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Filippo di Agliè was born in 1604 to Giulio Cesare San Martino d’Agliè and Ottavia Gentile. From a young age, he led a libertine life, accompanied by a resolute and violent character that led him, not yet twenty years old, to challenge Count Parella to a duel.

He embarked on a military career, distinguishing himself in the wars against Genoa and in the siege of Verrua in 1623.

To contribute to his better education, in 1627 he was sent to Rome to the court of Prince and Cardinal Maurizio di Savoia, of whom he became a chamber gentleman. At Cardinal Maurizio’s court, one of the most famous patrons of the time, Filippo learned to appreciate the arts, music, and literature. Having returned to Turin in 1630, he dedicated himself to the creation of ballets and performances for the court, predominantly set in the gardens of the Savoy residences.

A love story

It was on one of these occasions in 1630 in Cherasco, where the court had taken refuge to escape the plague epidemic, that he met Duke Vittorio Amedeo I and his wife Maria Cristina of Bourbon for the first time. The following year, he was appointed Standard Bearer in the duke’s guard company. By frequently attending the two sovereigns, he began a love affair with the duchess that lasted for a lifetime.

Upon the duke’s death in 1637, given the young age of his son Francesco Giacinto, Maria Cristina became the regent of the duchy. The following year, Filippo d’Agliè was appointed governor of the Citadel of Turin. From this moment on, he would always be by the duchess’s side as a favorite and advisor.

However, these were not easy years. On one hand, Maria Cristina had to face and keep at bay the French and the expansionist aspirations of Louis XIII and Cardinal Richelieu. On the other hand, she was not well-regarded by the people, who preferred her brothers-in-law, the brothers of her late husband Vittorio Amedeo I, supported by the Spaniards and Cardinal Maurizio. This led to a civil war during which Filippo always faithfully supported the duchess.

As often happens when rulers are not well-regarded, the people discredit them and accuse them with more or less true rumors. Filippo was accused of accumulating wealth by robbing the state’s coffers. It was also said that they had secretly married, sleeping together every night. After the death of Francesco Giacinto in 1638, suspicions began to circulate that the new duke Carlo Emanuele, just four years old, was the son of Filippo and not Vittorio Amedeo I.

Civil war

Despite everything, the civil war continues. The French, nominally allies of Maria Cristina but actually motivated by the conquest of the duchy, forced the duchess to sign a treaty in which she cedes Savigliano, Carmagnola, and the citadel of Turin. Prince Tommaso and the Spaniards, on the other hand, occupy Chivasso, Chieri, and the Valle d’Aosta.

In 1639, there were a series of meetings in Grenoble where Filippo d’Agliè vigorously defended the position of Maria Cristina against the demands of Richelieu. In particular, he advised the duchess not to yield to the persistent French request to distance Father Pierre Monod, the main anti-French exponent of the Savoy court. Filippo’s tenacious support and conviction did not waver even after the threats of Cardinal Richelieu towards the duchess and Filippo himself.

The war lasted until the end of 1640, when finally the French army defeated the Spanish one that had occupied Turin. Finally, the people acclaimed the return to Turin of Maria Cristina (and Filippo d’Agliè).

Filippo d’Agliè in prison

However, the end of the war did not bring benefits to Filippo. Without a valid reason, but probably as revenge and retaliation for the attitude held during the meetings in Grenoble, Richelieu at the beginning of 1640 arrested Filippo and imprisoned him in France. The vibrant protests of Maria Cristina were in vain, Filippo remained in prison until 1642. He was released only 26 days after the death of Cardinal Richelieu.

Meanwhile, Maria Cristina stabilized the political situation of the duchy: she was recognized as the guardian of the young Duke Carlo Emanuele II, she granted a place to the brothers-in-law in the regency council. Prince Tommaso obtained the lieutenancy of Ivrea and Biella. Cardinal Maurizio received that of Nice. To seal the agreement, he left the ecclesiastical career marrying Luisa, the thirteen-year-old daughter of Maria Cristina.

Filippo d’Agliè returned to Turin resuming his activity as a playwright. However, imprisonment had changed him a lot, so much so that he wanted to enter as a novice at the Monte dei Cappuccini convent. Maria Cristina convinced him to stay by her side for the management of the duchy. He accepted, returning to court, but imposing on himself the vow of chastity!

