Heritage: Aosta, Saint-Pierre, Sarre

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The castle stands on a promontory in Lalex, which overlooks the Aosta flatland above the national road for Mont Blanc, immediately after the junction for Cogne.

Built in 1710 on the ruins of a fortress mentioned as early as 1242, having passed through various hands, the property was purchased by the King of Italy Victor Emanuel II, who renovated it and used it during hunting expeditions in Val d’Aosta.
The royal castle of Sarre, after becoming the private property of the King, was used as his headquarters for expeditions in the valleys of Cogne, Rhêmes and Valsavarenche.

Several modifications were made to the residence, in order to welcome the first king of Italy, including raising of the tower and construction of new stables. Inside, the rooms were completely reconstructed and modernised. The curator of the Royal Palace in Milan was charged with furnishing the residence, for which he transferred furniture from other royal residences.

Victor Emmanuel’s successor, Umberto I (1844-1900) also destined the alpine castle for hunting activities.
In the final years of his reign, Umberto I took a particular interest in the Sarre residence and commissioned the renovation of its interior. At that time, works included important decorations in monumental rooms, garnished with ibex and chamois trophies.
Queen Maria José also spent her holidays in the castle, even in the years following the monarchy.

In 1989 the Aosta Valley regional authority purchased the estate to restore it. The castle has a longitudinal body with a square tower in the centre, and is a museum of the presence of the Savoy in the Aosta Valley region.

The visit itinerary of the royal castle unfolds over three floors:

• the ground floor introduces the guided tour of the upper floors; some rooms are dedicated to the hunting theme showing the territory, the management methods and the technical specifics of the King’s hunting trips.
• the first floor, which still retains the furnishings and appearance assumed in the second half of the 19th century, recalls the residential dimension of the castle’s Umbertine phase; the rooms are presented, with some exceptions, with the furniture documented by the 1890 inventory.
• on the second floor, the layout presents a setting for chronological scans linked to the members of the Savoy dynasty who lived in the castle from the beginning of the twentieth century to the second post-war period.

The parish church of Saint-Eustache in Chesallet dates back to the XVIII century, apart from the bell-tower (XIV century).
In 1992 the parish of Chesallet inaugurated the new church, dedicated to Our Lady of Liesse and erected in Montan village.

The parish church of Saint-Maurice, built in 1643 and extended in 1896, reveals the ancient origins of the bell-tower from the Romanesque period, which was probably built around the XI century.

The semicircular apse remains of the ancient church where it is possible to admire the remarkable frescoes attributed to the workshop of Giacomino da Ivrea, made around 1430.
At the center of the basin, Christ Pantocrator in mandorla surrounded by the symbols of the four evangelists. On the left side, the figure of Saint Maurice on horseback and the coats of arms of Bishop Oger Moriset, who commissioned the pictorial cycle, and of William of Monthey, prior of Sainte-Hélène, on whom the parish church of Sarre depended until 1573. On the piers of the arch triumphal, on the left, the Man of Sorrows (Ecce Homo), on the right, the prophet Micah, Saint Simon and fragments of figures of apostles and prophets.

Over time, the church underwent substantial changes, especially at the end of the 19th century, when on the initiative of the parish priest Thomas Lale Murix of Saint-Pierre it was lengthened by 5 meters and raised by approximately 1.20 metres.

In the premises of the museum of sacred art of the church of Saint-Maurice, objects of sacred art are kept, such as wooden sculptures, jewelery and fabrics, which come from the chapels of Ville-sur-Sarre, Bellun, Champé as well as from the church itself.
The exhibition is full of pieces of great artistic value. Among the most valuable works:

• the colored wooden statue of Saint Maurice on horseback, from the early 15th century, in walnut, by the sculptor from Moron (Saint-Vincent), one of the rare non-pedestrian representations of the Saint;
• the splendid painted wooden statue of Swiss-German sculpture (perhaps Lucerne), from the 14th-15th century, unique among the Pietàs in the Aosta Valley for its verticality;
• among the goldsmith objects, dating from the 14th to the 17th century, three processional crosses and numerous finely crafted gilded silver chalices and three reliquaries, one from the priory of Sainte-Hélène-de-Sinçod in gilded copper.

