Heritage: Aosta, Gignod, Roisan

Site included in the Aosta archeologica cumulative ticket

Under the village’s old parish church, archaeological diggings brought to light the early Christian cruciform basilica, indicated as Concilium Sanctorum , the Assembly of Saints because it was built on the tombs of some of the early martyrs who were buried in the Roman cemetery area which in itself was built on a protohistoric funeral settlement.
Inside you can see parts of the liturgical structures, the relic platform with the tombs of three bishops who lived between the V and VI centuries (Grato, Agnello, Gallo) and other tomb chambers dating from between the V and VIII centuries.

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One of the most interesting prehistoric archaeological sites in Europe but also a place where history has continued to leave evidence even in subsequent centuries. Come to Aosta and take advantage of the museum's initiatives and guided tours and discover all the technological innovations of the recent museum setup.

The archaeological site

The area, brought to light in 1969, measures approximately one hectare, and is one of the most interesting archaeological sites in Europe, offering a fascinating overview of significant moments stretching across almost 5000 years of history, from the late Stone Age up to the present.

The term megalithic area has been used as a summary description of the finds in Aosta, which has currently no equal, and can only be compared - albeit partially - with the site at Sion, Petit-Chasseur, in Switzerland.

“Megalithic area” refers to a portion of land of a certain, clearly defined size, featuring a variety of different megalithic monuments.
This site is more than just a simple line-up of menhirs or standing stones featuring human figures, or a burial ground, or a series of individual dolmen tombs: these finds demonstrate the existence of a sacred area destined from its origins to hosting recurring activities linked to worship and burial.

Five structural phases have been identified, from the Recent Neolithic (end of the 5th millennium B.C.) through the Copper Age (4th - 3rd millennium B.C.) to the Bronze Age (2nd millennium B.C.).

Initially conceived as an open-air sanctuary destined for the cult of the living, it was not until the latter centuries of the 3rd millennium that it became an important burial ground, with monumental tombs of a variety of megalithic types.

In chronological order, visitors can observe: traces of a propitiatory furrow ritually sown (end of the 5th millennium B.C.), followed by the creation of a line of wells, at the bottom of which are ritual offerings such a millstones, along with the remains of fruit and cereals.

From a later point in time (beginning of the 3rd millennium B.C.) was a line of at least 24 wooden totem poles facing from North East to South West, later replaced by 46 huge anthropomorphic steles, the first authentic manifestation of in this area of megalithism, magnificent masterworks of prehistoric statue construction.

The area took on a clear burial function with the construction of the first megalithic tombs, which were probably occupied by distinguished families from the community and were built entirely above ground. A particularly significant example is the so-called “Tomb 2”, erected on a distinctive triangular platform of stones, used for almost a thousand years as a collective tomb and containing the remains of 39 individuals.

The museum

Visiting the museum implies a trip back from the present day into the prehistorical age: along a route dotted with images referring to human history, the walkways that set out from the entrance to the museum take visitors down to the level of the actual archaeological site (about 6 metres below road level).

The view here is striking as visitors explore the dimensions of time, the tones of the light colour the environment that envelops the archaeological finds: the dolmen, the standing stones brought down, the platform, the traces of the grooves ploughed…

The visitor route constantly looks out onto the archaeological site, in a sort of on-going dialogue between the indoors (the museum) and the outdoors (the site). Explanations, further details and interpretations can be found on the learning and multimedia supports.

Not to be missed:

• the suggestive ramp of time enriched by three-dimensional elements
• the astonishing Immersive room
• the large hall of steles where you can admire 46 anthropomorphic stelae found on the site
• The section dedicated to Protohistory which illustrates the great changes that occurred in the area at the beginning of the 2nd millennium BC, when the agricultural function took over the funerary one: numerous human footprints can be observed imprinted in the plowed land found on the occasion of the most recent archaeological excavations. Furthermore, in this space you can appreciate the large funerary mound from the Iron Age (1st millennium BC) with its original walking surface
• on the upper floor the protagonist is the Roman era divided into two sections: one dedicated to daily life in a rustic environment, and the other to the necropolises excavated over the years along the road, below the parish church and the nursery school; here there are 20 tombs characterized by very rich grave goods, as well as very different funerary practices and rituals in terms of chronology and typology
•  the medieval section concludes the visit itinerary by presenting evidence relating to the small Romanesque church of Saint Martin.

There is also an area dedicated to temporary exhibitions and a conference room.

Several important cultural, scientific and political figures from Valle d’Aosta who died between the first half of the Nineteenth century and the early decades of the XX century are buried in the old cemetery in the village of Sant’Orso.
There is a neogothic chapel there that was built towards the middle of the XIX century by the Counts of Castigliole who had their family tomb there.

A building, rich in architectural elements, located in via Porta Praetoria 42-52, built at the beginning of the XVIII century by François René of Nus (in fact it was called “Palace of the Nus barons”). During the building of the Hôtel de Ville (1836 - 1842) it was the location of the administrative offices of Aosta.

Private - only the hall may be visited.

Located in Via des Sales, 3, the bishop’s palace, renovated at the end of the nineteenth century, is connected to the Santa Maria Assunta cathedral by a gallery, whose building began in 1667 and finished about one century later.
Public Audiences, the periodical court held by the Dukes of Savoy, were held in the parlour called the “di Cognia” room between 1222 and 1466.
Another room houses frescoed medallions with the portraits of the bishops of Aosta.

