Palazzina di caccia di Stupinigi

In 1729 Vittorio Amedeo II charged Filippo Juvarra to project a suburban hunting villa. In this work, sign and emblem of the crown on the territory, the architect fully expressed his genius and his ability to mould the space as part of the territory.

The Villa was thought as an elegant hunting house built of an articulate system that has as its fulcrum the main living room, from which there are four diagonal wings, ideal push to hunting routes.

The elliptical salon, with double height, is enlightened by a system of big windows placed in three orders opening towards the lanes: the hunting theme and the dedication to Diana are developed in the iconographic system.

Palazzina di caccia di Stupinigi

The access to the Villa, skilfully linked to the capital city by a smooth and straight avenue, is anticipated by a system of aligned farmsteads on the same avenue and linked to the stables (Alfieri, 1759).

At Juvarra's death the works were given to Benedetto Alfieri, to whom we owe the roof's uplifting in the salon and the project of two new lateral wings.

The project of the avenue is a completing element of the project itself: realised in 1754 but already present in the idea of Juvarra, it generates a strong scene link with the city, the Villa and the territory; passing ideally the main salon, in fact, the road continues in the avenue, load-bearing board of the garden at the back.

The Villa now belongs to the Ordine Mauriziano (owner of the lands since 1573); in it there is the seat of the Art and Furnishing Museum.