1. Belvedere Tower
Mondovì, Piazza
At the top of Mondovi Piazza (on the Monte Regale) stands the Belvedere Tower, a symbol of the city and an ideal observation point for the surrounding countryside. The Parco del Tempo (The Park of Time), in the garden on which the Tower stands, is dotted with unusual sundials. It is an ideal starting and finishing point for our route, partly because it has a car park nearby.
Napoleon, enchanted by the panorama, described Mondovì as “the most beautiful town in the world”.
As you walk up from Piazza, you can admire the Duomo (Cathedral) and the Palazzo del Vescovado (Bishop’s Palace). Then you arrive at the Belvedere gardens with the Parco del Tempo. This pleasant, green site allows you to admire a 360 degree panorama that extends from the plain of the Po valley to high Alpine peaks – Bianco, Rosa, Cervino, and on to the gentle hills of the Langhe.
The park illustrates ancient systems for measuring time and you can observe, in particular, an anallematic sundial, a horizontal clock which can show the local true time: there is also an equatorial sundial and a clock for Italian and Babylonian times.
In the center of the park stands the symbol of the city, the Torre civica del Belvedere, or Torre dei Bressani, named after the family who made it the symbol of their prestige. Built in the 14th century and crowned by characteristic battlements, it was originally used as a bell tower of the adjacent church of Sant’Andrea, which stood next door. That church was later demolished. The Tower, 30 meters high, lets you enjoy the panoramic view, and also overlook the red roofs of the houses in the city. This very place was used by the scientist Giovanni Battista Beccaria as a trigonometric point for the determination of the Piedmontese meridian arc in 1762.
At the top of the tower we find the bells, and the characteristic single-hand clock, visible from a great distance. Accompanying the climb is the installation by Liliana Moro, a well-known contemporary artist, entitled “What do I listen to when I listen to the passage of time?”. The sound art work was conceived specifically for the tower, marking the steps that lead up to the top.

2 – Chapel of Santa Maria delle Vigne
Mondovì, Carassone
The Chapel, whose central body and apse date back to the 10th century, was enlarged in the 14th century. It stood near the ancient village and castle of Lupazzanio (or Lupazzano).
The original building had a nave with two rectangular vaulted bays separated by a large arch and a cylindrical apse. Subsequently, the sacristy on the right of the apse, the bell tower, and a two-storey atrium were added (with the entrance and accommodation for the chaplain on the upper floor). The gabled façade at the front dates back to 1900; it is built in neo-Gothic style with bricks and prefabricated concrete decorative elements. There is a cycle of fourteenth-century frescoes in the apse which were carefully restored in 1990-94, repairing the damage caused by repainting, some of which was ill-judged, such as that of 1896.
The most interesting part is the oldest nucleus (apse and last two bays of the nave) built in Langhe sandstone. The exterior of the apse features the characteristic arches and pilasters which were altered by the construction of buttresses following the 1896 earthquake. Some infilled slits are still visible.
The apse frescoes date back to the first half of the 14th century. In the apse basin you can see the Christ Pantocrator in mandorla (Christ, Ruler of All, in an almond-shaped halo) surrounded by the symbols of the four Evangelists on a starry blue background. In the apse cylinder, with a continuous drapery background, the figures of the Apostles are painted, arranged in three groups. On the right above the sacristy door, a Madonna with Child sitting on her knees. The figures, hieratic and large, created with care and refinement, still have a Byzantine look, with wide eyes, fixed gazes and luminous faces, decorated halos and rich, soft drapes. On the right side wall is a Nativity, a later work perhaps from the 16th century. After the recent restorations, Nallino’s (1788) attribution of the frescoes to Giovanni Mazzucco (15th century) appears very arbitrary. Nallino claimed that Mazzucco’s name was written under the fresco.