In the hamlet of Porossan, in Chiou stands a magnificent aqueduct-bridge across the “ru Prévôt” canal. It is a magnificent construction in partially plastered stone and lime, stretching approximately 70 metres in length, that allows the canal to flow through the valley below, where the river Parléaz runs, between the villages of Neyves and Serod (Porossan) in Aosta. The bridge gives off a feeling of grandness due both to its stone roof and because of some windows that light up inside making the inside visible.

The “rus” are canals that carry water to the driest parts of the region.
This vast network of canals, the most complete and well organised in the Alpine range, dates back to Medieval times, from the beginning of the XIII century to the end of the XV century, when the warm, dry climate and poor rainfall made it essential to set up new irrigation structures. The rus pass through forests, meadows and hills and head down towards the main valley, sending water drawn from the upper flow of rivers towards the inhabited areas and making the mountainous ridges fertile.

The Ru Prévôt takes its name from the Cathedral provost, Enrico di Quart who had it built in 1288 and includes the 70 metre long Porossan aqueduct on its trail, described by the abbé Henry, historian, writer and mountaineer, as “one of the most beautiful monuments preserved from Medieval times”.

It is the western addition (towards the left, looking at the facade) of the Municipality of Aosta.The structure was built in 1724 (therefore prior to the Municipality); inside this building meetings of the State General Assembly were held, presided by the Bishop and by the Knight Commander. The “Conseil des Commis” would also meet and the archives of the Duchy of Aosta were held inside.

Currently the building holds a few municipal offices and some temporary exhibitions.

The site is not accessible to people with disabilities.

Located on the square with the same name, the palace was commissioned in 1606 by Pierre-Léonard Roncas, first secretary of state of the Duke of Savoy,Charles Emanuel I. It later became the seat of the Savoy administration, a sub-prefecture during the Napoleon era and, lastly, an intendance office.
The vaults in the atrium, over the staircase and room that overlook the internal courtyard, are decorated with Italian school frescoes depicting mythological scenes and nature and with zodiac signs, in manneristic style.

The palace it’s not visitable.

According to tradition, this building, located in via Sant’Anselmo 66, saw the birth of Anselmo d’Aosta (1033-1109), who became abbot of the Bec monastery in Normandy and then archbishop of Canterbury in England. Anselmo d’Aosta is famous for being a theologian and philosopher; his name is particularly tied to the “ontological” proof of the existence of God.

Private property - Not visitable.

The large Neo-Classic porticoed building was erected in 1839 on the site of the Cordeliers Franciscan monastery, seriously damaged by French revolutionary troops.
The two fountains on the facade symbolise the city’s two waterways, the Dora Baltea and the Buthier.
The square in the front, now dedicated to Emile Chanoux, martyr of the Resistance, was created by demolishing the church of St. Francis, connected to the monastery.
The staircase and atrium which houses a valuable model of the Valle d’Aosta, can be visited during town office opening hours.

Having crossed the bridge over the Buthier River, along the road that used to lead to the monumental Porta Praetoria, the main access road to the Roman city, the honorary arch dedicated to the emperor Augustus was erected.
It used to be an eloquent sign of the presence and power of Rome, which had definitively defeated the Salassi during the year 25 B.C. and founded the new colony.
The arch, which is characterised by its severe stateliness, typical of the architecture of the late Republican era, is a single round arch, measuring 8.29 metres in width, like the road that crosses it. The pillars at its sides have half-columns at the four corners on attic bases surmounted by Corinthian capitals, the same that divide up the facades and the sides. These surfaces were originally interrupted by reliefs which most likely had monumental representations located in the four alcoves of the facade. A Doric trabeation with tryglyphs and metope closes what remains of the monument in the upper section, for centuries it has been stripped of the attic on which the commemorative inscription was written in bronze lettering. During the Middle Ages, the arch was called “Saint-Vout” given the presence of an image of the Saviour which was positioned on it and then later replaced with the Crucifix. In 1716 the Conseil des Commis decided to preserve the monument from the infiltration of water by covering it with a slate roof. The Arch was definitively restored between 1912-1913, an excavation nearby, dating back to the early years of the 1900’s, brought to light two large letters in gilded bronze, which most likely formed part of the dedicatory inscription.

The Villa is closed - it reopens in the autumn.

These are the foundations of an elegant Roman residence outside of the city walls, some of the rooms are still recognisable, with the remains of the mosaic flooring and the traces of a heating system.
The archeological digs in the suburban villa in the Consolata region were followed in 1971 by construction works, bringing to light the majority of the ancient structures that are currently visible, further digs, during the mid 80’s, extended our knowledge of the central part of the complex - the tetrastyle atrium with impluvium, tablinum -.

Situated in an area known for its significant traces of population prior to the foundation of Augusta Praetoria (25 B.C.), near a sub-hilly branch of the ancient road network towards Alpis Poenina - Gran S. Bernardo -, the villa is rectangular in shape, compact and with a predominance of residential style areas (pars urbana), reserved for the dominus and his guests, with respect to the service areas, the deposit areas and possibly, areas for processing agricultural products (pars rustica and fructuaria): the limited presence of these indicates a link with activities carried out in a fundus (land, estate).

Site included in the Aosta archeologica cumulative ticket

This monument, which dates back to the Augustan era, is the subject of much debate; its main purpose was to create a structure for containing and levelling the ground that must have been slightly sloping from north to south in that part of the town, creating a difference of level between the holy area and the adjacent forensic plateau. Beside this secure structural function, the hypothesis was later put forward that the semi-buried part could have been used as a warehouse and military storage area (horreum). However, following the latest research, it emerges that this use should radically be excluded due to the structural aspect of the monument, its particular location or as a result of a comparison with other similar examples. The marble colonnade (porticus triplex) that stood over it (now destroyed, and of which no archaeological evidence remains in situ) acted as a scenic frame for the two original twin temples of the holy terrace.

