Heritage: Challand-Saint-Victor, Emarèse, Saint-Vincent

In the hamlet of Verval we can find two Medieval bridges, otherwise known as the Roman bridges that are worth visiting. They are both “humpback” bridges. They had a considerable impact on the rural economy because they granted passage to men and animals, linking up the envers with the adret (in other words, the valley with the other side).

The tower, situated in the Bonod hamlet at an altitude of 744 m, can be reached on foot through a short path going from the hamlet of Isollaz.
Tall about twelve metres, cylindrical in form and with no turrets, it has a single, high entrance, reached via a ladder, which was then pulled up inside. It is said to have been used as a watchtower linking the castle of Graines with those of Villa (Challand) and Verrès, by using differently coloured fires according to the news to be transmitted.

This is the oldest manor belonging to the Challant noble family, one of the most important in Aosta Valley. It was built around the 10th century, but took its final form in the first decades of the 14th, thanks to the works carried out by Ebalo I of Challant. In addition to the rich agricultural fiefdom annexed to it, the castle controlled the trade traffic along the Val d’Ayas and particularly the route to Gressoney, through Col Dondeuil.

The ruins of Villa caslte lie within the “Lago di Villa” nature reserve in the municipality of Challand-Saint-Victor: going up from Verres, one kilometre after the hamlet of Villa, take the detour on the left marked “strada per il castello” (road to the castle). It is about 30 minutes walk from the car park.

Oillon chapel
Situated in the hamlet of the same name (1,169 metres a.s.l.), it dates back to 1747 and is dedicated to Saint Gratus. Its naivety makes for a suggestive sight.

*Chapel of Saints Erasmus and James
Located in the hamlet of Isollaz, it was built in 1859 half way over a bridge, as a testimony of the request for divine protection on a dangerous place of passage.

Oratory of Saint-Maxime
Located in the hamlet of Tragnod, the chapel dates back to before the 15th century and is said to be the first church of Challand. According to tradition, the inhabitants of Issime, in the nearby Valley of Gressoney, crossed Col Dondeuil and went downhill as far as the alp of Cialesch to participate from there in the celebration of the Mass in the underlying chapel. The same itinerary is nowadays taken, in the opposite direction, by a track event which takes place during the month of September. On the facade, in the apse and in the triumphal arch, there are some significant frescoes dating back to 1441. Opposite the chapel a large rock presents numerous cupels, which may be of druidic origin.

Located in the hamlet of Isollaz, it was built in 1859 half way over a bridge, as a testimony of the request for divine protection on a dangerous place of passage.

Situated in the hamlet of the same name (1,169 metres a.s.l.), it dates back to 1747 and is dedicated to Saint Gratus. Its naivety makes for a suggestive sight.

Located in the hamlet of Tragnod, the chapel dates back to before the 15th century and is said to be the first church of Challand.

According to tradition, the inhabitants of Issime, in the nearby Valley of Gressoney, crossed Col Dondeuil and went downhill as far as the alp of Cialesch to participate from there in the celebration of the Mass in the underlying chapel. The same itinerary is nowadays taken, in the opposite direction, by a track event which takes place during the month of September.

On the facade, in the apse and in the triumphal arch, there are some significant frescoes dating back to 1441. Opposite the chapel a large rock presents numerous cupels, which may be of druidic origin.

See the 360° image of the interior here

This parish is mentioned for the first time in the papal bull dated 5th April 1145 with which pope Eugene III took the canons of Saint-Gilles di Verrès under his protection.
The parish church of San Vittore is rectangular in shape and has a single nave. The current church dates back to the end of the 15th century or the beginning of the 16th century and was consecrated in 1521. Its construction was financed by the counts of Challant, whose coat of arms may be observed on a keystone above a buttress. The facade was rebuilt in 1670 and has a portico to protect the entrance. The seventeenth century portal in cut and sculpted stone is noteworthy and on the inside, the baroque altars in painted and gilded carved wood, are also interesting. The walnut stalls of the choir may be dated back to the end of the 17th century and bear the coats of arms of many of the noble families from the parish.
With the new direction of the church beginning from the seventeenth century, the bell tower came to find itself behind the apse. Having collapsed in 1755, it was rebuilt in 1762 but it appears to have kept its medieval typology in the lower section.

