イオヴェンカンのおすすめツーリングルート

ピラは、アオスタの約1,800メートルの高地にある山岳地帯で、ウィンタースポーツと夏の活動の両方で知られています。その立地は、パノラマの展望ポイントとして最適です。空気が澄んだ日には、モンブランからマッターホルン、モンテローザまで、アオスタ渓谷のアルプス山脈の大部分を見渡すことができます。

Gressanはアオスタの玄関口にあるコムーネで、Dora Balteaの右岸に位置し、谷のより高い標高へのいくつかの登りへのアクセスポイントとなっています。ここから、定期的なヘアピンカーブと一定の勾配を持つ、この地域で最も連続的な登りの一つが始まります。

アオスタから数分の谷底アクセスポイントで、ドラ・バルテア川とブティエ川の合流地点の近くにあります。ここから周囲の斜面へのいくつかの登りが始まります。

The vineyards of Aymavilles (Aosta Valley) grow on Alpine terraces, where viticulture is considered heroic due to the manual labor required. Native grape varieties such as Petit Rouge, Fumin, and Petite Arvine, as well as international varieties, are cultivated here. This produces local DOC wines such as Torrette and Fumin, appreciated for their quality and distinctive character. The wineries offer tastings and tours, combining wine culture with breathtaking Alpine views.

Seen only from the outside, very very beautiful!

Simply spectacular!

An open-air museum 💪😀

Immersed in the greenery of the Favret meadows, the small church of Santa Maria Maddalena dates back to the 12th century, when it was an autonomous parish dependent on the Chapter of the Cathedral of Aosta. Its apse and bell tower, characterized by an evocative "spur" that supports the structure, preserve intact the imposing sobriety of the primordial Romanesque. Between 1460 and 1463 the church experienced a second artistic splendor: the nave was enlarged and both the external part (facade) and the interior were decorated with a rich cycle of frescoes by Giacomino da Ivrea and his itinerant workshop. The façade features lively scenes: the Mass of Saint Gregory with the blood of Christ filling the chalice; Saint George facing the dragon; Saint Christopher ferrying the Baby Jesus; and, crowning all, Saint Martha, Saint Mary Magdalene and Saint Lazarus. Inside, in the apse, a majestic Christ Pantocrator is revealed surrounded by the symbols of the four evangelists, while on the side walls the twelve Apostles can be distinguished. Under the arch that divides the choir and the nave, fourteen panels tell the stories of Mary Magdalene. The works of the fifteenth century were commissioned by the noble De Villa (or La Tour de Villa), lords of Gressan, or by Giacomo dei Challant, lord of Aymavilles, whose family appears in the frescoed symbols. The building maintained the status of parish until 1786, when it was incorporated into Santo Stefano, thus becoming a simple chapel. In 1938, the church was the subject of passionate restoration: the paintings, covered with lime for centuries, were recovered and brought back to their ancient splendor.