Blog - Turin and more

Turin Royals Gardens

6 August 2026/in Trip Inspiration /by Andrea

Behind the Royal Palace of Turin, at the heart of the prestigious UNESCO-listed Savoy Residences, lie the Royal Gardens. Originally designed in the Italian garden style and later transformed according to the principles of the French formal garden, they remain one of the city’s most important historic green spaces. Today, the Royal Gardens are divided into three main areas: the Ducal Garden, distinguished by its striking green bastion; the Boschetto, where historical heritage meets contemporary art; and the Arts Garden.

The Ducal Garden

The Ducal Garden features numerous ornamental vases that recreate the appearance of the garden as it looked in 1875. Only four of these are original; the others have been carefully reconstructed, faithfully reproducing their original shapes and decorations, while deliberately simplifying certain details so they can be distinguished from the authentic historic pieces. Arranged along the parterre and the main pathways, these decorative elements reflect the theatrical taste of the Savoy court. Originally, the vases rested on marble bases; today, they stand on granite pedestals incorporating a lighting system that enhances the garden paths after sunset. This ornamental model proved especially successful and was later reproduced in bronze to decorate the gardens of the Royal Villa of Monza during the nineteenth century.

Along the façades of the Royal Palace and the Sabauda Gallery stand the historic citrus planters, large containers once used to house orange and lemon trees, symbols of prestige and refinement in the gardens of European courts. During winter, these plants were traditionally sheltered indoors to protect them from the cold; according to Turin tradition, they were even stored inside the State Archives, designed by Filippo Juvarra.

Today, for practical and conservation reasons, the planters remain outdoors throughout the year. Consequently, they are no longer made of wood but of stainless steel, a material far more resistant to weathering. Instead of citrus trees, they now contain Japanese privets, evergreen plants with thick, glossy leaves that resemble orange trees. The containers nevertheless reproduce the historic design: their grey exterior recalls the appearance of cast iron, while the green interior evokes the timber used in the original structures.

The Boschetto

This area was returned to the city thanks to the initiative of the Consulta di Torino, which celebrated the thirtieth anniversary of the association bringing together 32 of the region’s leading companies. Landscape architect Paolo Pejrone oversaw the redesign of the Boschetto, while artist Giulio Paolini created the site-specific installation Precious Stones (2017). Designed specifically for this location, the installation is inseparable from its setting. Fragments and remains recovered from the collapse of the vault of the Chapel of the Holy Shroud are transformed from simple debris into the central elements of the composition, becoming powerful symbols of memory and of an event deeply rooted in the history of Turin.

At the centre of the installation sits a young man, a symbolic figure who does not represent any particular individual but rather humanity contemplating and reflecting. He almost becomes the visitor’s alter ego: according to Paolini, the viewer’s gaze completes the artwork itself. Art thus becomes a mental space where image, place and historical memory come together through the observer’s own perception.

The Boschetto is home to species typically found in cool, shaded environments, including acanthus and ferns. Young walnut trees may also occasionally appear among the vegetation. They are the result of squirrels burying walnuts in the ground as food reserves. Some are forgotten and eventually sprout naturally, although they are later removed together with invasive plants to preserve the botanical design of the woodland understory, where shrubs and herbaceous plants create an attractive interplay of light and shade.

The Arts Garden

The Arts Garden, also known as the Eastern Garden, is home to a replica of Spring by Simone Martinez. The original sculpture is displayed in the Alfieri Rondò of the Royal Palace of Venaria, one of the most remarkable Savoy Residences. The replica was carved from Carrara marble using a three-dimensional survey of the original sculpture, followed by meticulous hand finishing that faithfully reproduces both the exquisite details and the expressive quality of the eighteenth-century masterpiece.

