Culture without limits

Site included in the Aosta archeologica cumulative ticket

Under the village’s old parish church, archaeological diggings brought to light the early Christian cruciform basilica, indicated as Concilium Sanctorum , the Assembly of Saints because it was built on the tombs of some of the early martyrs who were buried in the Roman cemetery area which in itself was built on a protohistoric funeral settlement.
Inside you can see parts of the liturgical structures, the relic platform with the tombs of three bishops who lived between the V and VI centuries (Grato, Agnello, Gallo) and other tomb chambers dating from between the V and VIII centuries.

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One of the most interesting prehistoric archaeological sites in Europe but also a place where history has continued to leave evidence even in subsequent centuries. Come to Aosta and take advantage of the museum's initiatives and guided tours and discover all the technological innovations of the recent museum setup.  12,000 square metres of exhibition space, over 2,000 objects, and inside the largest covered archaeological site in Europe.

The archaeological site

The area, brought to light in 1969, measures approximately one hectare, and is one of the most interesting archaeological sites in Europe, offering a fascinating overview of significant moments stretching across almost 5000 years of history, from the late Stone Age up to the present.

The term megalithic area has been used as a summary description of the finds in Aosta, which has currently no equal, and can only be compared - albeit partially - with the site at Sion, Petit-Chasseur, in Switzerland.

“Megalithic area” refers to a portion of land of a certain, clearly defined size, featuring a variety of different megalithic monuments.
This site is more than just a simple line-up of menhirs or standing stones featuring human figures, or a burial ground, or a series of individual dolmen tombs: these finds demonstrate the existence of a sacred area destined from its origins to hosting recurring activities linked to worship and burial.

Five structural phases have been identified, from the Recent Neolithic (end of the 5th millennium B.C.) through the Copper Age (4th - 3rd millennium B.C.) to the Bronze Age (2nd millennium B.C.).

Initially conceived as an open-air sanctuary destined for the cult of the living, it was not until the latter centuries of the 3rd millennium that it became an important burial ground, with monumental tombs of a variety of megalithic types.

In chronological order, visitors can observe: traces of a propitiatory furrow ritually sown (end of the 5th millennium B.C.), followed by the creation of a line of wells, at the bottom of which are ritual offerings such a millstones, along with the remains of fruit and cereals.

From a later point in time (beginning of the 3rd millennium B.C.) was a line of at least 24 wooden totem poles facing from North East to South West, later replaced by 46 huge anthropomorphic steles, the first authentic manifestation of in this area of megalithism, magnificent masterworks of prehistoric statue construction.

The area took on a clear burial function with the construction of the first megalithic tombs, which were probably occupied by distinguished families from the community and were built entirely above ground. A particularly significant example is the so-called “Tomb 2”, erected on a distinctive triangular platform of stones, used for almost a thousand years as a collective tomb and containing the remains of 39 individuals.

The museum

Visiting the museum implies a trip back from the present day into the prehistorical age: along a route dotted with images referring to human history, the walkways that set out from the entrance to the museum take visitors down to the level of the actual archaeological site (about 6 metres below road level).

The view here is striking as visitors explore the dimensions of time, the tones of the light colour the environment that envelops the archaeological finds: the dolmen, the standing stones brought down, the platform, the traces of the grooves ploughed…

The visitor route constantly looks out onto the archaeological site, in a sort of on-going dialogue between the indoors (the museum) and the outdoors (the site). Explanations, further details and interpretations can be found on the learning and multimedia supports.

Not to be missed:

• the suggestive ramp of time enriched by three-dimensional elements
• the astonishing Immersive room
• the large hall of steles where you can admire 46 anthropomorphic stelae found on the site
• The section dedicated to Protohistory which illustrates the great changes that occurred in the area at the beginning of the 2nd millennium BC, when the agricultural function took over the funerary one: numerous human footprints can be observed imprinted in the plowed land found on the occasion of the most recent archaeological excavations. Furthermore, in this space you can appreciate the large funerary mound from the Iron Age (1st millennium BC) with its original walking surface
• on the upper floor the protagonist is the Roman era divided into two sections: one dedicated to daily life in a rustic environment, and the other to the necropolises excavated over the years along the road, below the parish church and the nursery school; here there are 20 tombs characterized by very rich grave goods, as well as very different funerary practices and rituals in terms of chronology and typology
•  the medieval section concludes the visit itinerary by presenting evidence relating to the small Romanesque church of Saint Martin.

There is also an area dedicated to temporary exhibitions and a conference room.

The southern facade 22 metres high with its overlapping arches, the lower part of the semi-circle of steps that housed the spectators (cavea) and the foundations of the wall that acted as a backdrop (scaena) are still well visible. Some scholars have supposed that the theatre was covered by a stable roof. During the Middle Ages numerous constructions were loan against the theater’s walls, but were then demolished during the modern repair and restoration works.