Here we find ourselves in the northern part of the Roman Forum complex, right in front of the Cathedral entrance, corresponding to a raised holy area, which was in turn separated from the one used for civil and trade purposes (piazza Severino Caveri), thanks a small decuman passage, which roughly corresponds to the current Via Mons. De Sales.

In technical and mapping terms, the Aosta cryptoporticus is divided into three parts with a horseshoe layout and internally split into two barrel vaults with a central sequence of lowered arches. The length of the two sides is 71.80 m, while the central section extends further, with an internal length of 87.10 m.

Originally, two monumental passages would have opened onto ends of the side wings with openings onto the sides of the central staircase.
The galleries are lit by a series of splayed windows that allow an adequate air flow; over the course of the year, the internal temperature of the cryptoporticus remains constant.

When compared with all these cases, old and new, Italic and rural, which archaeological research has always defined as examples of the public and specifically forensic cryptoporticus, the Aosta example could also be interpreted as a noble structure, linked to the imperial cult and the self-celebration of local nobility, religious bodies or professional citizens.
It is therefore fair to suppose that the cryptoporticus can be interpreted as areas with a specific political-liturgical function: a sort of midpoint connecting the holy (the holy area and the relative temple buildings) and the profane (the public square).

As some medieval maps appear to document, the Cryptoporticus structures were still used in the following centuries, when they were transformed into cellars and became widely referred to as the “Marché des Romains”.

This important necropolis from Roman times was found 200 metres west of Porta Decumana, along the road leading to the Alpis Graia (Little Saint Bernard Pass). It is a discovery similar to that of other necropolises near Porta Praetoria and Porta Principalis Sinistra , all gateways to Augusta Praetoria (Aosta).
The site was used for a long period of time, up to around the end of the first millennium, when the building was gradually abandoned. Thus, the necropolis was used both during the Roman Age and the Early Christian period, and it was fairly normal to have Pagan and Christian graves side by side. Also the religious rites of the deceased were very similar.
The necropolis hosts three mausoleums with rectangular halls, known as the cellae memoriae , and an Early Christian basilica , which dates from the end of the IV century to the entire V century. The basilica shows a strong resemblance to similar Christian buildings located on Roman necropolises situated outside the town walls, such as the Church of San Lorenzo and the Church of Santo Stefano.

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The Decumanus Maximus (what are now the Porta Pretoria, De Tillier and Aubert roads) linked the Porta Praetoria to the western exit of the Roman city: the Porta Decumana. From here the road that led to the Alpis Graia (hill of the Piccolo San Bernardo) commenced. With a double curtain and three passages flanked by towers, this doorway was re-adapted and remained in use throughout the middle ages and the modern age. It was known by the name Porta Friour, del Plot, di Saint-Genis, di Savoie and di Boczana, but the more frequent name was Vaudane (from Vaudagna = Valdigne).

The doorway lasted until 1812, the year in which it was demolished on the orders of the prefect of the Dora Department, in view of the restoration of the district and the widening of the road. The results of a series of excavation campaigns carried out in this area between 1988 and 1991, in compliance with the restoration of the former Hospice of Charity for the creation of the new Regional Library, allowed for the original physiognomy of the doorway to be outlined.

A considerable portion of the tower situated on the northern side of what is now Via Aubert still remains, the southern one, on the other hand, has been almost completely demolished down to the foundations. The digs brought a section of the paving of the decumanus maximus and part of a drain back to the surface.

The site cannot be visited at present.

This monument is situated between via Sant’Anselmo and via Porta Praetoria.

Situated on the eastern section of the walls, it provided the main access to the city of Augusta Praetoria, built in 25 B.C. after the defeat of the Salassians by Terenzio Varrone.

It had three openings, which are still visible today: the central one for carriages and the side openings for pedestrians. The area inside the openings was used as a troop parade court, in its southern section, the land was dug up as far as the level of the ground during the Roman era (approximately two metres below the current level - the difference in height is due to the debris transported by river floods). On the outer facing openings you can still see the grooves from where the gates were lowered at night.

The eastern facade still has some of the marble slabs that once covered the entire monument, on the inside it consists of blocks of puddingstone.

In the Middle Ages, on the top of the monument in correspondence with the ancient patrol walkway, a chapel dedicated to the Holy Trinity was built, from which the Porta Praetoria itself also took its name for several centuries. Following the demolition of the chapel in 1926, an ancient oratory against the eastern side of the door was restored (now only a niche remains).

The Porta Principalis Dextera was located at the southern curtain of the walls and allowed for access to the countryside and the bridge over the Dora, situated in the hamlet of Clerod in Gressan. It had a single carriageable fornix, without a troop parade court and was supported by two towers. The excavations thanks to which it was discovered got underway in the nineteenth century with D’Andrade, while the complete arrangement and repair of the entire surrounding area date back to 1936.

Amidst the Roman material that was re-used during the middle ages to close the lower part of the door, in 1894, the sandstone base of a statue of Augustus was found, it had been erected by the Salassians in 23 B.C., bearing the commemorative inscription: “Salassi incolae qui inizio se in colonia contulerunt”. In the surrounding area there are also the remains of a popular and commercial area dating back to the 2nd century A.D. (the area of the children’s garden).

