Atessa - Atessa

Atessa is a city ofAbruzzo.

To know

Geographical notes

The town of Atessa winds on the top of a crescent-shaped relief, isolated from the surrounding countryside.The waterways that run through the municipal territory are numerous, mostly tributaries of the main rivers: the Sangro to the west and the Osento to the east. Among the main tributaries of them we can remember the Appello Stream, the Fosso Santa Barbara, the Fosso San Carlo, the Rio Falco and the Ceripolle Torrent.

It is 19 km from Bomb, 21 from Casoli and from They launch, 25 from Roccascalegna, 32 from Vast, 60 from Chieti.

Background

According to some sources, the origins of Atessa date back to the 5th century AD. after the fall of the Western Roman Empire, it was later a fiefdom of various lords including: the Courtenay or Cortinaccio, Filippo di Fiandra, the Maramonte, the Count of Monteodorisio, the king Ferrante and the Colonna.

After the subversion of feudalism the territory poured into misery. Subsequently there was a brief recovery under the Bourbon family, but a subsequent cholera epidemic that struck the country between 1816 and 1817 brought it back into misery.

In 1860 the citizens participated with great enthusiasm in the unification of Italy but later had to deal with banditry. In the first half of the twentieth century the country participated in the two world wars, losing 135 villagers in the first and 79 soldiers and 21 civilians in the second world war.

Later, in the seventies and eighties of the twentieth century, the area underwent a radical economic-social transformation due to the industrial development of the Val di Sangro.

How to orient yourself

Neighborhoods

Its vast territory includes numerous villages: Aia Santa Maria, Boragna Fontanelle, Boragna San Paolo, Campanelle, Capragrassa, Carapelle, Carriera, Casale, Castellano, Castelluccio, Ceripollo, Colle Comune, Colle d'Aglio, Colle delle Pietre, Colle Flocco, Colle Grilli, Colle Martinelli, Colle Palumbo, Colle Quarti, Colle Rotondo, Colle San Giovanni, Colle Sant'Angelo, Colle Santinella, Colle Santissimo, Cona, Coste Iadonato, Croce Pili, Fazzoli, Fontegrugnale, Fontesquatino, Fork of Iezzi, Fork of Lupo, Fornelli, Giarrocco, Ianico, Lentisce, Almonds, Mandrioli, Masciavò, Masseria Grande, Molinello, Montecalvo, Montemarcone, Monte Pallano, Monte San Silvestro, Osento, Passo del Vasto, Passo Pincera, Piana Ciccarelli, Piana dei Monaci, Piana dell 'Ivy, Piana Fallascosa, Piana La Fara, Piana Matteo, Piana Osento, Piana Sant'Antonio, Piana Vacante, Pianello, Piazzano, Pietrascritta, Pili, Querceto, Quercianera, Rigatella, Riguardata Scalella, Rocconi, Saletti, San Giacomo, San Luca , San Marco, Sant'Amico, San Tommaso, Satrino, Sciola, Scorciagallo, Siberia, Solagna Longa, Solagna Rigatella, Sterpari, Vallaspra and Varvaringi.

How to get

By plane

• Pescara airport (Abruzzo International Airport), Via Tiburtina Km 229.100, ☎ 39 085 4324201. 

By car

• Highways toll booth of Vast north on the Adriatic highway.
• Former state road 364 by Atessa

By bus

• Bus lines managed by ARPA - Abruzzesi regional public bus lines [1]

How to get around

What see

• Cathedral of San Leucio. The first church dates back to 874 and had a restoration in 1312, on the occasion of which the rose window by the Lancianese school of Francesco Petrini and the symbolic representations of the four evangelists were created. In fact, the similarities to the rose windows of the same school present on the facades of Santa Maria Maggiore a They launch and the cathedral of Larino. Around the middle of the 14th century the cathedral could have a basilica-type layout with three naves with pointed arches supported by pillars. In 1596, the carvers Antono Parvolo and Giambattista Cerinola were commissioned to create the large case and a canopy for the main altar. A new renovation in 1750 led to the enlargement of the hall to five naves, the construction of the bell tower and the reconstruction of the facade, with a curvilinear tympanum and two lateral volutes. The addition of the wooden choir, the pulpit, the organ case, the provost's chair and the two magistrate's chairs can be traced back to 1769 by the carvers Mascio. In the nineties of the nineteenth century the road on which the church overlooks was enlarged, which was also modified in altitude.

