A small town embraced by the southeastern hills of Turin, Chieri is a beautiful gem of the Piedmontese countryside. The town's history is strongly connected to the textile industry, which, starting from the 15th century, made the city extremely influential and rich. Today, the threads of Chieri's past are still visible in its streets and architecture, like a weave of time.
Riserva di
Chieri
Riserva di
Chieri
Weaved Landscape
Discover all the excellence in this Riserva
Culture
Food & Wine
Craft
Industry
Between Past
Chieri's Historical
Between Past and Future
Chieri's Historical Archive
Housing documents produced as early as 1194, the Chieri archive is an impressive collection of over eight centuries of the town's history. Most of the documents are available for research and study purposes, providing a valuable source of information for curious and historians alike.
Such important documents are of vital importance to acquire knowledge about the legal, architectural, social and historical background of the area.
Particularly interesting are the Medieval Civil Codes dating back to 1311, the so-called 'Red Book' containing information about the relationship between Chieri and the neighbouring towns, The Hangman Map, a precious map of the territory drawn in 1457, as well as drawings by Bernardo Vittone and Mario Guarini.
The archive also has over 250 parchments from the 12th century, drawings and maps from the 18th to 20th century, land registers and records from the years of the Napoleon occupation.
If you're looking to visit this history-drenched collection, keep in mind that the archive is part of the communal library and is open to the public only on selected days. Check the Chieri library's official site for details.
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A Toast to Success
Martini & Rossi
A Toast to Success
Martini & Rossi
Martini and Rossi’s story begins in July 1847, when four Piedmont businessmen set up a distillery in Turin known as the Distilleria Nazionale di Spirito di Vino.
Three men who worked for the distillery would eventually come to dominate the business: businessman Luigi Rossi, accountant Teofilo Sola, and wine maker Alessandro Martini.
It was Martini’s astuteness that enabled him to acquire shares from the distillery’s original founders and in 1863 the company would restructure and become Martini, Sola and Cia. When, after Teofilo Sola’s death in 1879, the Sola family sold off their shares, the company would finally become Martini and Rossi.
It was in 1864 that the production site was moved from Turin to its now historic plant in Pessione, in the province of Chieri. Martini and Rossi had already received its first accolades at the 1865 International Exposition held in Dublin and this honour would be repeated at the 1879 International Exposition in Paris.
In 1892 control of the company would fall into the hands of Luigi Rossi’s four sons.
This new generation would allow Martini and Rossi to make great strides and leave many of their competitors in the dust. In 1901, a new steam distillery was constructed in Montechiaro d’Asti as well as plants in other parts of the world including Buenos Aires and Geneva.
In 1925, new Italian laws would cause the company to become Martini and Rossi Ltd. These were years of expansion and upgrading of the plant in Pessione, including the creation of many social works for the benefit of the employees.
Unfortunately, WWII created some difficulties for the business. The directors at the Turin headquarters would be forced to evacuate and move to Pessione and, also at this time, some international branches, such as the one in Germany, would suffer serious damage. Despite these problems, the company maintained full employment to protect its workers during the war.
Recovery from the war would begin in 1945. In December of that year, the famous Martini concerts would re-air on the radio – these concerts are said to have helped launch the career of Maria Callas.
It was the 1950s that would signal the re-launch of Martini and Rossi, which, meanwhile, had been transformed into a public stock corporation. In these years, print publicity and signage would bear the signatures of greats including Armando Testa and Andy Warhol.
Soon after this period, Martini and Rossi began experimenting with new methods of advertising and bolstering up the company’s world-famous image.
The famed Martini Terraces were an expression of the company’s keen interest in culture as well as testimony to the company’s ability to insert itself into the zeitgeist of the late 50s and early 60s. The idea for the terraces was conceived in 1948 when, at the Paris headquarters in 52 Champs Elysees, the directors decided to create a space on the top floor of the building. It was thought to be a perfect setting to welcome notable guests, particularly people from the world of fashion and film.
Not only dedicated to the active promotion of culture and sport, Martini and Rossi also place a great importance on the preservation and the education of oenological history. In 1961, Martini and Rossi inaugurated the Museo Enologico in the cellars of its historic Pessione plant. The museum features a collection of more than 600 pieces dating from the 7th century BC to the present day and was created with the private collection of Lando Rossi di Montelera, one of Luigi Rossi’s grandsons.
The exhibition features ten rooms including an archaeological area, as well as a section devoted to the modern era, and offers a fascinating journey through the history of spirit and winemaking.