La Cappella di Targnod è dedicata a Saint-Préjet (Proietto), soldato romano, fu compagno di martirio di san Maurizio e di san Vittore. Nel patois locale infatti “predzi” significa “parlare” e per questo ancora oggi si invoca il Santo a cui è dedicata la piccola cappella, affinché guarisca i bambini dalla balbuzie; in segno di gratitudine viene tradizionalmente offerto un galletto. La cappella è stata ricostruita già nel 1501. Sulla facciata, affresco del 1903 del pittore Stornone: Préject vi figura nelle vesti di ufficiale romano. Una nicchia nel muro meridionale conserva, secondo la tradizione, l’impronta del piede del santo sulla roccia.

Costruita nel XVII secolo e poi completamente rifatta nel XIX mostra, sulla facciata,un affresco del 1872 del pittore Sogno. Vi appaiono la Vergine Addolorata e due angeli. All’interno, tela del Seicento con la Pietà, san Francesco, santa Lucia ed un perso­naggio di casa Masu.

Direttore: Mauro Savin
Il coro nasce nell’estate del 1999. Il coro prende il nome dal canale omonimo medioevale che forniva e fornisce tutt’ora l’acqua per l’irrigazione nelle varie comunità della vallata. Le Chanteurs Du Ru Herbal provengono dalle località toccate da questo canale. A fine 2003 il coro ha creato il primo cd “Rentrons, amis” composto da diversi brani anche inediti che danno vita al titolo delcd.

Challand Art is an art trail with 14 unique works of art, made with natural materials: soil, leaves, wood, stone, iron.

An easy walk in the woods allows you to visit this open-air museum which winds along path no. 11 which connects Lake Villa to Col d’Arlaz (along the stage no. 6 of the Balteo Way Challand-Saint-Victor - Saint-Vincent).

Questa corale è nata nel 2002. Il nome evoca le comunità sorte lungo la val d’Ayas che trae vita proprio dal ghiacciaio del Monte Rosa. Nella corale sono rappresentati quattro comuni: Ayas,Brusson, Challand Saint-Anselme e Challand Saint-Victor.
Direttore: Valter Choucher

Direttore: Valter Chouquer.
Il coro nasce nel 1999 da in’idea del maestro e di alcune mamme.Il coro è composto da bimbi con una età compresa tra i sei e i quattordici anni. Nel 2000 il coro coinvolge anche i bimbi di Ayas, Challand Saint-Victor e di Challand Saint-Anselme raddoppiando così il numero dei cantori. A giugno di ogni anno il coro organizza il baby festival canoro di primavera invitando altri gruppi.Il coro ha partecipato a diverse manifestazioni quali Telethon, l’adunata nazionale degli alpini,la presentazione dei cortrometraggi, Fete internazionale du Patois et des Emigrés. Attualmente il coro è composto da 30 bambini, dirige Valter Choucher e i loro canti sono accompagnati da una fisarmonica o una tastiera suonata da Leonardo Rous.

The parish church, dedicated to St. Pantaleon, is not located in the village of Emarèse, but half way between the main town and the district of Erésaz; dedicated to Holy Mary, it was acknowledged in a document dating from 1176, but later annexed with that of St. Germain, located in Montjovet. The two parish churches were united in 1373 and remained as such until 1747, when the bishop Mons. Pierre François de Sales drafted a decree to separate them.
The church of St. Pantaleon already existed before the XVIII century. In fact, the first document it appeared in dates back to 1433. It was fully rebuilt between 1882 and 1883: the bell-tower was raised during this reconstruction. Two particularly precious, wooden altars are located inside: one of the Madonna with two, twisted columns dating from the end of the eighteenth century is in carved wood that is partly gilded; the other of St. Joseph from the beginning of the XVIII century, which is also carved and gilded, was restored after 1786, as they were already in bad condition. A vault above the altar of the Madonna represented two statues depicting angelic figures playing the trumpet, which were unfortunately stolen in 1975.

