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Castelnuovo e M. Rosci, Torino 1980, v. I, p. 424). Il mandato di pagamento della Real Casa risale al 12 marzo 1844. La tela faceva parte della serie di dodici dipinti riferiti alla fedeltà dei sudditi ai sovrani, di vari artisti, destinati ad arredare la Sala del Caffè di
Palazzo Reale, rinnovata a partire dal 1841 sia sotto il profilo architettonico sia sotto quello della decorazione (Clemente Rovere nella sua "Descrizione del Reale Palazzo di Torino" edita nel 1858 la registra sulla "parete a borea, a sinistra della porta", p. 155). Insieme ai tre ritratti sabaudi (Amedeo VIII di Arienti, Carlo Emanuele I di Molteni e Vittorio Amedeo II di Bezzuoli) e alle tre tele delle "benemerenze culturali" dei Savoia, di Storelli, che completavano l'arredo della sala, il nucleo fu inviato nel gennaio 1898 alla basilica di Superga e sistemato negli appartamenti reali annessi alla basilica (bolletta di scarico n. 6 del 31 gennaio 1898, cfr. nn. 259-276 dell'inventario di P. Reale del 1879-1898, A.S.T., Casa SM 4536).
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Monarchia di Savoia" del 1833), a trattazioni storiche di poco precedenti, di carattere piĂą narrativo e divulgativo, come le "MĂ©moires historiques sur la Maison Royale de Savoie" del marchese Costa de
Beauregard, Torino 1816, l'"Histoire de la Maison de Savoie" del Frézet, Torino 1826-27, "I secoli della Real Casa di Savoia ovvero Delle Storie piemontesi" del Paroletti, Torino 1827-40, il "Compendio della Istoria della R. Casa di Savoia" di Davide Bertolotti, Torino 1830, ristampata nel 1833 ad uso scolastico.
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sulle prime non sapevano indovinare se questa apparizione fosse un colpo di teatro od una sorpresa dei nemici" (volume XIV, Torino 1846, p. 448). La scelta dell'episodio si collega alla fortuna del tema dell'assedio di Torino del 1706, accomunante
Vittorio Amedeo II con il principe Eugenio di Savoia, e in particolare dalle numerose riprese pittoriche e scultoree del gesto di Pietro Micca realizzate in quest'epoca (anche per la Sala stessa del Caffè, di Michele Cusa).
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Segurana combatte virilmente sulle mura di Nizza al mare MDXLIII" di
Michele Cusa e "La contessa Beatrice di Lucerna risponde eroicamente alle minacce del maresciallo di Brissac" di Angelo Capisani, entrambi commissionati dal re Carlo Alberto.
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126:"I Piemontesi introdotti da Maria Bricca nel castello di Pianezza", quadro del prof. Francesco Gonin, ordinato da S.M. il Re. Catalogo, n. 192.
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corsi d'acqua vicini. In seguito a questo gesto coraggioso, i piemontesi poterono circondare il castello e costringere i francesi alla resa.
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This file has been identified as being free of known restrictions under copyright law, including all related and neighboring rights.
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