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Chieri's Heritage
Chieri's Textile Museum
Chieri's Heritage
Chieri's Textile Museum
Housed in the rooms of the former 15th century Santa Chiara Convent, this museum displays typical tools of the textile industry: dyeing devices, cotton spinning and weaving machinery, loom accessories and yarns as well as agricultural tools used to procure the necessary materials.
The displayed collection is of great importance because of the quality of the single pieces and the extensive information it provides on the various stages of textile processing. The museum also hosts a library and an interesting archive of fabric samples.
Chieri’s fame as a centre for textile trade and manufacture dates back to the Middle Ages but it wasn’t until the late 18th century that a major mill was established. Other textile factories followed in the late 19th century, with products originating from Chieri playing a prominent role in international Textile Fairs.
The industry developed even more in the 20th century and prestigious manufacturers such as Tessitura Pertile, Vasino, Tessitura Artistica Chierese and many others can still be found in the area today, despite the economic crisis and the fierce competition by foreign producers.
The textile Museum was founded in 1995 and is run by the Chieri Foundation for the Textile, a group of individuals connected to the textile industry or passionate about it, who work in the museum on a voluntary basis to promote the values of craftsmanship and quality, creativity and tradition that are at the base of this ancient trade.
The Foundation organises courses in weaving, embroidery, textile design and furnishing and is open to everybody. It operates yearly workshops for local schools in order to make sure that this important element of local heritage and culture is not lost to the new generations.
The museum is open to the public and entrance is free. Check the museum's website for opening hours and further details.
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Salty, You Say?
Focaccia Chierese
Salty, You Say?
Focaccia Chierese
If you thought that focaccia only referred to the savoury bread from Genoa, think again. Decidedly different, yet equally as fragrant and flavourful, Focaccia di Chieri is a sweet and soft variety of this well-known Italian speciality.
As is the case with all local delicacies, Focaccia di Chieri is made from a short list of simple and wholesome ingredients: flour (type 00), butter, salt, sugar, milk, egg, and yeast.
Chieri's soft focaccia is normally eaten at the end of a meal and especially on Sunday as the finale to il pranzo della domenica (traditional Sunday lunch).
One shouldn’t be mislead by the simplistic sounding translation: Sunday lunch is an institution in Italy, an actual ritual in most Italian families, and requires a dessert that lives up to expectations. In the Chieri area, the typical focaccia does the trick.
Sometimes compared to the breads prepared in Italy and France during the Epiphany, Focaccia di Chieri is luckily available throughout the year.
As one might expect, this Chierese speciality pairs excellently with Chieri’s local wine, Freisa di Chieri. There are also connoisseurs who say that should any of this delicious bread last until Monday morning, it’s also a delightful breakfast treat to enjoy with your cappuccino.
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Crisp and Crunchy
Grissini Rubatà
Crisp and Crunchy
Grissini Rubatà
The name grissino comes from ghërsa, the classical long and narrow loaf of bread from Piemonte, made from rye, wheat and barley, which dates all the way back to the end of the 13th century. The name then inflected into gherssin, meaning small loaf.
When royal baker Antonio Brunero in 1679 was commissioned to prepare something more digestible for the young Duke of Savoy, Vittorio Amedeo II, the grissino came to life.
When he later became king, Vittorio Amedeo II got so attached to his grissini that he always brought a handful with him wherever he went, and the saying goes that his ghost still wanders around the royal palace of Veneria Reale, clutching in one hand the rein of his horse, and in the other an incandescent grissino!
King Carlo Felice II enjoyed them so much that he used to bring them to the theatre as snacks.
They were also fancied by Napoléon Bonaparte, who called them “les petit bâtons de Turin” and had them sent to Paris with a special postal service.
Today grissini are officially divided into two types: the grissini stirati and the grissini rubatà, both handmade but with different methods and ingredients.
What defines the rubatà (which means “to fall” or “to roll” in Piedmontese) is the quality of the flour and the length of the grissino. The flour has to be softer (with less protein) than the stronger one used for the stirati. Furthermore, the traditional length of rubatà is only 40 centimetres, whereas the stirati can reach up to 1,20 metres!
To obtain grissini rubatà, it is necessary to roll them manually on a wooden board, which helps give them their characteristic “knottiness”.
The classical production zones are the areas of Chieri, Torino, Andezeno and Monregalese, all in Piedmont. Pleasant to snack on in any occasion, before, in-between or during meals, these delicious, light-as-air breadsticks can be bought at any baker (panettiere) in and around Turin.
