Turismo Chieri » Art and culture

START GALLERY

francesca — Wed, 29 Jan 2025 08:55:38 +0000

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CASA MARTINI

francesca — Wed, 13 Feb 2019 10:06:02 +0000

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A pochi passi da Torino, Casa Martini a Pessione offre un viaggio immersivo e affascinante alla scoperta di un brand storico, protagonista da oltre 160 anni dell’aperitivo italiano. Questo percorso coinvolgente invita i visitatori a conoscere la storia di MARTINI, le diverse fasi di produzione del vermouth, l’accurata miscelazione, fino alla degustazione dei cocktail più iconici.

Le Experience di Casa Martini:

I visitatori possono scegliere tra quattro experience immersive:

Discovery Tour & Privilege Tour: Permettono di esplorare gli ingredienti, la storia del brand e includono la visita allo stabilimento produttivo. Il Privilege Tour è un percorso interamente guidato e si conclude con la degustazione di tre cocktail iconici.
Cocktail Experience: Una masterclass di mixology, guidata da un Martini Ambassador, dove i partecipanti imparano le tecniche e i segreti dei cocktail MARTINI, cimentandosi personalmente nella loro miscelazione.
Vermouth Class: Un percorso sensoriale dedicato alle erbe aromatiche e alla storia del vermouth. I visitatori terminano l’experience con la creazione del proprio vermouth personalizzato da portare a casa.

Le experience possono essere completate con una visita allo Shop interno, dove sono disponibili prodotti esclusivi e merchandising Martini.

La Venue Ideale per Ogni Evento

Casa Martini è anche la location perfetta per eventi privati, conference meeting, attività di team building, matrimoni e ricorrenze speciali, grazie ai suoi ambienti versatili e suggestivi.

Gli spazi esterni includono La Piazzetta, un ampio spazio ideale per eventi all’aperto. Vi si affacciano la storica Palazzina con la sua scalinata, lo Shop e la teca che custodisce l’iconica Lancia Delta HF 1992 Martini Racing.

Gli ambienti interni comprendono La Terrazza Martini, che offre sale accoglienti e flessibili (Sala Ingresso, Sala Camino, Sala Meeting e Lounge Bar), pensate per diverse tipologie di evento. Infine, La Bar Academy è lo spazio specializzato dedicato alle esperienze interattive come la Vermouth Class, la Martini Cocktail Experience e le attività di team building.

Apertura al pubblico: sabato e domenica dalle 11:00 alle 19:00

Indirizzo: Piazza Luigi Rossi 2, Pessione di Chieri (TO)

Contatti: +39 01194191 / casamartini@bacardi.com

Sito web: www.visitcasamartini.com

Fb: CasaMartiniVisitorCenter

Instagram: @visitcasamartini

Linkedin: Casa Martini – Martini & Rossi

Tickets:

Martini Cocktail Experience
Adulto (+18 anni): €39.00

Riduzioni ITA (>65 anni, Piemonte Card, Musei Impresa, visitatori Museo Mauto): €35.00

Studenti (18 – 25 anni) ITA: €30.00

Possessori di biglietto del treno Trenitalia: €34.00

Abbonamento Musei Piemonte Valle D’Aosta: €30.00

Vermouth Class
Adulto (+18 anni): €39.00

Riduzioni ITA (>65 anni, Piemonte Card, Musei Impresa, visitatori Museo Mauto): €35.00

Studenti (18 – 25 anni) ITA: €30.00

Possessori di biglietto del treno Trenitalia: €34.00

Abbonamento Musei Piemonte Valle D’Aosta: €30.00

Privilege Tour

Adulto (+18 anni): €25.00

Riduzioni ITA (>65 anni, Piemonte Card, Musei Impresa, visitatori Museo Mauto): €22.00

Bambini (6 – 17anni): €15.00

Bambini (0-5 Anni): Gratuito

Studenti (18 – 25 anni) ITA: €20.00

Possessori di biglietto del treno Trenitalia: €20.00

Abbonamento Musei Piemonte Valle D’Aosta: €20.00

Gratuito ITA

(Disabili >74% e accompagnatore, soci ICOM, guide turistiche abilitate, giornalisti. Il tesserino deve essere presentato all’ingresso.)

