Basilica, which opened November 1, 1731
by Carlo Emanuele III and Philip Juvara. Foundation stone of 20 July 1717. Juvarra Abbot was born in Messina in 1676, the baptismal font, his parents imposed the name of Philip. As a young man devoted himself to ecclesiastical studies, he entered the Congregation of the Philippines, became a priest, but chose to follow the slope instead of the artistic life of the priest. As an artist, the Juvarra, beginning in the workshop of his father's gold and silver in As a sculptor, to great criticism of the masters of the time. In 1703, with the intention to complete their studies, came to Rome, he was a pupil of the architect Carlo Fontana collaborator of Bernini. In Rome it was part of the Academy of 5. Lucia, who at that time brought together the best artists. Like wise for its entry presented a draft of the church with two bell towers (prelude to what will then Superga). Enriched with new ideas and experience he returned to Sicily. The fame of the architect obtained with the coming of Duke Vittorio Amedeo The in Sicily, he became architect of the Royal Family. When Amedeo Il, after taking the title of King, it leaves the island (1714), brought with him to the Abbot Juvarra.A Torino Torino activity Juvarra takes a hectic and overwhelming and is manifested in the architectural style of many buildings in the city and its surroundings. Not limited to work only for the Savoy, but he left the imprint of his talent and his skills in Italy and abroad. While built the Basilica di Superga, built at the same time the Cathedral and the Royal Castle of Lisbon, in fact, we find him in 1720 to oversee those lavori.Era Architect of the Savoy as well as Architect of the Fabric of S. Peter's in Rome. His works are unique, stylistically continuous, do not denote any difference of age, are all with solemn overabundance of space which translates into ease and breath properly represent the late Baroque to Neoclassicism trends. The excavation of the Hill (......) Juvarra gradioso had developed a construction project, but the Superga hill as it was geographically formed did not give the possibility to achieve it. We must then dig up the hill, lowering the top. In May of 1716 they began the demolition of the old church and the consequent lowering (20). It is confirmation of the date of the work of signing the contract and the first installment of 50,000 pounds, 7 May 1716 paid by the State Treasury (21). I could not find in the documents and the day! month in which officially gave Vittorio Amedeo Juvarra the charge to make the work, certainly in the early months of 1716, as we find in the same year that had already been paid the carpenter Ugliengo Carlo Maria (22), to have made i! model of the Basilica and the outbuilding (study of wood that is preserved today at Superga). This explains clearly that payment at that time the Juvarra had already completed his design. The lowering of the hill was done very quickly. With the resources available (picks, shovels, wheelbarrows) is surprising to note that within a year it has been possible to lower the hill of 40 meters. Juvarra also intervened in the hole with its detailed description in which he explains how it should be carried out the excavation work and it is recommended to keep the excavated material that could possibly be useful to costruzione.Nel course of the work turned out that the area occupied by the ancient church and the land sold by the municipality, were not sufficient to form a square with the dimensions required by Juvarra. The king was forced to buy other parcels of land by private individuals, including one owned by the Company of the SS. Rosario, signed the sale contract Messrs. Rocco Nicola and Giovanni Bertoglio, prior to that year (23). While the teams of workers were digging in, the large amount of useful material to the factory (stone, brick, marble, timber etc. .) coming from different places was filed at the foot of the slope leading to the hill, so the place was called "Sassi" name by which even today is known by Turin. (.....)
Foundation stone finished the excavation of the hill was laid the first stone was July 20, 1717, it was placed under the great pillar that separates the sacristy of the chapel dedicated to the Blessed Margaret of Savoy, a Latin inscription engraved on a slab of white marble and covered with another of the same marble.
The inscription reads: To the Mother of the Saviour The Saviour of TorinoVittorio Amadeus, King of Sicily, Jerusalem and Cyprus put down the foundation stone on July 20, 1717.
The ceremony was attended by Marquis Garaglia, governor of Turin, on behalf of the King The ceremony took place with a Mass celebrated by the vicar general de! Chapter, the canon Domenico stench. At the end of the Mass prayers were read benedizione.In rituals of the occasion, with Kings 'Royal tickets' ordered to bestow Juvarra a bonus of one thousand pounds, the work of construction began immediately after the laying of the material used pietra.Il almost everything was locally sourced, so it was difficult at that time, buying and transporting construction materials from other regions of Italy or other countries. The marble quarries exploited more fully to Frabosa Crano, Cassino, Rrossasco, Forests, onyx, but was removed from the quarry BuscaDronero. From the quarry Frabosa, being the farthest from Turin, transport or "conduct" took place in two stages, first to and then from Chieri Chieri at Superga. The blocks of marble were generally sketchy and sometimes worked on site, then transported by wagons to Superga. The sand was excavated and removed at the confluence of the Stura Po at Lanzo. The lime and bricks were prepared on colle.È should be noted in this connection the difficulty of transporting the material to Sassi Superga, since the road was not easy like today, it was a different path, headed for Roofs Bertoglio then climb on hill. It was, as stated in the chronicles of the time, a narrow, uncomfortable, Alpine, during the rainy season, it became impractical. We find in the accounts of cash sums of money paid to repair it several times, but most of the material, even water, is passed on that road. The Pastor said that the Royals, when they went to Superga, never passed by this road, but by Chieri. The current one was made later, at the time of Charles Emmanuel III. The chronicles say that the work began in late 1755 and ended only in 1760 because they had a slowdown because of a dispute arising from care Carlo Red and Royal for the expropriation of a casa.Non we have, from the archives of the time, a detailed description of the progressive work done in building the Basilica, however, one can reconstruct the whole course of works by consulting the records of the cash payment, since payments were made to work "done and tested 'or' aims to labor that go by. " This work of comparison has done very well in its colossal volume Carboneri Nino "The Real Church of Superga Filippo Juvarra. This excerpt from page 10, which shows the progressive work of the Basilica.
