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Palazzo Madama, Turin

Palazzo Madama, Rome

Palazzo Piacentini (via Veneto)

Centro storico di Torino

Palazzo Madama

Stand right there in Piazza Castello and look at the building in front of you. It is a bit of a topographical riddle, isn't it? If you look at it from the front, it is a shimmering, white-stone Baroque masterpiece. If you walk around the side, it looks like a rugged medieval fortress. This is Palazzo Madama, or as the locals call it, the 'house of the centuries.' You are looking at two thousand years of history compressed into a single block of stone.

Let’s start with the face it’s showing the square. That grand, elegant facade of white stone was commissioned by Marie Jeanne of Savoy, the second 'Madama Reale.' She hired the legendary architect Filippo Juvarra to give the old castle a much-needed facelift between 1718 and 1721. Look at those massive arched windows. They were designed to flood the interior with light, showing off a level of opulence that the neighborhood hadn't seen before. But here is the catch. If you look closely at the edges, you will see that the Baroque glamour is really just a mask. Behind that beautiful screen, the building is still a jagged, four-towered castle built by the Savoia-Acaja family in the 14th century.

Even deeper than the medieval brickwork lies the truly ancient stuff. Those two cylindrical towers you see? They are built directly on top of the original Roman gates from the first century BC, back when Turin was called Augusta Taurinorum. It is rare to find a place where the Roman Empire, the Middle Ages, and the Enlightenment are literally stacked on top of each other like building blocks. For centuries, this was a place of extreme power, but specifically feminine power. While the men were away at war, the 'Royal Madams,' Christine of France and Marie Jeanne, held court here. They didn't just live in the capital, they redesigned it. This palace was their way of saying that they were the ones steering the ship of state.

There is a weight to the air here because this isn't just a museum or a residence. From 1848 to 1866, this was the seat of the Subalpine Senate. It was inside these very walls that the birth of the Kingdom of Italy was officially declared. When you look at those stones, you are looking at the cradle of a unified nation. It is a strange, beautiful hybrid that served as a gate, a castle, a royal art gallery, and even an astronomical observatory during the 1800s.

It is rare to see a building that refuses to choose an identity. Palazzo Madama doesn't care if it's Roman, Baroque, or Medieval because it is all of them at once. It stands as a stubborn reminder that history isn't something that happens in chapters, it's just one long, messy, and beautiful conversation between the people who lived here and the stone they left behind.

## Die Geschichte zweier Fassaden

Mitten auf der Piazza Castello in Turin bietet der Palazzo Madama e Casaforte degli Acaja einen der verblüffendsten architektonischen Kontraste Europas. Nach Westen hin zeigt sich das Bauwerk mit einer strahlenden, barocken Fassade aus weißem Marmor und großen Rundbogenfenstern, die Filippo Juvarra zwischen 1718 und 1721 entwarf. Nähert man sich dem Palast jedoch von hinten, folgt ein abrupter Bruch: Roher, dunkelroter Backstein aus dem Mittelalter übernimmt das Bild, inklusive Zinnenkranz und wehrhafter Rundtürme.

Diese gespaltene Persönlichkeit verdankt das Gebäude einem unvollendeten Großprojekt. Juvarras barocke Fassade, in Auftrag gegeben von Maria Johanna von Savoyen-Nemours, sollte eigentlich die gesamte mittelalterliche Burg umhüllen. Doch bevor mehr als der vordere Risalit und die monumentale Prunktreppe fertiggestellt waren, ging schlicht das Geld aus. Zurück blieb ein Bauwerk, das bis heute zwischen zwei völlig unterschiedlichen Epochen feststeckt.

## Das Haus der Jahrhunderte

Der italienische Dichter Guido Gozzano taufte den Palazzo Madama einst treffend auf den Namen „Haus der Jahrhunderte“, denn in diesem einzigen Bauwerk stapeln sich gut 2.000 Jahre Turiner Stadtgeschichte Schicht für Schicht. Das Fundament ruht auf der Porta Decumana aus dem 1. Jahrhundert nach Christus, dem einstigen östlichen Stadttor der römischen Kolonie Augusta Taurinorum.

Im 13. Jahrhundert bauten die Markgrafen von Montferrat das römische Tor zu einem befestigten Wehrhaus um. Im 14. und 15. Jahrhundert erweiterten die Fürsten von Savoyen-Acaja diesen Bau zu einer Burg mit vier Türmen. Schließlich machten im 17. und 18. Jahrhundert zwei savoyische Regentinnen, die „Madama Reali“ Christina von Frankreich und Maria Johanna von Savoyen-Nemours, die Burg zu ihrer Residenz. Mit umfassenden Umbauten verwandelten sie die trutzige Festung in einen königlichen Palast.

## Eine Bühne der italienischen Geschichte

Über seine architektonische Wandlung hinaus war der Palazzo Madama Schauplatz entscheidender historischer Wendepunkte. Von 1861 bis 1865 tagte hier der erste Senat des frisch geeinten Königreichs Italien.

Auch spirituell und gesellschaftlich stand das Gebäude immer wieder im Mittelpunkt. Ab 1578 präsentierten die Herzöge von Savoyen bei feierlichen Anlässen das Turiner Grabtuch von der Loggia des Palastes. Im Mai 1949 versammelte sich hier ganz Italien in Trauer: Im Prunksaal des Palastes wurde die öffentliche Trauerfeier für die legendäre Fußballmannschaft des „Grande Torino“ abgehalten, die bei der Flugzeugkatastrophe von Superga ums Leben gekommen war.

## Im Museo Civico d'Arte Antica

Seit 1934 beherbergt der Palazzo Madama das Museo Civico d'Arte Antica. Über 70.000 Kunstwerke verteilen sich auf vier Ebenen und spiegeln die historische Schichtung des Gebäudes wider. Im ehemaligen Burggraben und dem Lapidarium erwarten dich römische Fundamente und mittelalterliche Steinmetzkunst. Das Erdgeschoss gehört der Kunst der Gotik und Renaissance, darunter Antonello da Messinas berühmtes „Porträt eines Mannes“.

Eine Etage höher, im Piano Nobile, öffnen sich barocke Prunkgemächer mit originalen vergoldeten Stuckaturen und königlichem Mobiliar. Im zweiten Stock wartet eine umfangreiche Sammlung angewandter Kunst mit feinem Porzellan, Goldschmiedearbeiten, Textilien und Elfenbein. Ganz oben belohnt dich ein hoher Turm mit einem Rundumblick über das Herz von Turin, die historische Altstadt und die Achsen der Via Garibaldi und Via Po.

## A Tale of Two Facades

Anchoring the center of Piazza Castello in Turin, Palazzo Madama e Casaforte degli Acaja presents one of the most striking architectural juxtapositions in Europe. Facing west, the building showcases a luminous, classical white marble Baroque facade with large arched windows, designed by Filippo Juvarra between 1718 and 1721. Approaching from the rear, however, reveals a stark visual transition into raw, dark-red medieval brickwork, complete with crenellations and round defensive turrets.

This distinct split personality is the result of an unfinished grand scheme. Juvarra’s Baroque facade, commissioned by Marie Jeanne Baptiste of Savoy-Nemours, was originally intended to encase the entire medieval castle. Only the front avant-corps and grand staircase were completed before funding ran out, leaving the structure suspended between two wildly different eras.

## The House of Centuries

Italian poet Guido Gozzano famously dubbed Palazzo Madama "The House of Centuries," as every major era of Turin's 2,000-year history is visibly stacked within a single structure. The foundation rests upon the 1st-century AD Porta Decumana, the eastern fortified gate of the Roman colony of Augusta Taurinorum.

During the 13th century, the Margraves of Montferrat converted the Roman gate into a defensive casaforte. This was later expanded into a four-tower castle by the princes of Savoy-Acaja in the 14th and 15th centuries. In the 17th and 18th centuries, two Savoy regents, the "Madame Reali" Christine of France and Marie Jeanne Baptiste, established their residence here and initiated sweeping renovations that transformed the fortress into a royal palace.

## A Stage for Italian History

Beyond its architectural evolution, Palazzo Madama has been a focal point for pivotal moments in history. From 1861 to 1865, the building served as the seat of the first Senate of the newly unified Kingdom of Italy.

The palace has also hosted a variety of civic and spiritual events. Beginning in 1578, the Savoy dukes publicly displayed the Holy Shroud of Turin from the palace's loggia during major state occasions. In the modern era, the palace hall hosted the public funeral service for the legendary Grande Torino football team following the tragic Superga air disaster in May 1949.

## Inside the Museo Civico d'Arte Antica

Since 1934, Palazzo Madama has housed the Museo Civico d'Arte Antica. The museum features over 70,000 works distributed across four vertical levels, reflecting the building's historical stratification. The moat and lapidary level display Roman foundations and medieval stonework. The ground floor is dedicated to Gothic and Renaissance art, including Antonello da Messina’s Portrait of a Man.

Ascending to the first floor, or piano nobile, reveals Baroque apartments adorned with original gilded stuccoes and royal decorative furniture. The second floor features an extensive decorative arts collection encompassing porcelain, goldwork, textiles, and ivory. Finally, a high tower offers panoramic views of central Turin, providing a sweeping look at the city's civic core and the intersecting paths of Via Garibaldi and Via Po.

## Historia de dos fachadas

En pleno corazón de la Piazza Castello de Turín, el Palazzo Madama e Casaforte degli Acaja ofrece una de las yuxtaposiciones arquitectónicas más llamativas de Europa. Si lo miras de frente hacia el oeste, el edificio despliega una luminosa fachada barroca de mármol blanco clásico con amplios ventanales de medio punto, diseñada por Filippo Juvarra entre 1718 y 1721. Sin embargo, al rodearlo por detrás, el paisaje cambia de golpe y da paso al ladrillo medieval en bruto, de un rojo oscuro, rematado con almenas y torres defensivas circulares.

Esta doble personalidad tan marcada es el resultado de un proyecto grandioso que quedó a medias. La fachada barroca de Juvarra, encargada por María Juana Bautista de Saboya-Nemours, debía cubrir por completo el castillo medieval. Sin embargo, el dinero se acabó antes de tiempo y solo se completaron el cuerpo delantero y la monumental escalera, dejando la estructura suspendida entre dos épocas radicalmente opuestas.

## La casa de los siglos

El poeta italiano Guido Gozzano bautizó al Palazzo Madama como «la casa de los siglos», y con razón: cada una de las grandes etapas de los dos mil años de historia de Turín se apila de forma visible en este único edificio. Sus cimientos descansan directamente sobre la Porta Decumana del siglo I d. C., la puerta fortificada oriental de la colonia romana de Augusta Taurinorum.

Durante el siglo XIII, los marqueses de Montferrato convirtieron la puerta romana en una casa fuerte defensiva. Más tarde, en los siglos XIV y XV, los príncipes de Saboya-Acaja la ampliaron hasta convertirla en un castillo con cuatro torres. Ya en los siglos XVII y XVIII, dos regentes de Saboya, las «Madamas Reales» Cristina de Francia y María Juana Bautista, fijaron aquí su residencia e impulsaron unas reformas radicales que transformaron la fortaleza en un palacio regio.