With an invasive restoration work in 1935 the original medieval facade was restored on commission by the Abruzzo Superintendency, with a triangular tympanum, the elimination of the volutes, the replacement of the windows on the side portals with oculi and the moving down of the niches with the symbols of the evangelists, which are first found on the sides of the rose window.

In 2003, two frescoes from the 13th-14th century that were hidden behind the choir, temporarily removed for restoration, and a fragment of quotation from a psalm in Gothic characters were brought to light.

Due to the various additions it has undergone over time, the façade, with its disorganization, does not reveal the real internal articulation as it affects only the central nave and the first two side aisles. The outermost naves are instead incorporated into the adjacent buildings. Two pronounced access ramps connect the road surface with the three portals. Of the latter, all pointed, only the central one is splayed and has a richer decoration. The ashlars arranged in a pointed arch of the central portal are contained within a polygonal frame. In line with the portal, continuing upwards, there is a niche containing a statue of San Leucio, which in turn is flanked by two others on each side in which the symbols of the evangelists are hidden. The brick curtain wall of the facade is sectioned horizontally by a cornice, above which the sector of the central nave shows an invoice in opus spicatum and is delineated laterally by two stone pilasters and a sloping cornice on the top.

The rose window is surmounted by a small shrine containing the sculpture of the cruciferous lamb and is enclosed within an archivolt that rests on column-bearing lions. The tunnel is made up of twisted radial columns from which two opposing turns of trefoil arches are set.

The interior, quite large in width but rather short in length, is entirely covered with late-Baroque decorations in shades of red-brown, gold, beige and gray, imitating the natural veins of marble. Leaning against the side walls is a series of thirteen marble altars, above which are affixed oil paintings with figures of saints, many of which are ex-votos.

In the central nave there is a richly carved pulpit in solid walnut, an equally decorated wooden choir, a provostory chair and the organ case, works by the Mascio di Atessa brothers and dating back to the 18th century. The central seat is surmounted by a canvas by Ludovico Teodoro depicting San Leucio, dated 1779. The frescoes decorating the vault are the work of Teodoro Trentino and the atessano Ferri, dating back to the 18th and 19th centuries. There are also a wooden crucifix of the Neapolitan school dated 1750, a Renaissance terracotta statue perhaps depicting St. Joseph and, near the sacristy, a fossil rib of the mythical "dragon", actually belonging to a large mammal, probably donated to the church. as an ex voto in medieval times.

The so-called "treasure" of the church of San Leucio is made up of goldsmith works, archival material, a rich set of vestments, statues, furnishings, candelabra and embroidered fabrics, put together by the devotion of the local faithful and the administrative choices of the clergy. The monstrance in gilded silver by Nicola da stands out in particular Guardiagrele from 1418, worked with chisel and burin and with enamels and filigree workings, on which various figures are represented that culminate with San Michele brandishing the sword. We should also remember the processional cross also attributed to Nicola da Guardiagrele, the bust of San Leucio in gilded silver, cast in Rome in 1731 but finished only in 1857 and the illuminated missals of the 15th and 16th centuries, to which are added choral books. , parchments, cartegloria, chalices, crosses, reliquaries and jewels donated by private individuals as ex voto for the grace received.