The church
The archeological dig carried out in several batches between 1976 and 1999, allowed for the building’s constructive stages to be rediscovered. The digs involved an area which used to be part of a large extra-urban necropolis, where, at the beginning of the 5th century, there was an early-Christian complex which also included the cruciform church of S. Lorenzo. At the centre of the south nave, the basement of a funeral building was found, it may be dated to some time between the 4th and 5th centuries A.D.; the primitive church, which was erected to the north of this mausoleum, consisted of a simple apsidal hall surrounded by a portico destined for use as privileged burial grounds.
In the 9th century, the church was completely rebuilt and enlarged, moving the general axis of the building southwards, the eastern extremity has three apses, while the facade was rebuilt to the west of the early-Christian one. In the year 989, a bell tower was added to the facade, the remains of which are still visible up to a height of approximately 15 m.
At the beginning of the 11th century, the romanesque church that incorporated the bell tower in the new facade was built, despite the fact that its position was eccentric with respect to the longitudinal axis of the new church. The building has a basilical layout, it is divided up into three naves and ends with semi-circular apses.
The current bell tower, which was built in the 12th century, originally belonged to a defense system consisting of a boundary wall and a second large tower, the remains of which were uncovered against the church’s northern perimeter wall.
The archeological remains are not visible because they are situated immediately below the floor of the church.

The beautiful fifteenth century wooden choir, the ancient crypt and the significant cycle of frescoes (11th century) which are visible in the attic of the church, are certainly worth mentioning.

The archeological dig of the choir of the church of S. Orso allowed for a square-shaped floor mosaic to be brought back to the surface, it was unknown and not mentioned by the sources, it was made with black and white tiles with some inserts of light brown coloured tiles. A series of six circles inscribed in the square, acts as a frame for the central decorations. In the central medallion there is an elegant representation of Samson killing the lion.

The cloister
The cloister is the jewel in the crown of the monumental complex of Sant’Orso, which can be accessed from an open hallway on the right hand side of the facade. The primitive romanesque layout almost certainly dates back to 1133 and it was the work of Provencal or Lombard craftsmen, when the Bull by Pope Innocence II imposed the rule of Saint Augustine on the canons of Sant’Orso, the cloister was already existent, as is evident from an inscription above one of the capitals. The capitals, which were sculpted in marble put which were already decorated with a dark varnish during ancient times, complete simple coupled columns with different shapes and admirably depict symbolic scenes from the Old and New Testaments, from the life of Saint Orso, imaginative characters or animals or else contain different decorative elements. They are considered to be among the utmost expressions of romanesque religious sculpture.

What is now piazza Giovanni XXIII rises up on the southern part of what was the sacred area of the Roman Forum during the era of Augusta Praetoria, marked off spectacularly by the Cryptoporticus.
The crucial importance of this area for the life of the city, was no less significant during the centuries that saw the progressive decline and the end of that which constituted the Roman world: to the east of the Cryptoporticus, in fact, the first building dedicated to the Christian faith was erected.

In this pre-existing complex, towards the end of the 4th century, the Cathedral was built. It was a building of imposing dimensions, with a single apsidal nave, complete with a baptistery to the west and various annexed rooms, one of which was destined for use as a secondary baptistery. The facade was a few metres from the structures of the eastern wing of the cryptoporticus and it was practically linked to the same by the structures of the main baptistery. This complex, to which a few southern rooms were added to be used as the episcopal residence or dwelling places for the clergy, continued to be used for several centuries and its appearance did not undergo any significant changes, with the exception of a late-medieval constructive phase, up to the era of the great Romanesque construction site which gave the cathedral the appearance that it still substantially has today. The important cycle of frescoes that were brought to light in the attic of the church also originate from this phase of the 11th century: together with those of Sant’Orso, they have contributed to making Aosta one of the main centres of Ottonian art in Europe.

During the second half of the 11th century, the western body of the building was completely rebuilt, it consisted of two towers and an overhanging central apse, during the 13th century two of the five original apses were demolished and the ambulatory area was built, a ring-like corridor around the choir. Between the 15th century and the early years of the 16th century then, the bishops of Aosta planned a radical restoration intervention on the church and enriched it with numerous works of art. The upper choir, which was dominated by a wooden crucifix dating back to the 14th century, has two tiers of seating sculpted around 1460, on the floor there are two mosaics from the 12th and 14th century, representing the months of the year and a series of real and imaginative animals along with the rivers Tigris and Euphrates.

The main altar is baroque, made of black marble with multi-coloured inlay work. There are two staircases leading down from the choir, one on the right and the other on the left, they give access to the 11th century crypt, its layout is articulated around three naves separated by agile little medieval columns and more robust re-used romanesque columns. On the bottom wall the original entrances to the west are visible.