Discovery Tour

Adulto (+18 anni): €20.00

Riduzioni ITA (>65 anni, Piemonte Card, Musei Impresa, visitatori Museo Mauto): €17.00

Bambini (6 – 17anni): €10.00

Bambini (0-5 Anni): Gratuito

Studenti (18 – 25 anni) ITA: €15.00

Possessori di biglietto del treno Trenitalia: €15.00

Abbonamento Musei Piemonte Valle D’Aosta: Gratuito

Gratuito ITA

(Disabili >74% e accompagnatore, soci ICOM, guide turistiche abilitate, giornalisti. Il tesserino deve essere presentato all’ingresso.)

Indicazioni generali:

Animali non ammessi
Per la visita allo stabilimento sono richieste scarpe chiuse
Parcheggio gratuito esterno (a circa 80 metri dall’ingresso principale)
Prenotazione obbligatoria online

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MAC

francesca — Wed, 13 Feb 2019 09:21:21 +0000

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Un tuffo nel passato alla ricerca delle origini di Chieri e del suo territorio.
Come vivevano gli abitanti di Carreum Potentia in epoca romana? Quanto si trasformò la vita della città nel Medioevo? Quali tracce dell’antico passato nasconde il centro moderno?
A questo ed altri interrogativi risponde la MAC Mostra Archeologica Chieri che illustra, in una suggestiva ambientazione sotterranea, le emozionanti scoperte effettuate dagli archeologi anche in tempi recenti.

La mostra è stata allestita nel 2009, con il contributo della Regione Piemonte, nel seminterrato del Palazzo Comunale di Chieri, appositamente restaurato.
Gli scavi archeologici e i restauri dei materiali esposti sono stati diretti da Federico Barello, Gabriella Pantò, Emanuela Zanda (Direzione Regionale per i Beni Culturali e Paesaggistici del Piemonte – Soprintendenza per i Beni Archeologici del Piemonte e del Museo Antichità Egizie). Il progetto scientifico è stato curato da Gabriella Pantò e Ada Gabucci, prima conservatrice della mostra. Roberto Nivolo e Sonia Bigando hanno progettato l’allestimento e seguito la direzione lavori. La Società Case Manolino ha realizzato l’allestimento del contesto ricostruito nella prima sala.

Il percorso si snoda lungo tre sale espositive dedicate rispettivamente ai commerci, ai rituali funerari e alle produzioni artigianali:

Sala 1

La prima sala illustra i commerci in epoca romana, testimoniati dalle innumerevoli anfore scoperte a Chieri, prodotte localmente o provenienti da diverse aree del Mediterraneo (Grecia, Italia centrale, Croazia, Spagna). Di particolare interesse è un esemplare dagli scavi del Battistero, con un’iscrizione in greco. Si segnala inoltre un’anfora che verosimilmente conteneva allume, sostanza usata per produrre farmaci antiemorragici, conciare le pelli e tingere le stoffe.
Banchi di anfore, usate per drenare l’umidità del suolo, vennero alla luce in diversi scavi: nel 1960 al Ponte Nuovo, su intervento del gruppo scout di Chieri; nel 1983 lungo le sponde del rio Tepice e nel 1993 in via Tana. Il contesto di quest’ultimo scavo è stato ricostruito per l’esposizione.

Sala 2

La seconda sala apre una finestra sul regno dei morti, illustrando le cerimonie che accompagnavano il defunto nel suo ultimo viaggio. I materiali provengono dalla necropoli di Ponte Nuovo (viale Cappuccini e viale Fasano, scavi 1960 e 1993), che fiancheggiava la strada in uscita da Chieri in direzione sud-ovest.

Sala 3

L’ultima sala espone le produzioni ceramiche realizzate a Chieri in età imperiale romana e nel Medioevo (fine XII secolo). Tra i reperti più tardi si annoverano non solo esemplari di ceramica invetriata, ingobbiata e smaltata, ma anche indicatori di produzione, come i distanziatori da fornace.
Per valorizzare i reperti esposti, la Città di Chieri ha instaurato un rapporto di collaborazione con il Munlab di Cambiano – Ecomuseo regionale dell’Argilla, che ha realizzato oggetti ispirati alle antiche produzioni locali.

Apertura su prenotazione e aperture straordinarie in occasione delle principali manifestazioni cittadine.