The eastern section of the gardens is dominated by the large parterre with its reflecting pool, one of the most spectacular features of the entire complex. Its design was conceived by the celebrated French landscape architect André Le Nôtre, the creator of the gardens of Versailles. During the eighteenth century, this area underwent major improvements in keeping with the refined taste of the Savoy court. At its centre stands the Fountain of the Tritons, whose large basin, based on Le Nôtre’s original design, was restored in 1739. In 1757, the white Valdieri marble sculptural group created by Simone Martinez was installed. The composition depicts a lively marine world inhabited by tritons, a Nereid, fish, turtles and small tritons portrayed as playful putti interacting with one of the two pelicans that complete the scene.

The Cavallerizza Gardens, on the other hand, were separated from the oldest section of the Royal Gardens in 1923 following the construction of the road linking Piazza Castello with Corso Regina Margherita. Their geometric layout, with avenues radiating from a central point, reproduces the characteristic goose-foot pattern, a distinctive feature of the French formal garden perfected by Le Nôtre.

Would you like to discover more? Book a guided tour of the Royal Palace of Turin.

Why Do Children in Old Portraits All Look Like Girls?

20 July 2026/in Trip Inspiration /by Andrea

Have you ever looked at the portrait of a young prince or an aristocratic child from the seventeenth or eighteenth century and wondered, “Is this a boy or a girl?” In most cases, the answer is far from obvious. In fact, at first glance, it is often almost impossible to tell.
For centuries, in aristocratic families and European royal courts, boys and girls were dressed in exactly the same way. They wore long gowns, embroidered aprons, lace, ribbons, and even long ringlets. Although this may seem surprising today, the custom had very practical reasons. The first was simply convenience. Before the invention of zippers, snap fasteners, and modern diapers, long garments were much more practical than trousers. They made changing diapers easier and helped children during the early stages of toilet training. There was also an economic reason. Aristocratic clothing was custom-made from luxurious fabrics such as silk, linen, and lace, representing a considerable investment. Dressing boys and girls alike meant that the same garments could be altered and passed down from one child to another, regardless of gender.There was also a cultural explanation.

During their early years, children were not yet regarded as fully integrated into the adult world, and gender differences were considered far less important than they are today. This changed with an important ceremony known as breeching, or the “first pair of trousers” ceremony. Between the ages of five and seven, a boy received his first pair of trousers, permanently leaving behind the gowns of early childhood. This was much more than a change of clothes: it marked an important rite of passage. Symbolically, the child left the female sphere and entered the male world, beginning a different education and assuming the social role expected of him.

It is also tempting to look for clues in the colours of the clothing. Here too, however, appearances can be misleading. The association of pink with girls and blue with boys is actually a relatively recent convention, becoming widespread only in the early twentieth century. For centuries, the opposite was often true. Blue was traditionally associated with the Virgin Mary and was therefore considered especially appropriate for girls, while pink, regarded as a lighter shade of red, evoked blood, courage, and warfare—qualities traditionally linked to masculinity.

So if neither clothing nor colours provide reliable clues, how do art historians distinguish boys from girls? The answer lies in the details. The objects depicted can sometimes offer useful hints, although they are not always conclusive. Dogs, cats, and other pets appear equally often alongside both boys and girls. Flowers, now commonly regarded as feminine symbols, also frequently appear in portraits of young boys. Even books, which one might expect to belong exclusively to boys because they generally received a broader education, are commonly found in portraits of girls as well. Some objects, however, are more revealing. Girls are often shown holding dolls, baskets, or other items associated with quiet domestic play, whereas boys may appear with balls, hobby horses, or pull-along toys, symbols of more active play. The most reliable clue, however, is a small riding whip. If the child in the portrait is holding one, it is almost certainly a boy.

Would you like to discover more? Book a guided tour of the Hunting Lodge of Stupinigi and admire its remarkable collection of portraits of the infants and children of the House of Savoy.

