周辺のスポット/アトラクション・トップ20

spectacular places, lots of wind.

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It is located in Pescocostanzo (AQ) and is one of the most significant and complete examples of Abruzzo Baroque.

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Ancient palace of Pescocostanzo

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Passo Forchetta, connecting Roccaraso to Campo di Giove, offers a journey through a fresh and lush forest. The road, although the asphalt is not in perfect condition and subject to small landslides, offers a picturesque and fascinating driving experience.

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Road immersed in a very fresh wood. Very beautiful.

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It connects Roccaraso to Campo di Giove. The road is fresh and wooded. The asphalt is not the best and the road could be affected by small landslides.

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Porta Antonetta, of fifteenth-century origins, constitutes one of the entrances to the ancient village still visible today. It was located at the base of a square tower, now incorporated into the walls of a more recent building. The door still has stone corbels at the top that once supported a bertesque used in the defense of the access gate. Behind the wide round arch of the door, a barrel vault is set whose curvature is partially altered by the presence of a recently built flat floor.

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Accessibility: the route is easy to travel and suitable for families. It can be reached by car or a short walk of about 3 and a half kilometers from the center of the village of Pescocostanzo.Information: Municipality of Pescocostanzo - 0864.640003

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The hermitage of San Michele Arcangelo, a place of rock worship, is located in a cave at the foot of Mount Pizzalto at an altitude of 1266 m a.s.l. Probably built in place of a pre-existing Italic-Roman cult environment dedicated to Hercules protector of the flocks, with the spread of Christianity and with the presence of the Lombards, it was named after St. Michael the Archangel, protector of the Germanic people. The hermitage appears already in 1183 in a bull of Pope Lucius III and in 1536 is attested in the municipal statutes of Pescocostanzo, as a washhouse for women. In 1597 the peasant society of Pescara restored the sanctuary. During the Second World War it was also used as a refuge and military base. The rock complex consists of an L-shaped facade that has, along the long side, two openings, a larger one, from 1598, with a band order and horizontal crown supported by kneeling shelves and a simpler minor. The two doors lead respectively to the church and to a funeral chapel of the Ricciardelli family. Between the two doors there is a deep round niche, on the bottom of which traces of painted plaster are still visible. The smaller side facade, afferents, leads instead to the living area with two rooms arranged on as many levels, once used also as a shelter for transhumant shepherds. Inside, what is striking is the stark contrast between the rough structure of the vault of the cave and the pavement in local white stone slabs, well connected. Of notable artistic interest is the finely worked balustrade, always in white stone, which divides the presbytery area in width from that intended for the faithful; at the end of the cave there is a simple stone altar and a niche which probably housed the statue of St. Michael the Archangel which today is located in the Rosary church in the town.

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Opening periods: 1 August / 10 September - 24 December / 6 January and Easter week every day (11.00 / 13.00-17.00 / 20.00). In other periods, the museum is closed from Monday to Friday.

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Il monastero di monache di clausura venne edificato a chiusura dell’attuale piazza Municipio, a partire dal 1626, al posto di un preesistente ospedale annesso alla chiesa di San Nicola. Il progetto originario, opera dell’architetto bergamasco Cosimo Fanzago, non fu mai portato a termine. Dei quattro bracci di fabbrica che avrebbero dovuto circondare un cortile quadrangolare, ne furono realizzati soltanto tre. Dopo il terremoto del 1706 ne rimase solamente uno che oggi, a seguito degli interventi di nuova destinazione d’uso, ospita il Museo del Tombolo.La facciata su piazza Municipio, serrata come di consueto da possenti cantonali in pietra squadrata, è scandita da una teoria di sei nicchie a timpani triangolari alternati, chiusi e spezzati, poste a ritmare il piano di facciata altrimenti privo di aperture data la funzione di clausura dell’edificio. I portali in pietra a tutto sesto, che oggi dialogano maldestramente con le nicchie fanzaghiane, furono aperti nel corso del XIX secolo per ospitare botteghe e locali commerciali al piano terreno. Le nicchie con paraste ribattute lateralmente da volute e mensole inginocchiate che ne accrescono la plasticità scultorea e l’effetto chiaroscurale, costituiscono un episodio chiave nell’opera fanzaghiana e presentano evidenti analogie formali con l’altare maggiore della chiesa conventuale di Gesù e Maria, altra opera dell’architetto bergamesco a Pescocostanzo. Di notevole importanza sono poi le mensole lignee che sorreggono lo sporto di gronda del prospetto principale, raffiguranti un animale chimerico, metà leone e metà aquila, che allude alla custodia e alla perfezione, simbolo dell’originaria destinazione d’uso dell’edificio. Su vico delle Pigne sono ancora visibili i resti del braccio sud-occidentale del monastero costituiti da una muratura in pietrame irregolare ed un portale in pietra con cancellata in ferro battuto che immetteva anticamente al chiostro.L’interno è oggi radicalmente modificato a causa di recenti lavori resisi necessari per insediare nell’edificio alcuni locali di proprietà comunale, una piccola sala conferenze ed il Museo del Tombolo che raccoglie preziosi merletti di proprietà comunale e di privati cittadini pescolani e non (collezione Selene Sconci).

The Basilica, the ancient Collegiate, is among the most interesting churches in Abruzzo. It rises where a religious nucleus existed since the 11th century. It was rebuilt in 1466 with a 5-nave configuration after the 1456 earthquake. The variety of shapes, furnishings, materials and structures, which over the centuries have stratified into the building, makes it a museum rich in works of art. It is accessed from the scenic staircase (1580) which goes to the side entrance with a late Romanesque portal (XV century). A Renaissance portal opens on the front facade. The environment features Romanesque-Renaissance architecture, with stone pillars and arches. The 5 large ships are covered with beautiful carved wooden coffered ceilings: the central one and the two intermediates are stuccoed in gold and frame fine canvases. On the left there is the baptistery with baptismal font (XVIII century) in murmuring inlay. Santo di Rocco is responsible for the railing of the Chapel of SS. Sacramento, built between 1699 and 1705 and finished by his nephew in 1717: the most famous piece of the Basilica. On the counter-façade wall is the choir of Bartolomeo Balcone (1619), also the author of the wooden pulpit that wraps one of the pillars of the central ship. All around there are wonderful altars in stone, wood, marble from the XV-XVIII centuries, made by master craftsmen from Pescara. At the end of the right aisle, the seventeenth-century altar of the Madonna del Colle stands out with the polychrome wooden statue of the Madonna (XIII century), a rare example of medieval Abruzzo art.

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