サルデーニャ山脈周辺のおすすめシティハイキング＆ウォーキング

ジャーナリスト、デフェヌの記念碑。彼は政治的に関与し、社会主義のテーゼを提唱し、サルデーニャの平等を求めて戦い、第一次世界大戦でわずか27歳で亡くなりました。

アーティスト、コンスタンティーノ・ニヴォロがデザインした、モダンと伝統を独創的に融合させたブロンズの小像は、メンヒルやヌラーゲの小像を思わせる岩の中にあります。

教会は閉まっており、外からのみ見ることができます

サルデーニャの産業化の創設者のための記念碑。彼は機械を動かす電力を生み出すダムを建設させ、最初の街灯を設置しました。

文学ノーベル賞受賞者（1926年）グラツィア・デレッツァ（1871-1936）の生家。サルデーニャで最も重要な女性作家とされており、15歳から故郷の島の厳しい生活を詩や小説で描写しました。

オロセイの歴史的中心部に位置する聖アントニウス・アボット教会は、14世紀から15世紀にかけて火山岩を使用して建てられた重要な宗教的および建築的史跡です。教会は単一の身廊を持つデザインが特徴で、キリストの生涯を描いた珍しい14世紀のフレスコ画が収められています。ピサ時代の見張り塔と、巡礼者が歴史的に使用していた小さな住居である*cumbessias*を含む、より大きな中世の複合施設の一部です。この場所は、特に1月の火に関連する祭りの間、地元の伝統にとって活気のある中心地であり続けています。

In the diary of his pilgrimage on the Way of St. James, which was published later, the German entertainer Hape (Hans-Peter) Kerkeling also writes about the meditative experience of praying the Rosary together, which he experienced himself in the “grandiose village church, which has the makings of a cathedral” of Castildelgado (Castile). Under the date June 21, 2001, he notes: “I simply must see the only tourist attraction in town! (…) She is all the more pleased that I want to see the jewel of Castildelgado and accompanies me inside. Our tour quickly ends in front of the altar, and so the woman asks me to take a seat in one of the wonderfully cool pews. Gradually, other people enter the church. The older lady begins to pray the rosary. The monotonous chanting has a calming effect, and the constantly repeating lament gives strength, security, and peace! So, after I can recite the words along with her, I join in the mantra…” (Hape Kerkeling in “I’m Off Then: My Journey on the Camino de Santiago”)

Séuna is the first Nuoro, the farmers' neighborhood. Satta depicts it as a "cluster of small, single-story houses," dirt courtyards enclosed by dry-stone walls, and "cassi" (small boxes) at the doorstep: an order born from disorder. In the center, the little Church of the Grazie: simple, rustic, almost a house like any other, surmounted by a pediment with a bell. Here, Satta places a crucial part of his popular chorus: the peasant-priest, the vegetable garden, the almsgiving, the minimal rites of a very poor but cohesive community. Séuna, he says, could be a seaside village "if there were a sea": instead, there is a merciless white light that splits the shadows of the courtyards and accompanies the funerals that, as they pass, force the "lords of Tettamanzi" to rise and uncover their heads. Strolling today through the narrow streets that climb toward the Corso means recognizing the material grammar of the novel: courtyards, gates, irregular paving stones. Stop in front of the church facade and look at the low houses: you'll understand why Satta, in his "balance sheets," makes Séuna the origin of the village and at the same time its limit—proud, industrious, poor. It's the necessary counterpoint to the city of courts, classrooms, and cafés.