Royal Castle of Govone: The Savoy Residence in the Heart of the Roero

6 July 2026/in Must-see /by Andrea

The origins of the castle date back to the end of the 10th century, when a medieval fortress with defensive towers stood on the hill. However, its transformation into an elegant noble residence did not take place until the 17th century, when the Solaro family commissioned the project to the renowned architect Guarino Guarini, one of the leading figures of the Turin Baroque. Later, King Charles Felix transformed it into a magnificent summer residence. One of the most spectacular features of the visit is the monumental double-flight staircase, which leads directly to the piano nobile (the Noble Floor). From here, visitors can admire one of the most breathtaking panoramic views over the Roero and Langhe hills. Much of the marble and many of the statues decorating the staircase originally came from the monumental Fountain of Hercules at the Royal Palace of Venaria. When the fountain was dismantled in the 18th century, part of its sculptural decoration found a new home in Govone. The Atlantes, the allegorical figures of the Po and Dora rivers, and the bas-reliefs depicting the Labours of Hercules create a direct artistic link between two of the most important residences of the House of Savoy. The piano nobile still preserves the refined atmosphere of the 19th-century royal court. The King’s and Queen’s Apartments are richly decorated with magnificent frescoes inspired by Classical mythology. Among them stands out the Hall of Honour, where painted trompe-l’œil architecture transforms the walls into a spectacular gallery of statues. At the centre of the vaulted ceiling appears the myth of Niobe, inspired by the famous marble sculptural group preserved in the Uffizi Gallery and personally chosen by King Charles Felix during one of his visits to Florence. Among the castle’s most remarkable rooms are the Chinese Rooms, decorated with extraordinary hand-painted Chinese wallpapers produced in China during the 18th century. The scenes depict porcelain production, tea cultivation, silk manufacturing, and many aspects of everyday life. They are a precious example of the fashion for chinoiserie, which captivated European courts throughout the 18th century and still makes these rooms unique among the historic residences of Piedmont. The history of Govone Castle did not end with the fall of the monarchy. After being sold by the House of Savoy, the municipality purchased the building and used it as an elementary school, a kindergarten, municipal offices, and a magistrates’ court. Finally, its inscription on the UNESCO World Heritage List, together with the Royal Palace of Turin, made it possible to restore the piano nobile, which is now open to visitors.

The Roman amphitheatre in Susa

14 April 2026/in Trip Inspiration /by Andrea

Just outside the town center of Susa lies one of the most fascinating sites of Roman antiquity: the so-called Roman Arena, a small amphitheatre dating back to the 2nd–3rd century AD. Here, combats between gladiators and spectacular hunting scenes, known as venationes, took place, attracting audiences with exotic animals and thrilling fights.
The arena stands in a natural hollow, well sheltered from the wind, behind the ancient acropolis. With its elliptical shape measuring 45 by 37 meters, it is considered the smallest amphitheatre of Roman age in Italy. It was surrounded by a masonry podium supporting the seating tiers, probably limited to three rows, while officials watched the shows from specially built stands along the minor axis.
Beneath the structure lay a hidden but essential area: a corridor connected four chambers, the carceres, where gladiators and animals waited before entering the arena. There was also a space used as a stable for the beasts. Not far away, to the northeast, are the remains of a small circular building, possibly the spoliarium, where injured or dead gladiators were taken.
Probably abandoned as early as the 5th century, the arena was gradually buried by floods from the nearby stream. It was only between 1956 and 1961 that it was rediscovered, excavated, and partially reconstructed, as many of the stone blocks of the seating had been scattered over time.
But what did a typical day in the amphitheatre look like? The shows began with the venationes, followed around midday by executions, often involving condemned prisoners being thrown to wild beasts. In the afternoon, the gladiators entered the arena, with lighter, almost comic interludes in between to ease the tension of the audience.
Gladiators came from different backgrounds: initially linked to peoples conquered by Rome—such as Samnites, Gauls, and Thracians—they were recognizable by their specific weapons and armor. During the Imperial period, these categories became more standardized. The most famous type was the murmillo, equipped with a large shield, a decorated helmet, and a gladius. Alongside them fought Roman citizens of humble origin seeking fame and fortune.
They lived in the ludi, where they trained intensely and followed a diet based on cereals and legumes, designed to build a body mass capable of absorbing blows. Some became true celebrities, admired even by women.
Today, the Roman Arena of Susa preserves all the charm of a distant world, made of spectacle, violence, and great organization: a surprising precursor of modern stadiums.