The facade of the cathedral is made up of two distinct parts: an atrium dating back to the sixteenth century and a neo-classical front section which was added in 1848. The atrium has an elegant architectural design in terracotta, decorated with statues and frescoes depicting the life of the Virgin Mary, to whom the church is dedicated, a splendid example of renaissance art in Valle d’Aosta.

Next to the church, on the northern side, is the cloister. This is a trapezoidal shaped building which was completed in 1460 and which replaces a similar one which already stood in the 11th century. Its architectural elements are characterised by the presence of different materials: grey bardiglio, used for the pilasters, alternated with crystalline lime for the capitals and limestone, used for the ashlars of the arches. There are two types of capitals: some are decorated with vegetable motifs and figures of men and animals, others have the names of those who contributed to the construction sculpted into them. In the central square there is a Romanesque column surmounted by a Corinthian capital, probable testimonies of the nearby forensic area. Around 1860, the southern wing of the cloister was mostly demolished to allow space for the neo-gothic Rosary chapel.

The Treasure Museum provides a significant overview of the art of Valle d’Aosta between the 13th-18th centuries, combining pieces from the Cathedral’s rich treasure with certain works of art originating from different parishes in the Valley.

Located in the cathedral ambulatory, the museum provides a significant overview of Val d’Aosta art between the 13th-18th centuries, combining pieces from the Cathedral’s rich treasure with works of art originating from different parishes in the Valley.
The most precious examples include a chimney from the Roman era with precious stones and pearls set in a gold frame from the 13th century, used as a cope buckle; the unique pieces include the diptych of Honorius, testimony of late Roman art.
Among the important Gothic sculptures are a wooden paliotto sculpted in the 13th-14th century.
The rich gold collection contains French items of Limousin art, precious silver relic busts with inscriptions and set with crystals and precious stones. Outstanding pieces include the large relic chest of Saint Gratus, which was created by William of Locana and, after his death, was entrusted to the Flemish sculptor Jean de Malines.
The museum holds a collection of marble sepulchral sculptures, 15th-century productions of the Val d’Aosta artist Stefano Mossettaz.

Innocenzo Manzetti (Aosta, 1826 – 1877) was scientist and inventor. Creative but pragmatic mind, he was known inside the scientific community for his inventions: an automaton playing flute, a steam car, a hydraulic pump, an exceptionally precise sculpting machine, a special hydraulic cement and many other objects. Some sources describe him as a forerunner of the telephone’s invention, which he studied and improved between 1844 and 1864, eventhough he never patented it.

The permanent exhibition Innocenzo Manzetti: the inventor and his Automaton is located inside the Aosta Saint-Bénin Center, in a special room within the antique church sacristy.

A modern showcase contains the original Automaton and the harmonium, designed, constructed and adapted by Manzetti himself.
On the walls, six interactive screens allow to access at all the information available about Manzetti and his inventions.
Particular attention is given to themes such as the inventor’s biography, the depiction of the historical context in which he lived, his scientific interests and an accurate description of all his creations. Moreover, a 3D virtual animation simulates the functioning of the Automaton’s mechanisms in relation to the movement of the harmonium keys.
Finally, two small screens are installed to show simplified information, specifically conceived for children.

The MAR-Regional Archaeological Museum, until the new rearrangement, becomes META/MAR Cantiere Museale Partecipato

Site included in the Aosta archeologica cumulative ticket

The Regional Archaeological Museum has a thematic and chronological itinerary.

In the first hall, dedicated to the abbot Justin Boson, first director of the Regio Museo in 1929, are exhibited tiles and north-african oil lamps coming from regional collections.
On the trail of the commercial and cultural axes of the areas of Mesopotamia and Anatolia, as well as following the transmission of megalithic monuments’ models, the exhibition includes some anthropomorphic steles discovered at the extraordinary archaeological site of Saint-Martin-de-Corléans, while in the show-cases are exposed artifacts found in Aosta Valley and dating back to the period going from the Mesolithic to the Salassi era.

Further on, the visit enters the wide space dedicated to Romanization, starting with the model of Augusta Praetoria and the milestone of Constantine, in the past positioned along the Road to Gauls. The two following rooms are reserved to the burial rituals and present some grave goods, together with a reconstruction of a funeral bed found in an incineration tomb in the necropolis of Saint Roch, at the eastern entrance of the roman city. The areas consecrated to the funeral epigraphs and local cults show various pieces, including the famous bronze balteus (belt) with battle scenes between Barbarian and Roman and the silver bust of Jupiter Dolichenus found at the Little St. Bernard Pass with other ritual objects. Public building works are depicted in a collection of prints with the main Aostan monuments, together with fragments of sculptures and frescoes, while everyday life is represented in table and cooking ornaments disposed in the reconstruction of a thermopolium (public place used to serve food and drinks). The roman section ends with the exhibition of personal ornaments and objects related to luxury and well-being.