See the 360° image of the interior here

This fairy-tale castle set on a crag above the village is really unique.

The famous four little lateral towers, which were added in the 19th century, give to Saint-Pierre’s castle, that ranks among the oldest manors in the region, a Disney-like appearance. The original structure might date back to the 12th century, because the brothers de castro Sancti Petri are mentioned as co-owners of a part of the castle in the well-known charter Charte de Franchise of 1191. Among the later owners we should remember Pietro Filiberto Roncas, who enlarged the castle in the 17th century and held there many receptions.

Since then, the castle underwent some refurbishments and had different owners. Now it belongs to Saint-Pierre’s municipality and it has housed the Regional Museum of Natural Sciences from 1985 until its closure, which was necessary to allow restoration works.

Thanks to these restoration works, the architectural structures were made safe, the wooden floors were consolidated and new technological systems and an elevator were installed. The restoration of the external facades and the internal rooms has allowed the reorganization of the museum and its reopening at the end of 2022.

watch the video: Saint Pierre castle

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Evidence of the existence of the Sarriod noble family, linked politically, but not by blood, to the lords of Bard, goes back to the end of the 12th century. We are still not certain of the origins of the castle located in Saint-Pierre, in a flatland area a short distance from the state road.
The oldest building included the chapel and the central, square tower (donjon) surrounded by the castle walls, typical of Val d’Aosta castles of the 10-12th century.
In 1420, Jean Sarriod built a castle in the location of the tower already known as the “turris Sariodorum” since the 14th century, as a place of reception, by adding a series of wings to the existing donjon. This included the building of the spiral staircase in the tower (viret) and the addition of cross windows in cut stone, which are characteristic of fifteenth century Valdostan architecture. In 1478 Jean’s son, Antoine Sarriod de la Tour, transformed the chapel dedicated to the Virgin Mary and Saint John the Evangelist, which is when the external frescoes of the Crucifix and Saint Christopher were painted and the small bell tower was built. On the ground floor of the north wing, there is a large wooden-ceilinged hall. On the first floor you find the so-called “hall of heads” which gets its name from the decorations on the wooden ceiling.
In the late 15th century, the boundary wall was given circular and semi-circular defence towers and the new entrance was opened on the eastern side with pointed arch portal and sculpted arch vault bearing the Sarriod coat of arms.
The change in level from room to room is evidence of a variety of works over the centuries. The west-facing wing was added in the 16th century, while the north tower dates back to the 17th century. A number of wall-painting fragments and a stucco fireplace date back to the 18th century.
The castle remained the property of the Sarriod de la Tour until 1923, then went to the Bensa family of Genoa. It has been property of the autonomous Region Aosta Valley since 1970.

The current church of Saint-Pierre was entirely built in 1871-72 on the ruins of the previous, medieval churches. The church has a rectangular plan and only one nave: during the first half of the twentieth century, brothers Alessandro and Auguste Artari decorated the façade and the vault, representing The Last Supper, the Evangelists and Saints of the Aosta Valley on the white marble main altar. The altar is overlooked by a beautiful canvas by Stornone from 1889 where Our Lord and Saint Peter are distinguished. The large frame is by the sculptor Comoletti.
The church hosts a nineteenth-century, walnut pulpit whose carved panels recall the life of Saint Peter. The belltower dates back to the thirteenth century: the tower is square shaped in plastered stone with loopholes from top to bottom and openings to one, two and even three bell lodgement chambers.

All the way to the refuge Mont Fallère, little wooden creatures such as: owls, hawks, hares, groundhogs, woodpeckers, capercaillies, foxes and eagles are hidden behind branches and stones. But between trees you may also find curious gnomes watching you.

Approaching the refuge, the sculptures become bigger: here is the grandfather indicating the right path to the shelter to his nephews while not too far away there is a couple of chamois and ibex, but also a villager who, caught by a sudden urge, hides behind a stone.