Per l’occasione saremo accompagnati dall’archeologa per conoscere il passato dell’antica Carreum Potentia attraverso la descrizione degli antichi reperti, rinvenuti sul territorio durante diverse campagne di scavo archeologico.

Apertura al pubblico: visite guidate e attività per bambini in occasione delle principali manifestazioni cittadine (Di Freisa in Freisa, festività patronali, Fiera di San Martino) e su prenotazione.

Tariffe:

- intero 5€;
– ridotto (6-18 anni e over 65) 2€;
– gruppi 4€;
– famiglie (cinque persone, con massimo due adulti) 10€;
– laboratori didattici 3€;
– gratuito: bambini sotto i 6 anni, possessori Abbonamento Piemonte Musei e Valle d’Aosta, persone con disabilità e accompagnatore, insegnanti.

Info e prenotazioni: 011.9428462, mac.archeologia.chieri@gmail.com

L'articolo MAC sembra essere il primo su Turismo Chieri.

La Grande Pinacoteca

francesca — Wed, 21 Dec 2016 10:30:58 +0000

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Sul sito 100torri.it è a disposizione del pubblico la sezione “La Grande Pinacoteca”, un progetto nato per la realizzazione di un grande museo virtuale che rappresenta mille anni di pittura a Chieri attraverso i dipinti presenti nelle chiese, negli uffici pubblici e in ogni altro luogo accessibile.
Un’iniziativa promossa dalla testata giornalistica 100 Torri, patrocinata dal Comune di Chieri e realizzata in collaborazione delle Associazioni Culturali Carreum Potentia, Compagnia della Chiocciola, Avezzana e la sponsorizzazione della Banca C.R. Asti.
Accedendo alla sezione interessata si intraprende un viaggio virtuale all’interno della chiesa che si intende visitare: ogni edificio è munito di una piantina interattiva dove è possibile cliccare per accedere ai dipinti spiegati storicamente e artisticamente da schede curate dallo storico Antonio Mignozzetti.
Il progetto è pensato per i turisti e per chi ama l’arte; ci si è avvalsi anche dell’utilizzo dei QR code posti sui totem donati dal Lions Club Chieri alla città e collocati nei pressi delle chiese per consentire con smartphone o tablet di vederne direttamente struttura e contenuto pittorico. Entrando nella chiesa sarà possibile visitare i vari settori dell’edificio, e contemporaneamente essere guidati virtualmente alla scoperta delle informazioni storico e artistiche.

I testi sono disponibili, sempre con un clic, anche in inglese, tedesco, francese, spagnolo e russo.

Testi: Antonio Mignozzetti
Partenariato scientifico: Carreum Potentia, Compagnia della Chiocciola, Avezzana
Webmaster: Guido Gilli
Idea e coordinamneto: Gianni Giacone
Impaginazione: Francesca Moro
Contributi fotografici: Roby Zanchettin, Matteo Maso, Studio Gaidano & Matta
Partecipazione al progetto: Lions Club Chieri
Sponsor 2016: Banca C.R. Asti

L'articolo La Grande Pinacoteca sembra essere il primo su Turismo Chieri.

The Cathedral

admin — Mon, 23 Mar 2015 22:58:07 +0000

The Collegiate Church of St. Mary’s Steps, in Gothic style, is one of the most important mediaeval monuments in Piedmont. Work on the building was started by Landulph, Bishop of Turin, around 1037 and it has been described by experts as one of the greatest examples of Gothic architecture in Piedmont. The Gothic structure that can be admired today, though, dates back to the first half of the XVth century and features a façade divided into five sections and the interior split into three naves with side chapels. A transept separates the naves from the presbytery, which finishes in a deep choir and a pentagonal apse.
Inside the Cathedral, the areas open to visitors are: the Romanesque, Landulphian crypt; the Tabussi chapel, with frescoes by the painter Jaquerio; the Gallieri chapel, which is also entirely frescoed, and the wooden, 15th century choir, decorated with subjects of vegetation. Outside the main structure, but connected to it, there is the Baptistery, a centrally planned building with origins preceding those of the church founded by Landulph. It was annexed to the building later, but its date of construction is unknown. Its layout, which follows the classic octagonal plan, might place it around the 4th century AD. This Romanesque Baptistery is decorated by a cycle of 15th century frescoes by Guglielmetto Fantini.