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Don't Judge a Biscuit by its Cover
Brut e Bun Biscuits
Don't Judge a Biscuit by its Cover
Brut e Bun Biscuits
While they may not be known as the most eye-appealing biscuit, one shouldn’t be fooled the simple appearance of a 'brut e bun'.
A name that seems a tad cruel in its translation, ‘ugly but good’, it simultaneously lends to the charm of this Chierese speciality.
Brut e bun, also sometimes known as brutti ma buoni, are bite-sized biscuits made from three simple ingredients: egg whites, sugar, and most importantly, hazelnuts. Since hazelnuts are a prized I.G.P. (indicazione geografica protetta) product of the Piedmont region, look for brut e bun made with them as it is their unparalleled quality which exalts the flavour of these biscuits.
Delicate, crunchy, and packed full of hazelnut flavour, brut e bun may not be the prettiest biscuits on the tray, but they are certainly some of the most delicious!
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A Dish for the Adventurous
Bagna caöda
A Dish for the Adventurous
Bagna caöda
If you are looking to taste a traditional Piedmontese dish, but also seeking something out of the ordinary to satisfy your adventurous palate, why not try bagna caӧda: an intensely-flavoured sauce served with both cooked and raw vegetables.
Its name comes from the Piedmontese dialect meaning salsa calda,which translates to ‘hot sauce’. However, it should not be confused as a spicy sauce that contains hot pepper of any kind.
Bagna caӧda is made of 3 simple ingredients: olive oil, anchovies and a large quantity of garlic.
In spite of its simplicity, don’t be fooled into dismissing this as a simple sauce to serve with vegetables: for true connoisseurs or bagnacaudisti, this dish has become not only a tradition, but a seasonal rite looked forward to by many.
With origins that date back to Medieval Times as a piatto povero or a ‘poor man’s dish’, it was prepared by farmers to protect themselves from the cold during the autumn and winter months.
It was a dish loathed by the nobility not only for the considerable quantity of garlic used (6 or more cloves), but also for the notable effect on the consumer’s breath.
The dish is also said to have originated as part of a festive occasion, held in November, to celebrate the year’s new wine production.
It was an event where families and friends would sit down at a table, around the fojot - the traditional terra cotta serving dish used for bagna caӧda. The typical fojot has a two-level structure, with a small space for a tealight candle underneath the sauce-bowl, used to keep the liquid warm throughout the meal.
Bagna caӧda is typically served with boiled cardoons, Jerusalem artichokes, and baked peppers as well as raw celery, carrots and fennel and is often paired with classic Piedmontese wines such as Nebbiolo, Dolcetto, Barbera, and Roero Rosso.
While there are several variations on the original recipe including those which add cream and others which boil the garlic in milk in order to lessen the intensity of the sauce, true bagnacaudisti are likely to recommend the original recipe in order to truly appreciate its intense flavours. Are you up for it?
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An Unusual Courtyard
Chieri's Jewish Ghetto
An Unusual Courtyard
Chieri's Jewish Ghetto
In the past, Chieri was one of the most flourishing Towns in Piedmont with a lively Jewish population that was documented since 1416.
The Jewish arrival in Chieri was probably due to their expulsion from France in 1300 and 1400, and their condition until emancipation was regulated by Duke Amedeo VIII. During this period, Jewish people were not allowed to construct new synagogues and live or cohabit with Christians.
The Jewish ghetto in Chieri was instituted in 1723 and the Jewish population was bound to live in it until 1935, around the time the synagogue was closed.
The agglomeration of homes in which the families lived in were owned by aristocratic Christian families – Jewish people could not own properties at the time, so they had to rent houses from Christians. In contrast to this situation, Jews had an extensive commercial activity, which included selling wool and silk, corn, and producing cloth.
The ghetto of these 73 Jewish residents in Chieri was enclosed in Palazzo Villa, reachable from via Vittorio Emanuele II, also known as Via della Pace 8, and located in Chieri’s centre.
Today, the ghetto is in a residential area and can be easily reached by foot – once inside, the pebbled floor of the courtyard and brick walls that connect the residential ghetto will be openly visible. The area was connected by various stairs and walkways that reunited around the central courtyard, called ‘chazer’, and is a rare example of this type of architecture in Piedmont. The enclosed stairway that leads to the upper floors is an example of gothic arches that are well intrinsically connected, while the pillars on the south side are a rare example of porticos in Chieri.