The legend of the dragon's rib

According to the legend, San Leucio, bishop of Toast, killed the dragon that sowed terror between Ate and Tixia, the first two settlements of the city of Atessa, preventing them from joining; he gave blood and a rib to the people to be kept in memory of what happened. The rib is currently kept in the church dedicated to the saint. The building stands in the place where the dragon's cave is said to have been. 

• Church of the Holy Cross. It is one of the oldest churches in the city and is located on the edge of the hill Tixia, one of the first residential areas of Atessa. It has a basilica with three naves. : According to some scholars, a primitive structure with an octagonal plan already existed in the seventh century, as some architectural elements would seem to testify. A document dated 1027 indicates for the first time the church, which as the seat of the company of the Holy Cross, assisted pilgrims who came to Atessa. The first changes to the church date back to the 13th century, when the two buttresses on the sides of the portal were also built. Other works were carried out in the fourteenth century, on the occasion of which the building was given a single rectangular hall appearance and the Gothic portal and the rose window were inserted. The two side naves, covered by vaults, were added only in the second half of the 17th century. These works ended in the first decades of the eighteenth century, after the construction of the current bell tower.

In the nineteenth century the church was reinforced with a wall box set on arches, with a thickness such as to oppose the thrust of the vaults on the side aisles. With the restoration work in 1985, the original appearance of the facade was restored by removing the layer of plaster that covered it.

The façade has a characteristic masonry facing with exposed stones. Under the Gothic rose window there are two Baroque windows while in axis with it are a Romanesque single lancet window and, further down, the portal with an ogival arch. On the side of the façade there is the eighteenth-century bell tower in terracotta, with a large belfry on the top.

The interior is in Baroque style, with a simple basilica plan with three naves without side chapels. : On the counter-façade there is the wooden choir loft decorated with monochrome paintings, which houses a nineteenth-century organ. The central nave is divided into three bays by golden pilasters that support the arches that separate the main nave from the minor ones.

The quadrangular apse, covered by a dome without a lantern, is bordered by a semicircular balustrade in two-tone marble. Under the apse arch there is the modern high altar in wood, flanked by an ambo of the same make. Other valuable works include the small wooden statue of Maria Santissima delle Grazie, the statues of San Francesco d'Assisi (1885) and the Immaculate Conception (1889, by the artist G. Falcucci), and two statuettes depicting Saints Andrea and Lorenzo, placed near the baptismal font. 

• Church of the Madonna della Cintura. The church of the Madonna Immacolata della Cintura or of Santa Giusta is located in the oldest part of the city. It consists of one lower church no longer officiated and one upper church, the current one, which is accessed from a side portal. It has a basilica with three naves with an apse.

The upper church in 1576 was the subject of restoration interventions, also carried out in the eighteenth century, when it was enriched with part of the furnishings of the ancient church of Santa Giusta to which the building was later entitled. Externally the church has extremely simple architectural lines that blend with the surrounding buildings, characterized by the stone portal, the triangular bell tower and two semicircular windows.

It has the same plan as the lower church and is divided into three naves divided by pillars. The central nave has an elliptical dome with coffered decorations, a twelve-sided central lantern and small pointed arch openings on columns, set on four cruciform pillars with Corinthian capitals surmounted by a nut. The ceilings of the aisles are made with ribbed vaults on a trapezoidal base and semicircular side windows. The apse is covered by a hemispherical dome on a square base. On the walls there are two baroque altars, as well as the wooden furnishings, the pulpit, the confessional and the choir.

The masonry choir is located at the beginning of the nave. It is supported by four columns with finely decorated capitals. It has a mixtilinear parapet framed and decorated with musical instruments and floral motifs and houses from the 18th century.

Lower church

The lower church, dedicated to the Our Lady of the Recommended it already existed in the first half of the fourteenth century; the Confraternity of Recommended was based there, founded in the mid-sixteenth century. It is made of brick with a simple trapezoidal plan, divided into four spans with cross ceilings, set on round arches, with some columns independent of the church plant, built to support the pillars of the upper church, with which they correspond .