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L’arco di trionfo

admin — Mon, 23 Mar 2015 23:03:29 +0000

The arch, known as L’Arco di Trionfo, is the symbol of the city of Chieri, marking its artistic renaissance, and represents chronologically the first example of Baroque in Chieri. The monument is a work dating from the end of the 1500s and can be admired from the nearby square, Piazza Umberto I. The origins of Chieri’s Arch, which was put up in 1580 in honour of Emmanuel Philibert of Savoy and completed on the occasion of the birth of the heir to the throne, Duke Philip Emmanuel, were based on the wish of the municipality to pay respect to the stay of the Sabaudian court in Chieri.
During the second half of the XVIIIth century two architects, first Vittone (1761) and then Mario Ludovico Quarini (1785), carried out restoration work to bring it into line with Baroque tastes: their drawings show the attention to detail in the stuccoes displaying the Sabaudian coat of arms on the façade towards the square and the coat of arms of Chieri on the façade on the street side, as well as the presence of the various statues. The Arch was damaged during the popular revolt at the end of the 1700s, removing signs of the monarchy, and was subsequently restored once more at the end of the 1800s, when the statues and coats of arms were permanently removed and replaced by clocks.
It wasn’t until 1837, by order of King Charles Albert, that a clockwork clock was added. The monument that can be seen today is entirely constructed in brick, planned in two separate parts and frescoes cover most of the surface of the structure.

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The Jewish ghetto

admin — Mon, 23 Mar 2015 23:01:38 +0000

The Ghetto in Chieri arose in 1723-24, but what remains today of the ex-Jewish Ghetto is a group of houses in a narrow street going up the hill from Via Vittorio Emanuele II. The street is called Via della Pace (Peace Street) but it was known in local dialect as “sù dij breu” (more or less ‘Jew’s Hill’) In the past this area featured a series of houses linked by common balconies, stairs, passageways and yards, which were all gathered around a central yard known as the “Chazer”.
The houses that formed, and still form, the Ghetto were owned by aristocratic Christian families who rented them to Jews, who were never permitted to become property owners. In June,1724, it was decided to designate as part of the Ghetto the old houses of Count Bonaudo di Robassomero, which had once been the property of the Villa and Solaro families and which still stand between Via della Pace, Via Maestra (now called Via Vittorio Emanuele II) and Vicolo Corona Grossa. The Synagogue in Chieri ceased activity in 1935, since there were no longer any active Jewish activities. Its valuable decorations were removed in 1942 to the lower Temple in Turin, to replace those destroyed during the bombings of November 1942. The present Synagogue is on the first floor of the internal building, facing onto the central yard, or “Chazer”. The splendid ceiling frescoes and decorations of the lunettes above the windows are worthy of special attention. They were painted by an eminent craftsman whose name is unfortunately unknown.