## Escenario de la historia italiana

Más allá de su evolución arquitectónica, el Palazzo Madama ha sido testigo directo de momentos históricos cruciales. De 1861 a 1865, el edificio albergó la sede del primer Senado del recién unificado Reino de Italia.

El palacio también ha acogido acontecimientos cívicos y espirituales de todo tipo. A partir de 1578, los duques de Saboya empezaron a exponer la Sábana Santa desde la logia del palacio durante las grandes celebraciones oficiales. Ya en época moderna, su gran salón acogió la capilla ardiente y el funeral público del mítico equipo de fútbol Grande Torino tras la trágica catástrofe aérea de Superga en mayo de 1949.

## Dentro del Museo Civico d'Arte Antica

Desde 1934, el Palazzo Madama acoge el Museo Civico d'Arte Antica. La colección reúne más de 70 000 obras repartidas en cuatro niveles, que reflejan a la perfección la estratificación histórica del edificio. En la planta subterránea, junto al foso y el lapidario, se aprecian los cimientos romanos y la cantería medieval. La planta baja está dedicada al arte gótico y renacentista, donde destaca el Retrato de hombre de Antonello da Messina.

Al subir a la primera planta, o piano nobile, aparecen los aposentos barrocos decorados con estucos dorados originales y mobiliario cortesano. La segunda planta alberga una vasta colección de artes decorativas que abarca porcelana, orfebrería, tejidos y marfiles. Por último, una torre elevada regala una panorámica espectacular del centro de Turín, con una vista privilegiada del corazón urbano y del cruce entre la Via Garibaldi y la Via Po.

## Deux façades, deux visages

Fièrement campé au cœur de la Piazza Castello à Turin, le Palazzo Madama e Casaforte degli Acaja offre l'un des contrastes architecturaux les plus saisissants d'Europe. Côté ouest, le bâtiment déploie une lumineuse façade baroque en marbre blanc d'une élégance toute classique, percée de grandes baies cintrées et conçue par Filippo Juvarra entre 1718 et 1721. Mais faites le tour par l'arrière, et le décor change du tout au tout : place à la brique médiévale brute, d'un rouge sombre, flanquée de créneaux et de tours défensives bien rondes.

Ce dédoublement de personnalité architectural découle d'un grand projet resté inachevé. Commandée par Marie-Jeanne-Baptiste de Savoie-Nemours, la façade baroque de Juvarra devait à l'origine envelopper la totalité du château médiéval. Seuls l'avant-corps et le grand escalier virent le jour avant que les caisses ne se vident, laissant l'édifice suspendu entre deux époques que tout oppose.

## La maison des siècles

Le poète italien Guido Gozzano avait surnommé avec justesse le Palazzo Madama « la maison des siècles » : chaque grande époque des deux mille ans d'histoire de Turin s'y trouve littéralement empilée. Ses fondations reposent sur la Porta Decumana du Ier siècle de notre ère, la porte fortifiée orientale de la colonie romaine d'Augusta Taurinorum.

Au XIIIe siècle, les marquis de Montferrat transforment cette porte romaine en une casaforte défensive. Elle sera ensuite agrandie en un château fort à quatre tours par les princes de Savoie-Achaïe aux XIVe et XVe siècles. Aux XVIIe et XVIIIe siècles, deux régentes de Savoie, les célèbres « Madame Reali » Christine de France et Marie-Jeanne-Baptiste, y établissent leurs quartiers et lancent de vastes travaux pour métamorphoser la forteresse en palais royal.

## Le théâtre de l'histoire italienne

Au-delà de ses métamorphoses architecturales, le Palazzo Madama a été aux premières loges des grands tournants de l'histoire. De 1861 à 1865, l'édifice accueille le premier Sénat du royaume d'Italie tout juste unifié.

Le palais a également rythmé la vie civique et spirituelle de la cité. Dès 1578, les ducs de Savoie y exposent publiquement le Saint-Suaire depuis la loggia lors des grandes cérémonies d'État. Plus près de nous, ses salons ont accueilli les obsèques publiques de la légendaire équipe de football du Grande Torino, décimée dans la tragique catastrophe aérienne de Superga en mai 1949.

## Au cœur du Museo Civico d'Arte Antica

Depuis 1934, le Palazzo Madama abrite le Museo Civico d'Arte Antica. Ce musée rassemble plus de 70 000 œuvres réparties sur quatre niveaux, suivant fidèlement la stratification historique des lieux. Les douves et le niveau lapidaire dévoilent les fondations romaines et des sculptures médiévales. Le rez-de-chaussée est dédié aux arts gothique et Renaissance, avec notamment le Portrait d'homme d'Antonello de Messine.

En montant au premier étage, le piano nobile, on découvre les appartements baroques ornés de leurs stucs dorés d'origine et de somptueux meubles d'apparat. Le deuxième étage réunit une impressionnante collection d'arts décoratifs : porcelaines, orfèvrerie, textiles et ivoires précieux. Enfin, la haute tour offre une vue panoramique sur le centre de Turin, embrassant le cœur historique et les perspectives croisées de la Via Garibaldi et de la Via Po.

## Storia di due facciate

Punto focale al centro di Piazza Castello a Torino, Palazzo Madama e Casaforte degli Acaja offre uno dei contrasti architettonici più sorprendenti d'Europa. Guardando a ovest, il palazzo sfoggia una luminosa e classica facciata barocca in marmo bianco con ampie vetrate ad arco, disegnata da Filippo Juvarra tra il 1718 e il 1721. Ma basta girargli intorno per ritrovarsi davanti a un cambio di scena totale: una severa cortina di mattoni medievali rosso scuro, con tanto di merlature e torrette difensive rotonde.

Questa evidente doppia personalità è il frutto di un progetto grandioso rimasto a metà. La facciata barocca di Juvarra, commissionata da Maria Giovanna Battista di Savoia-Nemours, doveva originariamente rivestire l'intero castello medievale. Ma i fondi finirono prima del previsto e furono completati solo l'avancorpo e lo scalone monumentale, lasciando l'edificio sospeso tra due epoche completamente diverse.

## La casa dei secoli

Il poeta Guido Gozzano definì celebremente Palazzo Madama "la casa dei secoli", perché ogni grande epoca dei duemila anni di storia torinese è visibilmente stratificata in un unico edificio. Le fondamenta poggiano sulla Porta Decumana del I secolo d.C., l'accesso fortificato orientale dell'antica colonia romana di Augusta Taurinorum.

Nel XIII secolo, i marchesi del Monferrato trasformarono la porta romana in una casaforte difensiva, poi ampliata tra il Trecento e il Quattrocento dai principi di Savoia-Acaia in un castello a quattro torri. Tra il Seicento e il Settecento, due reggenti sabaude, le famose "Madame Reali" Cristina di Francia e Maria Giovanna Battista, vi stabilirono la propria residenza, avviando radicali lavori di ristrutturazione che trasformarono la fortezza in una reggia sfarzosa.

## Un palcoscenico per la storia d'Italia

Oltre a essere un prodigio di architettura a strati, Palazzo Madama è stato teatro di snodi storici cruciali. Dal 1861 al 1865 ha ospitato la sede del primo Senato del neonato Regno d'Italia.

Il palazzo è stato anche al centro di eventi civili e religiosi memorabili. A partire dal 1578, i duchi di Savoia esponevano pubblicamente la Sacra Sindone dalla loggia del palazzo durante le grandi ricorrenze di Stato. In tempi più recenti, nel maggio del 1949, il salone delle feste accolse le esequie pubbliche del leggendario Grande Torino, scomparso nella tragica sciagura aerea di Superga.

## Dentro il Museo Civico d'Arte Antica

Dal 1934 Palazzo Madama ospita il Museo Civico d'Arte Antica, con oltre 70.000 opere distribuite su quattro livelli che ricalcano la stratificazione storica dell'edificio. Nel fossato e nel lapidario si esplorano le fondazioni romane e le pietre medievali. Il piano terra è dedicato all'arte gotica e rinascimentale, dove spicca il celebre Ritratto d'uomo di Antonello da Messina.

Salendo al piano nobile, al primo piano, si aprono gli appartamenti barocchi, impreziositi da stucchi dorati originali e arredi di corte. Il secondo piano è una miniera di arti decorative tra porcellane, oreficerie, tessuti e avori. Infine, dall'alta torre panoramica, lo sguardo spazia sul cuore di Torino, dominando dall'alto l'incrocio geometrico tra via Garibaldi e via Po.

## Uma história de duas fachadas

No coração da Piazza Castello, em Turim, o Palazzo Madama e Casaforte degli Acaja apresenta uma das justaposições arquitetónicas mais impressionantes da Europa. Voltada a poente, a estrutura exibe uma luminosa fachada barroca de mármore branco e linhas clássicas, rasgada por amplas janelas em arco, desenhada por Filippo Juvarra entre 1718 e 1721. Contudo, quem se aproxima pelas traseiras depara-se com um contraste visual brutal: alvenaria medieval crua em tijolo vermelho-escuro, rematada por ameias e torreões defensivos circulares.

Esta dupla personalidade tão vincada resulta de um plano grandioso que ficou a meio. A fachada barroca de Juvarra, encomendada por Maria Joana Batista de Saboia-Nemours, tinha como objetivo original revestir todo o castelo medieval. Apenas o corpo avançado da fachada e a monumental escadaria nobre foram concluídos antes de o dinheiro acabar, deixando o edifício suspenso entre duas épocas completamente distintas.

## A casa dos séculos

O poeta italiano Guido Gozzano apelidou celebremente o Palazzo Madama de «A Casa dos Séculos», uma vez que cada grande período dos dois mil anos de história de Turim se encontra visivelmente sobreposto nesta estrutura única. Os alicerces assentam sobre a Porta Decumana, do século I d.C., a antiga entrada oriental fortificada da colónia romana de Augusta Taurinorum.

No século XIII, os marqueses de Monferrato transformaram a porta romana numa casaforte defensiva. Mais tarde, nos séculos XIV e XV, os príncipes de Saboia-Acaja ampliaram-na, convertendo-a num castelo de quatro torres. Nos séculos XVII e XVIII, duas regentes da Casa de Saboia, as «Madame Reali» Cristina de França e Maria Joana Batista, fixaram aqui residência e deram início a profundas remodelações que transformaram a fortaleza num palácio real.

## Um palco da história italiana

Para além da sua evolução arquitetónica, o Palazzo Madama foi palco de acontecimentos decisivos da história. Entre 1861 e 1865, o edifício serviu de sede ao primeiro Senado do recém-unificado Reino de Itália.

O palácio acolheu igualmente diversos eventos cívicos e espirituais. A partir de 1578, durante as grandes solenidades de Estado, os duques de Saboia exibiam publicamente o Santo Sudário a partir da loggia do palácio. Já na era moderna, o salão do palácio acolheu o velório público da lendária equipa de futebol do Grande Torino, após o trágico desastre aéreo de Superga, em maio de 1949.

## No interior do Museo Civico d'Arte Antica

Desde 1934, o Palazzo Madama alberga o Museo Civico d'Arte Antica. O museu reúne mais de 70 000 obras distribuídas por quatro pisos, refletindo a estratificação histórica do edifício. O nível do fosso e o lapidário mostram as fundações romanas e vestígios medievais em cantaria. O piso térreo é dedicado à arte gótica e renascentista, destacando-se o Retrato de Homem, de Antonello da Messina.