Unfortunately, it is now in a total state of abandonment and decay, so much so as to jeopardize the stability of the upper church. 

• Church of San Pietro, Largo Castello. The church, deconsecrated, represents the oldest settlement in the area: there were news of it as early as 1348. In 1467 it was rebuilt with late medieval features, such as the piers of the trilithic portal. In the 18th century, during the repair of the city walls, the sacristy was built with materials from the repair of the church of the Immaculate Virgin of the Belt. It remained open for worship until 1950, when it was abandoned and finally restored in 1999.

The façade has a characteristic flat termination, as well as the bell tower, probably not contemporary with the church. The curtain wall is made of irregular stone, with various types of pebbles and stones, with some brick layers. The interior, with a single nave, has a trussed ceiling. 

• Church of Our Lady of Sorrows, via Duca degli Abruzzi. The first church of the Madonna Addolorata dates back to the 16th century. During the Second World War the church was destroyed by bombs. It was rebuilt and reopened for worship in 1952.

The building has a single nave, with an apse termination and a gable roof. The façade, ending with a tympanum, has two levels separated by a frame. The entire perimeter of the church has internally a series of pilasters with capitals enriched with golden decorations. The roof of the hall, with a barrel vault, has a basin termination in correspondence with the apse, with coffered decorations. 

• Church of San Vincenzo Ferrer (in the hamlet of Monte Marcone). Near the church in 1977, during plowing works, a bronze statuette was found, about 32 cm high, depicting "Veiove", for the Romans Jupiter as a youth, whose cult was linked to sources of water, rain and storm. The statuette is of exquisite workmanship, coming from the Magna Graecia area, now on display at the archaeological museum of Chieti. By the Archaeological Superintendency, excavations began which led to the discovery of a cult area of ​​the II-I century BC, consisting of a small Italic pagan temple with a fence wall, together with a large amount of finds. In the area a church dedicated to San Silvestro was built in ancient times, already documented in the year 829. It was then replaced in the mid-nineteenth century by the new church dedicated to San Vincenzo Ferrer and built on the same track, but further away.

The facade is preceded by a brick portico and surmounted by a stone balustrade, built in the early twentieth century. The upper area of ​​the church is framed by two pilasters that support the statues of the archangels Michael and Gabriel; in the center a stone rose window surmounted by the clock and the bell gable that was originally made in a priest's hat, or with 3 lace, on the lateral perimeter walls to the right of the facade, then moved to the center in the sixties.

The interior has a single hall, without an apse and side chapels. The perimeter walls of the nave are enlivened by cornices and pilasters with highly worked Ionic capitals and gilded finishes that support a very protruding entablature that follows the entire perimeter of the church without interruption. The atrium was used as a baptistery. A stairway staircase leads to the entrance.

On the right side of the entrance to the parish hall there is a stone bas-relief depicting the archaeological find of "Veiove", placed in memory of the 30th anniversary of the discovery; on the top of the mountain, five hundred meters higher, there are the ruins of the medieval church of San Silvestro, with the large iron cross, from where you can admire one of the most beautiful views of the Sangro valley, from the sea to the Maiella. 

• Church of San Gaetano. 
• Church of San Rocco (Madonna del Carmine). The church was once dedicated to the Madonna del Carmine and was part of the Carmelite convent which was founded in 1603. The convent still exists and housed the Civil Hospital until the opening of the new hospital. In the past the church had a gabled façade until the restructuring took place in the second half of the twentieth century when it was given its current appearance.

The interior in late Baroque style has decorations with gilded stuccos and polychrome altars. The walls are enriched by the presence of minor altars. The nave has an architectural order of pilasters that support a very protruding entablature that sets the barrel vault. The vault is richly decorated with stuccoes and has some frescoes depicting religious scenes. An imposing arch divides the presbytery from the nave. 