3 – Chapel of San Giuseppe
Vicoforte
The chapel, located in the center of the district of the same name, was blessed in 1839. The façade appears incomplete, sober, 2/3 decorated with simple pilaster strips and niche motifs.
The wooden portal is surmounted by a scenographic motif and by a space that perhaps was intended to be painted with the fresco of the Saint. The pediment is bare, incomplete, with an empty niche. At the back a bell tower rises above the line of houses.
The design of the facade is similar and coeval to that of the Chapel of S. Teobaldo, even if the portal is more ornate and the entablature more accentuated. It is still influenced by the Baroque in the movement of the niches and panels, but the whole recalls the neoclassical taste in the flat pilasters which make it look taller.
The interior is large and spacious, with a single nave. The external motif of the fake columns is repeated, accentuated by the colour contrast. The final pilasters are reminiscent of the Renaissance.
The presbytery, approximately a third of the entire building, was recently renovated.
At the back a small wooden choir combines very well with the simple altar, which recalls a previous ancient alter, removed because it had deteriorated too much.
In the altarpiece (ancona), whose ornamental design recalls a model often seen in the Vicesi chapels (the chapels between Mondovì and Vicoforte), an oil painting represents the Madonna with Child Jesus, St. Joseph, St. Teobaldo and the venerable Cesare Trombetta son of this land (or St. Louis), along with an unidentified saint. The scene is rather lively, with a sinuous and vertical line that pulls the gaze towards the Glory of the Madonna, dispenser of graces.
On the right wall a painting shows, in a Sacred Conversation, St. Joseph at the feet of the Madonna. St. Joseph appears strangely frowning and worried, as if he were experiencing something that he does not agree with. In fact, he seems to make a fist with the hand that is not holding the flowered stick. St. Teobaldo and the venerable Trombetta have very distinctive faces. They were probably modelled on clients of the painter. On the left, another canvas: the Madonna in the company of St. Bernard and St. Sebastian at prayer. Perhaps these were also painted as votive offerings.
The church has services in the summer and the rosary is recited there in May.
Because it is so new, the chapel does not have a long history. It is mentioned in the Parish Report of Don Caramelli at the beginning of 1900. This says that it is in modern taste, not blessed, very expensive although almost in ruins, with a vaulted floor and tiled ceiling, a choir behind the altar which is in a precarious condition, and some chairs. Don Caramelli was the same parish priest who had some internal and external restorations carried out at that time, at his expense.

4 – “Pentecost – Santo Spirito” Chapel
3rd station of the Mysteries of Glory
This is the oldest chapel owned by the parish of Fiamenga; it is located at the end of the town, in the direction of the Sanctuary, and was built, as a plaque on the façade recalls, in 1689 on the initiative of the spouses Stefano Ghiliozzi and Maria Airaldi. Maria was related to Cardinal Giovanni Bona, who was for a short time abbot of the Cistercian monastery.
The chapel has a circular plan and contains a simple altar on which two images of the Holy Spirit stand out, one frescoed on the vault, the other, in metal, fixed to the center of an arch. It has a bell tower and overlooks a small clearing.

5 – Sanctuary of Vicoforte “Coronation of Mary”
Vicoforte
The Regina Montis Regalis Sanctuary, dedicated to the Nativity of Mary, is located in the municipality of Vicoforte, in the province of Cuneo, about six kilometers from the city of Mondovì. It has been given the status of a minor basilica and, due to its exceptional artistic and architectural value, it is a national monument.
Its dome is the largest elliptical dome in the world: the major axis measures 37.15 meters and the minor axis 24.80 meters. The single-themed pictorial field extends over an area of over 6000 square meters and constitutes another world record: it represents “the history of salvation” contemplated through Mary. The height of the Sanctuary at the top of the lantern measures 71 m; at the top of the terminal cross it measures 84 m. The height of the dome is 32 m; the height at the base of the lantern is 52m: both places are stations on the “Magnificat” visit route. (See https://kalata.it/esperienza/santuario-di-vicoforte-magnificat-cupola-ellittica )

