Lanzo and the whole valley is quiet, accessible to all, a destination for those seeking absolute relaxation and escape from the hectic pace of everyday life. A land of relaxed mountaineering, it is an open and welcoming valley, home to artists who left their mark during the Renaissance and Baroque periods.
The area is very green: the peaks are covered with thick woods, while on the mountain slopes the terraces made by man are clearly visible. Wheat and rye were once the greatest wealth of the valley and for this very reason, along the waterways numerous stone mills were built, still visible today.
Small villages grouped in the Upper Valley, Center Valley and places including Castiglione, San Fedele, Lanzo, Schignano with its Carnival, which are just a few kilometers from each other, but rich in exceptional beauty such as the Belvedere di Pigra, towards the lake of Como, and Lanzo, Vetta Sighignola towards Lake Lugano. The ancient village of the village is very picturesque with its old pointed stone bridge.
The inhabitants, mostly peasants, milled wheat with a particular type of water mill. You can still see it in Cerano, a village that had numerous mills and factories with hydraulic power.It should not be forgotten, however, that the entire intelvese valley was essentially an area of seasonal emigration, usually artisans, often artists and, as such, subject to the absence of most of the male population.
Everyday life was therefore followed by the female component of the family who had to take on the hard work in the fields or the breeding of livestock as well as, of course, the care of the children and their education.
Hence the idea of creating a museum.
The ethnographic museum of Casasco Intelvi is a precious historical and social resource, a cultural and human testimony that aims to link the inhabitants of Casasco and the people of the Intelvi valley to their origins. It was born from an idea by Piergiorgio Cairoli, then mayor of the town, with the aim of preserving and handing down the cultural heritage of the rural civilization, of the mountain and of craft practices, trying, as far as possible, to respect the customs, ideals and feelings of the people who with their hard work faced a reality in some ways unknown to us.
The objects and the tools are grouped by rooms and by activities according to a precise and harmonious reconstruction that has the effect of creating an intense emotion for an era so distant from us but so close.
The representation of the humble and hard work of ordinary people thus acquires a high ethical sense. Respecting it and protecting it becomes almost an obligation, an act of love and respect for one’s roots. Interesting is the collection of equipment concerning the production of scagliola, both marbled and inlaid which has given so much shine to the Intelvi Valley.
In San Fedele Intelvi, one of the towns of the Valley, it is possible to play water sports, but not only, in the comfortable Community Swimming Pool. Here, even the tourists, can swim, train, follow physiotherapy and functional recovery programs working both in the water and in the gym, benefit from the dietitian consulting service, take a sauna, or bring their children to the summer camps. In short, a world of sport and fun! The sports that can be practiced in Lanzo and Scaria are numerous, supported by efficient sports facilities and organizations and can be practiced all year round depending on the type.
Tennis, table tennis, bowls and 5-a-side football, all with night lighting, are held at the center of Poletti street; open during the summer season with extension on the weekends of spring and late autumn. The structure set among parks of prestigious villas, enjoys a unique panorama of its kind; recently renovated and modernized in the services it is equipped with every comfort. The 11-a-side football field with locker rooms, in the Pizzarera area, is in order to host local and night-time championship matches.
The Golf practiced in the nine-hole course of the Golf Club on the Piano delle Noci, is the scene of important competitions throughout the opening period, enjoys an excellent reputation and is considered by the experts a splendid “mountain” course. During the winter season, even skiing finds a home in Intelvi Valley thanks to the slopes of Mount Sighignola where it is possible to practice alpine skiing. In summer there are international level grass skiing events. Cross-country skiing is practiced in the 5 km approved ring, with possible marked variants.
There is no lack of horse riding stables on the spot, where horse riding is possible.
The mountain bike finds its natural habitat on the mule tracks of the Cadorna line (fortifications carried out by the Italian army in conjunction with the First World War).
You can take walks and hikes along the marked paths, winding along the slopes of the surrounding mountains; the flora of these peaks is characterized by the coexistence of elements of Alpine and Mediterranean origin, it is not unusual to encounter deer, roe deer, chamois and wild boar that have now re-established in the territory.
At the PalaLanzo it is possible to attend various art shows, such as: concerts, theater, sporting events, and events of all kinds, during the summer the bar service also works both for the structure and for the adjacent public gardens, equipped with games for children.
The Parco Spino area is equipped for country parties, dancing and popular events in general.