• Church of Sant'Antonio. The church of Sant'Antonio Abate and Sant'Antonio da Padova. It rises outside the ancient walls. There is not much information on its history; a stone window on the side façade suggests that the church was built around the 17th century. During the 19th century it was renovated.

The facade of the building has a rectangular shape in brick colored in ocher and red; the roof has a flat termination and the portal has a simple frame with an inscription. The bell tower is built with bricks and a stone base.

The interiors have two vaults enriched with stucco decorations. The part above the altar has a dome on pendentives with frescoes of the four evangelists. On the right side of the church there is a chapel with a coffered ceiling built at different times from the construction of the church. The peculiarity of the church is the faux marble confessional in the wall. 

• Church of San Michele. It is located in the district of the same name, one of the two original nuclei of the town.

Historians trace the existence of the church back to the seventh century, as evidenced by an epigraph located inside the building. At the end of the 18th century it underwent a total makeover, which gave it its present appearance. A further intervention was carried out in 1876. The mid-19th century bell tower, ruined during the Second World War, was restored in 1947.

The façade is framed on the sides by pairs of giant pilasters ending with Corinthian capitals, ending with a flat entablature surmounted by a balustrade. The surface of the wall is worked with horizontal strips of smooth ashlar.

The interior, in late Baroque style, is entirely covered with stucco and plaster. The side walls have semi-pillars that support an overhanging entablature for the entire perimeter of the church. : The second bay has a hemispherical cap which rests on plumes decorated with stucco angelic figures. On the right wall of the presbytery there is a plaque with engravings in Gothic characters not yet deciphered. 

• Church of San Giuseppe. 
• Church of San Giovanni Battista. 
• Church of Santa Maria Assunta. at the cemetery. 
• Church of San Nicola. 
• Church of the Madonna del Rosario. 
• Church of the Madonna del Buon Consiglio. 
• Church of Santa Maria. 
• Church of the Madonna a Mare. 
• Church of San Benedetto. 
• Church of San Luca. 

• Convent of San Pasquale and Church of Santa Maria degli Angeli (in Vallaspra). The convent of San Pasquale is a monastic complex which also includes the church of Santa Maria degli Angeli.

The foundation of the convent dates back to 1408, around an ancient chapel called "cona". The works ended in 1431. Some important remodeling interventions were carried out in 1666 and in 1700, probably to conform the building to its new function as a wool building, which lasted for over forty years until 1675. There were produced fabrics to make the Franciscan habit. and wool and goods were traded there with pilgrims, shepherds and wayfarers who passed on the sheep track that reached Fara San Martino.

In 1860 the structure became the property of the municipality of Atessa and experienced a long period of decay and abandonment, in which it was used as a shed and warehouse for the forestry corps. At that time, however, the garden was transformed into a plant nursery, as it is today. In 1936 the convent was restored and the church of Santa Maria degli Angeli it resumed being officiated by a group of Oblate missionaries of Mary Immaculate. The plaster that covered the external walls was also removed and the termination of the church, which was previously flat, was modified.

At the moment it hosts the Identes Fathers.

The convent is made of stone, with the use of bricks only for the pilasters, arches and cross vaults of the portico. On the back wall of the latter there is a fresco (part of the ancient "cona") representing the Pietà with the Magdalene, Sant'Antonio, San Giovanni and San Francesco on the sides. The main façade is punctuated by round arches with pilasters of the portico, which support an entablature that stops at the facade of the church, as it emerges forward from the rest of the structure. The building also has an internal cloister with a quadrangular plan, with a double order of arches, in the center of which there is the well which, according to tradition, was the object of a miracle in 1709. On the left wall of the convent there is a large reproduction of Lourdes, with also a small pond.

Church of Santa Maria degli Angeli

The façade, divided horizontally by a string course, ends with a pediment interrupted in the center by a small bell gable. Of the two sectors in which the frame divides the façade, the one below welcomes a large arch that leads into the portico and then to the church, while in the one above there is a mullioned window with arches resting on columns.

