Civic Museum of Ancient Art, Turin

From the Middle Ages to the Baroque, a journey through the masterpieces of Palazzo Madama

Turin’s Civic Museum of Ancient Art is housed inside Palazzo Madama in the centre of Piazza Castello. It preserves one of Italy’s most important collections devoted to medieval, Renaissance and Baroque art, complemented by extensive holdings of ceramics, glass, textiles, furniture, illuminated manuscripts, ivory, goldsmiths’ work and other decorative arts.

The museum traces the development of Piedmontese and European art through approximately 35 rooms distributed across several levels. Its route combines works of art with historic interiors, from the medieval foundations of the castle to the apartments of the Royal Madams.

History of the museum

The collections originated with Turin’s Civic Museum, founded in 1863 to preserve and promote the city’s artistic heritage.

The original holdings included both historic and modern works. In 1898 the two groups were separated: the modern collections would eventually form the Civic Gallery of Modern and Contemporary Art, while the earlier works entered the museum now housed in Palazzo Madama.

The collections expanded through:

• purchases made by the City of Turin;
• private donations and bequests;
• acquisitions on the antiquarian market;
• materials from religious buildings;
• objects recovered from historic residences and institutions;
• important private collections transferred into public ownership.

In 1934, under the direction of Vittorio Viale, the ancient-art collections were moved to Palazzo Madama. The palace had previously housed the Royal Picture Gallery, the first home of the present Savoy Gallery, between 1832 and 1865.

Following lengthy restoration and refurbishment work, the Civic Museum of Ancient Art fully reopened to the public in 2006.

Relationship with Palazzo Madama

The museum and Palazzo Madama are two aspects of the same place, but they should not be confused.

Palazzo Madama is the historic architectural monument that developed from a Roman gate into a medieval castle, Baroque residence and seat of the Senate.

The Civic Museum of Ancient Art is the museum institution that preserves, studies and displays the art collections belonging to the City of Turin.

The palace structure enhances the route: medieval works are displayed in its oldest areas, while Baroque paintings and furnishings occupy the ceremonial rooms of the main floor.

Size and characteristics of the collections

The complete holdings contain more than 70,000 works and objects, although only a proportion can be displayed at any one time.

The collections include:

• paintings on panel and canvas;
• stone, wooden, terracotta and metal sculpture;
• illuminated manuscripts and individual leaves;
• religious and secular goldsmiths’ work;
• enamel and liturgical objects;
• ceramics, maiolica and porcelain;
• European glass;
• furniture and furnishings;
• textiles, lace, embroidery and clothing;
• ivory;
• seals, coats of arms and dynastic objects;
• works originating from churches and historic Piedmontese residences.

The range of the collections highlights not only the traditional “major arts” of painting and sculpture, but also the artistic quality of functional objects.

Organisation of the route

The museum occupies four principal levels, together with several panoramic areas and towers.

The route is generally organised as follows:

• the underground floor is devoted to medieval history and stone sculpture;
• the ground floor presents Gothic and Renaissance art;
• the main floor contains the Baroque apartments, paintings and furnishings of the Royal Madams;
• the second floor is devoted to decorative arts;
• the Tower of Treasures contains some of the most valuable works.

The arrangement may change because of temporary exhibitions, restoration, loans or reorganisation.

Medieval art

The medieval section documents artistic production in Piedmont and the Aosta Valley from the early Middle Ages to the Gothic period.

It includes:

• capitals and architectural fragments;
• religious sculptures in stone and wood;
• reliefs from churches and abbeys;
• goldsmiths’ work and enamel;
• liturgical objects;
• panel paintings;
• examples of Gothic visual culture.

Its position in the underground rooms and oldest parts of the castle creates a direct relationship between the works and their architectural setting.

One particularly significant object is the Casket of Cardinal Guala Bicchieri, produced during the thirteenth century and decorated with Limoges enamel.

Gothic and Renaissance art

The ground floor presents paintings, sculptures and objects dating mainly from the fourteenth to the sixteenth century.

The route illustrates the development of Piedmontese art and its relationships with Lombardy, France, Flanders and central Italy.

Artists represented include:

• Giacomo Jaquerio;
• Giovanni Martino Spanzotti;
• Macrino d’Alba;
• Defendente Ferrari;
• Gaudenzio Ferrari;
• Gerolamo Giovenone;
• Gandolfino da Roreto;
• Antoine de Lonhy.

The works reveal the gradual transition from Gothic forms to the perspective and greater naturalism characteristic of the Renaissance.

Portrait of a Man by Antonello da Messina

The museum’s most famous masterpiece is the Portrait of a Man, also known as the Trivulzio Portrait, painted by Antonello da Messina in 1476.

It depicts an unidentified man in three-quarter view against a dark background. His confident expression, direct gaze and slightly tense lips give the face a powerful psychological presence.

Antonello combines the precision and light effects of Flemish painting with the spatial and volumetric solidity of the Italian tradition.