Ao subir ao primeiro piso, o piano nobile, revelam-se os aposentos barrocos ornamentados com estuques dourados originais e sumptuoso mobiliário de corte. O segundo piso apresenta uma vasta coleção de artes decorativas, que reúne porcelanas, peças de ourivesaria, têxteis e marfins. Por fim, a torre mais alta oferece vistas panorâmicas sobre o centro de Turim, proporcionando uma perspetiva deslumbrante sobre o coração cívico da cidade e o cruzamento da Via Garibaldi com a Via Po.

## 双面记

屹立在都灵城堡广场中央的夫人宫暨阿卡亚城堡（Palazzo Madama e Casaforte degli Acaja），展现出全欧洲最引人瞩目的建筑反差与碰撞。面向西方，它呈现出一座由菲利波·尤瓦拉于1718至1721年间操刀的巴洛克立面，白色大理石光彩照人，配以巨大的古典拱窗；然而绕至后方，画风陡然突变，露出粗粝古朴的深红中世纪砖墙，雉堞与防御圆塔一应俱全。

这种鲜明的“人格分裂”，其实是一场未竟的宏伟蓝图留下的遗存。尤瓦拉设计的巴洛克立面由萨伏依-内穆尔的玛丽·让娜·巴蒂斯特委托建造，起初计划将整座中世纪城堡完全包裹改造。然而资金中途告罄，最终仅建成了前部凸出立面和壮观的大阶梯，让整座建筑永远悬停在两个截然不同的时代之间。

## 世纪之屋

意大利诗人圭多·戈扎诺曾将夫人宫贴切地称为“世纪之屋”，因为都灵两千年历史的每一个重大时期，都肉眼可见地层叠在这一处建筑之中。它的基石正是公元1世纪罗马殖民城市奥古斯塔·塔乌里诺鲁姆（Augusta Taurinorum）的东侧防御要塞——德库马纳门。

13世纪，蒙费拉托侯爵将古罗马城门改建为防御堡垒；14至15世纪间，萨伏依-阿卡亚亲王又将其扩建为拥有四座塔楼的城堡。到了17和18世纪，两位人称“皇家夫人”的萨伏依摄政王太后，法兰西的克里斯汀与玛丽·让娜·巴蒂斯特，先后在此定居并展开大刀阔斧的重塑，将森严要塞蜕变为奢华的王宫。

## 意大利历史的大舞台

除了建筑层面的演变，夫人宫更是诸多历史风云际会的中心舞台。1861年至1865年间，新统一的意大利王国的首届参议院就设在这座建筑内。

宫殿还见证了许多公共与宗教盛事。自1578年起，每逢重大国事典礼，萨伏依公爵便会在宫殿凉廊上向公众展示著名的都灵裹尸布。步入现代，1949年5月苏佩尔加空难发生后，宫殿大厅为传奇的大都灵足球队举行了举城哀悼的公开葬礼。

## 走进古代艺术市立博物馆

自1934年起，夫人宫便成为了古代艺术市立博物馆所在地。馆内藏有逾7万件艺术珍品，错落分布在四个垂直楼层，恰好呼应了整座建筑的历史层叠。护城河与地下碑刻层展示着古罗马地基与中世纪石刻；一层专为哥特与文艺复兴艺术而设，展出包括安东内洛·达·梅西那的《男子肖像》在内的名作。

拾级而上来到二层（贵族楼层），奢华的巴洛克套房映入眼帘，保留着完好的原始镀金灰泥雕饰与王室陈设家具。三层则展示着丰富的装饰艺术藏品，涵盖瓷器、金银器、纺织品与象牙雕刻。最后，登上高耸的塔楼，都灵市中心的全景尽收眼底，加里波第街与波河街交汇出的城市脉络一览无余。

夫人宫

eoiestepona.org

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palazzomadamatorino.it

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dearitaly.com

Anchoring the city's civic core in the middle of Piazza Castello, the palace stands at the crossroads of Turin's primary pedestrian axes, Via Garibaldi and Via Po, linking the city's Roman origins to its royal expansions.

### Core Facts
* **Official Full Name**: *Palazzo Madama e Casaforte degli Acaja*

* **Location**: Located in the center of Piazza Castello, the central square of Turin, Italy

* **UNESCO Status**: Inscribed as part of the UNESCO World Heritage site "Residences of the Royal House of Savoy" in 1997

* **Architectural Hybrid**: A multi-layered structure with two starkly different appearances: an 18th-century Baroque facade facing west and a 14th–15th century medieval brick castle with towers facing east

* **Key Architect**: Filippo Juvarra designed the monumental light-stone Baroque facade, grand atrium, and monumental ceremonial staircase (*scalone d'onore*) between 1718 and 1721

### Historical Narrative
* **Roman Origins**: Originating in the 1st century AD as the *Porta Decumana* (also known as *Porta Fibellona*), the eastern fortified gate of the Roman grid-colony of *Augusta Taurinorum*

* **Medieval Fortress**: During the Middle Ages, the Roman gate structure was converted into a defensive casaforte by the Margraves of Montferrat (13th century), then expanded in the 14th and 15th centuries by the princes of Savoy-Acaja into a fortified four-tower castle

*Christine of France* (1606–1663), widow of Duke Victor Amadeus I, who established residence and initiated renovations in the 1630s–1640s

*Marie Jeanne Baptiste of Savoy-Nemours* (1644–1724), widow of Duke Charles Emmanuel II, who commissioned the decorative stuccoes, gilded ceilings, and Juvarra's grand facade

* **Unfinished Grand Scheme**: Juvarra’s Baroque facade was meant to wrap around the entire medieval castle, but only the front avant-corps and grand staircase were completed before funding ran out

* **Risorgimento & Birth of Italy**: Served as the seat of the Subalpine Senate and subsequently the first Senate of the unified Kingdom of Italy from 1861 to 1865

### Current Use
* **Museum**: Houses the *Museo Civico d'Arte Antica* (Turin City Museum of Ancient Art), located here permanently since 1934

* **Layout and Collections**: Holds over 70,000 works distributed across four vertical levels

* **Layout and Collections**: Holds over 70,000 works distributed across four vertical levels:
  * *Moat & Lapidary Level*: Roman foundations, medieval stonework, lapidary artifacts, and access to the medieval garden

* *Ground Floor*: Gothic and Renaissance painting, sculpture, and illuminated manuscripts (including Antonello da Messina’s *Portrait of a Man*)

* *First Floor (Piano Nobile)*: Baroque apartments with original gilded stuccoes, 17th–18th-century paintings, and royal decorative furniture

* *Second Floor*: Extensive decorative arts collection (porcelain, ceramics, goldwork, textiles, ivory, and gilded glass)

* **Panoramic View**: Access to the high tower overlooking Piazza Castello and central Turin

### Sensory Cues
* **Architectural Juxtaposition**: Approaching from Via Garibaldi shows a luminous, classical white marble and stone palace with large arched windows

### Sensory Cues
* **Architectural Juxtaposition**: Approaching from Via Garibaldi shows a luminous, classical white marble and stone palace with large arched windows; walking around behind it immediately reveals raw, dark-red medieval brickwork, crenellations, and round defensive turrets

* **Interior Light & Volume**: Transitioning through the low medieval entrance into Juvarra's double-ramp marble staircase reveals sweeping, high-ceilinged spaces flooded with natural light from floor-to-ceiling glass windows

### Surprising Detail & Curiosities
* **A True Stone Palimpsest**: Italian poet Guido Gozzano famously named it "La casa dei secoli" (*The House of Centuries*) because every major era of Turin’s 2,000-year existence (Roman, Medieval, Renaissance, Baroque, Risorgimento) is visibly stacked within one single building

* **Display of the Shroud**: Beginning in 1578, the Savoy dukes used to display the Holy Shroud of Turin publicly from the loggia/terrace of Palazzo Madama during major state occasions

* **Grande Torino Lying in State**: In May 1949, the palace hall was used to host the public funeral service and tribute for the *Grande Torino* football team killed in the Superga air crash

### City Context
* **Centerpiece of Piazza Castello**: Stands in the middle of Piazza Castello, anchoring the city’s civic core alongside the Royal Palace (*Palazzo Reale*), the Royal Church of San Lorenzo, and the Teatro Regio

* **Urban Crossroads**: Marks the meeting point of Turin's primary pedestrian axes: Via Garibaldi (the ancient Roman *Decumanus Maximus*) and Via Po (leading down to the river)

0e33c963dec15142faa007fec67d702bccb7ce9b60f955be677757b19d60bb38

Discover Palazzo Madama in Turin, a unique UNESCO World Heritage site featuring a grand Baroque facade layered over a raw medieval castle and Roman ruins.

Palazzo Madama: Turin's House of Centuries

Entdecke den Palazzo Madama in Turin: ein einzigartiges UNESCO-Welterbe, bei dem eine prachtvolle Barockfassade auf eine raue mittelalterliche Burg und römische Ruinen trifft.

Palazzo Madama: Turins Haus der Jahrhunderte

Descubre el Palazzo Madama de Turín, un enclave único declarado Patrimonio de la Humanidad por la UNESCO que superpone una imponente fachada barroca a un castillo medieval y ruinas romanas.

Palazzo Madama: la casa de los siglos de Turín

Découvrez le Palazzo Madama à Turin, un site unique inscrit au patrimoine mondial de l'UNESCO, où une somptueuse façade baroque se superpose à un château médiéval brut et à des vestiges romains.

Palazzo Madama : la maison des siècles de Turin

Scopri Palazzo Madama a Torino, uno straordinario sito patrimonio UNESCO con una maestosa facciata barocca innestata su un castello medievale e rovine romane.

Palazzo Madama: la casa dei secoli di Torino

Descobre o Palazzo Madama em Turim, um local único classificado como Património Mundial pela UNESCO, onde uma imponente fachada barroca se sobrepõe a um austero castelo medieval e a ruínas romanas.

Palazzo Madama: a casa dos séculos de Turim

探索都灵夫人宫，这座独一无二的联合国教科文组织世界遗产，将宏伟的巴洛克立面叠加在粗犷的中世纪城堡与古罗马遗迹之上。

夫人宫：都灵的“世纪之屋”

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Piazza Carlo Emanuele II

Rete tranviaria di Torino

Piazza Carlo Emanuele II "Piazza Carlina"

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Offiziell heißt sie Piazza Carlo Emanuele II, doch für ganz Turin ist dieser 120 mal 120 Meter große Platz schlicht die Piazza Carlina. Die weitläufig gepflasterte Fläche wirkt im Vergleich zum engen Straßenraster ringsum überraschend monumental und lenkt den Blick unweigerlich auf das mehrstufige Cavour-Denkmal aus weißem Marmor und Baveno-Granit im Zentrum. Für Fußgänger ist der Platz das entscheidende Bindeglied zwischen der königlichen Achse aus Piazza Castello und Via Po und dem historischen jüdischen Ghetto.