6 – San Rocco Chapel / Installation by Emilio Ferro
Vicoforte
The Chapel of San Rocco in Vicoforte is located on the edge of the road that connects Vicoforte Alta to the Sanctuary below; this position testifies to its importance as an obligatory stop for pilgrims and for the inhabitants themselves who, starting from the top of the hill, wanted to reach the Sanctuary itself. It dates back to the sixteenth century but over time it has been the subject of various transformations, until a recent complex restoration which averted its collapse.
For the Chapel, Emilio Ferro created an artistic installation composed of three elements, using natural, metallic and luminous materials. The artist, starting from the pictures inside the church depicting San Rocco and the Visitation of Mary, aims to have a conversation with the place through the concept of the duality of opposites. In particular, the installation, touching on various themes, intends to investigate the relationship between natural and man-made landscape, between light and darkness, and between closed space and open space.
The first artistic composition consists of a metallic structure of suspended light, with a pointed shape, which crosses the internal space of the chapel and launches itself outside of it.
The second sculpture, placed inside the chapel in front of the altar, is composed of a live tree, positioned on a square metal base, on which a metal bar is placed.
The third sculptural element develops in the external space behind the chapel, a large dry tree supports a long metallic line of light.
The immersive experience of the installation is enriched by a soundtrack created specifically by the artist, the result of the recording and subsequent re-elaboration of the sounds present in the landscape surrounding the church.
The installation does not affect the structure of the church and all the elements are easily removable. In particular, the sculpture located in the center of the chapel can be quickly moved to allow normal religious functions, when necessary. The artist’s intervention acts on the sacredness of the place in a decisive but delicate way; at the same time, broadening its meaning and enriching the visitor’s mind with a new point of view.
The Chapel of San Rocco is transformed into a place in which to reflect and experience the complementarity of opposing forces that vanish in the harmony and unity that encompasses everything.

7 – Chapel of San Cristoforo
Vicoforte
This chapel is in good condition and with an interesting interior. It is one of the Vicesi chapels (a series of chapels between Mondovì and Vicoforte). The facade is rather linear, with a vertical trend and two neoclassical style pilasters which accentuate its momentum. A Renaissance-style entablature adorns the triangular pediment. The structure follows the style of other Vicesi chapels built at almost the same time; it has few ornaments other than a door which is accessed by two steps, flanked by two windows on the side and one at the top. On the left is a bell tower with a bell.
On the façade, at the top left, a plaque in Vico stone recalls that on 16 August 1809 Pope Pius VII passed by as a prisoner of Napoleon. On the left side there is a small space with a wash house; here, until the mid-twentieth century, the women of the neighbourhood went to do their laundry. At the back of the presbytery there is an altar surmounted by a large altarpiece, dominated until recently by an oil painting on canvas with the Madonna, St. Christopher and St. Magnus.
Following work to conserve it, the canvas was removed to the left wall; in the Verzino marble altarpiece a fresco appears in excellent condition, older but very similar in content to the previous one, with St. Magnus replaced by a probable St. Theobald (he is holding the pilgrim’s insignia). The background is unusual, represented not by a watercourse, as the legend of San Cristoforo tells us, but by a marina with some boats: perhaps the personal reminiscence of a Ligurian author.
The style of the marble presbytery recalls other architectural settings of altars which are found quite frequently in 18th century churches in the Monregalese area. The finely crafted rectangular framing is enriched by various decorative elements: inserts and borders in polychrome marble and elegant friezes both at the base and in the upper part. The beautiful architectural design and the quality of the materials give the whole a certain importance, unusual in a small simple chapel like this. Obviously on a small scale, it recalls the monumental altarpiece of the Chapel of San Rocco in the apse of the Sanctuary, where the same marbles are present; the baroque trend of the lines of the upper crown is also similar. All this suggests a connection that is not only temporal with the internal decoration works of the Sanctuary.
The chapel, called San Cristoforo su Scarrone, was presumably built between the end of the 1500s and the first part of the 1600s.

7 – San Martino Chapel Vicoforte, Borgata Martini The small chapel contains a 16th century altarpiece depicting San Martino (Saint Martin).

