{"id":12614,"date":"2022-10-06T14:03:21","date_gmt":"2022-10-06T12:03:21","guid":{"rendered":"https:\/\/miramare.cultura.gov.it\/amedeo-di-savoia-aosta\/"},"modified":"2023-02-24T16:38:14","modified_gmt":"2023-02-24T15:38:14","slug":"amedeo-di-savoia-aosta","status":"publish","type":"page","link":"https:\/\/miramare.cultura.gov.it\/en\/amedeo-di-savoia-aosta\/","title":{"rendered":"Amedeo of Savoy"},"content":{"rendered":"

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Amedeo of
\nSavoy<\/h2>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=”1″ _builder_version=”4.18.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_row column_structure=”3_5,2_5″ _builder_version=”4.18.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”3_5″ _builder_version=”4.18.0″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.19.0″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n

In 1930, the Italian government designated Miramare Castle as the residence of Duke Amedeo of Savoy-Aosta. Alberto Riccoboni, architect of the Regia Soprintendenza alle Belle Arti (Italian Royal Superintendency of Fine Arts) supervised the project for the architectural renovation of the castle, which needed to be adapted to the Duke\u2019s modern requirements.
Some of the more redundant decorations were removed from the castle\u2019s rooms, which were revamped with functional furnishing in which aesthetics was matched by the utmost practicality. This is especially true of the furniture in rationalist style to which the left wing of the second floor still bears witness today. The Duke’s private apartments, which in the past also continued to the “mezzanin,” the top floor with lower ceilings, can be visited here.
The renovation of the castle in the Duke’s days was not only aesthetic: the genio civile, the Italian public works department, provided the building with two lifts, telephone lines, a neon lighting system, running water and radiators.
The duke resided in the castle from 1931 to 1937, when he was appointed viceroy of Ethiopia, while his wife Anne of Orleans and daughters Margherita and Maria Cristina continued to live there, albeit occasionally, until the first half of 1943.
During this period, however, visitors could access the upper part of the Park, as well as the Castelletto, which was furnished with Maximilian’s furniture that the duke did not keep in the Castle.<\/p>\n

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THE THIRTIES<\/h3>\n

In 1931, Duke Amedeo of Savoy-Aosta with his wife, Anne of Orleans, and eldest daughter, Margherita, settled in Miramare Castle.
\nThe period the dukes spent in Trieste was brief, but it left indelible traces on the castle and the park: the residence, which had not been regularly inhabited for almost seventy years, was adapted to the needs and tastes of the new princes. These rooms, where their private apartments were located at the time, evoke the architectural transformations that Miramare underwent in those years.
\nThe rooms adapted to the rationalist and art deco styles of the 1930s epitomised the desire to mark the transition to a new historical and cultural period. The furniture, paintings and objects that belonged to the dukes allude to the obligations of public life and the intimacy of their private lives.[\/et_pb_text][et_pb_toggle title=”ENTRANCE” open_toggle_text_color=”#e04164″ icon_color=”#e04164″ use_icon_font_size=”on” icon_font_size=”22px” open_use_icon_font_size=”on” open_icon_font_size=”22px” admin_label=”ingresso” module_id=”ingresso” _builder_version=”4.19.0″ _module_preset=”default” title_font_size=”100%” global_colors_info=”{}”]<\/p>\n

BUST OF AMEDEO OF SAVOY-AOSTA<\/h4>\n

Romano Romanelli<\/strong>
\nBronze, 1959<\/strong><\/p>\n

\"busto-amedeo-di-savoia-castello-miramare\"An emblematic work of the vigorous conception of art that requires physical as well as spiritual strength, the bust of Amedeo of Savoy-Aosta is a heroic portrait with a D’Annunzio-esque flavour that reveals the moral fibre and athletic might of the Iron Duke. Stylistically it follows in the footsteps of the Etruscan-Tuscan tradition, which the author, the Florentine Romano Romanelli, was very familiar with. He succeeded in establishing a fertile dialogue between it and the contemporary soul and consciousness.
\nThe sculpture, donated in 1959 by Duchess Anne of France, Amedeo’s widow, to Miramare Castle, was cast by the same artist who replicated Amedeo\u2019s bust modelled in 1933, which is kept at the Gallery of Modern Art in Turin.
\nRomanelli was present from 1937 with Duke Amedeo in Ethiopia, to design the Monument to the Legionnaire, which was to be built in Addis Ababa to commemorate the Italian colonisation of East Africa. The sculptural group, whose production was halted by the war and resumed after the fall of the regime, was donated by the Italian government to Syracuse, after being duly modified.<\/p>\n

Romano Romanelli<\/strong>
\n(Florence 1882 \u2013Florence 1968)<\/strong>
\nA sculptor and medallist, son of Raffaello and grandson of Pasquale Romanelli, both famous sculptors, he was a staff officer in the Royal Navy and fought in the Libyan War and World War I. A pupil of Domenico Trentacoste, representative of neo-fifteenth-century eclecticism, he became famous in 1910 with the colossal Hercules wrestling the lion and frequented the artists gravitating around Rodin’s studio, particularly \u00c9mile-Antoine Bourdelle, in Paris in 1912.
\nWith his adherence to fascism, from 1919, he adopted a more aggressive style: the high relief of Romulus tracing the furrow of Rome’s foundation (Rome, palace of the Ministry of Corporations), modelled in 1926, offers a tangible image of Romanelli\u2019s idea of fascism, a celebration of the prevailing ideology that through an essential style reconnected with the myths already belonging to the nationalist repertoire of the early twentieth century.
\nIn 1930 he received the prestigious post of Academic of Italy with the support of Mussolini.[\/et_pb_toggle][et_pb_toggle title=”PUBLIC LIFE” open_toggle_text_color=”#e04164″ icon_color=”#e04164″ use_icon_font_size=”on” icon_font_size=”22px” open_use_icon_font_size=”on” open_icon_font_size=”22px” admin_label=”vita pubblica” module_id=”vita-pubblica” _builder_version=”4.19.0″ _module_preset=”default” title_font_size=”100%” global_colors_info=”{}”]Furniture by Alberto Riccoboni for the Duke of Aosta\u2019s study<\/strong><\/p>\n

In addition to directing the renovation and refitting works in the apartments for the dukes, the architect Alberto Riccoboni was responsible for designing all the furniture for the renovated rooms. The duke’s study was created in the castle’s historic library, where the architect created four different blocks of furniture, consisting of a sofa, leather armchairs, upholstered chairs, tables, cabinets, and the desk. The latter has the appearance of a compact parallelepiped with geometrically shaped feet. To the left of the space for the chair, there is a door with file drawers, topped by several compartments for stationery. Pressing a button hidden under the top shelf opens a secret compartment. On the right, there are two drawers and another compartment closed with a door. Finally, two additional shelves can be pulled out from the top edge of the desk. The desk is made of solid wood, veneered with Caucasian walnut and Macassar ebony. At the wishes of the duke, the furnishings for his apartments were commissioned from local craftsmen. The “Francesco Zanetti” firm was commissioned for the furniture and its shopwindow at No. 2 of Via Diaz displayed the duke’s desk with some other furniture for a few days, as documented by an article in the local Trieste newspaper Il Piccolo<\/em>.<\/p>\n\n\t\t