The church is located at the entrance to Erésaz hamlet.
The original chapel dedicated to Saint Roch was presumably built in the early years of the 18th century, because the first document mentioning it dates back to a pastoral visit of 1713.
Under the direction of surveyor Villettaz, an extension took place between 1978 and ’79, consisting in the demolition of the original presbitery and the complete rebuilding of the bell tower; the renovated church was dedicated to Saint Roch, the Holy Family and Saint Mary of the Snows. The project was realized after the will of Mrs Maria Bonis Trèves, with the contribution of the Aosta Valley Region: the woman wanted to fulfil her uncle’s dream, the Abbé Trèves, who had always desired to erect in Emarèse a sanctuary dedicated to the Holy Family.
At the end of the enlargement works, the Abbé Trèves remains were carried from the cemetery of Excenex to Erésaz, and were buried under the altar of the church.

The study center inaugurated in Émarèse in October 2012 is dedicated to one of the most eminent figures of the twentieth century in the Aosta Valley, Abbot Joseph-Marie Trèves.

Abbot Trèves, who received priestly orders in 1900, is remembered for his anti-fascist commitment, for his strong campaigns in favor of women’s participation in social life and for his fight against alcoholism and illiteracy. In 1926, together with Émile Chanoux, he founded the “Jeune Vallée d’Aoste” group, bringing together young people educated under the banner of the values ​​of democracy, freedom and autonomy.

Trèves’ thought is reconstructed through a few writings signed by him but also thanks to his rich correspondence.

The archaeological site beneath the parish church of Saint-Vincent is testimony to a continuous occupation starting from the first settlements dating back to the Late Bronze Age / Iron Age. In Roman times (2nd- 4th centuries AD), various buildings with a thermal function were discovered.
After the beginning of the 5th century AD, the area was occupied by tombs, typical of early Christianity, that were positioned from east to west.
Their presence seems to have led to the foundation of a first funerary building. Further stages of burial followed in the 7th and 8th centuries, prior to the erection of the Romanesque church.

Visitors can discover the site using a didactic route fitted with information panels and multimedia support.

La collina di Saint-Vincent annovera con orgoglio, nel corpo dei suoi numerosi villaggi, diversi raccard, granai con un’area centrale, per lavorare il grano, simili a quelli della Valle d’Ayas.

In effetti, nel XVII secolo e all’inizio del XVIII, su entrambi i versanti del Col di Joux, lavoravano gli stessi carpentieri. Inoltre, numerose famiglie intrattenevano rapporti e le abitazioni, fossero esse in pietra o in legno, appartenevano alla medesima area culturale.

I terreni nelle vicinanze dei villaggi della collina erano coltivati a cereali e fieno. A pochi passi dalle case si trovava un bacino idrico, scavato nella terra, che veniva riempito con l’acqua del Ru (Rio) della montagna, proveniente dai ghiacciai di Ayas. Il Ru Courthod passa proprio al Col di Joux, dopo aver percorso quasi 27 km lungo una pendenza assai dolce, attraverso i pascoli, i boschi e le rocce.

I villaggi di Lérinon, Crétamignanaz et Valmignanaz sono tra i meglio conservati. Consentono di compiere un percorso ad anello e osservare tre tipi di borghi abitativi: Lerinon con il suo forno per il pane e le sue grandi abitazioni in pietra dalle funzioni polivalenti; un po’ più in basso Crétamignanaz, un villaggio abbandonato, appartenente un tempo ad una sola famiglia e, infine, Valmignanaz che presenta diversi esempi di raccard con un’area di trebbiatura centrale, granai in aggetto e ceppi di sopraelevazione su una casa di due o tre piani in muratura, ospitante la stalla dabbasso e gli alloggi al piano superiore. Valmignanaz gode del vantaggio d’essere collocato sul ciglio della strada del Col di Joux e poter approfittare del parcheggio di Grun.

The imposing ruins that are visible along the state road leading to Montjovet, give some hint of the ancient majesty of the bridge and recall how the Gallie consular road also crossed this part of the valley.

Only the left hand shoulder of the original construction over the Cillian river remains today, the central arch collapsed in 1839.

Noteworthy due to its elegant design and completed in small sized square slabs, the bridge must have been important not only for the natural function it served, but also as a sign of power and constructive solidity.

Built in the heart of the village, on land where an old, public press once stood.

