The portrait depicts Carlo Emanuele I, Duke of Savoy from 1580 to 1630, wearing one of his precious armor and the Annunziata collar. As stated by the signature at the bottom left, it is the work of one of the rare and most acclaimed painters of the seventeenth century, Giovanna Garzoni (1600-1670) from Ascoli. Called to Turin by Christina of France, she worked there from 1632 to 1637. In the Royal Palace the parchment with Carlo Emanuele I is the counterpart to the one depicting his father Emanuele Filiberto, while in the Uffizi there are the portraits of his wife Caterina Micaela and his son. Vittorio Amedeo I. The painting, with its extremely refined design and pictorial technique, stands out for its remarkable naturalism despite having been made a few years after the death of the Duke depicted. The painter must have taken up one or more portraits previously made by other authors, such as Giovanni Caracca, but reaching a much higher result, which justifies the success obtained in Florence and Rome after her stay in Turin.

The table is the only testimony of the Piedmontese Renaissance still preserved in the Royal Palace. Conceived as an altarpiece, in the nineteenth century it was donated by canon Giuseppe Benedetto Cottolengo to Carlo Alberto and placed in the king's bedroom, where it is still exhibited today. The work is dated 1523 and documents the style of the Chivasso painter, suspended between the Gothic character derived from the art of the Alps and the influence of Lombard naturalism. The Madonna sits on a throne covered with a medieval-style gilding and holds the Child in her arms, depicted with the Globe with the cross, symbol of redemption. On the sides, the standing figures are the saints John the Baptist and Nazario. Below left, the kneeling man is the commissioner of the work, with the cloak adorned with fur and the cross of the order of Malta to identify his social prestige. The figures appear devoid of connection between them, joined only by the classical canopy that delimits the space of the scene.

The sketches, commissioned to Francesco De Mura, are models for the realization of a series of tapestries for the Sala degli Staffieri (Royal Palace, First Floor). Painted in Naples, the painter's hometown, they were sent to Turin in 1768. De Mura depicts The Stories of Aeneas and Dido recalling salient episodes from the first four books of the Aeneid. The mythological theme is offered here to a sentimental reading: from the epic story, the central moments of the Queen of Carthage's falling in love with the Trojan hero, ancestor of the Romans, are selected. The painted episodes are transferred to eight tapestries made between 1771 and 1888 by the Turin Royal Manufactory, founded by Carlo Emanuele III. Readable counterclockwise, the tapestries fit perfectly between the wooden decorations of the environment, four in the center of the walls and four covering the corners. These large-format textile products, worked on a loom, combine the decorative function with that of contributing to the thermal insulation of large and difficult to heat environments.

The large painting depicts Vittorio Amedeo, Duke of Savoy, then Vittorio Amedeo III, with his wife Maria Antonia Ferdinanda and the first five of the twelve children. It is a family portrait full of symbolic elements. At the center of the scene, the future king holds his eldest son by the hand, the heir to the throne Carlo Emanuele, while with the other he points to a small temple of peace and an obelisk where two cherubs hold the Savoy coat of arms and two olive branches. The gesture underlines Vittorio Amedeo's political line, aimed at maintaining peace. At the bottom right, some weapons and armor, having lost their warlike use, are accumulated in a disorderly fashion as toys for the princes. The one with the arrow in his hand, a male attribute, is the future Vittorio Emanuele I. The canvas can be dated between 1759 and 1760 and is located in the apartments on the second noble floor, where the couple lived after their wedding in 1750. The painter di corte Giuseppe Duprà, from Turin of Roman training, portrays the family of the future king of Sardinia in a sumptuous setting, focusing on the preciousness of the embroidered fabrics.

The painting serves as an altarpiece in the small chapel attached to the Private Audience Hall. The design of the environment was entrusted by Carlo Alberto to the Bolognese painter Pelagio Palagi (1775-1860), one of the main protagonists of the early nineteenth century in Italy. Called in 1832 and soon named "painter in charge of the decoration of the Royal Palaces", Palagi devoted himself in the Turin residence above all to the design of the interiors: like a modern designer he conceived a considerable amount of decorative elements and furnishings, including the altar itself in gilded wood on which the Holy Family is placed. The canvas, dated 1845, is one of the rare Piedmontese paintings made personally by Palagi - now seventy years old - and well reflects the typical taste of nineteenth-century classicism. The elegance of the composition, the calm monumentality of the figures, the brightness of the colors and the general sense of calm refer to the lessons of Raphael, as well as other artists of the past, from Correggio to the Bolognese classicists of the seventeenth century.