The painting is relatively small and rewards close observation of the flesh tones, hair, clothing and gaze.

The Turin-Milan Hours

The museum preserves leaves from the Turin-Milan Hours, one of the most important and complex illuminated manuscripts of fifteenth-century Europe.

The manuscript had a complicated history and was produced in several phases by different artists. Some miniatures have been associated with the culture of Jan van Eyck and the leading Flemish painters of the period.

Part of the manuscript was severely damaged in the 1904 fire at Turin’s National Library. The surviving leaves are consequently very fragile.

For conservation reasons, the original miniatures cannot remain permanently on display. Their availability should be checked before visiting, and they may be replaced by reproductions or digital presentations.

Wooden sculpture and Lamentation groups

The museum preserves important wooden sculptures, many originating from churches in Piedmont and the Aosta Valley.

One particularly significant group concerns Lamentations over the Dead Christ, sculptural ensembles in which the Virgin Mary, Saint John, Mary Magdalene and other figures surround Christ’s body.

These works were designed to encourage emotional participation and devotion. Their figures often display intense expressions, theatrical gestures and traces of original colour.

The sculptures also provide evidence of carving, assembly and polychrome techniques.

Baroque apartments

The main floor preserves interiors used during the period of the Royal Madams.

Rooms, painted ceilings, decoration, furniture and overdoors document the transformation of the medieval castle into a court residence.

The apartments contain works by Italian and Piedmontese artists of the seventeenth and eighteenth centuries, including:

• Orazio Gentileschi;
• Giulio Cesare Procaccini;
• Francesco Cairo;
• Giovanni Battista Crespi, known as Cerano;
• artists employed by the Savoy court.

The significance of this section comes from the integration of movable artworks with architectural decoration.

Decorative arts

The second floor is primarily devoted to decorative arts, an essential field for understanding the material culture and taste of different periods.

The collections include:

• Italian maiolica;
• European and Asian porcelain;
• Venetian glass and products from other centres;
• Piedmontese and Italian furniture;
• textiles and embroidery;
• lace;
• ivory;
• small bronzes;
• silver and other precious-metal objects.

These works demonstrate how function and aesthetic value could be closely connected.

The range of materials makes this section particularly interesting, although the large number of objects may require a selective visit.

Ceramics and porcelain

The ceramics collection documents techniques, manufacturers and styles developed in Italy and Europe.

It includes decorated maiolica, table services, vases, pharmaceutical vessels and porcelain produced for courts and aristocratic families.

Forms, colours and decorative patterns reveal mutual influences among Italian, French, German and Asian manufacturers.

Some objects were designed for everyday use, while others served primarily ceremonial or collecting purposes.

Glass

The glass collection contains objects produced in different periods and geographical areas.

Venetian examples are particularly important and are characterised by lightness, transparency, elaborate forms and refined decorative techniques.

Glass is fragile and sensitive. Lighting and display conditions must therefore balance visibility with conservation.

Close observation reveals filigree, engraving, enamel, applied decoration and variations in colour.

Textiles, lace and clothing

The museum preserves textiles, embroidery, lace and fragments of clothing documenting techniques and taste over the centuries.

These materials are particularly delicate and cannot be exposed for long periods. Consequently, the objects on view may change regularly.

The collections provide evidence of:

• weaving techniques;
• the use of metal threads;
• religious and secular embroidery;
• fashion and clothing;
• interior decoration;
• trade relationships among different production centres.

Tower of Treasures

The Tower of Treasures contains some of the museum’s most valuable and representative works.

The setting itself documents the structure of the medieval castle. Displaying works within the tower creates a more intimate atmosphere than in the principal galleries.

Works associated with this section include Antonello da Messina’s Portrait of a Man, leaves from the Turin-Milan Hours and objects from the historic Savoy collections.

Accessibility and the works on display may vary because of conservation and organisational requirements.

Temporary exhibitions

The Civic Museum of Ancient Art organises exhibitions devoted to artists, techniques, collections and subjects associated with the heritage of Palazzo Madama.

Temporary exhibitions may:

• present works normally kept in storage;
• bring together objects from different museums;
• illustrate the results of restoration and research;
• explore the history of the palace;
• compare historic art with contemporary production.

Exhibitions may temporarily alter the route and require specific tickets or reservations.

Research and conservation

The museum does more than display works. Its activities include cataloguing, research, restoration, preventive conservation and public education.

Works are studied using scientific methods that may include:

• X-rays;
• infrared reflectography;
• pigment analysis;
• examination of wooden supports;
• analysis of textile fibres;
• investigation of metals, enamel and ceramics.

These studies help reconstruct production techniques, previous restorations, provenance and changes over time.

Cultural importance

The museum preserves a fundamental part of the artistic heritage of Turin and Piedmont.

Works from churches, residences, private collections and public institutions make it possible to reconstruct the region’s cultural history beyond the story of the Savoy court alone.

