The Basilica of Superga, located atop the hill overlooking Turin, is much more than an architectural monument: it symbolizes the indissoluble bond between history, faith, and culture. Commissioned by the Duke of Savoy, Victor Amadeus II, as a vow of gratitude after the victory of 1706, the Basilica was constructed between 1717 and 1731 under the direction of architect Filippo Juvarra. It houses numerous priceless works of art. In particular, the three altarpieces represent the height of Baroque aesthetics, visual expressions of religious fervor and innovative artistic experimentation that continue to enchant visitors today.
Historical and Artistic Context
The church interior rises vertically from eight Corinthian columns resting on the corner piers, continuing upward past the dark wooden balustrade along the columns of the drum and the ribs decorated with garlands, which converge at the base of the lantern.
The dome consists of two superimposed shells: an inner one, which becomes thinner toward the top, and an outer one, raised above the inner shell. To lighten the structure, Juvarra left the space between the two shells hollow and connected them with a series of large arches. For the same purpose, he included eight full-height windows around the drum and additional elliptical openings at the base of the ribs. Though monumental and imposing in appearance, the dome of Superga conceals a structurally essential architecture.
The church floor plan is an irregular octagon that extends into the square space of the presbytery, marked by a low dome and two lateral rectangular extensions that once housed the choir stalls and the organ and singers’ tribunes. Beyond the balustrade and up the steps lies the semicircular apse, which contains the main altar. This altar is adorned with a marble relief depicting the Battle of Turin (1706): Blessed Amadeus of Savoy is shown kneeling, interceding with the Madonna and Child for the salvation of the city.
From the presbytery area, one can access the Chapel of the Vow, a space inviting reflection and prayer. It houses the wooden statue of Our Lady of Grace, once located in the small church atop the hill, to whom Duke Victor Amadeus II entrusted his plea for victory on September 2, 1706. Upon entering, you’ll notice the urn where over one hundred thousand prayers from around the world are deposited each year.
From the central nave, two large lateral chapels open, as well as four smaller chapels along the diagonals. The two larger chapels are integral to Juvarra’s Marian devotion program: their altars feature marble bas-reliefs of the Annunciation (on the left, when facing the altar) and the Nativity of Mary (on the right). The Basilica itself is dedicated to the Nativity of Mary, and each year on September 8, solemn celebrations are held. Traditionally, this Marian feast coincided with processions of thanksgiving for the victory over the French on September 7, 1706.
The Main Altar
The altarpiece of the main altar is framed by a structure designed by Filippo Juvarra. It was commissioned from sculptor Bernardino Cametti (1669–1736) in 1729, with specific instructions regarding its subject. Completed in 1731, the white Carrara marble high relief depicts Blessed Amadeus of Savoy interceding in prayer with the Madonna and Child for victory at the Battle of Turin (September 7, 1706). The Blessed Duke points to the battlefield below, with the city of Turin in the background.
Numerous exquisite angels enrich the composition. At the Duke’s feet, one angel represents France, attempting to seize royal emblems, while another symbolizes Piedmont, pointing to the battle's turning tide in favor of the Savoyards.
The diagonal, ascending layout gives the piece movement and lightness while suggesting the elevation of prayer toward the Virgin. The interplay of light and shadow on the monochrome marble is striking—arguably more effective than that of polychrome works. The piece highlights the intentions of its patron, Victor Amadeus II: to celebrate both the devotion of the House of Savoy to the Virgin Mary and the military glory of the dynasty.
Amadeus IX, Duke of Savoy and Count of Aosta (1435–1472), was a man of deep faith and a Franciscan tertiary. Beloved by the people, he supported the poor and needy. He was beatified in 1678.
The Altar of the Nativity of Mary
This side altar is dedicated to the Nativity of the Virgin Mary.
The iconographic program aligns perfectly with Juvarra’s vision of celebrating the Mother of Christ, deeply cherished by the patron, along with the opposite altar dedicated to the Annunciation, and the main altar.
The altarpiece is a high relief in white Carrara marble. The work was begun by sculptor Francesco Moderati, who died before its completion. It was then reassigned in 1728 to Agostino Cornacchini (1686–1754), who extensively reworked it. The piece was transported from Rome to Turin in 1730.
The groups of marble cherubs are by Carlo Antonio Tantardini (1677–1748), who had already collaborated on other Juvarra projects.
"Let us ask our Mother to help us rediscover the beauty of being children of God, and, by overcoming differences and conflicts, to help us live as brothers and sisters..."
— Pope Francis, September 8, 2021
The Altar of the Annunciation
This side altar is dedicated to the Annunciation of the Virgin Mary.
As with the others, the iconographic design follows Juvarra’s program for honoring Marian devotion, a theme especially dear to the patron, and complements the Nativity of Mary altar and the main altar.
The altarpiece is a high relief in white Carrara marble, sculpted in Rome in 1729 by Bernardino Cametti, following architect Juvarra’s guidance. It was brought to Turin in 1730.
The marble cherubs adorning the composition were sculpted by Carlo Antonio Tantardini, also active in other projects led by Juvarra.
“…The angel Gabriel said to her, ‘Do not be afraid, Mary, for you have found favor with God. And now, you will conceive in your womb and bear a son, and you will name him Jesus. (…) The Holy Spirit will come upon you, and the power of the Most High will overshadow you; therefore the child to be born will be holy; he will be called Son of God.’…”
— from the Gospel of Luke