Inside, pilasters with gilded capitals support an entablature that runs along the entire perimeter of the church. A large arch separates the nave, with a coffered roof, from the apse area, with a hemispherical cap set on frescoed plumes. To the right of the main nave there is a smaller lateral one, overlooked by the large chapel dedicated to San Pasquale Baylon, added in the early eighteenth century. The latter preserves a reliquary with the remains of Santa Liberata Martire and other reliquaries with the remains of Blessed Tommaso and San Pasquale. Also noteworthy is a statue of the saint to whom the convent is dedicated and a sixteenth-century terracotta sculpture of San Francesco d'Assisi. 

• Church of San Domenico and former Dominican Convent. The church is located in the ancient part of Atessa. In front of the church was the convent of San Domenico, largely restored. Founded in 1275, it was renovated in 1556.: At the beginning of the seventeenth century the ceiling of the side aisles was redone, while the works on the façade lasted until 1664. The same year the portal was built by Fra 'Antonio Coccia, as documented by inscription engraved on the entablature.

The portal has 2 fluted columns on each side that rest on a high stone base that support the pediment and frame the round arched opening. The interior has 3 naves in the late Baroque style, divided by a series of round arches. On the ceiling of the apse there are frescoes depicting the four evangelists. The raised presbytery of two steps is closed by a marble balustrade.

The state of conservation of the building is very bad due to the infiltration of rainwater and the non-existent maintenance. The ceiling frescoes in the central nave are significantly damaged and most of the plaster has fallen off. 

• Cloister of the Poor Clares. consisting of some remains of the arches of the cloister of the monastery of San Giacinto, founded in 1667. 
• Church of San Giovanni. 
• Arco 'Ndriano (Porta San Nicola), Corso Vittorio Emanuele. The Arco 'Ndriano or Porta San Nicola is the largest gate in Atessa. It is made of brick with some stone inserts. The origin of the gate dates back to the year one thousand. In 1616 the gate still existed; in the second half of the eighteenth century as a result of a total state of abandonment it was demolished. The new neoclassical door that rose in its place was finished in 1780. It subsequently lost its defense function and was used for representation, and therefore the name was replaced. Porta San Nicola with Arco 'Ndriano. In 1780 the loggia was built on the arch and at the beginning of the Eighties the buildings behind it were raised. 

• Porta San Michele (Porticella; Door of Santa Giusta). It is a gate of the ancient city walls; it was built as an access gate from the San Michele district towards the end of the 7th century, with the nickname of Porticella due to its small size. With the erection in the vicinity of the church of Santa Giusta, it also acquired the name of the gate of Santa Giusta.

The features are rather simple, with irregular stone masonry mixed with bricks. : Above the arch there is a small rectangular window, probably obtained with the works to build the part of the house in the upper sector. 

• Porta Santa Margherita. It is of uncertain dating, perhaps from the 6th or 11th century. In the fourteenth century the church of Santa Margherita was built adjacent to the door from which it takes its name. In the 15th century the gate and its site were used as a military garrison in the prison area. In the same period it underwent architectural changes with the insertion of the balustrade and the loopholes. In the twentieth century the gate was the subject of a conservative restructuring. 
• Porta San Giuseppe. 
• Walls of the ancient village. 
• Coccia-Ferri Palace. It is located in the San Michele district and is currently used as a residential building.

It was built in 1569 as a noble palace, probably using the structure of a pre-existing fortified building. Its mighty size makes it stand out from other small houses in the neighborhood. Its current appearance is the result of multiple works carried out over time. It has an entirely plastered surface, developed on three levels divided by string courses. In the second and third levels, the windows are decorated with an arched brick frame, as in numerous other buildings in the historic center of Atessa. The most significant elements of the building are the portal, the large internal courtyard and the elegant staircase. 

• Spaventa Palace. It is a stately building located near Piazza Garibaldi currently used as a residence. It dates back to 1875 and was built by an ancestor of Professor Luigi Spaventa, an important economist. The bombings of the Second World War caused parts of the building to collapse.

