In the same place as the present Renaissance building, there used to be three churches built in the fourth century and dedicated to Christ the Saviour, to Saint John the Baptist and the Virgin Mary. The liturgical space dedicated to the Baptist, who initially served as a baptistery, was enlarged
After demolishing the three pre-existing churches, the cathedral was rebuilt between 1491 and 1498 for Cardinal Domenico della Rovere, bishop of Turin but residing in Rome at the Papal See. The work was entrusted to a Tuscan architect already active in Rome, Amedeo da Settignano also called Meo del Caprina,
Turin, capital of the Duchy of Savoy since 1563, welcomed the Shroud – which at the time belonged to the Savoy – in 1578. After demolishing the apse of the Renaissance cathedral, an extraordinary chapel was built to guard it. The dome of the Chapel of the Holy Shroud, designed
On the night between April 11 and 12, 1997, the Chapel of the Holy Shroud was devastated by a raging fire that flared up on the restoration scaffolding. The Shroud escaped destruction because at that time it was kept in the cathedral choir, outside the chapel. Thanks to the reopening
The coat of arms of Domenico Della Rovere, carved in marble and representing an oak tree, a cardinal’s hat and a cross, is located at the center of the gable. The name of the commissioner bishop, who was a cardinal of San Clemente in Rome, recurs above the portals. The
The bell tower was built between 1468 and 1470. In the twenties of the eighteenth century, architect Filippo Juvarra designed a new crowning element for the simple fifteenth century structure. The project, only partly completed between 1720 and 1723, proposed an innovative solution which inspired other similar projects throughout the
Around the entrance portal some Renaissance sculptures are visible: on the right hand side the fifteenthcentury mausoleum of the Countess Joan of Orlier; on the left the remains of the Romagnano family’s sepulchre, representing bishop Amedeo and his father, Count Antonio. There is also the 1604 painting by Antonio Parentani
The altar was built in 1663. Of the same time is the central canvas, painted by Charles Dauphin, showing the Communion of St. Honore, the patron saint of bakers. In the painting the holy bishop of Amiens is portrayed by the altar in the act of receiving the Holy Communion
The altarpiece, painted in 1860 by Rodolfo Morgari, represents the Virgin Mary with the Child and, below, Saint Antonio Abate and Saint Massimo, the first bishop of Turin. The altar holds the remains of Blessed Pier Giorgio Frassati, who died at age 24 in 1925. In his short life he
The chapel is still under the patronage of the Guild of blacksmiths and goldsmiths. It formerly hosted a painting by Bartolomeo Caravoglia, badly damaged during a bombing in 1943. Today it is adorned with a seventeenth-century painting depicting St. Eligius. On the sides there are two eighteenth century ovals representing
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