The Chieri Synagogue ended its function in 1935 because of a non-active Jewish population.
The synagogue was built out of pre-existing structures from the XV century and modified in a mixture of architectural styles, although this is not clearly documented.
The monumental stairway and the fresco room of the synagogue can still be seen today, surviving a 1942 bombardment, while the beautiful frescos and decorations of the lunette above the windows of an unknown artisan are also of particular interest.
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When Sounds Speak Louder Than Words
Museo del Paesaggio
Sonoro
When Sounds Speak Louder Than Words
Museo del Paesaggio Sonoro
An unconventional museum that invites visitors to take a journey into the past, the Museo del Paesaggio Sonoro tells the story of the local people from Riva di Chieri.
The story unfolds room by room to celebrate local festivals, rituals, music, gatherings, and daily life in the Piedmontese countryside.
The original collection was housed in Palazzo Grosso, but in June 2005 on the occasion of the 150th anniversary of the unification of Italy and thanks to the efforts of various public institutions, the museum was created, finally giving the collection the permanent home it deserved. The ensemble of photographs, objects, panels, installations, and musical instruments were therefore organized in several rooms, thus becoming a unified, organic whole.
Sounds are what render this museum so exceptional: each and every object in the collection – from a simple chair made from walnut shells to a set of spoons – has the ability to transmit a sound, the sound of the lives and history of a population.
The museum’s founder has dedicated years to the preservation of the heritage of Piedmontese folk music: when combined with a deep connection to the land and its people, the collection creates a visual “360°” environment for visitors.
The various sections of the museum allow visitors to discover the integrated role sound has played: voices, lullabies, the peal of bells which guided the rhythms of the day, singers during processions, and the call to hunt to name a few.
La Sala ‘900, one of the museum’s six rooms, is considered to be the cornerstone of the museum – a treasure chest of local iconographic memories of the last century.
Much more than a mere exhibition of musical instruments, the museum can be described as an exceptional testimony to the customs and habits of the town of Riva di Chieri and the neighbouring areas. A complex and dynamic atmosphere, the Museo del Paesaggio Sonoro is the place that safeguards an important part of the Piedmontese cultural legacy and opens its doors to share this wealth with the world.
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The Prince of Biscuits
Umbertini Biscuits
The Prince of Biscuits
Umbertini Biscuits
While many famous biscuits have a story behind their creation, not many can say they were inspired by a famous prince.
This is the true story behind Umbertini: soft amaretti biscuits named after the Savoy prince, Umberto.
On September 9, 1930, Prince Umberto made a visit to Chieri for the inauguration of a monument dedicated to the founder of the world-famous beverage maker, Martini and Rossi. Giacinto Merlone, who owned Chieri’s historic Pasticceria Buttiglieri at that time, held a reception to celebrate the historic event. It was on this occasion that Merlone decided to invent a small sweet in honour of the prince and thus, the delicious Umbertini were born.
Today the only producer of Umbertini is still the same historic pastry shop where they were created in 1930.
The original recipe has been handed down from generation to generation of owners and today, you can find both the original soft amaretti as well as a delicious modern version of the famous Chierese specialty, where one end of the biscuit is lightly dipped in chocolate.
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Not Quite a Cathedral
The Duomo of Chieri
Not Quite a Cathedral
The Duomo of Chieri
The Chiesa Collegiata Santa Maria della Scala, also known as Duomo, is the main church of the town of Chieri and the largest of its kind in Piedmont.
The ladder, ‘scala’ in Italian, was one of the symbols of Christ’s passion.
Although it cannot be considered a cathedral, as Chieri was never the seat of a bishop, the church is often referred to as ‘Duomo’ because of its imposing size.
This impressive building, originally commissioned as a Romanesque church by Turin Bishop Landolfo in 1037, was totally rebuilt in Gothic style in 1405 and completed over several centuries, thus acquiring elements from different styles like Baroque and Neo-Gothic.
The brick and terracotta facade has a tall stone Gothic pediment decorated with vegetation motifs, and surmounted by spires. The main structure of the cathedral consists of three naves with eight lateral chapels, a chancel, a crypt and a Romanesque bell tower.
At the base of the tower is beautiful Gallieri Chapel, which houses the treasure of the church.
There are several interesting paintings and statues in the chapels. The imposing altarpiece by Guglielmo Caccia (known as “Moncalvo”, 1568-1625) and the crucifix and wooden choir of the main altar are also worthy of mention. The adjacent octagonal Baptistery dates back to the 6th century and, like the cathedral, was rebuilt in the 13th century.
