /by AndreaThe chasse à courre or hunting on horseback with dogs is an ancient practice that spread in France as well as in the States of Savoy, starting from the Renaissance. All sovereigns hunted despite their age or ailments, such as gout, even two or three times a week. Hunting was inseparable from the king’s role, as the historian Philippe Salvadori reminds us in the «Portrait du roi en chasseur».
Its organization was a responsibility of the Master of Stables, a specific section of the Savoy court. The latter, according to the Habsburg model, was structured into three sectors: in addition to the Stables, it also included the Chamber and the court itself, which respectively represented the private public and aspects of the prince.
It was in the 18th century that hunting, often identified with the value and prestige of the sovereign, reached its apogee. The deer is the animal par excellence, the king of the forests. Hunting requires various knowledge and several expert crews. The deer, surprised by the dogs, runs away in a desperate attempt to get rid of its pursuers. Overcome by exhaustion, the animal stops, now besieged by the herd. It is the so-called hallali in which the grand hunter or the guest of honor inflicts the decisive blow with a spear. The actions are accompanied by fanfares of horns and trumpets that mark the different phases of the hunt. The last act of this show follows, the curée, hot or cold, with the distribution of the less noble parts of the prey to the dogs as a reward for the task performed.
Royal hunts have left a deep mark on the Piedmont region, from the creation of routes and paths, today perfectly recognizable, to the refined residences that are UNESCO heritage sites, in the Turin area. The Royal Palace of Venaria Reale and the Palazzina of Stupinigi were the ideal setting during the 17th and 18th centuries to celebrate the art of hunting and describe the spirit of the time.
Do you want to know more? Then book a guided tour of the Royal Palace of Venaria in English
The neoclassical and romantic taste of Turin Royal Palace
/in Must-see /by AndreaDuring the 19th century, the Royal Palace of Turin also underwent major transformations inspired by the neoclassical and romantic atmospheres of the time. In 1834, King Carlo Alberto of Savoy-Carignano commissioned the Bolognese architect Pelagio Pelagi to update the royal apartments to the new classical taste.
Under his direction, in a refined and eclectic construction site, painters, sculptors, bronze workers, upholsterers and minusieri achieved a perfect synthesis between the Baroque tradition and new trends.
In the Hall of the Swiss Guards, for example, the 17th-century tapestry was replaced with a glossy green stucco covering imitating the underlying marble. The same sculptor Giuseppe Gaggini created two wall tables to protect the large painting of the Battle of San Quintino, by Palma il Giovane, from the heating coming from the heat vents below and redesigned the frame. In 1842, on the occasion of the wedding of Vittorio Emanuele II to Maria Adelaide of Habsburg-Lorraine, 44 bronze appliques were installed for the gas lighting of the palace. On the same day, 12 April 1842, the sumptuous ballroom was also inaugurated. The eight neo-Empire style chandeliers stand out, characterised by a double-crown bronze structure, culminating with palmettes and joined by long chains of cut Bohemian crystal of various shapes and diamond cut, made by the bronze workers Colla and Odetti of Turin.
After seven years of intense work, the ideal scenario for court dances was born. In the nineteenth century, social dances allowed people to create relationships and exchange information. Dance was a precious opportunity to approach other people and in particular the waltz, in which the gentleman, by putting an arm around the lady’s waist, could come into contact more easily. If with the quadrille there was only a touch, now the gentleman could finally hug the lady. This is why the waltz, nicknamed the dance of love, was initially considered scandalous and too daring.
Do you want to know more? Then book a guided tour of Turin in English or discover with a guide the Royal Palace of Turin
The pharaoh Amenhotep II in Turin
/in Must-see /by AndreaAmenhotep II, son of Pharaoh Thutmose III, lived in the 15th century BC. The ruler belonging to the XVIII dynasty is remembered for his physical prowess and sporting ability of which he was proud. In fact, sources describe him as an expert archer, a skilled boat helmsman and a fearless chariot driver.
In addition to following in the footsteps of his father who had been the greatest conqueror of Egypt, Amenhotep was able to establish a climate of peace and wealth. In the first part of his reign he carried out a military program modeled after his father, while in the second he devoted himself to stabilizing the country, with a careful administration, as reflected in the exceptional artistic production of the period.
Amenhotep II is the only ruler, besides Tutankhamun, whose mummy was found inside his own tomb, in the Valley of the Kings. Discovered by the French archaeologist Victor Loret, at the end of the 19th century, it is now preserved in the Cairo Museum, together with some finds found inside the tomb. In fact, the archaeologist found around fifteen mummies there. The same tomb had been reused as a hiding place for the remains of other pharaohs and royal figures, to protect them from destruction, around 1000 BC. This was a practice known in Egypt: in difficult times, when tombs were robbed, officials would secure the mummies of the rulers, to ensure that they would continue to live for eternity.
The sculpture in pink granite of the Egyptian Museum in Turin presents the pharaoh Amenhotep II serene, with a hint of a smile, natural eyes, a muscular and strong body. In the new installation of the Gallery of Kings , Amenhotep is placed in front of his father Thutmose III, with whom he reigned in co-regency in the early years. The king is kneeling, offering two vessels of wine to the deities, in his role as intermediary between the human and divine worlds. Wine was considered an expensive drink, reserved for the wealthy classes, and at the same time an offering in religious and funerary rites.
Do you want to know more? Then book a guided tour of Turin in English or discover with a guide the Egyptian Museum in Turin