## Königliche Ambitionen und ein spöttischer Spitzname
Angelegt im Jahr 1673 während Turins zweiter Stadterweiterung unter Herzog Carlo Emanuele II., plante Architekt Amedeo di Castellamonte den Platz ursprünglich als achteckige Place Royale. Nach dem Tod des Herzogs und zähen Grundstücksverkäufen wurde der hochfliegende Plan 1678 jedoch empfindlich herabgestuft, zu einem schnöden rechteckigen Wein-, Holz- und Kohlemarkt. Der Volksmund taufte den Platz kurzerhand „Carlina“ („kleine Carla“), eine augenzwinkernde Spitze gegen das als feminin empfundene Auftreten des Herzogs.

## Eine düstere Ära der Hinrichtungen
Während der französischen Besatzung von 1800 bis 1814 benannte man den Platz in Place de la Liberté um, und die Freiheit zeigte sich von ihrer finsteren Seite: Er wurde zur zentralen Hinrichtungsstätte der Stadt, an der über 400 Menschen unter der Guillotine starben. Selbst nach der savoyischen Restauration wurden hier vorübergehend noch Galgen aufgestellt.

## Architektur und der Briefbeschwerer
Rund um die Piazza Carlina reihen sich bedeutende historische Bauten aneinander, darunter der Palazzo del Collegio delle Province und die barocke Kirche Santa Croce von 1718. Entworfen von Filippo Juvarra, beherbergt das Gotteshaus heute eine rumänisch-orthodoxe Gemeinde.

In der Platzmitte thront das 1873 errichtete Denkmal für den Staatsmann Camillo Benso, Graf von Cavour, geschaffen von Bildhauer Giovanni Duprè. Cavour hält eine Pergamentrolle mit seiner berühmten politischen Devise in der Hand: „Libera Chiesa in libero Stato“ (Freie Kirche in einem freien Staat). Allen Prunkes zum Trotz verpassten die Turiner dem wuchtigen Sockel mit seiner etwas unglücklich drapierten allegorischen Figur prompt einen Spitznamen: „il fermacarte“, der Briefbeschwerer.

## Moderner Wandel und die Casa Gramsci
Heute spiegelt die Piazza Carlina den Wandel von herzoglicher Reißbrett-Planung zu lebendigem Stadtleben wider. Als verkehrsberuhigte Zone lädt sie zum Flanieren und Verweilen zwischen Restaurants und Cafés ein. Im historischen ehemaligen Albergo di Virtù befindet sich heute ein Luxushotel samt der Casa Gramsci. Dieser Ausstellungsraum erinnert an Antonio Gramsci, der von 1919 bis 1921 in der Hausnummer 15 lebte und von hier aus die sozialistische Zeitschrift L'Ordine Nuovo herausgab.

Piazza Carlo Emanuele II „Piazza Carlina“

Officially named Piazza Carlo Emanuele II, this 120-by-120-meter square is universally known as Piazza Carlina. The expansive paved clearing creates a sudden sense of vast scale compared to the tighter surrounding grid, drawing the eye to the multi-tiered white marble and Baveno granite Cavour monument in the center. The square acts as an essential pedestrian link between the royal Piazza Castello and Via Po axis and the historical Jewish Ghetto.

## Royal Ambitions and a Mocking Nickname
Created in 1673 during Turin's Second Expansion under Duke Carlo Emanuele II, the square was originally designed by architect Amedeo di Castellamonte as an octagonal place royale. Following the Duke's death and difficulties selling lots, the ambitious design was downgraded to a rectangular wine, timber, and coal market in 1678. According to local tradition, the public coined the feminine nickname "Carlina" ("Little Carla") to gently mock the Duke's perceived effeminate demeanor.

## A Dark Era of Executions
During the French occupation from 1800 to 1814, the square was renamed Place de la Liberté and transitioned into a grim public spectacle. It served as the city's primary execution site, where over 400 people were guillotined. Public hangings briefly continued here even after the Savoy Restoration.

## Architecture and The Paperweight
The perimeter of Piazza Carlina features significant historic structures, including the Palazzo del Collegio delle Province and the 1718 Baroque Church of Santa Croce. Designed by Filippo Juvarra, the church currently serves a Romanian Orthodox congregation.

At the center stands the 1873 monument to statesman Camillo Benso, Count of Cavour, sculpted by Giovanni Duprè. Cavour is depicted holding a parchment roll carved with his famous political maxim: "Libera Chiesa in libero Stato" (A Free Church in a Free State). Despite its grandeur, locals mockingly dubbed the heavy-based statue with its awkwardly draped allegorical figure "il fermacarte" (the paperweight).

## Modern Transformation and Casa Gramsci
Today, Piazza Carlina illustrates the transition from formal ducal planning to utilitarian civic life. The square functions as an open pedestrian and dining area lined with restaurants and cafes. The historic former Albergo di Virtù now operates as a luxury hotel and houses Casa Gramsci. This public exhibition space honors Antonio Gramsci, who lived at No. 15 from 1919 to 1921 while editing the socialist periodical L'Ordine Nuovo.

Bautizada oficialmente como Piazza Carlo Emanuele II, esta plaza de 120 por 120 metros se conoce universalmente como Piazza Carlina. Su amplísima explanada adoquinada genera una repentina sensación de desahogo en comparación con la cuadrícula más encorsetada de las calles vecinas, atrayendo la mirada hacia el monumento a Cavour que preside el centro, labrado en varios niveles con mármol blanco y granito de Baveno. La plaza sirve además como nexo peatonal clave entre el eje regio de Piazza Castello y Via Po y el histórico gueto judío.

## Ambiciones reales y un mote burlón
Trazada en 1673 durante la segunda ampliación de Turín bajo el mandato del duque Carlos Manuel II, el arquitecto Amedeo di Castellamonte concibió originariamente la plaza como una *place royale* octogonal. Tras la muerte del duque y los problemas para vender las parcelas, el ambicioso proyecto se rebajó en 1678 a un sobrio mercado rectangular de vino, madera y carbón. Según la tradición popular, los turineses le encasquetaron el diminutivo femenino de «Carlina» («la pequeña Carla») con cierta retranca, mofándose de los modales un tanto afeminados del duque.

## Una época oscura de ejecuciones
Durante la ocupación francesa (1800-1814), la plaza pasó a llamarse Place de la Liberté y se transformó en un macabro teatro público. Convertida en el principal patíbulo de la ciudad, más de 400 personas pasaron por su guillotina. Los ahorcamientos públicos continuaron aquí de forma testimonial incluso tras la Restauración de la Casa de Saboya.

## Arquitectura y «el pisapapeles»
El perímetro de la Piazza Carlina reúne edificios de gran empaque histórico, como el Palazzo del Collegio delle Province y la iglesia barroca de Santa Croce, de 1718. Diseñada por Filippo Juvarra, hoy en día acoge a una comunidad ortodoxa rumana.

En el centro se erige el monumento de 1873 al estadista Camillo Benso, conde de Cavour, esculpido por Giovanni Duprè. Cavour aparece sosteniendo un pliego de pergamino con su célebre máxima política: «Libera Chiesa in libero Stato» (Iglesia libre en un Estado libre). Pese a la solemnidad de la obra, la mordacidad local no tardó en bautizar esta mole de base pesada y alegoría de ropajes poco afortunados como «il fermacarte» (el pisapapeles).

## Transformación moderna y Casa Gramsci
Hoy, la Piazza Carlina encarna a la perfección la transición del rigor urbanístico ducal a la animada vida cotidiana. La plaza se ha convertido en un agradable espacio peatonal salpicado de restaurantes y terrazas. El histórico inmueble del antiguo Albergo di Virtù funciona en la actualidad como un hotel de lujo y alberga la Casa Gramsci, un espacio expositivo que rinde homenaje a Antonio Gramsci, quien residió en el número 15 entre 1919 y 1921 mientras dirigía el periódico socialista *L'Ordine Nuovo*.

Piazza Carlo Emanuele II «Piazza Carlina»

Officiellement baptisée Piazza Carlo Emanuele II, cette esplanade de 120 mètres de côté est universellement connue sous le nom de Piazza Carlina. Ce vaste pavé ouvre soudainement l'espace au milieu d'un maillage urbain bien plus resserré, attirant immédiatement le regard vers le monument Cavour, tout en marbre blanc et granit de Baveno étagés, dressé en son centre. La place constitue une passerelle piétonne essentielle entre l'axe royal de la Piazza Castello et de la Via Po et l'ancien ghetto juif.

## Ambitions royales et sobriquet moqueur
Conçue en 1673 lors de la seconde extension de Turin sous le duc Charles-Emmanuel II, la place devait à l'origine être une place royale octogonale dessinée par l'architecte Amedeo di Castellamonte. Mais après la mort du duc et face aux difficultés à vendre les parcelles, ce projet grandiose fut revu à la baisse en 1678 pour devenir un simple marché rectangulaire de vin, de bois et de charbon. Selon la tradition locale, les Turinois lui affublèrent le surnom féminin de « Carlina » (« la petite Carla ») pour se moquer gentiment des manières jugées efféminées du souverain.

## La sombre époque des exécutions
Sous l'occupation française, de 1800 à 1814, la place rebaptisée « place de la Liberté » prit un tour bien plus sinistre. Devenue le principal théâtre des exécutions de la ville, plus de 400 têtes y tombèrent sous le couperet de la guillotine. Les pendaisons publiques y perdurèrent même brièvement après la Restauration savoyarde.

## Architecture et presse-papier
Le pourtour de la Piazza Carlina dévoile de superbes édifices historiques, comme le Palazzo del Collegio delle Province et l'église baroque Santa Croce, érigée en 1718. Dessinée par Filippo Juvarra, elle accueille aujourd'hui une paroisse orthodoxe roumaine.

Au centre s'élève le monument de 1873 dédié à l'homme d'État Camillo Benso, comte de Cavour, sculpté par Giovanni Duprè. Cavour y tient un rouleau de parchemin gravé de sa célèbre maxime politique : « Libera Chiesa in libero Stato » (Une Église libre dans un État libre). Malgré le faste de l'œuvre, les habitants, peu impressionnés par ce socle massif surmonté d'une allégorie aux drapés disgracieux, l'ont promptement rebaptisée « il fermacarte » (le presse-papier).

## Métamorphose moderne et Casa Gramsci
Aujourd'hui, la Piazza Carlina incarne à merveille le passage de l'urbanisme ducal d'apparat à une vie citadine animée. Entièrement piétonne, elle s'est muée en un lieu de promenade et de terrasses convivial bordé de restaurants et de cafés. L'ancien Albergo di Virtù abrite désormais un hôtel de luxe ainsi que la Casa Gramsci. Cet espace d'exposition rend hommage à Antonio Gramsci, qui habita au numéro 15 de 1919 à 1921 alors qu'il dirigeait le journal socialiste L'Ordine Nuovo.

Piazza Carlo Emanuele II « Piazza Carlina »

Ufficialmente intitolata a Carlo Emanuele II, questa piazza di 120 metri per lato è per tutti, semplicemente, Piazza Carlina. La vasta distesa lastricata regala un improvviso senso di ampiezza rispetto al reticolo compatto dei vicoli circostanti, guidando lo sguardo dritto al monumento a Cavour al centro, articolato su più livelli in marmo bianco e granito di Baveno. La piazza fa da fondamentale cerniera pedonale tra l'asse regale di Piazza Castello e Via Po e lo storico ghetto ebraico.