Inside, the baptistery boasts a fine collection of 13th century frescoes, with each side of the octagon containing paintings depicting the Passion of Christ for a total of 16 different scenes: the first, with the resurrection of Lazarus, and the last, the Crucifixion, take up a whole side whereas the remaining walls contain two paintings each.
Popular Saint Don Bosco loved this church; as a student he used to spend many hours praying and studying within its walls and as a priest he continued to attend the cathedral for functions and catechism lessons.
The cathedral can be visited during normal opening hours or, for a fascinating journey in its history and mysteries, also by joining one of the special evening tours organised by the tourist board, which will give you exclusive access to the underground crypt and the workshop of famous glass artist Silvio Vigliaturo, who created the new windows of the church between 1994 and 2005.
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It Wasn't Only a Kiss
Baci Chieresi
It Wasn't Only a Kiss
Baci Chieresi
You may already be familiar with the Italian biscuits known as Baci, which can be found in both Piedmont and Liguria.
However, when you arrive in Chieri, you must remember this: a kiss is not just a kiss, especially if we are talking about Baci Chieresi.
In fact, Baci Chieresi are not biscuits as one might assume if familiar with, for example, Baci di Alassio or Baci di Dama.
They are scrumptious, bite-sized chocolates with different flavoured fillings. The first produced were named 'genzianelle' since the filling was flavoured with genziana, a very unique-tasting herb.
Today, you can find colourfully-wrapped baci Chieresi in a variety of flavours, including one dedicated to Don Bosco, one of Italy’s most-beloved Catholic priests born in the town of Castelnuovo (just minutes from Chieri) and others with more traditional fillings, such as hazelnut and liqueur.
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Chieri's Traditional Wine
Freisa
Chieri's Traditional Wine
Freisa
In the small city of Chieri, located between the eastern hills of Turin and the foothills of Monferrato, Italian wine enthusiasts can discover a lesser-known but nevertheless, outstanding product from the vineyards of the Piedmont region: Freisa di Chieri D.O.C.
While there are five varieties of Freisa di Chieri, all of them must adhere to the stringent D.O.C. standards of production.
This means that they must be produced with only Freisa grapes, in turn produced only in specific areas of the hill territory in the province of Turin.
Freisa di Chieri is produced in the following varieties: secco (dry), superiore, dolce (sweet), frizzante (sparkling), and spumante. All five share some common characteristics, namely their colour which ranges from a clear, cherry red to a deep ruby almost garnet red and their delicate bouquet which contains hints of raspberries, violets, and at times even roses.
While there may be variations in colour, body, and acidity, one characteristic stands out consistently: the harmonious taste and body.
The dry and superior varieties pair best with chicken, cold cuts, and cold meats served with mayonnaise such as the Piedmontese classic vitello tonnato while sweet, sparkling and spumante Freisa di Chieri pair best with fruit-based desserts.
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A Tribute to the Royal Family
Chieri's Triumphal Arch
A Tribute to the Royal Family
Chieri's Triumphal Arch
The Triumphal Arch of Chieri, the symbol of the town, was erected in 1580 in honour of Emanuele Filiberto di Savoia, the winner of the Battle of St Quentin in 1557.
The battle secured the independence of the Duchy of Savoy, which had been occupied by the French a generation earlier, and had a tremendous impact on Piedmont when, in 1561, the Duke moved his capital across the Alps to Turin.
The Baroque arch, also known as the Arco di Piazza (the Plaza’s Arch) because it stands right on the Piazza delle Erbe, underwent a complete makeover in 1586 to celebrate the birth of Filippo Emanuele di Savoia.
The lower part is structurally similar to a Roman arch, with a single archway and two columns per each side; the upper part has a triangular tympanum and four small spires. Originally there were various statues that were subsequently removed following an accident where some pedestrians were injured.
Between 1761 and 1785 the arch was again substantially restructured and adapted to the current architectural taste by famous architects Vittone and Guarini.
As a symbol of the power of the monarchy, the arch was damaged during an anti-Savoy uprising in July 1797.
Later that year French troops entered the town. With each change in power, adjustments were made to the arch. The Savoy standards were removed but after the fall of Napoleon the House of Savoy conquered the town again and further additions were made. For example, the present clock at the top of the arch was ordered by Carlo Alberto in 1837.
As you stroll along elegant Via Vittorio Emanuele make sure you head towards Piazza delle Erbe to admire this beautiful symbol of the town and its history.
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