The watercolor enhances the visual impact of the Sacra di San Michele, today a symbolic monument of Piedmont but already considered an emblematic testimony of the Savoy Middle Ages between the eighteenth and nineteenth centuries. In the misty atmosphere, vegetation, rock and man-made stone merge, creating a solemn encounter between the sublime visions of the Alpine landscape and the picturesque testimonies of medieval architecture, two themes dear to the figurative culture of the early nineteenth century. The Turin-born Giuseppe Pietro Bagetti (1764-1831) was a great watercolorist specializing in particular in military topography and landscape. His technical expertise, already appreciated by Napoleon Bonaparte, was at the service of Vittorio Emanuele I and then of his brother Carlo Felice, for whom he carried out a series of battles and a series of landscapes respectively.

The large canvas has a place of absolute importance among the nineteenth-century paintings of the Royal Palace, mostly commissioned by Carlo Alberto to fill the void left by the works that merged into the Royal Gallery. The author, the Venetian Francesco Hayez (1791-1882), drew the subject from an episode in the Gerusalemme Liberata del Tasso, also present in the poem by Tommaso Grossi I Lombardi at the first Crusade. Hayez worked there for several years and with great commitment, with the aim of creating a monumental work of national scope, in which a large number of Christians were united in suffering and faith. From the point of view of the Risorgimento, this condition could be similar to that of the Italian people wishing to be freed from the Austrian yoke. It is no coincidence that Carlo Alberto, promoter of the wars of independence, wished to arrange the painting in the first antechamber of his representative apartment. Unfortunately the painter's work took longer than expected and by the time the canvas was placed in 1850 the king was already dead. Today in this masterpiece we still appreciate the fresh colorism reminiscent of the Venetian eighteenth century and the great drawing and portrait skills that have made Hayez the leading painter of Italian romanticism.

Founded in 1710 in Meissen, near Dresden, by August II the Strong of Saxony, following the research of the chemist Johann Friedric Böttger, the factory entered into crisis with the Seven Years War and went through various vicissitudes. The Louis XVI taste was later introduced to rival Sèvres. A notable diffusion on the market took place between 1833 and 1870, with the revival and remaking of objects from the golden period in the Neorococo style; in the late nineteenth century, objects of eclectic taste spread. In the last decade of the nineteenth century, the Italian court purchased various services reproducing eighteenth-century decorations, and often ordered replicas of the ancient services. The tureen reuses the “Deutsche Vogel” pictorial decoration and the “Alt Ozier” relief border. The pieces are characterized by pictorial motifs of brightly colored birds on twigs and insects, on a brilliant white background; a part of the bottom has a subtle basket-like weaving modeling. The raised edge is gilded; the handles and the knob of the lid are made by re-proposing tasty rocailles motifs, also partially gilded.

It is a curious object whose general shape recalls that of a stove, wider at the base, with four feet and, at the crown, with a frame beyond which the metal structure is perforated like lace; the central body is equipped with a crank with a clock movement and a chime to indicate the end of the cooking time. The metal surfaces are embossed with different decorative motifs. These structures, of different sizes, were preferably placed in the fireplaces, to support the dishes to be cooked on special bars and at variable heights. The rotisserie are still mentioned in the List of tools of the Mouth Offices lying in the cellar used as a "Branch Depot", from 1950, which lists the tools in the aftermath of the Second World War.

The Vienna factory was founded in 1717 and decorators and chemists from Meissen landed there, where the first European porcelain was produced. The management by the state ensured the necessary economic resources, and the subsequent discovery of kaolin deposits in Hungary allowed the production of a better quality pulp. The cup, with a typical so-called crater shape, with a gold threaded volute handle, a shiny gold background and various decorations, has a mirror with a view of the New Gate of Vienna seen from the outside of the city, while the saucer offers a tile with the vision of the same door but from inside the city, therefore with a lively and complete sense of reality. The crater shape is typical of Vienna production during the Biedermaier period, when a characteristic bourgeois taste predominates. Landscape painting is also very frequent in the decorative repertoire of Viennese porcelain; the most represented subjects are precisely the views of Vienna and its surroundings, taken from the late eighteenth-century engravings by Carl Schutz, Lorenz Janska and others.