"The preliminary work around the bases and bases of the columns are held in 1718, the year after the walls reach the top of the first order in 1722 has reached the set of times, then the drum is erected (1722) and the two large caps (1725). At the same time operate Piccapietra for the eight columns of gray marble Frabosa that make up the lower order of the Interior, for the internal and external columns and drum laternino Marble Cassino for Corinthian and composite marble Brossasco, the stairs of the tower around noon stone Sariza. The house of the religious 'cover' in 1724, with the exception of the east side, which was completed later. With the 1726 are finished the main structures of the church, is the year marked on the ring base of the fairing. Will be and then skim the dome of the convent, the altars, the preparation of the marble columns of Cassino to vestibule and the towers, stucco ornaments and the few frescoes. Further work, from 1727 to 1730, relate to the porch and the end walls and the dome, the system of terraces and stairs in wood, counters, doors, balustrade and choirs around the drum '(31). Another confirmation that the basilica was finished in 1726 we have a document found during the recent restoration. The
ChiesaL'edificio built on the hill of Superga Juvarra is a masterpiece of Baroque architecture of the eighteenth century. To realize its beauty, must be approached first from below, from Turin. From there you'll find that the green hills of Turin stands bully in the blue sky the white juvarriana.Avvicinandosi beautiful building you see in the Temple which rises majestically wide facade surmounted by a dome bold and flanked by two bell towers. Reached the square of the imposing effect does not diminish the Shrine, climb three flights of steps on the platform railing, where building is located (32). ll portico of eight columns of marble inside Gassino introduced. The church is circular with a longitudinal extension to the chancel, the floor is of colored marble circular rosettes. The church measures 75 meters in height (from floor to cross the lantern), 51 long and 34 larghezza.Entrando Basilica in the mind is flooded with a feeling of religious gathering at the sight of that beautiful dome is transformed into admiration and amazement . The dome rests on a majestic structure divided into two orders. The first set consists of eight fluted columns of gray marble Frabosa. Despite the nine sections are divided, this column will not lose their elegance. Their height, the pedestal base to corinzl capitals, is 20 meters and 30 centimeters. lI second order is the dark wooden balustrade and drum tamburo.Il eight windows and partitions, punctuated by eight columns rudentate Gassino marble or marble Brossasco other eight, they are one third of the tortilla to bust, columns give the dome a vibrant style and form, together with the decoration of the inner flap of the dome, a perfect expression of architectural style ' barocca.L art 'intensity of light that filters through the windows and fanlights projects in the Temple exceptional brightness. Along the space below the dome to get the marble balustrade of dark Frabosa, the overtaking by a wrought iron gate of Sachetti (1736) and arrive at the sanctuary. To the right is the sacristy broad faces, high dome-shaped elliptical ending in a lantern, the sacristy is all covered with walnut cabinets designed by the architect. On the left hand is a small chapel, with three windows and a rectangular bezel. The Juvarra had built this chapel to serve as the chorus of winter boarders, not to welcome the statue of Our Lady of the vote, which at first had thought to place on the high altar, then changed your mind, the statue was placed in the choir winter on a specially constructed wooden altar. The
AltariIl Juvarra was aware of the need to set up inside the church altar decorations and functional for worship, but at the same time, harmonized with the architectural lines and complement the Temple were dl: the criteria of sacred architecture, required for each place of worship, the Juvarra them resolved very well in this basilica. I agree with the Carboneri that says: "In fact, many churches, like that of Superga, present a series of altars so thoroughly subjected to precise direction)> (33). In 1726 work began on the bas-relief of the altar of SS. Annunciation and the Nativity of Mary. The first was carved from Cattinara Cametti Bernardino, the second initiated by Francis Moderates, was not finished for the supervening death of the sculptor, was killed by Agostino Cornacchini Pistol, which changed to the point of not leaving any trace of the original work, The marble taken from quarries Carrara were transported to Rome in the work, then were transported by sea up to Sanpierdarena-at the expense and responsibility of the sculptor - from coast to Superga - committente.Con at the expense of education of 16 November 1729, Juvarra Cametti sent the orders to be processed by the Gattinara relief for the altar greater effect.The 'education is detailed: the Carrara marble should be no streaks, the sculpture must be "in the air the glorious Virgin and Child Jesus in her arms straight by clusters of angels, with B. Amedeo di Savoia in attitude of prayer in the bottom group of horses and horsemen in