The displays also document relationships between Piedmont and Europe through French, Flemish, Lombard and other Italian influences.

Its setting in Palazzo Madama makes the relationship between urban history, architecture, collecting and artistic production particularly evident.

Visitor experience

The museum is extensive and highly varied. A general visit requires at least an hour and a half, while two or three hours may be needed to examine the collections and interiors carefully.

To make the route more manageable, visitors may focus on several principal sections:

• medieval art;
• the Trivulzio Portrait;
• wooden sculpture;
• the Baroque apartments;
• ceramics and glass;
• textiles and decorative arts.

The succession of floors and collections can be demanding, but it provides a varied alternation of paintings, sculptures, furnishings and small objects.

Accessibility

The main museum levels are connected by lifts, and much of the route is accessible to people with reduced mobility.

The historic nature of the building may nevertheless create restrictions in certain towers, stairways or passages. Some areas may require an alternative route.

Before visiting, it is advisable to confirm:

• the available accessible entrance;
• whether the lifts are operating;
• accessibility of the Tower of Treasures;
• any temporarily closed galleries;
• availability of adapted toilets;
• availability of seating;
• concessions for disabled visitors and companions.

Location and transport

Address: Palazzo Madama, Piazza Castello, Turin.

The museum stands in the historic centre near the Royal Palace, Teatro Regio, Turin Cathedral and Via Garibaldi.

The nearest public-transport stops include Castello and Garibaldi, served by several bus and tram routes.

The museum is approximately twenty minutes on foot from Porta Nuova and Porta Susa railway stations and can also be reached by public transport.

Visitors arriving by car should consider the limited-traffic zone and parking difficulties. Paid underground car parks are available nearby.

Tickets and useful information

Admission to the Civic Museum of Ancient Art requires a ticket, except where concessions, free admission or special initiatives apply.

Temporary exhibitions, guided visits and events may have different conditions and prices.

Opening hours, ticket prices, displayed works and accessible areas may change. Checking the official website before visiting is therefore advisable.

Official website: www.palazzomadamatorino.it

The ticket covers the Palazzo Madama museum and does not automatically include the Royal Palace or other Royal Museums.

Pros and cons

Pros

• Highly varied collections: painting, sculpture, ceramics, glass, textiles, furniture and goldsmiths’ work.
• Important masterpieces: particularly Antonello da Messina’s Portrait of a Man.
• Rich documentation of Piedmontese art: it presents schools and artists rarely represented in international museums.
• Clearly understandable chronological route: the different floors partly correspond to the periods displayed.
• Historic setting: the collections are integrated into the spaces of Palazzo Madama.
• Outstanding decorative arts: functional objects and craftsmanship receive the same attention as major arts.
• Temporary exhibitions: these provide access to works normally kept in storage.
• Central location: the museum stands in the heart of Piazza Castello.
• Accessible principal levels: lifts and alternative routes are available.
• Varied visit: the alternation of materials avoids the monotony sometimes experienced in picture galleries.

Cons

• Long and complex route: a complete visit can be tiring.
• Large number of objects: certain sections may appear densely displayed.
• Fragile works are not always shown: particularly manuscripts and textiles.
• Incomplete accessibility: towers and historic passages may present restrictions.
• Low lighting: necessary to protect textiles, miniatures and other sensitive materials.
• Possible partial closures: restoration and exhibitions can alter the route.
• Orientation is not always immediate: the different levels and towers may cause uncertainty.
• Considerable time required: a detailed visit takes at least two hours.
• Separate ticket from the Royal Museums: the different visits must be organised independently.
• Difficult parking: public transport is generally more convenient.

Overall assessment

The Civic Museum of Ancient Art is one of Turin’s most comprehensive museum institutions. The variety of its collections moves beyond the conventional distinction between painting, sculpture and artistic craftsmanship.

Antonello da Messina’s Trivulzio Portrait is its most celebrated masterpiece, but the museum’s value lies above all in the collection as a whole: Piedmontese medieval art, Baroque apartments, glass, ceramics, textiles and furniture form a broad and coherent route.

The visit requires time, and certain fragile works may not be displayed. Overall, the museum is strongly recommended for anyone wishing to discover Piedmontese art and understand the development of European decorative arts from the Middle Ages to the Baroque period.

Mini-glossary

Ancient art: in this museum, the term mainly refers to medieval, Renaissance and Baroque works, not only artefacts from classical antiquity.

Illumination: painted decoration within a manuscript.

Polychromy: the application of several colours to a sculpture or architectural surface.

Maiolica: pottery covered with an opaque glaze, usually decorated and fired.

Goldsmithing: the artistic working of gold, silver and other precious metals.

Lamentation: a representation of mourning around Christ’s body after the Deposition.

Decorative art: artistic production applied to functional objects such as furniture, textiles, glass and ceramics.

Preventive conservation: measures used to slow the deterioration of artworks without directly treating them.