Completed in 1954, this family chapel dedicated to the Holy Innocents was built by the couple Thérèse and Vincent Gorris as a votive offering during World War II.

The facade was frescoed by the Valdostane painter Italo Mus. An appeal in French on the side to the north invites passers-by to reflect.
The secluded interior is completely covered in cobblestones taken from the Dora. There is large painting in the middle, a work by Italo Mus, depicting the Virgin Mary wrapped in a red cloak while crushing a snake. There are two altars worth noting (the original one has a sculpture of the Sacred Heart and an altar built according to liturgical reform directives, facing followers) and two stained glass windows depicting the patron saints of the Gorris couple, Vincenzo and Teresa.

Located in the centre and almost at the heart of the Saint-Vincent hillside.

The construction of the sanctuary came from an idea around 1720 by the priest Pierre Bréan, who was vice parish priest in the village from 1705 to 1713 and greatly devoted to the Virgin Mary. In an agreement stipulated in 1725, the inhabitants of Grun and Valmignana committed to providing the land and the materials necessary, while Reverend Bréan committed to paying the works and furnishing the chapel. The temple was completed in 1727; participants at the inauguration festivities included the abbot Jean-Baptiste Perret, who in 1770 discovered the thermal water source.
The sanctuary quickly became a place of pilgrimage and votive offerings continued to increase, which were brought by followers who asked for gracious healing or conversion.

Extended in 1864, this small church has a nave, a choir, a sacristy and a small choir loft. There are plenty of votive offerings on the walls, beside the Carrying of the Cross; the brick altar, lying between four columns, once hosted a large painting of Mary, however it was stolen in 1992. Today, a shelf hosts a statue of the Virgin Mary in walnut which was a gift from a devotee.
Outside, a retracted area forms a porch. Worth noting, the fresco by Mus depicting the Virgin Mary welcoming pilgrims with open arms.

There were once numerous processions from the village of Saint-Vincent to Grun sanctuary; we particularly recall one at the end of May and the “rain” procession appealing for rain and for it to stop.

Situated in the town of Moron, on the Saint-Vincent hillside.

Its current structure, with a large circular apse, dates back to the XV century, when important changes were made to a probable, pre-existing Romanesque building. For some time it conserved certain parish church prerogatives (festive functions and cemetery), even though it was never a parish church.

The apse vault has a beautiful series of ribbed stone. Recent restoration removed the modern structures and decor, in an attempt to restore the church to its original appearance.
In the past, on Easter Monday, the so-called “vineyard procession” took place, which in almost six hours passed through all the villages and chapels on the Saint-Vincent hillside.

Built by the Benedictines in the XI century in Romanesque style, the church was subject to multiple architectures one over the another, but also some significant modern restoration (1968 - 1972).

It is located on the structures of a Roman building, brought to light during recent restoration and which dates back to 300-400 A.D. It could have been a huge Patrician villa or a public building; it has a dual heating system using air blown under the floor, which was used to heat the “calidarium”.
The archaeological site under the church is currently closed.

Inside, there is a huge, clear contrast between the sobriety of the environment and the wealth of decorative paintings in the absidal area. The nave is divided into a succession of alternating columns in square, circular and polygonal shapes.

The church was originally without vaults (they date from 1696) and the current, large windows. The roof was held up by visible beams or the coffered ceiling and light used to pass discretely through the high, narrow, vaulted windows that are double recessed. The groin vaulted arch that overhangs the altar is fake, although rather old. The triumphant arch, probably in the XIII century, restricted the absidal area due to its framework and considerably reduced the area of the underneath crypt, a mystical with three small naves, each with three arches whose small, stone columns support capitals dating from the VIII century.

The oldest frescoes in the church are those in the north absidioles, by Iacopo Jacquerio (or his school), dated 1416. Also in the XV century Giacomino of Ivrea painted the triumphant arch with a cycle of doctors of the church, saints and prophets. Decorations were added over these paintings, which were dull and plastered, by Filippo da Varallo towards the end of the XVI century and are still visible today (partly, thanks to restorations in the Seventies), once covering the entire presbytery basin.

Christ on the Cross in the presbytery is a bronze work of art by Luciano Minguzzi.