During the Middle Ages, the doorway took the name Beatrix, the viscounts of Aosta, who controlled the entire south-western perimeter of the walls, built their fortress on the ruins of one of the Roman towers that flanked it. This complex, which was called Bramafam castle, has a circular shaped bastion, at the base of which the Roman walls on which it was erected are still visible.

From the Porta Principalis Sinistra the itinerary that once led to the Gran San Bernardo Pass commenced (Summus Poeninus). Up until 1843, the remains of this building were still visible in the northern part of Roncas square; Palazzo Rolle, a building dating back to the 30’s, situated at the side of Palazzo Roncas, occupies the area of one of the towers (the western one) that flanked the Roman doorway.

The eastern tower, on the other hand, called “de la porte” during the middle ages, became the nucleus around which a feudal dwelling place rose up, the ancient bastion was demolished during the course of the 17th century, by which time it had become part of the Visitation convent. Its appearance is recognisable in a late-seventeenth century view of Aosta, while its presence is still certified in the map by De Tillier dated 1730.

In the basement area of the Regional Archaeological Museum (ex Visitation convent) you can observe the remains of the south-eastern edge of this tower, with the Roman use levels and the only section of embankment, with the relative counterscarp, still resting on a section of the roman walls.

Coming from the Lower Valley, the first ancient monument in Aosta to welcome visitors is the Roman bridge that sits above the ancient course of the Buthier River. It characterises the eastern quarter of the city, called Pont de Pierre, that is, “bridge of stone”. Parallel to Corso Ivrea, a short distance from the Arch of Augustus, the bridge is perfectly preserved and is still used as a thoroughfare today, although the Buthier River changed its course during the Middle Ages and the waters no longer flow under the single humpback arch with its 17.16 m span. Approximately 6 m wide, it was built during the Augustan age with blocks of stone, in compliance with the customary Roman models of the time.

The southern facade 22 metres high with its overlapping arches, the lower part of the semi-circle of steps that housed the spectators (cavea) and the foundations of the wall that acted as a backdrop (scaena) are still well visible. Some scholars have supposed that the theatre was covered by a stable roof. During the Middle Ages numerous constructions were loan against the theater’s walls, but were then demolished during the modern repair and restoration works.

The boundary wall of Augusta Praetoria formed a rectangle measuring 727m by 574 and was built from an interior layer of river stones and an external layer of blocks of travertine.
Sections in which it is still clearly visible: via Hotel des Monnaies, via Carducci, via Carrel (near the bus station), via Monte Solarolo, via Abbé Chanoux. In via Festaz, especially at the junction with via Vevey, you can see the open gaps in the walls for the passage of modern city streets.

Situated in via Chabloz, inside the middle school of Piazza San Francesco, to the north of the Town Hall.
The building dates back to the 1st century A.D.
Some heated rooms have been identified, while the “frigidarium” has not been located.

The site is not open to visitors.

There were two towers for each doorway, four corners plus another eight: twenty in total. Given their number, their strong protrusion towards the exterior and the emphasis given by the double series of arched windows positioned on all four sides, we must bear in mind that their function was also to act as a decorative element: in fact, the boundary wall had not been built with a merely defensive intention, but also with the desire to create a monumental boundary to the urban area. In the centuries following the fall of the Roman empire, Aosta encountered a phase of abandonment and serious decline, during the course of the Middle Ages, the inhabitants gradually returned, houses were built along the main roads and the noble people erected their homes and castles along the old walls. Many bastions were adapted as feudal residences, and some towers were raised and transformed, using the exterior facing of the walls, the majority of which was taken away.
The only towers which have partially preserved their original appearance are those of the Leper and the Pailleron , the latter restored by Alfredo D’Andrade in 1894.

The craftsmen of the Aosta valley traditionally used the term “l’Artisanà” to refer to the shop in the centre of Aosta where the products displayed during the Sant’Orso Craft Fair were taken for sale once the fair was over. Thus, the Institut Valdôtain de l’Artisanat de Tradition has decided to make this name its communication brand, combining the cultural and commercial sectors of its activity.
Today there are four Artisanà boutiques spread all over the region, providing an original showcase for a living, evolving craft industry rooted in tradition.
The boutiques de L’Artisanà offer tourists and aficionados the chance to take home an authentic piece of the Aosta Valley: objects crafted in wood, earthenware and wrought iron, as well as textiles and ceramics, testifying to the traditions of our region that stretch back thousands of years.

The boutique in Aosta

A pioneer in the exhibition and sale of traditional Valle d’Aosta craftsmanship, the Aosta boutique opened its doors on 1st January 1942. Located in the same place then, under the arcades of Piazza Chanoux on the ground floor of the Aosta town hall, the it is known to insiders and countless visitors as L’Artisanà. It is here that now as then, enthusiasts can find the best of local savoir faire.
In December 2017 the boutique was renovated to make the environment even more welcoming.

Opening times are subject to variations: we advice to verify them before the visit (see the “Contacts” area) or by clicking here

The Balivi tower (or Tour du Baillage), situated in Via Guido Rey, on the north-western corner of the Roman boundary wall, was built in the Middle Ages on the structures of the pre-existing Roman tower.
In 1263 Guglielmo De Palatio sold the tower to the Count of Savoy, who turned it into the residence of the Balivi, the city’s administrators.
In 1537 the Administrators were transferred to a more suitable building and tower was refurbished and converted into law courts.
From 1702 it became a prison, which was only abandoned in recent times.

At present the building is seat of the school music Conservatoire de la Vallée d’Aoste.