The last years

Alongside Duchess Maria Cristina in the following years, he was appointed Superintendent of Finances (1646). Thanks to this position, he was able to carry out various works such as the construction of the Valentino Castle, the church of Santa Teresa, and the Vigna di Madama Reale (today Villa Abegg). He also dedicated himself to the restoration of the Ducal Castle of Agliè and in 1648 was named Knight of the Supreme Order of the Most Holy Annunciation.

In 1650, he was appointed major domo of Duke Carlo Emanuele II. His last mission was in 1666 when he went to Milan to pay homage to Emperor Leopold I on behalf of the duke.

Upon the death of Duchess Maria Cristina in 1663, Filippo was summoned to court by Carlo Emanuele II and forced to retire to private life. He did so, becoming a regular visitor to the Monte dei Cappuccini convent until his death. He spent his last months in severe pain due to kidney stones (or perhaps the bladder), finally dying on July 19, 1667.

The discovery of Filippo d’Agliè

The funeral took place two days later. Before closing the coffin, his brother Ottavio inserted two pipe bowls, objects dear to Count Filippo, a great lover of smoking. As per the testamentary dispositions of the deceased, the body was buried at the Monte dei Cappuccini and precisely… in the most abject and vile site of the convent… without any sign indicating the location of the tomb, almost as if he wanted to be forgotten. He is presumed buried in the garden near the kitchen’s dump.

The ceremony was private. Over time, even the few who had participated and could indicate the exact spot where he was buried died. Count Filippo d’Agliè is thus definitively forgotten.

Not entirely, though. In 1989, during the renovation works at the Monte dei Cappuccini, a skeleton was found in the garden where once the friars’ vegetable garden was located. Next to the skeleton were two pipe bowls. One of these bore the engraved letters J, C, and V, which was probably a dedication from the duchess to the count. Something like “Je, Chretienne, donne à vous mon coeur (I, Cristina, give you my heart)”. According to historians, the pipe bowl was a gift from Maria Cristina made on March 19, 1643, the count’s thirty-ninth birthday.

In 2010, the remains of the count were finally entombed in the Church of Santa Maria al Monte.

Filippo d’Agliè choreographer

The period spent in Rome at the court of Cardinal Maurizio had a significant influence on Filippo. He learned to appreciate literature and theater. He became an esteemed poet (in Latin, Italian, and French), instrumentalist, and composer. However, he achieved the highest level as a choreographer and composer of ballets, writing both the verses and the music.

Throughout his life, in addition to organizing tournaments, parties, games, and events, he composed 35 works, often signing himself as Filindo il costante.

Works by Filippo d’Agliè

Among these, the following should be remembered:

• La prigionia di Filindo il costante. Written during his detention in France, it is a short autobiographical poem of which no trace remains.
• Hercole, et Amore. A political-themed ballet performed at the Chambéry Castle on February 10, 1640, for Duchess Cristina’s birthday. The plot features Love bringing peace after political problems (Spanish invasion in France, crisis following the death of Vittorio Amedeo I). Love was played by Duke Carlo Emanuele at only 5 years old, while among the other performers were also Filippo and some courtiers.

• Dono del Re del Alpi a’ Madama Reale. A court ballet first performed on February 10, 1645, at the Rivoli Castle for the duchess’s birthday. Performed by Carlo Emanuele II of Savoy (in the role of the King of the Alps), Filippo himself, and twenty-three courtiers, it took place in four different rooms representing the provinces of the duchy.

Others works

• Il Tabacco. A humorous ballet performed on March 1, 1650, at the Ducal Palace of Turin. A lover of smoking, Filippo wrote the work set on the island of Tobacco as a mockery of the vice. Once again, the performance was interpreted by Carlo Emanuele II.
• Il Gridelino. Filippo’s most famous work, still performed today. It was staged on the last day of Carnival in 1653. The main character is the god Love, who, blindfolded, cannot see the surrounding environment. He thus asks for help from Light, begging her to restore brightness and colors so that he can choose what he likes best. To satisfy his desires, Juno sends her messenger Iris. Among the various colors, Love chooses the color of the flax flower, the gridelino (incidentally the favorite of Duchess Maria Cristina), giving it the meaning of endless love (once again a dedication to his beloved). The ballet was so well-liked that Anna of Austria, Queen of France, had it performed in Paris that same year, with the title in French Ballet du Grisdelin.