The Castle of Rivoli is a former Residence of the Royal House of Savoy in Rivoli (Metropolitan City of Turin, Italy). It is currently home to the Castello di Rivoli – Museo d'Arte Contemporanea, the museum of contemporary art of Turin.
In 1997, it was placed on the UNESCO World Heritage Site list along with 13 other residences of the House of Savoy.
History
The castle was probably built in the 9th–10th centuries. Its existence is mentioned for the first time in 1159, in a diploma by Emperor Frederick Barbarossa that ceded the Rivolese territories to the bishops of Turin.
The House of Savoy acquired Rivoli in the 11th century. Soon afterward, a feud began with the bishops, which in 1184 resulted in damage to the castle. In 1273 King Edward I of England visited, en route from Crusade to England, he was met by the Count of Savoy's messengers before travelling on to Susa and the Mont Cenis on the way to visit Count Philip I at Saint-Georges-d'Espéranche. In 1330 Amadeus VI of Savoy allowed the Consiglio dei Principi, senior administrative council of the countryside to occupy it. The castle was the first place of public veneration of the Shroud of Turin.
The castle then experienced a period of decline. In 1559, the Treaty of Cateau-Cambrésis forbade the Duke Emmanuel Philibert from residing in Turin until he had a male child. He therefore resided in the Castle of Rivoli, having it restored by architect Ascanio Vitozzi. In 1562 heir Charles Emmanuel I was born, and he returned to Turin. Works on Vitozzi's designs were brought on until 1644 under Carlo and Amedeo di Castellamonte, with the construction of the so-called Manica Lunga, intended to house the Savoy Gallery, the sole 17th-century part of the edifice still visible today. Numerous works of art were however stolen by French troops in the following years.
At the beginning of the 18th century, both the castle and the Manica Lunga were set on fire and sacked by the French, due to the War of the Spanish Succession. After the siege of 1706, Victor Amadeus II of Sardinia regained possession of the territories and ordered the restructuring of the damage suffered, first entrusting the work to Michelangelo Garove, who enlarged the "Manica Lunga", then, after his death, to Antonio Bertola. The latter followed the construction sites for another three years, until Filippo Juvarra intervened in 1716; the famous architect in fact had a grandiose project in mind, but the works were not completed. Only the extensions of the two eastern symmetrical wings were finished, but an unfinished facade was left. In 1730, Victor Amadeus II lived his madness here: despite having abdicated in favor of his son, he refused to let go of business, and tried to oust Charles Emmanuel III of Sardinia, who, in concert with his minister, the Marquis Ormea, decided to lock up his father in the residence in Rivoli. For that occasion, the building was modified again: gratings were added to the windows and the access to the Manica Lunga was closed. Then in 1794, some alterations were carried out by Carlo Randoni, for at least partial use of the residence.
19th century onwards
Victor Amadeus II commissioned a new façade from Filippo Juvarra, which also went unfinished. After his abdication and failed attempt to regain power from his son Charles Emmanuel III, Victor Amadeus lived here as a prisoner with his morganatic spouse the Marchesa di Spigno. After his death, the castle remained mostly abandoned, until in 1863, when the comune of Rivoli turned it into barracks. Twenty years later a section was used as library.
The edifice was heavily damaged during World War II, and remained in a substantial state of abandon until 1979, when new works of restoration were begun. In 1984 the castle was reopened as the home of the , the first contemporary art museum in Italy. In 2000, the castle also became home to a Michelin-starred restaurant when chef Davide Scabin moved his restaurant Combal there, renaming it Combal.Zero.
Renovation projects
The first post-WW2 renovation works were carried out under the Turin architect Andrea Bruno. Unfortunately, the initiative was not completed, available funding being enough only repair of structural damage. In 1967, Bruno proceeded to break down the decaying parts of the atrium, built at the beginning of 900.