## Ambizioni reali e un soprannome beffardo
Nata nel 1673 durante il secondo ampliamento di Torino sotto il duca Carlo Emanuele II, la piazza era stata concepita dall'architetto Amedeo di Castellamonte come un'elegante place royale a pianta ottagonale. Dopo la morte del duca e viste le difficoltà nel vendere i lotti, l'ambizioso progetto fu ridimensionato nel 1678 a un più pragmatico mercato rettangolare di vino, legna e carbone. Secondo la tradizione popolare, i torinesi coniarono il vezzeggiativo al femminile "Carlina" per ironizzare garbatamente sui modi giudicati un po' troppo effeminati del duca.

## L'epoca buia delle esecuzioni
Durante l'occupazione francese dal 1800 al 1814, la piazza fu ribattezzata Place de la Liberté e trasformata nel teatro di uno spettacolo ben più macabro: divenne il principale luogo di esecuzione della città, dove oltre 400 persone finirono sotto la ghigliottina. Le impiccagioni pubbliche continuarono brevemente anche dopo la restaurazione sabauda.

## L'architettura e il "fermacarte"
Lungo il perimetro di Piazza Carlina si affacciano importanti edifici storici, tra cui il Palazzo del Collegio delle Province e la chiesa barocca di Santa Croce, eretta nel 1718. Progettata da Filippo Juvarra, la chiesa ospita oggi una comunità ortodossa romena.

Al centro si erge il monumento del 1873 allo statista Camillo Benso, conte di Cavour, opera dello scultore Giovanni Duprè. Cavour è raffigurato con in mano una pergamena su cui è incisa la sua celebre massima: "Libera Chiesa in libero Stato". Nonostante l'imponenza dell'opera, i torinesi bollarono subito con ironia la statua, dal basamento massiccio e con la figura allegorica goffamente drappeggiata, ribattezzandola "il fermacarte".

## La trasformazione moderna e Casa Gramsci
Oggi Piazza Carlina racconta il passaggio dalle geometrie dell'urbanistica ducale ai ritmi rilassati della vita cittadina. È uno spazio pedonale arioso, costellato di caffè e ristoranti con tavolini all'aperto. Lo storico ex Albergo di Virtù è diventato un hotel di lusso e ospita Casa Gramsci, uno spazio espositivo aperto al pubblico che rende omaggio ad Antonio Gramsci. Il pensatore visse proprio al civico 15 tra il 1919 e il 1921, gli anni della direzione del periodico socialista L'Ordine Nuovo.

Piazza Carlo Emanuele II, detta "Piazza Carlina"

Oficialmente batizada como Piazza Carlo Emanuele II, esta praça de 120 por 120 metros é universalmente conhecida como Piazza Carlina. O amplo espaço calcetado cria uma súbita sensação de escala monumental quando comparado com a malha urbana mais apertada em redor, atraindo o olhar para o monumento a Cavour ao centro, erguido em vários patamares de mármore branco e granito de Baveno. A praça funciona como uma ligação pedonal essencial entre o eixo régio da Piazza Castello e da Via Po e o histórico Gueto Judaico.

## Ambições reais e uma alcunha trocista
Criada em 1673 durante a Segunda Expansão de Turim, sob a alçada do Duque Carlo Emanuele II, a praça foi originalmente desenhada pelo arquiteto Amedeo di Castellamonte como uma *place royale* octogonal. Após a morte do duque e devido às dificuldades em vender os lotes, o ambicioso projeto foi despromovido em 1678 a um prosaico mercado retangular de vinho, madeira e carvão. Segundo a tradição local, a população cunhou a alcunha no feminino, "Carlina" ("pequena Carla"), para troçar discretamente dos trejeitos tidos como efeminados do duque.

## Uma era sombria de execuções
Durante a ocupação francesa, entre 1800 e 1814, a praça foi rebatizada como Place de la Liberté e converteu-se num macabro espetáculo público. Serviu como o principal local de execuções da cidade, onde mais de 400 pessoas foram guilhotinadas. Os enforcamentos públicos continuaram brevemente neste local, mesmo após a Restauração da Casa de Saboia.

## A arquitetura e o pisa-papéis
O perímetro da Piazza Carlina reúne edifícios históricos de relevo, incluindo o Palazzo del Collegio delle Province e a barroca Igreja de Santa Croce, de 1718. Projetada por Filippo Juvarra, a igreja acolhe atualmente uma comunidade ortodoxa romena.

Ao centro ergue-se o monumento de 1873 ao estadista Camillo Benso, Conde de Cavour, esculpido por Giovanni Duprè. Cavour surge representado com um pergaminho na mão onde se lê a sua famosa máxima política: "Libera Chiesa in libero Stato" (Igreja livre num Estado livre). Apesar da imponência, os habitantes locais cedo apelidaram a pesada estátua, com a sua figura alegórica de drapeado deselegante, de "il fermacarte" (o pisa-papéis).

## Transformação moderna e a Casa Gramsci
Hoje, a Piazza Carlina ilustra a transição do rígido planeamento ducal para a vida cívica e funcional. A praça funciona como uma convidativa zona pedonal, ladeada por restaurantes e cafés com esplanadas. O histórico e antigo Albergo di Virtù deu lugar a um hotel de luxo e acolhe a Casa Gramsci, um espaço de exposição pública que homenageia Antonio Gramsci, que viveu no n.º 15 entre 1919 e 1921 enquanto dirigia o periódico socialista L'Ordine Nuovo.

虽然官方名称是卡洛·埃马努埃莱二世广场，但都灵人更习惯叫它“卡丽娜广场”。这座120米见方的开阔石板广场，与周围紧凑逼仄的网格街巷形成鲜明反差，顿生豁然开朗之感，将你的视线不自觉地引向中央那座由白色大理石与巴韦诺花岗岩筑起的多层加富尔纪念碑。广场还是一处关键的步行枢纽，一头连着王气十足的城堡广场与波河街轴线，另一头则通往历史悠久的犹太隔都。

## 皇家野心与戏谑绰号
广场始建于1673年卡洛·埃马努埃莱二世公爵主持的都灵第二次城市扩建时期。建筑师阿梅代奥·迪卡斯特拉蒙特原本雄心勃勃，打算将这里打造成一座八角形的“皇家广场”。然而随着公爵去世加上地块滞销，这项宏伟设计在1678年惨遭降级，沦为了售卖葡萄酒、木材和煤炭的长方形大集市。坊间相传，都灵市民给广场起了个女性化的昵称“卡丽娜”（意为“小卡拉”），以此暗暗调侃这位公爵略显阴柔的举止。

## 阴暗的刑场岁月
在1800至1814年法国占领期间，广场被更名为“自由广场”，却讽刺地沦为令人毛骨悚然的公开刑场。这里成了全城主要的行刑地，先后有400多人在此被送上断头台。即便在萨伏依王朝复辟后，公开绞刑的惨剧仍在这里短暂上演过。

## 典雅建筑与“大镇纸”
环绕卡丽娜广场的是多座重量级历史建筑，包括省学院宫以及建于1718年的巴洛克风格圣十字教堂。这座教堂由建筑大师菲利波·尤瓦拉操刀设计，如今属于罗马尼亚正教会。

广场中央伫立着政治家加富尔伯爵卡米洛·奔索的纪念碑，由雕塑家乔瓦尼·杜普雷于1873年雕刻完成。雕像中的加富尔手持一卷羊皮纸，上面刻着他著名的政治名言：“自由国家中的自由教会”。尽管气势恢宏，但由于基座过于沉重，加上周围寓意象征人物的袍服垂褶略显僵硬别扭，毒舌的当地人直接戏称它为“大镇纸”。

## 当代蜕变与葛兰西故居
如今的卡丽娜广场，生动展现了从庄严的公爵规划向烟火市井生活的蜕变。整座广场如今是一片开阔的步行与露天餐饮区，四周餐馆与咖啡馆林立。昔日历史悠久的“德行客栈”如今已化身为奢华酒店，并设有葛兰西故居展厅。这处公共展览空间旨在纪念安东尼奥·葛兰西。1919年至1921年间，他正是住在广场15号期间，主编了社会主义刊物《新秩序》。

卡洛·埃马努埃莱二世广场“卡丽娜广场”

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Piazza Carlina illustrates the transition from formal ducal planning to utilitarian civic life, acting as an essential pedestrian link between the royal Piazza Castello and Via Po axis and the historical Jewish Ghetto.

### Core Facts
* **Official Name & Common Name:** Officially named *Piazza Carlo Emanuele II*, but universally known to locals and mapmakers as *Piazza Carlina*

* **Location & Layout:** A large square measuring 120 by 120 meters situated in Turin’s historic centre, positioned between Via Po, Via Maria Vittoria, and Via Accademia Albertina

* **Central Monument:** Features a massive honorary monument dedicated to statesman Camillo Benso, Count of Cavour, designed by Tuscan sculptor Giovanni Duprè and inaugurated in November 1873

* **Key Perimeter Architecture:** Houses the Baroque Church of Santa Croce (designed by Filippo Juvarra in 1718, currently used as a Romanian Orthodox church) on its south side, as well as the former *Albergo di Virtù* and the *Palazzo del Collegio delle Province* (later the Caserma Chiaffredo Bergia)

### Historical Narrative
* **17th-Century Expansion:** The square was created in 1673 as the focal point of the "Second Expansion" of Turin toward the Po River, commissioned under Duke Carlo Emanuele II and realized during the regency of Maria Giovanna Battista of Savoy-Nemours

* **Abandoned Grand Design:** Architect Amedeo di Castellamonte initially planned an octagonal *place royale* with uniform façades and an equestrian statue of the Duke

Difficulties selling the trapezoidal lots and the Duke’s sudden death led to simplifying the design into a rectangular space set further back from Via Po

* **Market Square:** Downscaled from royal ambitions, it was designated by an edict in 1678 as Turin's wine, timber, hay, and coal market

* **Executions in the Napoleonic Era:** Under French occupation (1800–1814), the square was renamed *Place de la Liberté* and served as the primary execution site in the city, where over 400 individuals were beheaded by guillotine

Public hangings continued briefly following the Savoy Restoration

### Current Use
* **Civic & Hospitality Hub:** Functions as an open pedestrian and dining square, hosting restaurants, cafes, and outdoor seating

15) operates as a boutique luxury hotel and contains *Casa Gramsci*, a dedicated public exhibition space commemorating Antonio Gramsci

### Sensory Cause
* The expansive 120-meter paved clearing creates an immediate sense of scale compared to the tighter surrounding grid, drawing the eye directly to the multi-tiered white marble and Baveno granite Cavour monument standing in the center

### Surprising Detail
* **Origin of "Carlina":** According to local tradition, the feminine diminutive nickname *Carlina* ("Little Carla") was popularized by the Turin public as a gentle mockery of Duke Carlo Emanuele II’s perceived effeminate demeanor and delicate physical presence

### Curiosities
* **"The Paperweight":** Giovanni Duprè’s Cavour monument drew immediate ridicule from Turin residents at its 1873 unveiling; due to its heavy base and an awkwardly draped, allegorical figure of Italy presenting a civic crown to Cavour, it was satirically dubbed *il fermacarte* ("the paperweight")

* **Famous Inscription:** The parchment roll held by Cavour in the statue is carved with his famous political maxim: *Libera Chiesa in libero Stato* ("A Free Church in a Free State")

15 from 1919 to 1921 during the factory council movement, where he edited the socialist periodical *L'Ordine Nuovo*

### City Context
* Represents the transition in Turin’s urban history between formal ducal planning and utilitarian civic life, serving as an essential walking link between the royal Piazza Castello / Via Po axis and the historical Jewish Ghetto neighborhood

8f32348cb16ab362436365c00f64ed4c31cf51a39a6b827e1f0d81f8c6a73a14

Discover the layered history of Turin's Piazza Carlina, from its royal origins and guillotine past to its stunning Cavour monument and vibrant cafes.