Would you like to learn more? Then book a guided tour of the Susa Valley

Michele Ferrero Square in Alba

16 March 2026/in contemporary art /by Andrea

In the heart of Alba today lies Michele Ferrero Square, one of the most iconic urban spaces in the city. This area was once home to Porta San Martino, one of the historic gates of ancient Alba. During the Roman and medieval periods, the city was surrounded by defensive walls that protected the town and regulated access through several main gates. In this very spot, the grape market was also held, a key event in the local economy. On market days, the square would fill with carts from the surrounding Langhe hills, loaded with bunches of grapes for sale. Farmers, merchants, and townspeople animated the space, making it a true meeting point between the city and its agricultural territory. Like many other urban gates, Porta San Martino disappeared between the 18th and 19th centuries when the medieval walls were gradually demolished to allow urban expansion. Today, no visible traces remain, but the memory of this historic passage still lives on in the square.
The square is dedicated to Michele Ferrero (1925–2015), one of Italy’s most important 20th-century entrepreneurs. Thanks to his vision, the small family confectionery business became a global leader in the sweets industry: Ferrero. The company’s origins date back to his father, Pietro Ferrero, who during World War II faced a shortage of cocoa. To make up for the lack of chocolate, he had the idea to use hazelnuts from the Langhe hills, creating a cream made of hazelnuts and cocoa. The first product was the Giandujot, a block of gianduia chocolate to be sliced and eaten with bread. In 1951, Supercrema was born, which in the 1960s became the now-famous Nutella, beloved worldwide. Today, the company continues under the leadership of Giovanni Ferrero, Michele’s son.
Since 2022, the square has been dominated by a large contemporary sculpture called Alba, created by the Piedmontese artist Valerio Berruti. Standing about 12.5 meters tall and made of bronze-finished stainless steel, the sculpture depicts the silhouette of a little girl. The lines recall an enlarged pencil drawing in urban space, typical of Berruti’s style, which often portrays simple and poetic childlike figures. The name Alba refers both to the city and to the idea of dawn, symbolizing birth, the future, and hope. The girl’s posture is shy and introspective, almost inviting the viewer to look within before looking outward. According to the artist, this stance also represents the discreet yet tenacious character of the people of the Langhe. Next to the sculpture is a bas-relief showing Michele Ferrero as a child, hugging himself—a symbolic gesture that reflects his emotional bond with his land.
The sculpture is integrated into a large circular fountain, which is part of the artwork. The deliberately calm and almost still water creates a reflective surface in which the girl is mirrored. This effect symbolically evokes the dawn of a new day, the birth of something new, and the reflection of the future. At the same time, the structure of the work recalls a symbolic gate, reminiscent of the ancient Porta San Martino that disappeared centuries ago.
Thus, in this relatively new space, multiple layers of history meet: the medieval past of the city, the extraordinary entrepreneurial journey of the Ferrero family, and a significant piece of contemporary art looking toward future generations. Michele Ferrero Square today is one of the most representative places illustrating Alba’s ability to honor its history while continuing to look forward.

Would you like to learn more? Then book a guided tour of Alba in English

Turin’s hidden city

14 February 2026/in Trip Inspiration /by Andrea

Beneath 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

28 January 2026/in Trip Inspiration /by Andrea

Many 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

15 December 2025/in Must-see /by Andrea

The 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

13 November 2025/in Must-see /by Andrea

At 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

18 October 2025/in Must-see /by Andrea

Once 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