The Christian-Medieval epoch is represented by the precious 8th-century pulpit found during excavations at Aosta Cathedral and some grave goods from the 4th to the 14th century, including gold decorated glasses and the knight’s sword coming from the Collegiate Church of Sant’Orso.

In the basement area of the Regional Archaeological Museum are conserved the remains of the south-eastern edge of the eastern tower of the Porta Principalis Sinistra, one of the four city gates of Augusta Praetoria, with the Roman levels and the only section of embankment, with the relative counterscarp, still resting on a part of the Roman walls.

The museum finally houses the prestigious “Pautasso” numismatic collection, with coins from the Greek era to the Savoy period. To notice the collection of Celtic, Gallic and Padanian coins.

The hall of the Carugo Collection exhibits findings of Etruscan civilization, of Ancient Egypt and Mesopotamia.

The Salumificio Maison Bertolin (cured meat factory) boasts a legacy almost sixty years old; in fact, Guido Bertolin established the first slaughterhouse in Arnad in 1957. Over the years, his profession became a family heritage and the secrets were passed down from generation to generation. The quality, care and spirit that characterise the production remain unchanged and the Salumificio Maison Bertolin is a modern business and an important point of reference for the Aosta Valley food culture.

Products

Lardo d’Arnad DOP (Protected Designation of Origin), Juniper coppa, FranBon, Boudin, cured sausages made from pork, beef, horse, mixed meat and game.
The shop ‘Lo Scrigno dei Sapori’ is open all year round (apart from 25th and 26th December, 1st January and Easter Sunday) from 9:00 a.m until 12:00 p.m.  2:30 p.m. to 7 p.m, Saturday and Sunday open from 9 a.m. to 7 p.m.
All the products on display in the shop can also be purchased online on the company's website.

Visit

The factory can be visited all year round (apart from on 25th and 26th December, 1st January and Easter Sunday) from 9:00 a.m. to 11:30 p.m. and from 3:00 p.m. to 6:00 p.m. upon reservation to be made by e-mail or telephone.
It is possible to visit, through large windows, all the production rooms and the maturing rooms, to end with a tasting session that can be tailored to the needs of each group.

Number of visitors per visit: min 1 / max 60.
Languages spoken: Italian, English and French.

Accessibility

Maison Bertolin is entirely wheelchair accessible and has a lift to access the different floors. A disabled toilet is also available.

How to get there

Coming from the A5 motorway, exit at the Pont-Saint-Martin toll gate. Follow the SS 26 trunk road towards Aosta until Fort Bard. Turn right under the motorway bridge.
From the Verrès toll gate, follow the SS 26 trunk road towards Turin until just after the town of Arnad and turn left under the second overpass.

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Close to the village of Pont d'Ael, located on the right-hand side of the road going from Aymavilles to Cogne, an aqueduct-bridge dating back to Roman times stands magnificently over the Grand-Eyvia stream.

It is a grandiose work of masonry and freestone blocks, about 56-metre-high and more than 50-metre-long.

The monument functioned as an aqueduct-bridge. It is in fact divided into two levels: an upper channel paved with large square lithic slabs (called specus) and originally waterproofed with an ad-hoc hydraulic mortar, which allowed water to pass through. The lower, one-metre-wide walkway was adequately ventilated and lit, and had been conceived as a passage for men and animals.

An inscription on the north front testifies to its date, 3 BC, and commemorates its promoter and owner, Caius Avillius Caimus from Patavium (Padua). He was a member of a wealthy gens of entrepreneurs (the Avilli) by then well established in the north-west of Cisalpine Republic. Their wealth and social status were enough to let them aspire to the management of the local marble quarries and to invest in a quarrying activity that would certainly have given Caius visibility and profit within the young colony of Augusta Praetoria.

There are very few known examples of private aqueducts that are not connected to a villa or a land estate; the Pont d'Ael aqueduct-bridge stands out precisely because it relates to the use of water for ‘industrial’ purposes, supplying the water necessary for the extraction and processing of bardiglio marble, whose quarries were found further downstream, in the hamlet of Pesse, by Aymavilles. This type of marble ranges in colour from grey-blue to veined pearl-grey and it is not difficult to recognise it in most of the public and private monuments of Roman Aosta.

After going through the upper conduit, visitors enter the pedestrian level through the access on the left bank and exit by gaining access to the right bank where a steel footbridge reproduces the ancient Roman service road carved into the natural rock; only a few sections of this road remain today, given the schist-rich and crumbly nature of local rock. Purchasing a ticket is only necessary if you want to access the covered walkway.