20의 카로시오가지 명소 & 주요 장소

조용한 위치에 있는 아름다운 교회입니다.

치타델라 다리(Il ponte Cittadella) 또는 타나로 다리(Ponte Tanaro), 2016년부터는 마이어 다리(Ponte Meier)라고 불리는 이 다리는 알레산드리아에 위치해 있습니다. 타나로 강 양쪽 기슭을 잇는 역사는 항상 극적인 사건들로 가득했으며, 도시와 베르고글리오 지구, 이후에는 군사 요새인 치타델라, 그리고 아스티, 카살레, 몬페라토로 이어지는 교통로를 연결하는 전략적 기능 덕분에 수 세기 동안 이 지역에서 결정적인 중요성을 지녀왔습니다. 수 세기 동안 이 다리는 최소 네 번의 주요 철거와 재건 과정을 거쳤습니다. 마지막 철거는 2009년에 이루어졌으며, 리처드 마이어가 설계한 새 다리의 공사는 2012년부터 2016년까지 4년간 진행되었습니다.

Located in Borgo Basalone (also known as the new part), this 17th-century palace in typical Genoese style represents one of the few examples of Ligurian architecture in Piedmont. Commissioned by noblewoman Lelia Di Negro—niece of Ambrogio Di Negro, former Doge of Genoa—when, invested with the fiefdoms of the same name and becoming Marchioness of Mombaruzzo and Countess of Quaranti, she decided to move the marquis' palace from the fortified enclosure of the Castle to an even more dominant and spectacular location.

This church, which is dedicated to the Holy Cross (Latin: "Santa Croce"), derives its patronage from the cross on which Jesus Christ died. The veneration of the Holy Cross goes back in large part to Saint Helena, who was the mother of Emperor Constantine the Great (who recognized Christianity as a religion after his victory at the "Milvian Bridge" in front of Rome and ended the long period of persecution with the "Edict of Toleration" of Milan in 312). In the early fourth century, she made a pilgrimage to the Holy Land (Israel / Palestine) and brought numerous relics back to Europe, including the "True Cross" on which Jesus Christ was crucified. Helena is therefore often depicted with a cross as an attribute. The church celebrates the feast of the discovery, public presentation and veneration of the Holy Cross - called the "Exaltation of the Cross" - on September 14th.

The Cathedral of Alexandria, located in the city center, stands on the site of a building built in Lombard Gothic style that was demolished in 1803 for military purposes by Napoleon Bonaparte. In 1805 he created the first church of San Marco of Napoleon Himself, which was reconstructed by the architect Cristoforo Valizzone (1807-1810). In addition, there is a story in new style, in contrast to the preserved parts, namely the vault of the central nave and the columns. The questionable style was built in 1874-1879 by the Vercelli architect Edoardo Arborio Mella (1808-1884), which resulted in the architect's residence in Bramante style with talent for works in the two arms of the transept. The current decoration dates from 1926-29 and was entrusted to Luigi Morgari of Turin (1857-1935), while the high altar dates from 1954. The presbytery is decorated with 5 stained glass windows (1954) depicting the Immaculate Virgin, St. Pius V, S. Baudolino, S. Paolo della Croce, the worthy Gregorio Maria Grassi. The organ (1929) completes the ensemble, whose facades adorn the four women's galleries above the presbytery. Behind the high altar you can admire the eighteenth-century choir in inlaid wood, where there is a beautiful painting by Callisto da Lodi (1546) representing St. Peter between St. Paul and St. John the Baptist. Outside, the facade is in neoclassical style with Corinthian order columns. From the paintings that decorate it, there are Saint Peter freed from prison, Saint Peter receiving the keys, Saint Peter going to meet Jesus on the waters of Lake Tiberias, a work by Luigi Vacca of Turin (1771- 1854). In that tympanum, Vacca himself represented the Eternal Father, while in the attic five marble statues represent the Redeemer and the four Evangelists. One wall of the facade is a monument to Gagliaudo, located near the old cathedral, a legendary character who saved the city during Barbarossa's siege of Alessandria (1174). Source: https://www.cittaecattedrali.it/it/bces/34-cattedrale-di-san-pietro

The monumental complex of Santa Croce and All Saints, wanted and founded by Saint Pius V, is located in Bosco Marengo near Alessandria.

The Last Judgement by Giorgio Vasari, one of the most important works of the entire complex commissioned by Pope Pius V in the 16th century

Seventeenth-century palace in typical Genoese style, it represents one of the few examples of Ligurian architecture in Piedmont. Wanted by the noblewoman Lelia Di Negro - granddaughter of Ambrogio Di Negro, former Doge of Genoa - when, having become Marchioness of Mombaruzzo and Countess of Quaranti, she decided to move the marquis palace to a dominant position with guaranteed scenographic effect.