Guide to Piazza Carlina (Carlo Emanuele II) in Turin

Entdecke die vielschichtige Geschichte der Turiner Piazza Carlina, von königlichen Ursprüngen und Guillotine-Zeiten bis zum Cavour-Denkmal und lebendigen Cafés.

Guide zur Piazza Carlina (Carlo Emanuele II) in Turin

Descubre la fascinante historia de la Piazza Carlina de Turín, desde sus orígenes regios y su pasado de guillotina hasta su imponente monumento a Cavour y sus animadas terrazas.

Guía de la Piazza Carlina (Carlo Emanuele II) en Turín

Découvrez l'histoire aux multiples facettes de la Piazza Carlina à Turin, de ses origines royales et son passé sanglant sous la guillotine à son imposant monument Cavour et ses terrasses animées.

Guide de la Piazza Carlina (Carlo Emanuele II) à Turin

Scopri la storia a più strati di Piazza Carlina a Torino: dalle origini ducali al passato della ghigliottina, fino al maestoso monumento a Cavour e ai suoi vivaci caffè.

Guida a Piazza Carlina (Carlo Emanuele II) a Torino

Descubra a história fascinante da Piazza Carlina de Turim, desde as origens reais e o passado de guilhotina até ao imponente monumento a Cavour e aos seus animados cafés.

Guia da Piazza Carlina (Carlo Emanuele II) em Turim

探索都灵卡丽娜广场跌宕起伏的层层历史，从王室宏图、血腥断头台岁月，一路领略雄伟的加富尔纪念碑与活力四射的街头咖啡馆。

都灵卡丽娜广场（卡洛·埃马努埃莱二世广场）游览指南

Piazza San Carlo

Carlo Ceppi

Cit Turin

Welcome to what locals call the drawing room of Turin. Take a slow breath here. If you catch a whiff of dark chocolate or rich espresso, you are in the right place. Piazza San Carlo is a sprawling masterclass in Baroque symmetry, designed by Carlo di Castellamonte in the mid-1600s to show the world that the House of Savoy had arrived on the global stage. It is elegant, it is perfectly proportioned, and it is paved with smooth flagstones that have seen everything from royal weddings to modern riots.

Look around at the unified facades and the deep, shaded arcades. This consistency was deliberate, a way to create a sense of refined enclosure that felt more like an outdoor ballroom than a transit hub. At the southern end, you will see two churches that look like twins. They are dedicated to San Carlo Borromeo and Santa Cristina. At first glance, they appear identical, but look closer at the details on the facades. They are subtle architectural siblings, not clones, providing a visual anchor that draws your eye to the center of the square. Standing proud in that center is the Bronze Cavalier, the equestrian statue of Duke Emanuele Filiberto. He is depicted sheathing his sword after a victory, a bronze symbol of military strength and political cunning that has survived nearly two centuries of changing regimes.

But the square is more than just pretty stone and old statues. It is a place of heavy spirits and hidden stories. While it was once called Place Napoléon during the French occupation, its most modern history is the most sobering. If you look carefully, you might find a commemorative plaque installed in 2019. It marks a night in 2017 when a robbery attempt during a Champions League screening triggered a mass panic. A single loud bang was mistaken for an attack, leading to a stampede that injured over 1,600 people and claimed three lives. It is a reminder that these wide, open spaces are not just stages for celebration, but fragile containers for human collective emotion.

Between the tragedies and the triumphs, the square has always been the heart of Turin's social elite. Underneath these porticos, the 19th-century aristocracy would gather at places like Caffè Torino or Caffè San Carlo to plot political moves or simply to be seen. Even today, the atmosphere feels expensive and intentional. You are standing in a space that was designed to be a living room for the city’s most powerful figures, a role it still plays during election rallies and major celebrations. Notice how the light hits the warm-toned facades as the sun moves. The shadows under the arcades offer a cool respite, while the polished ground reflects the sky, making the entire piazza feel like a theatrical set that never quite closes.

Piazza San Carlo is the refined heartbeat of Turin. It is where elegance meets the grit of real history, where the aroma of high-end pastries lingers near monuments of war. It is a place that manages to be both a sanctuary and a spectacle, depending on which way the wind blows.

## Das Wohnzimmer von Turin

Die Piazza San Carlo ist das elegante Herzstück des Turiner Zentrums. Mitten auf der Via Roma gelegen, schlägt dieser rechteckige Barockplatz eine architektonische Brücke zwischen dem königlichen Zentrum an der Piazza Castello im Norden und dem Bahnhofsviertel Porta Nuova im Süden. Die Einheimischen nennen die Fußgängerzone schlicht „Il Salotto di Torino“, das Wohnzimmer von Turin.

Geprägt wird der Platz von durchgehenden, symmetrischen Bogengängen, die in den 1630er-Jahren vom Architekten Carlo di Castellamonte entworfen und später von Benedetto Alfieri überarbeitet wurden. Die tiefen Kreuzgewölbe der Arkaden verstärken das Klackern der Schritte auf dem Pflaster und bieten gleichzeitig schattige Außenplätze für die traditionsreichen Cafés.

## Zwillingskirchen und das bronzene Pferd

Am südlichen Ende wird der Platz von zwei barocken Zwillingskirchen eingerahmt, die den Eingang zur Via Roma flankieren. Santa Cristina, deren Bau 1639 begann, besticht durch eine zwischen 1715 und 1718 von Filippo Juvarra gestaltete Fassade. Ihre Nachbarin, San Carlo Borromeo, wurde bereits 1619 gegründet.

Genau in der Platzmitte ragt ein bronzenes Reiterdenkmal aus dem Jahr 1838 empor, geschaffen von Carlo Marochetti. Im piemontesischen Dialekt heißt es liebevoll *Caval ’d Brôns* (das bronzene Pferd). Die Statue zeigt Herzog Emanuel Philibert von Savoyen in voller Rüstung nach der Schlacht von Saint-Quentin. Ein bemerkenswertes Detail: Der Herzog zieht sein Schwert nicht, sondern steckt es in die Scheide, als Zeichen des Friedens.

## Jahrhunderte der Stadtgeschichte

Der Platz entstand Anfang des 17. Jahrhunderts, als Turin über seine antiken römischen Mauern hinaus nach Süden wuchs. Im Auftrag von Herzogin Christine von Frankreich angelegt, hieß er zunächst Piazza Reale. Später diente er kurzzeitig als Exerzierplatz und wurde unter französischer Herrschaft in Place Napoléon umbenannt, bevor er schließlich seinen heutigen Namen erhielt: Piazza San Carlo.

Der Name ehrt den heiligen Karl Borromäus, Erzbischof von Mailand, der 1578 zu Fuß nach Turin pilgerte, um das Turiner Grabtuch zu verehren. Spuren der kriegerischen Vergangenheit der Stadt sind bis heute im oberen Mauerwerk der umliegenden Gebäude zu sehen. Im Palazzo Solaro del Borgo etwa stecken noch immer Kanonenkugeln aus der französischen Belagerung von 1706.

## Historische Cafés und städtisches Leben

Im 19. und frühen 20. Jahrhundert entwickelte sich die Piazza San Carlo zum Treffpunkt von Politik und Literatur. Bedeutende italienische Persönlichkeiten wie Graf Camillo Benso von Cavour, Giovanni Giolitti und Cesare Pavese diskutierten hitzig in den Kaffeehäusern des Platzes.

Bis heute prägen traditionsreiche Lokale wie das Caffè San Carlo, das 1903 eröffnete Caffè Torino und die 1836 gegründete Confetteria Stratta das Flair des Platzes. Wer nach Turiner Bräuchen sucht, wird vor dem Caffè Torino fündig: Dort ist seit 1930 eine bronzene Reliefplatte mit einem aufbäumenden Stier, dem Wappentier Turins, in das Pflaster eingelassen. Der Volksmund besagt, dass ein unauffälliger Tritt auf den Stier Glück bringt. Allerdings dreht man sich hier im Gegensatz zur Mailänder Tradition nicht auf der Ferse um die eigene Achse.

Doch der Platz ist weit mehr als seine Kaffeekultur: Er ist nach wie vor ein lebendiges Kulturzentrum für Feste, Kunstinstallationen und hochkarätige Fotoausstellungen in den Gallerie d’Italia im Palazzo Turinetti.

## The Living Room of Turin

Piazza San Carlo serves as the elegant centerpiece of central Turin. Positioned midway along Via Roma, the rectangular Baroque square functions as an architectural bridge linking the northern royal hub of Piazza Castello to the southern Porta Nuova station district. Locals commonly refer to the pedestrian square as "Il Salotto di Torino," or Turin's living room.

The square is defined by continuous, symmetrical porticoed facades originally designed in the 1630s by architect Carlo di Castellamonte and later modified by Benedetto Alfieri. These deep, vaulted arcade walkways amplify the sounds of foot traffic while sheltering outdoor seating for the surrounding establishments.

## The Twin Churches and The Bronze Horse

The southern end of the square is famously framed by two Baroque churches flanking Via Roma. Santa Cristina, begun in 1639, features a facade designed by Filippo Juvarra between 1715 and 1718. Its neighbor, San Carlo Borromeo, was founded slightly earlier in 1619.

At the precise center of the square stands an 1838 bronze equestrian monument sculpted by Carlo Marochetti. Known in the Piedmontese dialect as *Caval ’d Brôns* (The Bronze Horse), the statue depicts Duke Emanuele Filiberto of Savoy in military armor following the Battle of Saint-Quentin. In a surprising detail, the Duke is depicted sheathing his sword rather than drawing it, serving as a symbol of peace.

## Centuries of Urban History

The space originated in the early 17th century during Turin's southward expansion beyond its Roman walls. Commissioned by Duchess Christine of France, it was initially known as Piazza Reale. The square briefly functioned as a military parade ground and was renamed Place Napoléon during French rule before finally becoming Piazza San Carlo.

Its current name honors Saint Charles Borromeo, the Archbishop of Milan, following his 1578 walking pilgrimage to venerate the Holy Shroud. Remnants of the city's turbulent military past remain visible in the upper exterior masonry of surrounding buildings, such as Palazzo Solaro del Borgo, which still bears embedded cannonballs from the 1706 French Siege of Turin.

