This publication aims to be a showcase that can serve to overcome the superficiality of a look at those who will visit Grosio, on this and other future occasions. We hope to accompany the visitor to the discovery of a rich and fascinating historical-artistic reality.
Grosio is defined as an original and particular piece of the variegated Valtellinese mosaic. Authenticity, joviality, frankness are and try to survive as characteristics that act as a social glue. Those who enter the village are welcomed by the hydroelectric plant that exploits the waters coming from Valgrosina, a mountain picture with multiple colors and landscapes. The two medieval castles rest on the plants built with an original architectural style, alongside the largest engraved rock in the Alps on which the hieroglyphic signs of primitive life in these places are imprinted. Looking towards the town, the façade of the Parish Church of San Giuseppe appears majestic, alongside the historic Villa Visconti Venosta surrounded by a large park. Entering the town, its hamlets and then into the side valley or the slope that leads to the Mortirolo pass, you can get to know other precious pearls that we only partially present in this space.
ROCK ENGRAVING PARK AND CASTLES
The first signs that testify to strong human activity in these places date back to the Bronze Age. Presumably, some findings, thanks to the archaeologist Davide Pace, in the bumps that flank the castles that dominate the access to the town, date back to the late Neolithic. The older of the two fortifications dates back to at least 1150 as the property of the Bishop of Como and then passed and became available to the Venosta family until the 1500s, a time when the "castrum novum" was also built. The prehistoric finds and castles can be visited with the expert guides of the Rock Engravings Park which welcomes visitors.
CHURCH OF SAN GIUSEPPE
VILLA VISCONTI VENOSTA
CHURCH OF SAN GIORGIO
TOWN HALL PIAZZA
GROSIO'S COSTUME - GROSINI EARRINGS - LA PESTEDA
THE OLD MASKS OF THE CARNIVAL OF GROSIO
Grosio is known for his Old Masks (dating back to the end of 1500). On the first Sunday of Lent, the streets of the town are filled with colors thanks to the parade of floats and masks. The Carneval Vecc is characterized by the ancient Masks that lead the parade, they are characters who keep the goliardic and peasant vocation of the valley.
-the lean Lent and the Carneval vecc (The procession opens) & nbsp; With this representation the popular image of the aforementioned contrast between the sacrifice of time is immediately explained liturgical of Lent and the opulence of carnival. Thus the two tempos are represented by the peaceful, fat, cheerful and serene man and by the woman reduced to the bone, badly dressed, limping, shriveled and with an apron studded with foul-smelling salted herring.
-The bear and the tamer (overcoming fear with sympathy) & nbsp; The parade for the two characters is a succession of skits, calibrated by the skill of the tamer to let the big bear approach the crowd, loosening the chain and then pulling it at the right moment. At the same time, the bear must exploit the initial fear especially of curious children and be able, with grimaces and awkward movements, to transform it into sympathy for the animal.
This typical mechanism in place in all the ancient Alpine fairs served to mitigate exaggerated fears, making known the dangers of nature and its inhabitants closely.
-Il Paralitic (living on the shoulders of others) & nbsp; The first of the double masks, an ingenious mechanism coming from the ancient French theater, is that of the paralytic in which only one wearer gives life to two characters.
The upper part is that of an old sick man with motor difficulties, who uses a sweet young lady, dressed in a succinct way, to move around.
The wearer moves her by lending her long, tapered legs.
It is evident, however, that in the goliardic construction of the mask, the legs of the paralytic, which come out behind the wearer's tired back, are fake.
-The Bernarda and the Accompanist (the queen of Carneval Vecc) & nbsp; She is definitely the queen of the parade, double mask in which a wearer interprets the little son in the basket and the weary mother carrying it on her shoulders, another wearer accompanies the lady and her daughter in the role of husband. & nbsp; The grosina tradition is represented by clothing. In fact, the peasant costume, used during transhumance, is worn by husband and wife and the feet are shown "the waste" typical and unique footwear made of wood and leather has the toe raised from the ground, favoring the walk on steep and steep terrain. Grosio's tradition is also manifested in attitudes. It is the wife who carries the gerlo and therefore symbolically the weight of the family. Finally, the child who immediately becomes an adult and is weaned by his father with a bottle of good wine which obviously makes the little one joyful.
-l'Altoni (local harlequin) & nbsp; From the best tradition of agricultural societies which, even in entertainment, took care to contain expenses, is the mask of Altoni, made with the same concepts used by the most famous Harlequin. a pair of shoes of enormous size, a reason for clumsy trips, but also used to "stamp" the feet of famous victims during the parade.
-the cul de merda and the gubet de spin (the joke masks); & nbsp; are probably the most recent ones introduced in the fashion show. They most closely represent the relationship between carnival and joke. One represents and plays on the disgust generated by the bodily needs which in this case leave the character in a precarious hygienic state helped in the unpleasant operations by his partner. The other mask, on the other hand, takes advantage of the popular need for luck that can be obtained from a simple and effective pat on the hump of a victim. Only after the blow inflicted, the unsuspecting victim realizes, causes the pain, as the hump is formed by a pillow stuffed with the prickly curls of chestnuts.