mountaintop; and at incredible cost and effort to bring the stones and supplies to the peak. Behind the church, a monastery was erected. The classical portico is appended to a centralized church with a highly vertical, seventy five meter, baroque dome; the latter creates a mountain atop a mountain effect. He also built other churches, including the bizarre, Borrominesque church of San Gregorio in Messina, Sicily. In Mantua, he added a tall buttressed dome to the Alberti church of Sant'Andrea. Palaces in Portugal The fame obtained in Piedmont led to demand for his talent and capacities at some of the richest noble and royal courts of Europe: in 1719 he was in Portugal, planning the palace at Mafra for King John V (1719–20), after which he travelled to London and Paris. The project of Filippo Juvarra for the Royal Palace of Lisbon was planned starting in 1719, as an ambitious palatial complex alongside the Tagus river in Lisbon. The project included not only a monumental royal palace for King John V and the Portuguese royal court, as well as a new cathedral for the Patriarch of Lisbon. During his stay in Portugal he also made schemes for the creation of a monumental lighthouse in Lisbon at the mouth of the Tagus River with the Atlantic Ocean. Palaces in Northern Italy The Palace of Stupinigi (1729–1731) was built to be the royal hunting lodge some 6 miles outside of Turin, the huge layout and highly decorated interiors made this palace a grand setting for summer retreats. The massive oval central pavilion, topped by a bronze stag, fronted with large arched windows, and extending into angled wings, is the mixture of classicism and whimsy that describes the ornamented delights of Italian Rococo. Juvarra fulfilled the needs of his patron for classical grandeur, but with the baroque urge to decorate, to construct buildings as if they were made with curling ribbons. The pavilion interior, highly decorated with stucco and gilded details, fulfils the expectations further. Juvarra also received a commission to restore and refurbish the massive palace complex of the Savoy monarchy at Venaria Reale, called the Reggia di Venaria Reale, and its church of Sant’Uberto. The latter, in its unfinished state, sports eclectic influences, with an octagonal dome and embracing wings arching outward. One of his masterworks in palace construction is the façade (1718–21) of the Palazzo Madama in central Turin. It