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French Influence on the Architecture of Filippo Juvarra

Published online by Cambridge University Press:  11 April 2016

William Collier
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Extract

The prolific architectural activity of Filippo Juvarra in Piedmont during the first half of the 18th century has been the subject of a number of specialist studies. Augusto Tellucini’s L’arte del architetto Filippo Juvara in Piemonte, published in 1926, is the only one to discuss at any length the question of French influence on his work. Since then there have appeared the important researches of A. E. Brinckmann in his Teatrum Novum Pedemontii and in the commemorative volume Filippo Juvarra. The first of these deals mainly with questions of attribution, dating of designs and progress of building operations, and does not go very far in attempting to interpret or assess the value of the architecture. The second was unfortunately published in 1937 when political pressures made it difficult for Italian and German scholars to suggest that any good could have come out of France. It may therefore be time to reconsider this aspect of Juvarra’s architecture in relation to three of his works for the house of Savoy: the Palazzo Madama and the royal palaces at Stupinigi and Turin.

Type
Research Article
Information
Architectural History , Volume 6 , 1963 , pp. 41 - 53
Copyright
Copyright © Society of Architectural Historians of Great Britain 1963

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References

Notes

1. P.R.O., S.P. 92/30.

2. Illustrated in Telluccini, Augusto, L’arte del architetto Filippo Juvara in Piemonte, Turin, 1926, plate 46.Google Scholar There is also a drawing on similar lines reproduced by Brinckmann, A. E. in his Teatrum Novum Pedemontii, Dusseldorf, 1931, plate 264A.Google Scholar

3. Telluccini, A., op. cit., p. 89.Google Scholar

4. Rovere, L., Viale, V. and Brinckmann, A. E., Filippo Juvarra, Turin, 1937, p. 70.Google Scholar

5. Ibid., p. 68.

6. Piton, C., Marly-le-roi, son histoire, Paris, 1904, p. 231.Google Scholar

7. Two drawings showing arcades are in the Museo Civico, Turin, and are reproduced by Telluccini, A., Juvara in Piemonte, p. 88.Google Scholar The general view of the chateau of Marly, published by I, Mariette and reproduced with this article, fails to show the arcaded pleached alleys which are known to have stood behind the pavilions.

8. Telluccini, A., La decorazione della gia reale palazzina di caccia di Stupinigi, Turin. 1924, pp. 5 and 6.Google Scholar

9. Magne, Emile, Le château de Marly, Paris, 1934, p. 54, mentions gilding.Google Scholar Jeanne, & Marie, Alfred, Marly, Paris, 1947, p. 33, illustration 14, shows Ionic pilasters.Google Scholar

10. J., & Marie, A., op. cit., p. 9, describes the windows.Google Scholar

11. Magne, E., op. cit., p. 55, mentions the swags.Google Scholar

12. J., & Marie, M., op. cit., p. 52, illustration 46.Google Scholar

13. Brinckmann, A. E., Teatrum Novum Pedemontii, pp. 83–89.Google Scholar Juvarra’s later work at Venaria Reale included a gallery connecting the palace with his new church and perhaps inspired by the Galerie des Glaces at Versailles.

14. Blondel, , Memorie aneddotiche in Miscellanea di storia italiana, Turin, 1871, p. 486.Google Scholar

15. Blondel, , op. cit., p. 652.Google Scholar