PALACES AND ART GALLERIES
- Two great cities in north-western Italy, unaccountably neglected by tourists.
- Great art and architecture from mediaeval to Baroque, particularly rich in palaces.
Secret cities, despite the allure of botched alliteration, would have been an absurd subtitle for two such major places, but did seem to suggest itself because of the rarity with which Britons find themselves there. But every art lover should go.
The prevailing images are perhaps still predominantly commercial and industrial, but not only do both have highly attractive centres but both are distinguished by the preservation of a large number of magnificent palaces and picture collections, as well as the usual ingredients of historic Italian cities.
Turin, the leading city of Piedmont, was formerly capital of Savoy and later of the kingdom of Sardinia. Developed on a grand scale in the seventeenth and eighteenth centuries, the historic centre is laid out on a regular plan with broad avenues and spacious piazze. Architecture is predominantly Baroque and classical. Guarino Guarini and Filippo Juvarra, among the best architects of their time, both worked here for much of their lives. The 2006 Winter Olympics were the catalyst for an extensive programme of civic regeneration and restoration. The proximity to the mountains not only brings visual benefits but helps to make the city one of the most agreeable in Italy to live in.
Genoa lays claim to the largest historic centre of any European city. It was one of the leading maritime republics of mediaeval Italy (with Marseilles it remains the largest port in the Mediterranean), and enjoyed a golden age during the seventeenth century. In the 1990s huge civic improvements and building restorations were undertaken to prepare the city for celebrations connected with the quincentenary of Columbus’s first voyage to the Americas, and the cultural momentum has continued.
In the earlier seventeenth century, Genoa was artistically the equal of almost anywhere in Italy except for Rome and Naples. More than any other Italian school of painting, the Genoese was indebted to the Flemish school: Rubens made a prolonged visit to Genoa in 1605 and Anthony Van Dyck was based there from 1621 to 1627. Many of his paintings remain here.