Bramafam Tower stands at the corner of Via Bramafam and Viale G. Carducci, along the southern side of the Roman walls.
Its official name is Bramafam Castle, but it is commonly referred to as the Tower. It has a circular rampart, with the Roman walls still visible at its base, and part of the tower which flanked Porta Principalis Dextera, on which it was constructed in around the 12-13th centuries.
It belonged to the family of the Viscounts of Aosta, who controlled the entire south-western side of the walls. After receiving the fiefdom of the Challant valley in 1295, they also took its name and became the most important noble family in Val d’Aosta. The fortified house that was their seat, was later moved to the Count of Savoy. Over the subsequent centuries it underwent various other property changes, and lost its representative and administrative importance.
It was apparently abandoned in the 16th century.

To explain the origin of the tower’s name, which is still unknown, a legend says that, out of jealousy, the wife of one of the Challants was imprisoned there and left to die of hunger.

Not open to visitors

Situated north of Porta Praetoria, in the archaeological area of the Roman theatre and surrounded by original mediaeval houses, it gets its name from the noble De Casei family (later gallicized to Fromage) which occupied it in the middle ages.
First cited in a document from 1191, the tower changed hands to the noble Vaudan family in the fifteenth century, after the marriage of Claude Vaudan to Jeannette du Fromage, the last descendant of that line.
The tower, with square plan and not very high, one side supported by the city walls, and the other one by a wall supporting the agger, it preserves its original configuration.

Not open to visitors.

Built at the beginning of the 20th century in an eclectic style and situated on the Beauregard hill to the north-east of Aosta, the castle is the headquarters of the Alpine Military School of Aosta.
It is also known as the “Duca degli Abruzzi Castle” or “Generale Cantore Castle”.
The garden has a natural rock climbing wall, and its premises contain a small museum.

Ancient Roman fortified house, Leper’s Tower was transformed into a feudal residence by the noble Friour family, which appears in records since 1191.
In the 15th century the tower stair was built on the northern side to allow easier access to the floors, and stone windows were opened on the south side. After several changes of owners, it was purchased by the Order of Saint Maurice, which took in a family of lepers originally from the town of Oneglia. The story of their stay in the tower inspired the Savoy writer Xavier de Maistre to write his well-known novel Le lépreux de la cité d’Aoste.

Not open to visitors.

This castle stands in the western area of Aosta, in Via Piccolo San Bernardo.
It is octagonal and was built towards the end of the 18th century from the Barillier family, from whom it was then given to Baron Bich, who kept it until 1880. It was later used by the canons of Gran San Bernardo for the regional agriculture school.

Along the southern section of the walls, on the railway station square, there is the most representative tower of the ancient Roman perimeter, named du Pailleron because it was long used for hay storage.
The tower, with a square floor plan and open on the four sides with six big windows, three for each level, is inserted in a part of roman walls which was open in the middle ages to build the so called “Porta Ferriére”.

After being damaged by fire, at the end of the 19th century the tower was subjected to a careful restoration work using brick, under the supervision of Alfredo d’Andrade.

Not open to visitors.

Situated on the corner of Via Tourneuve and Via Monte Solarolo, the ancient cylindrical tower, with battlements and door placed at safety height, emerges in the north-western part of the Roman walls, well-preserved and in an isolated green area.
It is named in documents from the 13th century, as belonging to the Challant family, who had the title of Viscounts of Aosta and who controlled the entire south-west side of the walls. It was then transferred to the De Turre Nova family, from whom it gets its name.

Not open to visitors.

The church of Santo Stefano is located in the Northern zone of the city of Aosta, just outside the walled perimeter of Augusta Praetoria near the ancient Roman road which, exiting from Porta Principalis Sinistra, led to the Alpis Poenina (the current Gran San Bernardo pass).

The first documental information on the parish of Saint Stephan dates back to the 13th century. In other medieval documents the building of worship was indicated as a “Basilica”, perhaps due to its particular position inside a funeral area from a previous era.

During the middle ages however, the church was a meeting point within a micro-urban reality such as the area of Aosta called “II Faubourg de Saint Etienne” or “De La Rive”, from the name of the canal that still crosses it today.

Up until 1776, like other similar areas, this suburb represented a veritable urban-administrative entity, separate from the rest of the city of Aosta.
The current building was built on the walled structures of a previous church from the 15th century, to which an inscription on the architrave of the right hand entrance door refers: “Hoc opus fecit fieri Jaquemin Pastor” (Jaquemin Pastor had this building built). The church was restored extensively in 1728-29, as appears from the agreement stipulated on 25 April 1728 by the parish priest Clérin, who also had the bell tower raised. The frescoes on the facade were, on the other hand, painted by his successor Michel-Joseph Rosaire, the parish priest between 1729 and 1735.

Overlooking the central Via Aubert near the Regional Library, the church was built in 1682-83 by the Brotherhood of Mercy, who had the task of assisting the prisoners and to accompany the condemned to the gallows. The Brotherhood gave the material and Jean-Boniface Festaz, general treasurer of the Duchy of Aosta and founder of the Hospice of Charity, paid the expenses of the workforce.
The nineteenth-century facade decoration in trompe-l’œil imitates an architecture that includes a painting of the Finding of the True Cross by St. Helena, mother of Emperor Constantine.
The interior contains various antique furniture from 17th to 19th century. The sumptuous main altar in baroque Valsesian style is probably due to the generosity of the Saint Ours’ prior Charles-Hyacinthe Beltram, who in 1737 made major donations to the Brotherhood.