## Historic Cafes and Civic Life

During the 19th and early 20th centuries, Piazza San Carlo became a primary gathering space for political and literary figures. Prominent Italian leaders and writers, including Count Camillo Benso di Cavour, Giovanni Giolitti, and Cesare Pavese, frequently debated inside the square's cafes.

Today, historic establishments like Caffè San Carlo, Caffè Torino (operating since 1903), and Confetteria Stratta (founded in 1836) continue to anchor the square. Visitors seeking local traditions can find a bronze plaque of a rampant bull—the heraldic emblem of Turin—inset into the pavement outside Caffè Torino since 1930. Local lore dictates that discreetly stepping on the bull brings good fortune, though the Milanese tradition of spinning on the emblem is avoided here.

Beyond its cafes, the square remains a vital cultural space. It regularly hosts civic gatherings, public installations, and photography exhibitions at the Gallerie d'Italia located inside Palazzo Turinetti.

## El salón de Turín

La Piazza San Carlo es el elegante corazón del centro de Turín. Situada a mitad de camino en la Via Roma, esta plaza barroca rectangular actúa como un puente arquitectónico que conecta el enclave real de la Piazza Castello, al norte, con la zona de la estación de Porta Nuova, al sur. Los turineses suelen llamarla con cariño «Il Salotto di Torino», o el salón de Turín.

La plaza destaca por sus fachadas porticadas continuas y simétricas, diseñadas originalmente en la década de 1630 por el arquitecto Carlo di Castellamonte y modificadas más tarde por Benedetto Alfieri. Sus profundas galerías abovedadas amplifican el murmullo de los pasos y protegen las terrazas de los locales que la rodean.

## Las iglesias gemelas y el caballo de bronce

El extremo sur de la plaza está flanqueado por dos famosas iglesias barrocas que custodian la entrada a la Via Roma. Santa Cristina, iniciada en 1639, presume de una fachada diseñada por Filippo Juvarra entre 1715 y 1718. Su vecina, San Carlo Borromeo, se fundó un poco antes, en 1619.

Justo en el centro de la plaza se alza un monumento ecuestre de bronce de 1838, esculpido por Carlo Marochetti. Conocida en dialecto piamontés como *Caval ’d Brôns* (el Caballo de Bronce), la estatua representa al duque Manuel Filiberto de Saboya con armadura de combate tras la batalla de San Quintín. Como detalle curioso, el duque aparece envainando su espada en lugar de desenvainarla, todo un símbolo de paz.

## Siglos de historia urbana

Este espacio nació a principios del siglo XVII, durante la expansión de Turín hacia el sur más allá de sus murallas romanas. Encargada por la duquesa Cristina de Francia, en sus inicios se la conoció como Piazza Reale. La plaza sirvió brevemente como campo de desfiles militares y fue rebautizada como Place Napoléon durante la ocupación francesa, antes de convertirse definitivamente en la Piazza San Carlo.

Su nombre actual rinde homenaje a san Carlos Borromeo, arzobispo de Milán, tras la peregrinación a pie que realizó en 1578 para venerar la Sábana Santa. Los vestigios del convulso pasado militar de la ciudad aún pueden verse en los pisos superiores de los edificios circundantes, como el Palazzo Solaro del Borgo, que todavía conserva incrustadas balas de cañón del asedio francés a Turín en 1706.

## Cafés históricos y vida ciudadana

Durante el siglo XIX y principios del XX, la Piazza San Carlo fue el principal punto de encuentro de intelectuales, escritores y políticos. Grandes figuras italianas como el conde Camillo Benso di Cavour, Giovanni Giolitti o Cesare Pavese debatían a menudo en los cafés de la plaza.

Hoy en día, locales emblemáticos como el Caffè San Carlo, el Caffè Torino (abierto desde 1903) y la Confetteria Stratta (fundada en 1836) siguen dando vida al lugar. Si buscas una tradición bien arraigada, fíjate en la placa de bronce con un toro rampante, emblema heráldico de Turín, incrustada en el pavimento frente al Caffè Torino desde 1930. La costumbre local dice que pisar discretamente al toro trae buena suerte, aunque aquí se evita el giro completo sobre los talones típico de la tradición milanesa.

Más allá de sus cafés, la plaza sigue siendo un vibrante espacio cultural. Acoge con frecuencia actos públicos, instalaciones urbanas y exposiciones de fotografía en la Gallerie d'Italia, ubicada en el interior del Palazzo Turinetti.

## Le salon de Turin

La Piazza San Carlo est le cœur élégant du centre de Turin. Située à mi-chemin sur la Via Roma, cette place baroque rectangulaire fait office de trait d’union architectural entre le pôle royal de la Piazza Castello, au nord, et le quartier de la gare de Porta Nuova, au sud. Les Turinois surnomment tout naturellement cette vaste esplanade piétonne « Il Salotto di Torino », le salon de Turin.

La place se distingue par l'élégante symétrie de ses façades à arcades continues, dessinées dans les années 1630 par l’architecte Carlo di Castellamonte, puis remaniées par Benedetto Alfieri. Sous ces profonds portiques voûtés, l'écho des pas résonne tout en abritant les terrasses des établissements historiques.

## Les églises jumelles et le cheval de bronze

Au sud, la place s'ouvre sur un décor grandiose, deux églises baroques jumelles encadrant l’entrée de la Via Roma. L'église Santa Cristina, commencée en 1639, arbore une somptueuse façade conçue par Filippo Juvarra entre 1715 et 1718. Sa voisine, San Carlo Borromeo, a vu le jour un peu plus tôt, en 1619.

En plein centre de la place trône un monument équestre en bronze réalisé en 1838 par Carlo Marochetti. Surnommée en dialecte piémontais le *Caval ’d Brôns* (le Cheval de bronze), la statue représente le duc Emmanuel-Philibert de Savoie en armure après la bataille de Saint-Quentin. Détail inattendu, le duc rengaine son épée au lieu de la brandir, scellant ainsi l'avènement de la paix.

## Des siècles d'histoire urbaine

L’histoire des lieux commence au début du XVIIe siècle, lors de l'extension de Turin vers le sud au-delà de ses remparts romains. Aménagée à la demande de la duchesse Christine de France, elle s'appelle d'abord Piazza Reale. La place sert un temps de champ de manœuvres militaires et prend le nom de place Napoléon sous l'administration française, avant d'adopter définitivement celui de Piazza San Carlo.

Son nom actuel rend hommage à saint Charles Borromée, archevêque de Milan, venu à pied en pèlerinage en 1578 pour vénérer le Saint-Suaire. Les traces du passé militaire mouvementé de la ville restent gravées dans la pierre des édifices environnants. À l'image du Palazzo Solaro del Borgo, dont la façade conserve des boulets de canon incrustés lors du siège français de 1706.

## Cafés historiques et vie citadine

Aux XIXe et début du XXe siècles, la Piazza San Carlo s'impose comme le rendez-vous incontournable des cercles politiques et littéraires. De grands dirigeants et écrivains italiens, comme le comte Camillo Benso de Cavour, Giovanni Giolitti ou Cesare Pavese, débattaient passionnément dans les cafés de la place.

Aujourd'hui encore, de vénérables adresses comme le Caffè San Carlo, le Caffè Torino (ouvert depuis 1903) et la confiserie Stratta (fondée en 1836) ancrent la place dans son histoire. Pour honorer les traditions locales, cherchez la plaque de bronze figurant un taureau cabré, symbole héraldique de Turin, incrustée dans le trottoir devant le Caffè Torino depuis 1930. La coutume veut que poser discrètement le pied sur le taureau porte bonheur, mais attention, contrairement à la tradition milanaise, on s'abstient ici de tourner sur soi-même.

Au-delà de ses cafés, la place demeure un carrefour culturel majeur. Elle accueille régulièrement des rassemblements publics, des installations artistiques et des expositions de photographie aux Gallerie d'Italia, nichées dans le Palazzo Turinetti.

## Il salotto di Torino

Piazza San Carlo è l'elegante cuore scenografico del centro di Torino. Posizionata a metà di Via Roma, questa piazza barocca rettangolare fa da ponte architettonico tra il polo reale di Piazza Castello a nord e la stazione di Porta Nuova a sud. Per i torinesi è semplicemente "il salotto di Torino".

A definirne il profilo sono le facciate porticate, continue e perfettamente simmetriche, progettate negli anni Trenta del Seicento dall'architetto Carlo di Castellamonte e poi rimaneggiate da Benedetto Alfieri. Queste arcate profonde e voltate amplificano il calpestio dei passanti e riparano i tavolini all'aperto dei locali storici.

## Le chiese gemelle e il Caval ’d Brôns

Il lato sud della piazza è incorniciato da due celebri chiese barocche che fanno la guardia all'imbocco di Via Roma. Santa Cristina, iniziata nel 1639, sfoggia una facciata disegnata da Filippo Juvarra tra il 1715 e il 1718. La sua vicina, San Carlo Borromeo, è di poco più anziana, fondata nel 1619.

Proprio al centro della piazza svetta il monumento equestre in bronzo scolpito nel 1838 da Carlo Marochetti. Noto in dialetto piemontese come *Caval ’d Brôns* (il cavallo di bronzo), raffigura il duca Emanuele Filiberto di Savoia in armatura dopo la battaglia di San Quintino. Con un dettaglio insolito, il duca non sta sguainando la spada, ma la sta rinfoderando, a simboleggiare la pace ritrovata.

## Secoli di storia urbana

Lo spazio nasce all'inizio del XVII secolo durante l'espansione verso sud della città, oltre le antiche mura romane. Voluta dalla duchessa Cristina di Francia, la piazza era inizialmente nota come Piazza Reale. Servì per un breve periodo come piazza d'armi e fu ribattezzata Place Napoléon sotto la dominazione francese, prima di diventare definitivamente Piazza San Carlo.

Il nome attuale rende omaggio a san Carlo Borromeo, arcivescovo di Milano, che nel 1578 venne qui a piedi in pellegrinaggio per venerare la Sacra Sindone. I segni del turbolento passato militare della città si scorgono ancora sui muri degli edifici circostanti: su Palazzo Solaro del Borgo, per esempio, sono ancora incastonate le palle di cannone sparate durante l'assedio francese del 1706.

## Caffè storici e vita cittadina

Tra l'Ottocento e l'inizio del Novecento, Piazza San Carlo è stata il ritrovo d'elezione per il mondo della cultura e della politica. Figure di spicco come il conte Camillo Benso di Cavour, Giovanni Giolitti e Cesare Pavese si confrontavano regolarmente ai tavolini dei suoi caffè.

Oggi locali storici come il Caffè San Carlo, il Caffè Torino (in attività dal 1903) e la Confetteria Stratta (fondata nel 1836) continuano a dare anima alla piazza. Se sei in cerca delle tradizioni locali, troverai una targa in bronzo con un toro rampante, simbolo araldico di Torino, incastonata nel pavimento davanti al Caffè Torino dal 1930. La consuetudine vuole che calpestare con discrezione il toro porti fortuna, anche se qui la tradizione milanese di fare una piroetta sull'emblema è decisamente bandita.