9 – “Ascent to Calvary” Chapel 4th station of the Sorrowful Mysteries The chapel is located in Pasquero and is owned by the parish of Fiamenga. The perimeter walls were begun in 1888 based on a design by Don Unia, dean of Garessio, with the cooperation of the master builder Luca Veglia and the surveyor Vincenzo Madon. The dome (1894) is due to the intervention of Schellino. The copper roofing is by Matteo Forzano, while the steps were built by Francesco Rossini. The chapel was commissioned by the parish priest of Fiamenga, Don Francesco Chionetti and by the local community. Inside the chapel is a pillar dating back to around 1750, which features a fresco with Jesus carrying the cross, a moment of the Passion towards which the population of Fiamenga had particular devotion. The work was repainted by Francesco Toscano.

10 – Chapel “Flagellation of Jesus“ 2nd station of the Sorrowful Mysteries The chapel is owned by the Sanctuary, and it was built in 1877 by the engineer Vajra. The structure has a circular plan with a flower head and pronaos (an open vestibule). The roof is made of zinc sheets. The frescoes are the work of Luigi Morgari (1979).

11 – “Agony of Jesus” Chapel 1st station of the Sorrowful Mysteries This chapel, owned by the Sanctuary, was built in 1875 based on a Vaja-Schellino project, under the direction of Don Luigi Scotti. The frescoes are by Andrea Vinai. On the vault are angels carrying the symbols of the Passion. The roof is made of zinc sheets and the lightning rod was installed thanks to the interest of Don Carlo Bruno.

12 – “Finding Jesus in the Temple” Chapel 5th station of the Glorious Mysteries The chapel is dedicated to the episode when the young Jesus stayed behind and discussed theology with the elders in the Temple. His parents had to return to the Temple and find Him. The chapel is the property of the Sanctuary and was built in 1875 based on the Vajra-Schellino project. It is in the style of a small temple with a staircase, so even its structure recalls the mystery depicted therein, The first stone was laid on 15 August of that year, during a solemn ceremony with a procession from the Cathedral to the Sanctuary, attended by Bishop Placido Pozzi, the Chapter, all the Clergy, and many faithful. The frescoes date back to 1877 and are by Giuseppe Ingegnatti; the direction of the works was entrusted to Luigi Scotti, priest of the Mission, and to the impresario Luca Veglia. The roof is made of zinc. The interior shows Jesus in discussion with the elders in the Temple. On the vault angels hold the cross.

13 – “Annunciation” Chapel 1st station of the Glorious Mysteries This chapel belongs to the Cathedral Parish, San Donato di Mondovì’. It was built in 1885 based on a design by the engineer Vajra and the surveyor Schellino. The capitals were the work of the cementist Luigi Mechilla and the plasterer was Daniele Gozzi. The dome was covered with copper, on the advice of the Count of San Quintino, by the tinsmith Lorenzo Spadone. The frescoes are the work of Andrea Viani and date back to 1886. The main icon depicts the Annunciation; on the left side there is the presentation of Mary in the Temple, on the right the Marriage of the Virgin. Four prophets are depicted in the pinnacles: Isaiah, Moses, David, and one who is difficult to identify. The dome features angels, with invocations taken from Loreto’s litanies. A plaque was placed on the north side of the Chapel in 1991 commemorating the battle of Brichetto on 21 April 1796, fought nearby between the Piedmontese and the French led by Napoleon.

14. Mater Christi Chapel Mondovì, Parish of San Donato Located in the territory of the parish of the Cathedral of S. Donato, at the end of the Via del Gius, it was built in the second half of the nineteenth century by the family of Canon Giorgio Bruno (1818-1899) of Mondovì Piazza. Canon Bruno was a member of a historic family, some of whose members served as important religious and civic personalities in the city. He owned a farmhouse on the site. Abandoned in the early 1960s, the chapel was reroofed and consolidated by the parish priest of the Cathedral in 2016 as it is a place of worship open to the public and an object of devotion by the community.