The open-air museum sculptures are made by using a special type of wood that will last long time in the open air.
The only exception is the Madonna that was inserted into a cave to withstand the high mountain weather.

While walking you will feel like being in a treasure hunt among wooden sculptures and the scents of the mountain.

Most of those works of art (about 100/120 sculptures) were carved by Siro Viérin .

The Regional Museum of Natural Sciences Efisio Noussan offers a unique experience in the heart of a historic castle, where history and nature intertwine.
The dual-perspective visit allows you to explore both the castle’s history, discovering preserved features like fireplaces, furnishings, decorations, and coats of arms, and the flora, fauna, and natural environment of the Aosta Valley through interactive and multimedia exhibits.

You can also see the Lyskamm marmot, considered the oldest mummified find in Italy.

The museum visit includes 16 rooms spread across the ground floor and two upper levels.

1 - Hall of Coats of Arms
Discover the castle’s origins and noble coats of arms through virtual reconstructions.

2 - Hall of Differences: from vineyards to the North Pole
The Aosta Valley boasts extraordinary biodiversity. From the vineyards of the lower valley to the glaciers of Mont Blanc, the landscape mirrors a journey from the Mediterranean to the Arctic. The exhibit highlights various altitudinal zones, protected areas, natural parks, and alpine botanical gardens.

3 - Hall of Time: the old Natural Sciences Museum
Learn the history of the museum, from its founding to today, through historical exhibits and original furnishings.

4 - Hall of Rocks: the stories they tell
Explore the Alpine geology of the Aosta Valley. Discover granite from Mont Blanc, gneiss from Gran Paradiso, the sharp lines of the Matterhorn, and the dolomitic forms of Cime Bianche through rock samples and virtual interviews with geologists.

5 - Hall of Mines
Located in the basement, this room delves into the region's mining tradition and its historical significance.

6 - Hall of Slopes: the sunny side and the shady side
The differing exposures to sunlight, known as adret (sunny) and envers (shady), create contrasting microclimates, shaping ecosystems and agricultural practices.

7 - Hall of the “Abbés Savants”
A tribute to the scholar-priests who advanced natural knowledge in the Aosta Valley.

8 - Noussan Hall
Dedicated to the museum’s founder, Efisio Noussan, and his passion for the region's natural heritage.

9 & 10 - Halls of Water: the creative force
Explore the vital role of water, from glaciers to mountain springs, alpine lakes, and waterfalls. Dioramas and an immersive soundscape capture the essence of water's presence.

11 - Hall of the Forest: the secret life
Take a night-time stroll through a recreated mountain forest, surrounded by the sounds and shadows of its hidden inhabitants.

12 - Hall of Vertigo: inhabitants of the void
Discover the flora and fauna that thrive in the vertical world of cliffs and rocky outcrops, alongside human ingenuity seen in roads, terraces, and mountain villages.

13 & 14 - Halls of the Meadow: the four seasons
Experience the changing alpine landscape across the seasons, from vibrant blooms and grazing livestock to the traces of wild animals.

15 - Hall of Ice: living glaciers
Glaciers serve as both tourist attractions and natural laboratories. Learn about their role in climate science, mountaineering history, and environmental change.

16 - Hall of Emotions
Conclude your visit with breathtaking panoramic views of the Aosta Valley, leaving you with a sense of wonder and curiosity.

This museum offers more than a simple exhibition; it’s an interactive journey through history, nature, and exploration, inviting you to discover the Aosta Valley with fresh eyes.

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.

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.

Several important cultural, scientific and political figures from Valle d’Aosta who died between the first half of the Nineteenth century and the early decades of the XX century are buried in the old cemetery in the village of Sant’Orso.
There is a neogothic chapel there that was built towards the middle of the XIX century by the Counts of Castigliole who had their family tomb there.

A building, rich in architectural elements, located in via Porta Praetoria 42-52, built at the beginning of the XVIII century by François René of Nus (in fact it was called “Palace of the Nus barons”). During the building of the Hôtel de Ville (1836 - 1842) it was the location of the administrative offices of Aosta.