The church
The archeological dig carried out in several batches between 1976 and 1999, allowed for the building’s constructive stages to be rediscovered. The digs involved an area which used to be part of a large extra-urban necropolis, where, at the beginning of the 5th century, there was an early-Christian complex which also included the cruciform church of S. Lorenzo. At the centre of the south nave, the basement of a funeral building was found, it may be dated to some time between the 4th and 5th centuries A.D.; the primitive church, which was erected to the north of this mausoleum, consisted of a simple apsidal hall surrounded by a portico destined for use as privileged burial grounds.
In the 9th century, the church was completely rebuilt and enlarged, moving the general axis of the building southwards, the eastern extremity has three apses, while the facade was rebuilt to the west of the early-Christian one. In the year 989, a bell tower was added to the facade, the remains of which are still visible up to a height of approximately 15 m.
At the beginning of the 11th century, the romanesque church that incorporated the bell tower in the new facade was built, despite the fact that its position was eccentric with respect to the longitudinal axis of the new church. The building has a basilical layout, it is divided up into three naves and ends with semi-circular apses.
The current bell tower, which was built in the 12th century, originally belonged to a defense system consisting of a boundary wall and a second large tower, the remains of which were uncovered against the church’s northern perimeter wall.
The archeological remains are not visible because they are situated immediately below the floor of the church.

The beautiful fifteenth century wooden choir, the ancient crypt and the significant cycle of frescoes (11th century) which are visible in the attic of the church, are certainly worth mentioning.

The archeological dig of the choir of the church of S. Orso allowed for a square-shaped floor mosaic to be brought back to the surface, it was unknown and not mentioned by the sources, it was made with black and white tiles with some inserts of light brown coloured tiles. A series of six circles inscribed in the square, acts as a frame for the central decorations. In the central medallion there is an elegant representation of Samson killing the lion.

The cloister
The cloister is the jewel in the crown of the monumental complex of Sant’Orso, which can be accessed from an open hallway on the right hand side of the facade. The primitive romanesque layout almost certainly dates back to 1133 and it was the work of Provencal or Lombard craftsmen, when the Bull by Pope Innocence II imposed the rule of Saint Augustine on the canons of Sant’Orso, the cloister was already existent, as is evident from an inscription above one of the capitals. The capitals, which were sculpted in marble put which were already decorated with a dark varnish during ancient times, complete simple coupled columns with different shapes and admirably depict symbolic scenes from the Old and New Testaments, from the life of Saint Orso, imaginative characters or animals or else contain different decorative elements. They are considered to be among the utmost expressions of romanesque religious sculpture.

The chapel, located in the part of Aosta known in ancient times as “Terziere della Bicheria” faces onto what is now Via De Tillier and in Medieval times was an important town road for general traffic and trade activities. In “Bicheria” there was a church that had existed since at least 1245, dedicated to Saint Gratus. It probably stood between the current Via Croix de Ville and Via Lostan. However, the chapel was most likely built in the 15th century under the patronage of the Chapter of the Aosta Cathedral. For a certain period this would have existed alongside the ancient and larger church of Saint Gratus; perhaps only after the latter completely lost its importance, this small building became dedicated to the saint bishop of Aosta. In the 18th century it began to decline until it was given to firefighters (1780) and was subsequently used as a storehouse: the partial destruction of the fresco on the façade and of the upper part of the doorway for the creation of a new entrance dates back to this time. In the second half of the 19th century, the chapel was used as a dressmaker’s and clothing shop.

The façade is decorated with a votive fresco, a gift from the citizen Malcastia in 1512: following a late gothic style that was by then dying out, the painting represents the Madonna and Child among the saints Nicholas, Catherine, Barbara and Margaret to which Saint Gratus was later added. It is one of the rare testimonies of early 16th century painting in the Aosta Valley. The inside is made up of a rectangular hall leading towards a cross vault with pointed arches. The ribs characterise the sober late gothic architecture: these branch off from the keystone and are arranged along four corners until reaching the ground. The apse wall of the chapel shows a fresco that probably dates back to the last quarter of the 16th century, mentioned for the first time in the occasion of a pastoral visit in 1624. At the centre an elaborate architectural structure in classical style depicted using a trompe l’œil technique represents a Pietà with lots of characters at the foot of three impressive crosses. Some showcases with ledges and supports have been arranged to exhibit archaeological material unearthed during the excavations carried out in the restoration stages.

Now deconsecrated, the chapel holds exhibitions of works produced by the Aosta Valley Artists’ Association,who renamed the building “Galleria San Grato” (Saint Gratus Gallery).

What is now piazza Giovanni XXIII rises up on the southern part of what was the sacred area of the Roman Forum during the era of Augusta Praetoria, marked off spectacularly by the Cryptoporticus.
The crucial importance of this area for the life of the city, was no less significant during the centuries that saw the progressive decline and the end of that which constituted the Roman world: to the east of the Cryptoporticus, in fact, the first building dedicated to the Christian faith was erected.

In this pre-existing complex, towards the end of the 4th century, the Cathedral was built. It was a building of imposing dimensions, with a single apsidal nave, complete with a baptistery to the west and various annexed rooms, one of which was destined for use as a secondary baptistery. The facade was a few metres from the structures of the eastern wing of the cryptoporticus and it was practically linked to the same by the structures of the main baptistery. This complex, to which a few southern rooms were added to be used as the episcopal residence or dwelling places for the clergy, continued to be used for several centuries and its appearance did not undergo any significant changes, with the exception of a late-medieval constructive phase, up to the era of the great Romanesque construction site which gave the cathedral the appearance that it still substantially has today. The important cycle of frescoes that were brought to light in the attic of the church also originate from this phase of the 11th century: together with those of Sant’Orso, they have contributed to making Aosta one of the main centres of Ottonian art in Europe.