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St Dominic’s Church

admin — Mon, 23 Mar 2015 22:15:56 +0000

Tradition has it that Saint Dominic, in person, founded the Dominican Convent in Chieri, when he visited the city in 1220. The Saint was supposed to have blessed the well in the convent, since when its water acquired miraculous healing properties. In fact, the Dominicans arrived in Chieri around the middle of the 1200s, possibly a nucleus that separated from the convent in Asti. It was quite common practice at the time (known as the Hallelujah Period, because of its religious fervour) for a religious community that reached a certain size to split and form a new convent. In 1267, for example, Brother Umberto Benzi left Chieri to establish a convent in Savigliano.
The first settlement was situated in the shelter of the first walled circle. It is possible that the clergymen were appointed to officiate in the Church of Santa Maria’s Gate, which the arches that came to light in 1651 were part of, when the convent was renovated. This theory has not been confirmed, but it seems likely to be accurate.
The date of construction of the present church is unknown, but it was started around 1326, even though it was not consecrated until 1388. In accordance with the standard regulations for Mendicant Orders it was planned as a Latin cross, with three naves. It wasn’t until the XVth century that the adjacent side chapels were incorporated, making use of the space between the buttresses supporting the walls. The belfry, the tallest in the city at 52 metres, was started at the same time as the church and definitely finished by 1381, the year in which the city council donated the money to buy the bells.
During its long history the church was subjected to numerous transformations; first in the 1400s, with the construction of the side chapels, then between 1486 and 1660 with the construction of the vaults. In 1802, when the religious Orders were suppressed under a decree of the French Revolution, the convent was converted into a hospice for elderly believers of all congregations. During the Restoration period, it was the first Dominican convent to reopen in Piedmont, but in 1855 the clergy was again obliged to move out, this time because of the suppression of the Orders imposed by Victor Emmanuel II. The building was put up for auction, bought by the city council and subsequently used as a civic boarding school, military barracks and as a reformatory. The clergy returned permanently in 1871.
The church measures 55×18 metres and is entered through a majestic doorway framed by a cornice in terracotta. Starting from the nave on the right hand side, the first chapel is called the Crucifix, taking its name from the splendid Crucifix, attributed to Martino da Casale, which is now located in the Chapter house. Next there is the chapel of the Madonna of Lourdes (originally just a corridor passing into the “courtyard of the dead” inside the convent) and the chapel of Saint Dominic, which is dominated by the painting on canvas by Morgari, depicting the Dream of Saint Dominic.
The next chapel, that of the Holy Rosary, is one of the most opulent of the church. Given the name of the Virgin of the Victories, after the defeat of the Turkish fleet at Lepanto (1571), it is decorated by the excellent canvas painting of Moncalvo (recently restored), which depicts the Madonna with Child placing the crowns of the Rosary on the heads of Saint Dominic and Saint Catherine. Fifteen Marian “Mysteries” surround it. The last chapel before the Presbytery is dedicated to Saint Peter the Martyr, of whom a curious, splendid wooden statue (with the head of the Saint pierced by the blades of heretics) is kept in the convent. The main altar has two side chapels, the one on the right named after Saint Vincent Ferrer, who spent a long time in Piedmont and possibly also in Chieri. While to its left, there is the chapel dedicated to Saint Thomas Aquinas, with its altarpiece painted by Lorenzone and an alcove where the relic of the girdle of St Thomas is kept. The side chapel on the right gives access to the sacristy, which was originally the tomb of the Villa family. It is furnished with wardrobes and benches in walnut from the 1700s and there is a painting of Saint Mary Magdalene.
The apse behind the main altar was decorated by Moncalvo, who worked on it from 1605 until 1615. The four ribs of the choir vault are dedicated to the Evangelists, while the lunettes below them represent two episodes in the life of Saint Dominic: The Sermon and The Resurrection of a Maiden. At the base corresponding to these there are two enormous paintings of the Multiplication of the Loaves and the Resurrection of Lazarus. The roof of the apse, framed by valuable stuccoes from the 1600s, has five medallions containing portraits of the most important saints of the Order: from the left, Saint Raymond of Penyafort, Saint Thomas Aquinas, Saint Dominic, Saint Peter the Martyr and Saint Vincent Ferrer. The lower squares though, the work of a different hand and later, represent, from the left: Saint Agnes of Montepulciano, Saint Hyacinth, Saint Pius V, Saint Anthony of Florence and Saint Catherine de Ricci. Between the windows there are two statues in stucco of Saint Mary Magdalene and Saint Cecilia.
Passing along the left hand nave, starting from the belfry, the first chapel you come to is that of Saint Rose of Lima, the first Saint from Latin America. To complete this, in 1668, it was necessary to close the 15th century chapel of Saint Martha at the foot of the belfry, where 15th century frescoes are kept, which are some of the oldest in Chieri.
The next chapel is named after Saint Catherine of Siena and includes a recess where a valuable 18th century statue of the Madonna of the Rosary is kept. Then there is the chapel dedicated to Saint Hyacinth, a major apostle from Poland. The canvas here was painted in 1607 by Levoyer, who also painted the Annunciation on the left hand wall. The last chapel before leaving the church is named after the Bishop of Florence, Saint Anthony. The magnificent altarpiece is a copy of the Madonna of the Rosary by Guercino, which is kept in the church of Saint Dominic in Turin. Immediately opposite, on the first pillar on the left on entering the church, there is a 14th century fresco of the Madonna of the Milk.
The mothers of Chieri are quite fond of the image of the Virgin breastfeeding the Baby and it is associated with a miraculous event. The story goes that a heretic, out of spite, struck the image through the neck with a blade and blood spurted from the wound.
The walking tour finishes by returning into via Vittorio Emanuele II in the direction out of the city. At the junction with Via Roma, immediately outside of the first circle of the mediaeval walls the Gothic façade of St. Leonard’s Preceptory (a religious community presided over by a preceptor) can be seen.