With the new museum layout, the visitor is guided through a path to discover the symbolic places of local religiosity, such as the parish church and the numerous village chapels, from which the art objects on display come from, witnesses of faith and local popular devotion.
You can admire wooden sculptures and other works of art ranging from the fifteenth to the eighteenth century, such as the splendid goldsmiths.

Built by the inhabitants of Écrivin, Moulin and other districts on the bank of the Grand-Valey to appeal for protection in an area subject to river flooding.

Dedicated by its founders to St. Michael and after the extension of 1747, dedicated to Our Lady of the Snow, the chapel in the past called the “Sanctuary” was of huge importance to residents and various bequests linked to it (in particular, donations to celebrate masses). Yet, the temple was not a rich one. In fact, according to a document from 1866, the church treasury requested the funds necessary for immediate restoration work by calling upon the heirs to the ancient founders in 1747 and reminded them of the signed commitment.

Worth noting, the large fresco that covers the facade with a scene from the Last Judgement. There is a characteristic, little bell-tower on the projecting roof.

Il “Coro Saint-Vincent”, chiamato in origine “Coro Monte Zerbion”, è nato nel 1965 per volontà di un gruppo di amici appassionati del canto di montagna.
Il repertorio di questo Coro maschile spazia dai canti valdostani alle canzoni savoiarde, trentine e venete, comprende brani del patrimonio polifonico sacro e profano e composizioni originali dei maestri che si sono avvicendati alla sua guida.
Dal 2004 il Coro è diretto dal Maestro Corrado Margutti.
Il Coro ha partecipato ad importanti manifestazioni nazionali ed internazionali (in Francia, Svizzera e negli USA).

La cantautrice Maura Susanna, considerata la voce più genuina dell’animo popolare valdostano, si è rivelata ancora dodicenne alla gara “Microfono libero” organizzata dai Padri Canossiani di Saint-Vincent. Nei primi anni ’70 partecipò con successo a diversi concorsi canori e nel ’73 una sua canzone fu inserita nel 33 giri compilation del “Cantagiugno Eporediese”.
Per qualche anno trascurò l’attività musicale per dedicarsi al teatro, in patois (ne “La veillà de Tsateilon”) e in italiano (nella compagnia “L’Arca” di Saint-Vincent).
Su invito di Luis de Jyaryot, tornò alla musica nel 1980 in occasione di un concerto di beneficenza per i terremotati della Campania. Nel 1982 fondò la cooperativa “Ambrokal” con Jyaryot, Bessolo, Bianchedi, Servodidio e i Trouveurs e nel 1983 pubblicò il 33 giri “Fables de nos jours”, dedicato alle canzoni di Maguì Bétemps, la prima cantautrice valdostana. In quel periodo cominciò ad esibirsi in Italia (Roma, Palermo, Bari, Foggia) e all’estero (Londra, Parigi, Tokyo).
Nel repertorio di Maura Susanna, accanto alle canzoni della cultura popolare valdostana, sono entrati brani popolari di tutto il mondo, cantati in francese, catalano, creolo, spagnolo e giapponese. L’intenzione è quella di cantare i sentimenti, gli stati d’animo di tutti gli uomini, utilizzando la musica, che è il linguaggio più universale.
Dal 1988 l’attività musicale di questa cantautrice di straordinario talento si è diradata per gli impegni legati alla gestione di un ristorante al Col de Joux. Il ’95 tuttavia è stato segnato da due eventi degni di nota: la pubblicazione del CD “Il viaggio” e l’incontro con Joan Baez.
Il successo dei concerti tenuti negli ultimi anni al cinema Giacosa per la “Saison Culturelle” o al “Palais Saint-Vincent”, nel settembre 99, testimonia il grande affetto che il pubblico valdostano nutre per Maura.
L’ultimo successo discografico dell’artista è stato l’album “Terra mia” del 2011.

The Museum aims to collect, classify and make known the minerals of the Aosta Valley and a number of crystals and semi-precious stones from around the world.
It currently has about 750 pieces on display, most of which come from the mountains near Saint-Vincent, in particular from Mount Barbeston, from Emarèse, from Brusson and Champorcher, all sites known to be rich in minerals.
The rarest and most beautiful pieces come from gold, iron and magnetite mines, now abandoned.
The museum also has a collection of about 170 fossils.