During the second half of the 11th century, the western body of the building was completely rebuilt, it consisted of two towers and an overhanging central apse, during the 13th century two of the five original apses were demolished and the ambulatory area was built, a ring-like corridor around the choir. Between the 15th century and the early years of the 16th century then, the bishops of Aosta planned a radical restoration intervention on the church and enriched it with numerous works of art. The upper choir, which was dominated by a wooden crucifix dating back to the 14th century, has two tiers of seating sculpted around 1460, on the floor there are two mosaics from the 12th and 14th century, representing the months of the year and a series of real and imaginative animals along with the rivers Tigris and Euphrates.

The main altar is baroque, made of black marble with multi-coloured inlay work. There are two staircases leading down from the choir, one on the right and the other on the left, they give access to the 11th century crypt, its layout is articulated around three naves separated by agile little medieval columns and more robust re-used romanesque columns. On the bottom wall the original entrances to the west are visible.

The facade of the cathedral is made up of two distinct parts: an atrium dating back to the sixteenth century and a neo-classical front section which was added in 1848. The atrium has an elegant architectural design in terracotta, decorated with statues and frescoes depicting the life of the Virgin Mary, to whom the church is dedicated, a splendid example of renaissance art in Valle d’Aosta.

Next to the church, on the northern side, is the cloister. This is a trapezoidal shaped building which was completed in 1460 and which replaces a similar one which already stood in the 11th century. Its architectural elements are characterised by the presence of different materials: grey bardiglio, used for the pilasters, alternated with crystalline lime for the capitals and limestone, used for the ashlars of the arches. There are two types of capitals: some are decorated with vegetable motifs and figures of men and animals, others have the names of those who contributed to the construction sculpted into them. In the central square there is a Romanesque column surmounted by a Corinthian capital, probable testimonies of the nearby forensic area. Around 1860, the southern wing of the cloister was mostly demolished to allow space for the neo-gothic Rosary chapel.

The Treasure Museum provides a significant overview of the art of Valle d’Aosta between the 13th-18th centuries, combining pieces from the Cathedral’s rich treasure with certain works of art originating from different parishes in the Valley.

Between the end of 1400 and beginning 1500 George of Challant, prior of Sant’Orso and great humanist-benefactor, orders to build, beside the church of S. Orso, the priory:a luxurious residence used for representation, a building inspired by the modern public buildings of Piedmont and Lombardy.It is a mix between new and old:the facade is in Renaissance style, with the window frames decorated by terracotta panels; other elements like the octagonal tower and ogives are a heritage of Gothic architecture.Inside the frescoes of the chapel are worth noticing, works created by end of the XV century Franco-Valdostan artists.

Il Coro Penne Nere nasce nel 1958 grazie ad una richiesta dell’A.N.A. di Aosta ed alla volontà di pochi appassionati amanti del canto e della festa, ed è stato diretto per oltre quarant’anni dal maestro Guido Sportelli.

Concerto dopo concerto, il Coro è cresciuto artisticamente, passando attraverso cambiamenti musicali che, dalle forme più strettamente tradizionali, sono arrivati al genere moderno, fino a sconfinare in alcune sperimentazioni.

“L’Ensemble du Grand Combin – Cor des Alpes “ nasce nell’estate del 2002 in Aosta per la divulgazione e la conoscenza del “cor des Alpes”, antico strumento a fiato, conosciuto in tutti i territori di montagna tra cui le confinanti Svizzera e Savoia.

La semplicità e la povertà del legno lavorato ed usato per la costruzione dello strumento, è simbolo e specularità delle più significative tradizioni alpine, costituendo un vivo “trait d’union” tra la normale vita quotidiana e le più vive manifestazioni in ambiente pastorale e rurale.

Dall’estate del 2002, “L’ensemble du Grand Combin “ ha partecipato a numerosi eventi sia in questa regione sia in Piemonte e Lombardia, riscuotendo un crescente entusiasmo, suscitando e generando negli spettatori, particolari ed evocative emozioni.

The folk group “La Clicca de Saint-Martin de Corléans” from Aosta was founded in 1958 in the north-west area of the town.
The aim is to save and to spread the rich inheritance of popular traditions of the Aosta Valley.

Some history
The history of this land is marked by many episodes that show the strong will of its people to keep their independency as well as their attachment to their cultural identity and political autonomy; this sentiment allowed the enrichment of local culture while preserving the bond with the languages (French and franco-provençal) and civilization of the forefathers.
In 1982 the choir of “Traditions Valdôtaines” became a folkloristic group, having as its main activities the stage of local dancing, accordion and “Fléau” music and choral songs.

Located in the cathedral ambulatory, the museum provides a significant overview of Val d’Aosta art between the 13th-18th centuries, combining pieces from the Cathedral’s rich treasure with works of art originating from different parishes in the Valley.
The most precious examples include a chimney from the Roman era with precious stones and pearls set in a gold frame from the 13th century, used as a cope buckle; the unique pieces include the diptych of Honorius, testimony of late Roman art.
Among the important Gothic sculptures are a wooden paliotto sculpted in the 13th-14th century.
The rich gold collection contains French items of Limousin art, precious silver relic busts with inscriptions and set with crystals and precious stones. Outstanding pieces include the large relic chest of Saint Gratus, which was created by William of Locana and, after his death, was entrusted to the Flemish sculptor Jean de Malines.
The museum holds a collection of marble sepulchral sculptures, 15th-century productions of the Val d’Aosta artist Stefano Mossettaz.