Al di là dei suoi caffè, la piazza resta uno spazio culturale vivacissimo. Ospita regolarmente eventi pubblici, installazioni e le mostre fotografiche delle Gallerie d'Italia all'interno di Palazzo Turinetti.

## A sala de estar de Turim

A Piazza San Carlo assume-se como o elegante coração do centro de Turim. Situada a meio da Via Roma, esta praça barroca retangular funciona como uma ponte arquitetónica que liga o polo real da Piazza Castello, a norte, ao bairro da estação de Porta Nuova, a sul. Os habitantes locais chamam carinhosamente a esta praça pedonal «Il Salotto di Torino», ou seja, a sala de estar de Turim.

O espaço é delineado por fachadas contínuas e simétricas com arcadas, desenhadas originalmente na década de 1630 pelo arquiteto Carlo di Castellamonte e mais tarde alteradas por Benedetto Alfieri. Estas galerias abobadadas e profundas amplificam o rumor dos passos enquanto abrigam as esplanadas dos estabelecimentos envolventes.

## As igrejas gémeas e o cavalo de bronze

O extremo sul da praça é elegantemente emoldurado por duas igrejas barrocas que ladeiam a Via Roma. Santa Cristina, iniciada em 1639, exibe uma fachada desenhada por Filippo Juvarra entre 1715 e 1718. A sua vizinha, San Carlo Borromeo, foi fundada um pouco mais cedo, em 1619.

Mesmo no centro da praça ergue-se um monumento equestre em bronze de 1838, esculpido por Carlo Marochetti. Conhecida no dialeto piemontês como *Caval ’d Brôns* (O Cavalo de Bronze), a estátua retrata o duque Emanuel Filiberto de Saboia com armadura militar após a Batalha de São Quintino. Num pormenor surpreendente, o duque surge a embainhar a espada em vez de a desembainhar, como símbolo da chegada da paz.

## Séculos de história urbana

A praça nasceu no início do século XVII, durante a expansão de Turim para sul, para lá das muralhas romanas. Encomendada pela duquesa Cristina de França, começou por chamar-se Piazza Reale. Serviu brevemente como campo de paradas militares e foi rebatizada como Place Napoléon sob o domínio francês, antes de se tornar definitivamente na Piazza San Carlo.

O nome atual homenageia São Carlos Borromeu, arcebispo de Milão, na sequência da sua peregrinação a pé em 1578 para venerar o Santo Sudário. Os vestígios do passado militar turbulento da cidade permanecem visíveis na cantaria superior dos edifícios circundantes, como o Palazzo Solaro del Borgo, onde ainda hoje se encontram cravadas balas de canhão do cerco francês a Turim em 1706.

## Cafés históricos e vida cívica

Durante o século XIX e o início do século XX, a Piazza San Carlo transformou-se no principal ponto de encontro de figuras políticas e literárias. Líderes e escritores italianos de renome, incluindo o conde Camillo Benso de Cavour, Giovanni Giolitti e Cesare Pavese, debatiam frequentemente no interior dos cafés da praça.

Hoje em dia, estabelecimentos históricos como o Caffè San Carlo, o Caffè Torino (aberto desde 1903) e a Confetteria Stratta (fundada em 1836) continuam a dar vida à praça. Quem procura seguir as tradições locais encontra, à porta do Caffè Torino, uma placa de bronze com um touro rampante, o emblema heráldico de Turim, cravada no pavimento desde 1930. A tradição local dita que pisar discretamente o touro dá boa sorte, embora por aqui se evite o costume milanês de girar sobre o emblema.

Para além dos cafés, a praça continua a ser um espaço cultural vital. Acolhe com frequência concentrações cívicas, instalações artísticas e exposições de fotografia na Gallerie d'Italia, situada no interior do Palazzo Turinetti.

## 都灵的城市大客厅

圣卡洛广场是都灵市中心优雅非凡的核心地标。这座长方形巴洛克广场坐落于罗马街中段，如同一座宏伟的建筑桥梁，将北面作为王权中枢的城堡广场与南面的新门火车站街区巧妙相连。当地人习惯将这座步行广场亲切地称为“Il Salotto di Torino”，意为“都灵的大客厅”。

广场四周由连绵对称的拱廊立面环绕，最初由建筑师卡洛·迪·卡斯特拉蒙特于17世纪30年代构想设计，后经贝内代托·阿尔菲耶里修改定型。深邃的拱顶走廊放大了过往行人的足音，也为沿街店铺的露天座席遮阳挡雨。

## 孪生教堂与青铜骏马

广场南端的景致格外知名，两座巴洛克教堂巍然伫立于罗马街入口两侧。圣克里斯蒂娜教堂始建于1639年，其立面由菲利波·尤瓦拉于1715年至1718年间设计；邻近的圣卡洛·博罗梅奥教堂历史稍早，建于1619年。

广场正中心矗立着卡洛·马罗凯蒂于1838年雕铸的青铜骑马像。在皮埃蒙特方言中，人们称其为 *Caval ’d Brôns*（青铜马）。雕像刻画了圣康坦战役后身着铠甲的萨伏伊公爵埃马努埃莱·菲利贝托。耐人寻味的是，公爵并未拔剑出鞘，而是正将长剑收回剑鞘，以此象征和平降临。

## 穿行于数个世纪的城市变迁

这片空间的诞生可追溯至17世纪初都灵突破古罗马城墙向南扩张的时期。在法兰西的克里斯蒂娜公爵夫人主导下，这里最初被称为皇家广场。法国统治时期，广场曾短暂充当军队阅兵场并更名为拿破仑广场，最终才定名为圣卡洛广场。

广场如今的名字是为了纪念米兰大主教圣卡洛·博罗梅奥，他在1578年曾徒步朝圣前来瞻仰都灵裹尸布。环顾四周建筑的高处外墙，整座城市动荡的军火岁月依旧历历在目，例如博尔戈索拉罗宫的砖石上，至今还嵌着1706年法国围攻都灵时留下的实心炮弹。

## 传奇咖啡馆与城市生活

在19世纪至20世纪初，圣卡洛广场成为政治风云人物与文坛名士的重要聚会场所。加富尔伯爵卡米洛·奔索、乔瓦尼·乔利蒂以及切萨雷·帕韦塞等意大利知名领袖与作家，都曾经常在广场上的咖啡馆内高谈阔论。

如今，圣卡洛咖啡馆、开业于1903年的都灵咖啡馆，以及创立于1836年的斯特拉塔甜品店等一众百年名店，依然是广场的生活之魂。若想入乡随俗，不妨寻找自1930年起便镶嵌在都灵咖啡馆门外地面的咆哮公牛青铜浮雕，公牛正是都灵的城市纹章。当地传统认为，不动声色地踩一踩这只公牛能带来好运，不过可别像在米兰那样踩着图案原地打转，都灵人向来不讲究这种花哨举动。

除了各具特色的咖啡馆，广场至今仍是重要的文化空间。图里内蒂宫内的意大利画廊常年举办摄影展，广场上也定期举行各类市民集会与公共艺术装置展。

圣卡洛广场

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Positioned midway along Via Roma, the square functions as an essential visual and architectural bridge linking Turin's northern royal hub at Piazza Castello to the southern Porta Nuova station district.

### Core Facts
* **Layout and Architecture:** Piazza San Carlo is a large, rectangular Baroque square in central Turin, characterized by symmetrical, continuous porticoed facades designed by architect Carlo di Castellamonte in the 1630s and later modified by Benedetto Alfieri

* **The "Twin" Churches:** The southern side of the square is framed by two Baroque churches flanking Via Roma: Santa Cristina (begun 1639, with a facade designed by Filippo Juvarra in 1715–1718) and San Carlo Borromeo (founded 1619)

* **Centerpiece Monument:** At the center stands the 1838 bronze equestrian monument of Duke Emanuele Filiberto of Savoy, sculpted by Carlo Marochetti and known in Piedmontese dialect as *Caval ’d Brôns* (*Caval ëd Bronz*, "The Bronze Horse")

### Historical Narrative
* **Urban Expansion:** The square originated in the early 17th century during the southward expansion of Turin under the House of Savoy beyond its ancient Roman walls

* **Name Changes:** Originally commissioned by Duchess Christine of France (*Madame Royale*) as *Piazza Reale*, it was later used as a military parade ground called *Piazza d'Armi*, renamed *Place Napoléon* during French rule, and eventually named *Piazza San Carlo*

* **Dedication:** The square and its church are dedicated to Saint Charles Borromeo, Archbishop of Milan, following his 1578 walking pilgrimage to venerate the Holy Shroud (which prompted Emanuele Filiberto to relocate the Shroud to Turin to shorten the trek)

* **Risorgimento Hub:** In the 19th and early 20th centuries, the square’s cafes served as drawing rooms and debate chambers for major political and literary figures, including Count Camillo Benso di Cavour, Giovanni Giolitti, and Cesare Pavese

### Current Use
* **"Il Salotto di Torino":** The square functions as Turin's primary pedestrian "living room" (*il salotto*), serving as a promenade and gathering place lined with historic cafes, chocolate shops, and boutiques

* **Historic Establishments:** Active historic businesses include *Caffè San Carlo* (famed as one of Italy's earliest gas-lit cafes), *Caffè Torino* (operating since 1903), and the historic confectioner *Confetteria Stratta* (founded 1836)

* **Cultural and Civic Space:** The square hosts public installations, civic gatherings, and photography exhibitions at the *Gallerie d'Italia* inside Palazzo Turinetti

### Optional Sensory Cause
* **Porticoed Enclosure:** Deep, vaulted arcade walkways amplify the echo of pedestrian foot traffic, sheltering outdoor tables, gilded mirrors, chandeliers, and the aromas of espresso, chocolate, and traditional confections from the surrounding storefronts

### Optional Surprising Detail
* **Sword of Peace:** Despite depicting Emanuele Filiberto in military armor following the Battle of Saint-Quentin, Marochetti's monument shows the Duke sheathing his sword into its scabbard rather than drawing it, symbolizing the arrival of peace

* **1706 Siege Relics:** Embedded cannonballs from the 1706 French Siege of Turin remain visible in the upper exterior masonry of surrounding palazzi (such as Palazzo Solaro del Borgo)

### Optional Curiosities
* **The Good Luck Bull (*Toro Rampante*):** A bronze plaque of a rampant bull—the heraldic emblem of Turin—was inset into the pavement outside Caffè Torino in 1930

Local tradition holds that discreetly stepping on the bull’s genitalia brings good fortune; unlike the similar tradition in Milan’s Galleria, spinning or performing a pirouette is traditionally avoided

### City Context
* **Central Spine:** Positioned midway along Via Roma, Piazza San Carlo serves as the visual and architectural bridge linking Turin’s royal hub (Piazza Castello and the Royal Palace) to the north with the Porta Nuova central station district to the south

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Explore Piazza San Carlo in Turin. Discover its Baroque architecture, historic cafes, twin churches, and the iconic Caval 'd Brôns bronze monument.

Piazza San Carlo: Turin's Historic Baroque Square

Erkunde die Piazza San Carlo in Turin. Entdecke barocke Architektur, historische Cafés, Zwillingskirchen und das berühmte Bronzedenkmal Caval ’d Brôns.

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