itinerary

TOSELLI THEATRE (STAGE 2): A typical example of an Italian room, the Toselli Theatre for over two centuries is one of the most lively and popular of the city of Cuneo. Built in 1803 and obtained from re-use soluctions of a fifteenth-century building, it was commissioned by thirty-nine citizens of Cuneo who in agreement with the City-Hall to found it were constituted in "Society" thus beginning the history of the theatre. The room in full Neoclassical dtylr was commissioned by King Carlo Felice who promoted the reconstruction already in 1828, the theatre was enriched with golden decorations and velvets that characterize the coatings. The current theatre is the result of further adjustment works in 1928 and then in 1966.

CHIESA DI SANTA CROCE (STAGE 5): The Brotherhood of Santa Croce existed in Cuneo since the thirteenth century. In the first of 1400 the Confraternity moved from Porta Borgo San Dalmazzo to the place it still occupies today.In 1708 an abundant snowfall damaged the vault of the building and given the difficulty in repairing it, the council of the Holy Cross decided to turn to the Turin architect Antonio Bertola (collaborator of Guarini) for the project of a new sacred building.Work began on 24 May 1709 under the direction of Francesco Gallo (a pupil of Bertola). The works proceeded quickly, so much so that in 1712 the façade was coveredorator.In 1714 the bell tower was raised and the dome of clear Guarinian inspiration was built. In 1717, Pier Antonio Pozzi decorated the side chapels and the tribune. In 1736 the balustrades of the side chapels were designed and in 1764 the large central ancona was finally laid. The church is in full Baroque style, with a very characteristic façade that is concave with two orders thus creating a sort of small square with the street on which it is located,according to Borrominian architectural rules. Finally, the façade ends with an arched fastigio, inspired by Palladian. The interior, characterized by a plan composed of two ellipses, one intended for the classroom and the second instead defines the large choir, the latter is rich in decorative elements of great value. Finally, the ancona of the main altar is very scenographic, with the monumental angels that present the canvas with the Invention of the cross painted by the Genoese Giuseppe Galeotti in the sixties of the eighteenth century.

DUOMO DI CUNEO (STAGE 8): The origins of the cathedral can be traced back to the thirteenth century, in fact the place where today stands the current building was a Benedictine priory dependent on the abbey of Borgo San Dalmazzo. It was then the seat of the important parish of Santa Maria del Bosco (the main one in the area). In 1657, the architect Giovenale Boetto, following a collapse of the main vault of the building, coordinated the reconstruction and renovation of the building following the style of the Baroque period. In 1817, with the elevation of Cuneo to a bishopric, it became a cathedral. Restoration and embellishment began, with the formation of the dome designed by Stefano Rovere and between 1863 and 1866, with the construction of the neoclassical facade designed by Antonio Bono, the cathedral was ideally connected to the nearby large square (today Galimberti Square). The last significant intervention was the construction of the crypt for the tombs of the bishops in 1968. Like a casket, the cathedral houses on the high altar the canvas painted by Andrea Pozzo and entitled "Madonna and Child Jesus, Saint John the Baptist and the Archangel", the artist is one of the great masters of the seventeenth-century Baroque. The work was made by the artist in Rome at the same time as he saw himself engaged with the vault of the Church of Sant'Ignazio. The opera came to Cuneo with great honors. It can not be noticed how the canvas suffers from the influence of the lesson of Caravaggio and the theatricality of the work is based on a wise use of light that affects the protagonists now illuminating them now instead leaving them partially in the dark