The Caserta Palace
and San Leucio
If you
have read the item on the Albergo
dei Poveri, the mammoth Royal Poorhouse in Naples, you know
that Charles III of
Bourbon
thought big. Another one of Charles’ grand projects—also unfinished—
got far enough,
however, to wind up 250 years later on UNESCO’s World Heritage list—to
wit, the
Bourbon Royal Palace at Caserta and the adjacent San Leucio complex,
the first
example in Europe of a created workers’ town, a utopian community. From
the
UNESCO description:
“The
monumental complex at Caserta,
created…to rival Versailles and the Royal Palace in Madrid…brings
together a
magnificent palace with its park and gardens…[and]…is an eloquent
expression of
the Enlightenment in material form…whilst cast in the same mould as
other 18th
century royal establishments, [it] is exceptional for the broad sweep
of its
design, incorporating not only an imposing palace and park, but also
much of
the surrounding natural landscape and an ambitious new town laid out
according
to the urban planning precepts of its time. The industrial
complex…designed to
produce silk, is also of outstanding interest because of the idealistic
principles that underlay its original conception and management.”
Looking
back at the Caserta Palace
from within the grounds
The area
around San Leucio
came into the possession of the Bourbons of Naples in 1750 and was
chosen to be
part of Charles’ unusual social experiment, the creation of a new town
of San
Leucio centering around a silk factory housed in the main building,
the
Belvedere, an ex-hunting lodge. Acting on the advice of Bernardo
Tanucci, the
minister of state of the kingdom, Charles sent the youths of the area off to France
to learn the
silk-making
trade.
In the
meantime, work went forward on the
centerpiece of the whole area, the new Royal palace, meant to be the
administrative
hub of the new city (and, indeed, the entire Kingdom of Naples)—and a
physical
hub, as well, since the streets would radiate out as arteries for the
new city.
The construction of the palace was begun in 1752 under the keen eye of
one of the
greatest Italian architects of the century, Luigi
Vanvitelli, who
engraved the
plans on 16 copper plates. Charles, however, abdicated to return to Spain
in 1759,
leaving the entire project in the hands of his dimwit son, Ferdinand;
fortunately,
Ferdinand was a minor and was guided for a number of years by Tanucci,
his
regent. Work on both Caserta
and San Leucio went forward. Vanvitelli
died in 1773; his son continued the work until 1780 when construction
was
halted. It wasn’t quite done, but what there was, was impressive, to
say the
least: a palace of some 1,200 rooms, two dozen state apartments, and a
royal
theater modeled after the San Carlo theater
in Naples.
A monumental avenue, 20
kilometers in
length, which would have connected the palace to Naples, was never finished.
One of Vanvitelli's original
engravings of the
Caserta Palace (center)
The
town, San Leucio,
however, progressed. In 1778, based on plans drawn up by architect
Francesco
Collecini, the Royal Colony of San Leucio came into being. Later
statutes from
1789 legislated the existence of the town: each family got a house
within the
colony; mandatory schooling for both boys and girls was instituted;
silk
workers put in 11-hour days (less than the 14-hour day common in most
places in
Europe); the houses within the colony had running water, and health
services
were provided for the workers. Men and women worked together and were
treated
equally. Private property was abolished and workers put a portion of
their
pay into a common fund to provide for the needs of all, including the
elderly
and the sick. The colony had an elected assembly. In short, it was an
attempt
to put the philosophy of the Age of Enlightenment into practice.
The
whole finished
project—a utopian town of royal silk weavers living in social harmony
in the
new city centered on the new Royal Palace wherein resided the Platonic
benevolent monarch—never quite made it. Tanucci went into severe
eclipse once
Charles’ wife, Caroline, got a place
on the council of state; there was
a revolution in 1799, then a French invasion in 1806, then a restoration
in 1815,
and so forth, into the new century, leading up to the unification of
Italy. Royal
palaces of defunct dynasties thereafter became quaint museums. The silk
factory, however, did survive long enough to produce cloth and sails
for an
international market. San Leucio now is home
to a silk museum with some original old looms and machinery restored
and on
display.
The
social experiment of the workers’ commune, however, far from being
quaint, invites comparison with other later utopian communities of the
day. And
in the post-Napoleonic Europe — after
the
restoration of the traditional dynasties—the egalitarian principles of
the community
no doubt invited some nervousness, as well.
(back
to index)
|