Private - only the hall may be visited.

Located in Via des Sales, 3, the bishop’s palace, renovated at the end of the nineteenth century, is connected to the Santa Maria Assunta cathedral by a gallery, whose building began in 1667 and finished about one century later.
Public Audiences, the periodical court held by the Dukes of Savoy, were held in the parlour called the “di Cognia” room between 1222 and 1466.
Another room houses frescoed medallions with the portraits of the bishops of Aosta.

In the hamlet of Porossan, in Chiou stands a magnificent aqueduct-bridge across the “ru Prévôt” canal. It is a magnificent construction in partially plastered stone and lime, stretching approximately 70 metres in length, that allows the canal to flow through the valley below, where the river Parléaz runs, between the villages of Neyves and Serod (Porossan) in Aosta. The bridge gives off a feeling of grandness due both to its stone roof and because of some windows that light up inside making the inside visible.

The “rus” are canals that carry water to the driest parts of the region.
This vast network of canals, the most complete and well organised in the Alpine range, dates back to Medieval times, from the beginning of the XIII century to the end of the XV century, when the warm, dry climate and poor rainfall made it essential to set up new irrigation structures. The rus pass through forests, meadows and hills and head down towards the main valley, sending water drawn from the upper flow of rivers towards the inhabited areas and making the mountainous ridges fertile.

The Ru Prévôt takes its name from the Cathedral provost, Enrico di Quart who had it built in 1288 and includes the 70 metre long Porossan aqueduct on its trail, described by the abbé Henry, historian, writer and mountaineer, as “one of the most beautiful monuments preserved from Medieval times”.

It is the western addition (towards the left, looking at the facade) of the Municipality of Aosta.The structure was built in 1724 (therefore prior to the Municipality); inside this building meetings of the State General Assembly were held, presided by the Bishop and by the Knight Commander. The “Conseil des Commis” would also meet and the archives of the Duchy of Aosta were held inside.

Currently the building holds a few municipal offices and some temporary exhibitions.

The site is not accessible to people with disabilities.

Located on the square with the same name, the palace was commissioned in 1606 by Pierre-Léonard Roncas, first secretary of state of the Duke of Savoy,Charles Emanuel I. It later became the seat of the Savoy administration, a sub-prefecture during the Napoleon era and, lastly, an intendance office.
The vaults in the atrium, over the staircase and room that overlook the internal courtyard, are decorated with Italian school frescoes depicting mythological scenes and nature and with zodiac signs, in manneristic style.

The palace it’s not visitable.

According to tradition, this building, located in via Sant’Anselmo 66, saw the birth of Anselmo d’Aosta (1033-1109), who became abbot of the Bec monastery in Normandy and then archbishop of Canterbury in England. Anselmo d’Aosta is famous for being a theologian and philosopher; his name is particularly tied to the “ontological” proof of the existence of God.

Private property - Not visitable.

The large Neo-Classic porticoed building was erected in 1839 on the site of the Cordeliers Franciscan monastery, seriously damaged by French revolutionary troops.
The two fountains on the facade symbolise the city’s two waterways, the Dora Baltea and the Buthier.
The square in the front, now dedicated to Emile Chanoux, martyr of the Resistance, was created by demolishing the church of St. Francis, connected to the monastery.
The staircase and atrium which houses a valuable model of the Valle d’Aosta, can be visited during town office opening hours.