The building is completely made of bricks and has a courtyard inside. The walls of the ground floor are rusticated up to the central sector of the portal. The other two floors have pilasters with stone capitals; the portal has two arched windows on the sides and is surmounted by a balcony. : On the right side of the building there are still the walls that collapsed from the events during the Second World War. 

• Marcolongo Palace. 
• Palazzo Della Francesco. 
• Column of San Cristoforo. It is located on the top of the homonymous hill near Piazza Garibaldi, the city center. It was built in honor of San Cristoforo to invoke protection from the plague in 1657. It was restored in 1955 due to the serious damage suffered during the Second World War. It is made of brick and consists of two floors with four faces, each of which has round arches, on which the statue of the Saint rests. 
• Medieval tower. 

Events and parties

What to do

Shopping

How to have fun

Where to eat

Average prices

• 42.0672314.4455261 Pizzeria Ristorante Al Duca, Via Duca degli Abruzzi, 24, ☎ 39 0872 865539. 
• 42.07053114.4467382 Mattia's Restaurant, Via Giacomo Matteotti, 31, ☎ 39 0872 850292. 
• 42.06631214.4468243 Perbacco Wine Pub- Bar restaurant, Corso Vittorio Emanuele, 95, ☎ 39 348 8000904. 
• 42.06704314.4445244 Pizzamania, Abruzzo square 4, ☎ 39 0872 889185. 

Where stay

Average prices

• 42.06809614.4421551 Il Castelluccio farmhouse, Piazzetta Castelluccio, ☎ 39 0872 889122. 
• 42.12483814.4062332 Hotel la castellana, Via Piana La Fara, 18/2, ☎ 39 0872 897038. 
• 42.13562114.4264363 Hotel Select, Via Piazzano, 90, ☎ 39 0872 897107. 

Safety

Pharmacies

• 42.0677114.4428121 Falcocchio Pharmacy, Town Hall Square, 9, ☎ 39 0872 866574. 
• 42.06710614.4448862 Falcucci Pharmacy, Via Duca degli Abruzzi, 12, ☎ 39 087 866280. 
• 42.06621814.4458493 Palombaro Pharmacy, Corso Vittorio Emanuele II, 66, ☎ 39 0872 866478. 

How to keep in touch

Post office

• 42.06787314.4457964 Italian post, via Cesare Battisti 21, ☎ 39 0872 859549, fax: 39 0872 853144. 

Around

• Bomb - The neighbour lake of Bomba, from whose southern shore you can enjoy a view of the Maiella, it offers tourist services such as camping, restaurants and farmhouses. Of artificial origin, the lake mirror over time has become of environmental interest.
• Casoli - The urban center, gathered around the ducal castle and the parish church, is perched on a hill to the right of the Aventino river, at the foot of the Majella.
• They launch - City of ancient tradition, it was the capital of the Frentani and then a Roman municipality. It has an ancient nucleus of great interest, which comes alive on the occasion of the numerous historical re-enactments; famous are the Medieval Week with the '' Mastrogiurato '' and the sacred representations of Holy Week. It is a destination for pilgrimages following his Eucharistic miracle.
• Roccascalegna — Il suo castello, posto sulla cima di una sporgenza rocciosa come un nido d’aquila, domina sull'abitato; il piccolo borgo, composto da poche e basse case, si sviluppa ai piedi della rocca.
• Vasto — La città antica con le sue fortificazioni è in posizione elevata sul mare; la gemmazione moderna è sulla costa dove si sviluppa la stazione balneare di Marina di Vasto.

Other projects

• Wikipedia contains an entry concerning Atessa
• Commons contains images or other files on Atessa

Bozza : l'articolo rispetta il template standard contiene informazioni utili a un turista e dà un'informazione sommaria sulla meta turistica. Intestazione e piè pagina sono correttamente compilati.