Innocenzo Manzetti (Aosta, 1826 – 1877) was scientist and inventor. Creative but pragmatic mind, he was known inside the scientific community for his inventions: an automaton playing flute, a steam car, a hydraulic pump, an exceptionally precise sculpting machine, a special hydraulic cement and many other objects. Some sources describe him as a forerunner of the telephone’s invention, which he studied and improved between 1844 and 1864, eventhough he never patented it.

The permanent exhibition Innocenzo Manzetti: the inventor and his Automaton is located inside the Aosta Saint-Bénin Center, in a special room within the antique church sacristy.

A modern showcase contains the original Automaton and the harmonium, designed, constructed and adapted by Manzetti himself.
On the walls, six interactive screens allow to access at all the information available about Manzetti and his inventions.
Particular attention is given to themes such as the inventor’s biography, the depiction of the historical context in which he lived, his scientific interests and an accurate description of all his creations. Moreover, a 3D virtual animation simulates the functioning of the Automaton’s mechanisms in relation to the movement of the harmonium keys.
Finally, two small screens are installed to show simplified information, specifically conceived for children.

Until autumn 2024, the MAR-Regional Archaeological Museum becomes Cantiere Museale Partecipato, META\MAR METAMORPHOSE

Site included in the Aosta archeologica cumulative ticket

The Regional Archaeological Museum has a thematic and chronological itinerary.

In the first hall, dedicated to the abbot Justin Boson, first director of the Regio Museo in 1929, are exhibited tiles and north-african oil lamps coming from regional collections.
On the trail of the commercial and cultural axes of the areas of Mesopotamia and Anatolia, as well as following the transmission of megalithic monuments’ models, the exhibition includes some anthropomorphic steles discovered at the extraordinary archaeological site of Saint-Martin-de-Corléans, while in the show-cases are exposed artifacts found in Aosta Valley and dating back to the period going from the Mesolithic to the Salassi era.

Further on, the visit enters the wide space dedicated to Romanization, starting with the model of Augusta Praetoria and the milestone of Constantine, in the past positioned along the Road to Gauls. The two following rooms are reserved to the burial rituals and present some grave goods, together with a reconstruction of a funeral bed found in an incineration tomb in the necropolis of Saint Roch, at the eastern entrance of the roman city. The areas consecrated to the funeral epigraphs and local cults show various pieces, including the famous bronze balteus (belt) with battle scenes between Barbarian and Roman and the silver bust of Jupiter Dolichenus found at the Little St. Bernard Pass with other ritual objects. Public building works are depicted in a collection of prints with the main Aostan monuments, together with fragments of sculptures and frescoes, while everyday life is represented in table and cooking ornaments disposed in the reconstruction of a thermopolium (public place used to serve food and drinks). The roman section ends with the exhibition of personal ornaments and objects related to luxury and well-being.

The Christian-Medieval epoch is represented by the precious 8th-century pulpit found during excavations at Aosta Cathedral and some grave goods from the 4th to the 14th century, including gold decorated glasses and the knight’s sword coming from the Collegiate Church of Sant’Orso.

In the basement area of the Regional Archaeological Museum are conserved the remains of the south-eastern edge of the eastern tower of the Porta Principalis Sinistra, one of the four city gates of Augusta Praetoria, with the Roman levels and the only section of embankment, with the relative counterscarp, still resting on a part of the Roman walls.

The museum finally houses the prestigious “Pautasso” numismatic collection, with coins from the Greek era to the Savoy period. To notice the collection of Celtic, Gallic and Padanian coins.

The hall of the Carugo Collection exhibits findings of Etruscan civilization, of Ancient Egypt and Mesopotamia.

On the old road to Gran San Bernardo, the house-fort belonged to the ancient Archiery family that ruled the town along with the De Gignio family.

This building has been standing since at least 1409 but probably took on its current aspect at the end of the sixteenth century when taken over by the d’Avise lords. Antonio d’Avise had it renovated in 1596.

Some of the artistic windows are worthy of note.

Located in the hamlet of the same name and recently restored, the structure is not open to the public and has been used several times as an exhibition venue.

This square plan tower is situated in the south of the municipal seat and probably dates back to the 12th or 13th century.
Historical data are unknown.

The church dominates from an elevated position in the centre of town.
The parish of Gignod is mentioned in a Papal Bull by Alexander III from 1176. The current church appears to date no earlier than the XV century. Not only the architectural structure dates back to this period, but also certain precious frescoes discovered during restoration work in 1895. The bell-tower was built between 1481 and 1485 by a master mason in Gressoney, Yolli de Vuetto, who had just finished the bell-tower in the neighbouring village of Etroubles.
Worth noting, the fifteenth-century frescoes, including a deposition. A beautiful, stained glass window dating from the XVI century was originally located on the facade of the church, composed of the Lords of Avise’s crests of arms in a circle with four surrounding tondos depicting St. Ilario, the patron saint of the parish, St. Nicholas and St. Catherine. There is also an inscription that recalls the commissioners of the works, Stefano of Avise and his wife Pernette, who lived during the sixteenth century.

This stronghold dates back to the 12the century and dominated the small fiefdom of the bishop of Aosta.
The building has long been converted into a rural residence, but its architectural structure preserves the appearance of a stronghold.