combat, the view in the distance Turin to commemorate the events of September 7, 1706)) (34). Below are instructions for the four altars to be placed in the four respective chapels. They are commissioned from Sebastiano Ricci canvases representing S. Louis, King of France, which shows the crown of thorns in the presence of S. Remigius, Bishop of Reims, and the martyrdom of S. Maurice and his companions. The others are commissioned from Beaumont, and represent an S. Carlo Borromeo, who distributes the Eucharist to the plague of Milan, the other B. Margherita of Savoy to close the Savior. All work is followed by meticulous attenzione.Dall Juvarra with 'state store we find many "descriptions" or "instructions" of Juvarra refer to the work in Carrara marble of angels and cherubs to be placed in the church, working, says Juvarra, should be "entrusted to the famous sculptor," and states "or to barter or to other famous sculptor Tantardini or approved." So too does the drawings of the steps follow the instructions for the choice of marble, it is recommended that the green marble from Susa is the best, also describes the choice of wood and its processing for the benches at the side of prestiterio, the choir and forums and these will then be made by Giovanni Luigi Rossi and John Street in 1732.Il Juvarra had planned for the new church, the construction of an organ to be placed on either side of the chancel, but he was not constructed, but Stefano Andrea Fiorè, maestro di musica della Real Casa, con la sua istruzione del 21 maggio 1732, descrisse la composizione di detto organo, il quale doveva avere due tastiere dii 3 registri, fu poi l’organaro Giuseppe Calandra che mise in esecuzione nel 1735 l’istruzione del Fiorè; Carlo Maria Ugliengo costruì la cassa armonica. Nel 1789 Gioacchino Concone ricostrui dal vecchio organo uno nuovo, quello attuale. Tolse una tastiera e modificò in tutto i registri, anche la cassa armonica venne cambiata in quella attuale dallo stesso Concone.
MARMI e PIETRE:onice di Busca, migliore dell'alabastronero di Como , rosso di Veronagrigio di Valdieri , giallo torri , verde alpile quatto statue(lo zelo delle arti) sono in marmo White Pons
BasilicaVerso The inauguration of the end of 1730 the church was over, he had just finished some very marginal, even the building, intended to accommodate the boarders were finished, furnished and made habitable, was missing from the residence of the late Re (the unfinished) to this one would have thought then, unfortunately, is not nothing came of it and has remained as it was then. The same Vittorio Amedeo II, who abdicated the meantime partners September 13, 1730, in favor of his son Carlo Emanuele III, wrote to the Marquis of Chambery Ormea (December 17, 1730) "... We have all the satisfaction of understanding that next April will consecrate the church and opens boarding school Soperga "(35). But difficulties arose that forced him to postpone the inauguration. You do not know the exact cause, maybe it was due to the appointment of the dean and boarders, however, 23 October 1731 Carlo Emanuele III was able to appoint the twelve boarders and establish the date of the inauguration. From a careful documentation (36) we learn that on October 30, 1731 with all the boarders were gathered in the principal Cerretti Superga.
the evening of October 31 the great almoner of the King, the Rev. Don Francesco Arborio Gattinara blessed by the church in the presence of the architect Juvarra
The next day, November 1, 1731 the church was open to the public with a solemn celebration. The ceremony was attended by King Carlo Emanuele III, Juvarra, the boarders, the civil authorities and large public Vittorio Amedeo needed was there, the techniques and the inspiration of the Basilica, the son did not allow him to be present at the inauguration of most beautiful monument built in Turin, left him confined in the residence of Chambery. The consecration of the Basilica was carried out later on October 12, 1749 by the Cardinal Delle Lanze (37). We are not able to establish exactly the figure that the entire cost of construction of Superga, because payment of cash in the registers of was under 'Soperga "were also added to the sums of money paid for work performed in other places, for example, Rivoli, Venaria, etc.., but a rough calculation suggests about two million pounds of old Piedmont. Tombs RealiUna description of August 1728, which speaks 'on the excavation of earth in the choir and sanctuary to form the underground chapel' is an authentic witness of the intention to build in that place the burial crypt (48). But it must be reach up to 1774 to see the project built, "crypt" when Vittorio Amedeo II commissioned the architect Frank Martinez, nephew of Juvarra, to fix the basement, turning them into a mausoleum. In the budget of the fortifications and factories of His Majesty, we read that the entry 'Soperga "adds a new chapter, that of the present year 1716, because we find in the same year that had already been paid the carpenter Ugliengo Carlo Maria, to have built the model of the Basilica and the outhouse (wooden sketch is still part of the royal library of the convent of Superga.) also built a model of the Castello di Rivoli
The heart of the commander who liberated Turin in the epic battle of 1706 