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St Leonard’s Church

admin — Thu, 19 Mar 2015 09:41:55 +0000

This is all that remains of the Jerusalemite hospital of the Holy Cross. There is definite proven documentation of its date of construction, so this building can be used as a very useful guide for dating a number of other monuments in Chieri. The hospital of the Holy Cross, founded in 1412 by Tommaso Ulitoto, belonged to the Order of the Knights of St. John of Jerusalem. Ulitoto was the preceptor of the church of the same Order, named after Saint Leonard. In 1553, when the hospital was suppressed, the preceptor continued to live there and it was used as a residence also by the Knights of Rhodes and, later, the Knights of Malta, until 1798, when this Order of knighthood was suppressed by Charles Emmanuel II. After the confiscation of religious property by the Jacobite government, ownership passed into private hands, often connected with improper uses. The building was considerably rebuilt, until it eventually was incorporated into the Salesian complex of Saint Aloysius.
Of the original structure, only the façade overlooking Via Roma is still standing, together with a small, single-storey building with a square plan. The façade features a Gothic doorway, with a roundel above it and a decorative border of terracotta tiles, alternating between Greek and Maltese Crosses, symbols of Jerusalem (whi¬le the roundel is framed by typical tiles with palms).
Inside the Preceptory, important restoration work has brought to light a cycle of frescoes from the mediaeval period illustrating the Passion of Christ. These are paintings which had been covered with a layer of lead white in the period of the 1700 – 1800s, when the premises were used by a craftsman. Even though they cover a smaller surface than the “Passion” in the Cathedral Baptistry, they are extremely valuable frescoes which will have to be studied in greater detail in the coming years.
Passing into the oratory courtyard gives access to the church of St. Leonard, of which the central nave is still visible. This was already in existence in 1141 and was the headquarters of the Order of the Templars for about a century, before it was almost completely destroyed by a fire in 1285. Tommaso Ulitoto was then responsible for overseeing and completing the entire rebuilding.
The church underwent the same experiences as the Preceptory, even be¬coming a work¬shop in 1851, the year in which the belfry was demolished, which had probably stood to the left of the main altar. The frescoes were ruined and only two of the burial stones remain, having been removed and kept safe by a local theologian. One of the stones was that of Ulitoto himself. Since 1934 the church and preceptory have belonged to the Salesians, who made the most recent alterations.
What is now a single structure of porticoes, was originally a building of three naves and three spans, supported by columns featuring overlapping, rounded bricks. There are traces on the walls of several closures and openings of doors and windows, giving clear evidence of numerous redesigns. It is also still possible to see clearly the crossed Gothic vaults of the side naves and the Baroque barrel vault of the central nave.

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Mediaeval Palaces

admin — Tue, 24 Mar 2015 08:20:37 +0000

Palazzo Valfrè
This building, dating back to the 14th century, is one of the Gothic buildings in Chieri that has best retained its character as a patrician residence from the late mediaeval period. In recent times the entrance doorway has been connected directly to the street, so the portico has been closed, resulting in the whole façade being extended and altered. In the part standing behind the right wing, a twin-arch loggia can still be seen.
Palazzo Mercadillo
This was built just before 1400 by the well-known Chieri family of “De Albergo” and gave its name to the market square. Later it became the premises of the St. Anna nursery and elementary school.
Palazzo Opesso
This stately building was constructed in the XIVth century, sited in a prominent position on Piazza Mazzini, at the start of Via S. Giorgio. It is made up of two main structures each three stories high laid out in an L shape, which border two sides of a courtyard, while the other two sides are bordered by smaller buildings of the same complex. At the end of the 1700s it was converted into a prison. Today it is used as a centre for important exhibitions.
Palazzo Buschetti
Also known as “The mediaeval”, it was constructed in 1400 by the Buschetti family, on the site of a previous building in the shelter of a stretch of the second circle of the city wall, close to one of the gateways. Close observation of the façades reveals three different kinds of cornices decorating the mullioned windows. On the façade overlooking Via Garibaldi, a large breached wall can be seen, which was part of the second circle of the city wall, on which the building was erected. An octagonal tower can also be seen, which is apparently of a later date and must originally have been a stair tower.

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