Having crossed the bridge over the Buthier River, along the road that used to lead to the monumental Porta Praetoria, the main access road to the Roman city, the honorary arch dedicated to the emperor Augustus was erected.
It used to be an eloquent sign of the presence and power of Rome, which had definitively defeated the Salassi during the year 25 B.C. and founded the new colony.
The arch, which is characterised by its severe stateliness, typical of the architecture of the late Republican era, is a single round arch, measuring 8.29 metres in width, like the road that crosses it. The pillars at its sides have half-columns at the four corners on attic bases surmounted by Corinthian capitals, the same that divide up the facades and the sides. These surfaces were originally interrupted by reliefs which most likely had monumental representations located in the four alcoves of the facade. A Doric trabeation with tryglyphs and metope closes what remains of the monument in the upper section, for centuries it has been stripped of the attic on which the commemorative inscription was written in bronze lettering. During the Middle Ages, the arch was called “Saint-Vout” given the presence of an image of the Saviour which was positioned on it and then later replaced with the Crucifix. In 1716 the Conseil des Commis decided to preserve the monument from the infiltration of water by covering it with a slate roof. The Arch was definitively restored between 1912-1913, an excavation nearby, dating back to the early years of the 1900’s, brought to light two large letters in gilded bronze, which most likely formed part of the dedicatory inscription.

These are the foundations of an elegant Roman residence outside of the city walls, some of the rooms are still recognisable, with the remains of the mosaic flooring and the traces of a heating system.
The archeological digs in the suburban villa in the Consolata region were followed in 1971 by construction works, bringing to light the majority of the ancient structures that are currently visible, further digs, during the mid 80’s, extended our knowledge of the central part of the complex - the tetrastyle atrium with impluvium, tablinum -.

Situated in an area known for its significant traces of population prior to the foundation of Augusta Praetoria (25 B.C.), near a sub-hilly branch of the ancient road network towards Alpis Poenina - Gran S. Bernardo -, the villa is rectangular in shape, compact and with a predominance of residential style areas (pars urbana), reserved for the dominus and his guests, with respect to the service areas, the deposit areas and possibly, areas for processing agricultural products (pars rustica and fructuaria): the limited presence of these indicates a link with activities carried out in a fundus (land, estate).

Site included in the Aosta archeologica cumulative ticket

This monument, which dates back to the Augustan era, is the subject of much debate; its main purpose was to create a structure for containing and levelling the ground that must have been slightly sloping from north to south in that part of the town, creating a difference of level between the holy area and the adjacent forensic plateau. Beside this secure structural function, the hypothesis was later put forward that the semi-buried part could have been used as a warehouse and military storage area (horreum). However, following the latest research, it emerges that this use should radically be excluded due to the structural aspect of the monument, its particular location or as a result of a comparison with other similar examples. The marble colonnade (porticus triplex) that stood over it (now destroyed, and of which no archaeological evidence remains in situ) acted as a scenic frame for the two original twin temples of the holy terrace.

Here we find ourselves in the northern part of the Roman Forum complex, right in front of the Cathedral entrance, corresponding to a raised holy area, which was in turn separated from the one used for civil and trade purposes (piazza Severino Caveri), thanks a small decuman passage, which roughly corresponds to the current Via Mons. De Sales.

In technical and mapping terms, the Aosta cryptoporticus is divided into three parts with a horseshoe layout and internally split into two barrel vaults with a central sequence of lowered arches. The length of the two sides is 71.80 m, while the central section extends further, with an internal length of 87.10 m.

Originally, two monumental passages would have opened onto ends of the side wings with openings onto the sides of the central staircase.
The galleries are lit by a series of splayed windows that allow an adequate air flow; over the course of the year, the internal temperature of the cryptoporticus remains constant.

When compared with all these cases, old and new, Italic and rural, which archaeological research has always defined as examples of the public and specifically forensic cryptoporticus, the Aosta example could also be interpreted as a noble structure, linked to the imperial cult and the self-celebration of local nobility, religious bodies or professional citizens.
It is therefore fair to suppose that the cryptoporticus can be interpreted as areas with a specific political-liturgical function: a sort of midpoint connecting the holy (the holy area and the relative temple buildings) and the profane (the public square).

As some medieval maps appear to document, the Cryptoporticus structures were still used in the following centuries, when they were transformed into cellars and became widely referred to as the “Marché des Romains”.

