가장 멋진 명소 20곳

Beautiful old arched bridge.

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With a plaque for the "Martyrs of Freedom": Ferrero Domenico Ferruccio from Castelnuovo was a partisan in the Giustizia & Liberta formations, killed in action on March 26, 1945, during the fighting in Agliano, not far from here. http://intranet.istoreto.it/partigianato/dettaglio.asp?id=35746 Bianco Luigi Loris was a farmer from Castelnuovo and a partisan in an autonomous unit. He was captured during a clearing operation on December 6, 1944, and deported to Germany. He died during the death march from Flossenbürg to Dachau. https://israt.it/banche-dati/deportati-politici-astigiani.html https://www.pietredellamemoria.it/pietre/monumento-ai-caduti-di-castelnuovo-calcea/

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"Castle" of Monastero Bormida Place of tourist, historical, architectural and cultural interest Piazza Castello, 1, 14058 Monastero Bormida AT http://www.comune.monasterobormida.at.it/ 014488450

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Very well cared for church.

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The tower joined to the castle by a medieval arch

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It is also called the Tremlett church in honor of the British artist who repainted and embellished it taking inspiration from the colors of the Coazzolo hill. David Tremlett who also helped repaint the Barolo chapel in La Morra which attracts many tourists

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The road goes up and from the town leads to this hillside hamlet which dominates the surrounding area. At the crossroads you can choose: on the right you go towards the amphitheater and the dirt road to Santo Stefano Canetto while on the left towards Repergo.

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The castle, configured in a single and imposing square volume, reveals evident architectural stylistic differences, originating from the layout choices undertaken in the 17th century by the legitimate owners. Starting from 1625, the Asinari nobles shared the rank of "counts of Costigliole" with the noble Verasis family. This complex was therefore divided between two feudal lords, who, with autonomous determination, gave rise to transformations and embellishments on subjective bases. The northern part of the manor, pertaining to the Asinari, retains the appearance derived from the interventions of the second half of the eighteenth century, duly inspired by the architectural canons propagated by Benedetto Alfieri. At the same time, the external aspect of the southern part, pertaining to the Verasis, constitutes an interesting example of neo-medieval stylistic re-proposition, dating back to the first decades of the 19th century.

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