This important necropolis from Roman times was found 200 metres west of Porta Decumana, along the road leading to the Alpis Graia (Little Saint Bernard Pass). It is a discovery similar to that of other necropolises near Porta Praetoria and Porta Principalis Sinistra , all gateways to Augusta Praetoria (Aosta).
The site was used for a long period of time, up to around the end of the first millennium, when the building was gradually abandoned. Thus, the necropolis was used both during the Roman Age and the Early Christian period, and it was fairly normal to have Pagan and Christian graves side by side. Also the religious rites of the deceased were very similar.
The necropolis hosts three mausoleums with rectangular halls, known as the cellae memoriae , and an Early Christian basilica , which dates from the end of the IV century to the entire V century. The basilica shows a strong resemblance to similar Christian buildings located on Roman necropolises situated outside the town walls, such as the Church of San Lorenzo and the Church of Santo Stefano.

• Free entrance
• Booking necessary

The Decumanus Maximus (what are now the Porta Pretoria, De Tillier and Aubert roads) linked the Porta Praetoria to the western exit of the Roman city: the Porta Decumana. From here the road that led to the Alpis Graia (hill of the Piccolo San Bernardo) commenced. With a double curtain and three passages flanked by towers, this doorway was re-adapted and remained in use throughout the middle ages and the modern age. It was known by the name Porta Friour, del Plot, di Saint-Genis, di Savoie and di Boczana, but the more frequent name was Vaudane (from Vaudagna = Valdigne).

The doorway lasted until 1812, the year in which it was demolished on the orders of the prefect of the Dora Department, in view of the restoration of the district and the widening of the road. The results of a series of excavation campaigns carried out in this area between 1988 and 1991, in compliance with the restoration of the former Hospice of Charity for the creation of the new Regional Library, allowed for the original physiognomy of the doorway to be outlined.

A considerable portion of the tower situated on the northern side of what is now Via Aubert still remains, the southern one, on the other hand, has been almost completely demolished down to the foundations. The digs brought a section of the paving of the decumanus maximus and part of a drain back to the surface.

The site cannot be visited at present.

This monument is situated between via Sant’Anselmo and via Porta Praetoria.

Situated on the eastern section of the walls, it provided the main access to the city of Augusta Praetoria, built in 25 B.C. after the defeat of the Salassians by Terenzio Varrone.

It had three openings, which are still visible today: the central one for carriages and the side openings for pedestrians. The area inside the openings was used as a troop parade court, in its southern section, the land was dug up as far as the level of the ground during the Roman era (approximately two metres below the current level - the difference in height is due to the debris transported by river floods). On the outer facing openings you can still see the grooves from where the gates were lowered at night.

The eastern facade still has some of the marble slabs that once covered the entire monument, on the inside it consists of blocks of puddingstone.

In the Middle Ages, on the top of the monument in correspondence with the ancient patrol walkway, a chapel dedicated to the Holy Trinity was built, from which the Porta Praetoria itself also took its name for several centuries. Following the demolition of the chapel in 1926, an ancient oratory against the eastern side of the door was restored (now only a niche remains).

The Porta Principalis Dextera was located at the southern curtain of the walls and allowed for access to the countryside and the bridge over the Dora, situated in the hamlet of Clerod in Gressan. It had a single carriageable fornix, without a troop parade court and was supported by two towers. The excavations thanks to which it was discovered got underway in the nineteenth century with D’Andrade, while the complete arrangement and repair of the entire surrounding area date back to 1936.

Amidst the Roman material that was re-used during the middle ages to close the lower part of the door, in 1894, the sandstone base of a statue of Augustus was found, it had been erected by the Salassians in 23 B.C., bearing the commemorative inscription: “Salassi incolae qui inizio se in colonia contulerunt”. In the surrounding area there are also the remains of a popular and commercial area dating back to the 2nd century A.D. (the area of the children’s garden).

During the Middle Ages, the doorway took the name Beatrix, the viscounts of Aosta, who controlled the entire south-western perimeter of the walls, built their fortress on the ruins of one of the Roman towers that flanked it. This complex, which was called Bramafam castle, has a circular shaped bastion, at the base of which the Roman walls on which it was erected are still visible.