In the hamlet of San Fedele Superiore stands the small eighteenth-century Oratory of Santa Liberata.
This oratory, built on a previous structure, has a nineteenth-century gabled façade, with a portal in relief of the Saint; on the right the eighteenth-century bell tower was resumed in the following century.
Inside, the stucco statues of the Saints stand out on the sides of the arch. Rocco and Giovanni Battista, imitating the motifs diffused by G. B. Barberini. The presbytery, preceded by a balustrade, has a magnificent altar with spiral and stucco columns, complete with “sky” and stuccos of the Annunciation, and of the altarpiece of the Immaculate Conception near Carlo Carloni; on the left the altarpiece from the early seventeenth century (Madonna with Child and Saint Catherine of Alexandria); to the right a Santa Liberata of a “tenebrous” dating from the late seventeenth century; on the vault we find stuccoes and frescoes repainted.
Stucchi from 1747 and balustrade also in the chapel on the right, while the counter-façade preserves the nineteenth-century fringe.
The complex of the Church of S. Pancrazio is composed of two main building units: the church, with a single nave and side chapels, and the bell tower, with a square plan and accessed from the chapel on the left. The structure of both buildings consists of an irregular stone wall, left facing. The chapel on the left, which was the apse of the ancient church, consists of an irregular stone wall, with pilasters in coarsely squared stone blocks. Also the current apse and the portion of the building on the right side, which houses the chapel of St. Charles and the sacristy, are equipped with pilasters, which in the case of the apse are made with squared stone ashlars, while in the body on the right side of the structure they consist of an irregular stone wall, similar to that of the rest of the structure.
Il Museo dello Stucco e della Scagliola Intelvese di Cerano d’Intelvi, allestito in un’ala del Palazzo Perlasca-Pinchetti, è stato istituito nel 1989, dopo le esperienze di don Nicola Cetti e della Scuola Regionale di Scagliola Intelvese di Ossuccio. Nel Museo sono conservate le collezioni Spalla-Gandola riguardanti stucchi e scagliole, che costituiscono testimonianze della conosciuta tradizione artistica intelvese. Questo è l’unico Museo sul settore specifico, conosciuto sia in Italia sia all’estero, e che mantiene, raccoglie e divulga gli studi sugli stucchi e la scagliola.
Of the primitive Romanesque church, built in the second half of the 12th century, only the slender gabled façade is preserved, in well-hewn local stone. In the center it presents a large “French-style” portal with a round arch, composed of several “beam” elements, with splayed half-columns crowned with capitals decorated with floral motifs and with “clawed” bases with allegorical figurines. Interesting, in the facade, two small windows with an eye and a cross-shaped opening. It is the most complex and best preserved Romanesque portal in the entire Intelvi Valley. The building was enlarged in the seventeenth century and then remodeled in the eighteenth century. Even the bell tower has Romanesque foundations, but it is largely a six- to eighteenth-century remake. Around 1593 the Bishop Niguarda recalls a walled cemetery with three doors and, on the sides of the main door, the painted chapel dedicated to San Rocco. The Romanesque apse and the oratory of San Rocco were demolished in the early 19th century. In 1893 other remodeling works were carried out, directed by the master builder Somaini and by the painter Inganni di Dizzasco. Inside there are a series of Baroque interventions, preceded by sixteenth-century frescoes (on the left wall, Madonna in Throne, with Child and Saints Bartolomeo and Antonio Abate, with the Baptism of Christ on the side) and seventeenth-century (on the right wall, Madonna del Rosary with Child and the Saints Domenico, Lucia, Caterina da Siena and Santa Domenicana). In the first chapel on the right, testimony of the cult of San Carlo after his beatification in 1610, we find a shovel, stuccoes and frescoes dating back to the first half of the 1600s, while the frontal in scagliola is from the 18th century. The first chapel on the left contains many works: the seventeenth-century altarpiece of the Madonna with Child and St. Catherine of Siena on the right, the altar with the eighteenth-century statue of the Madonna of the Rosary and the coeval frontal in scagliola (1741); the set of stuccos and frescoes (Adoration of the shepherds, Coronation of the Virgin, Pentecost); the seventeenth century baptismal font.
Noteworthy is the stucco Annunciation on the triumphal arch (barberiana, attributed to Ferradini), while in the presbytery there are remains of the balustrade, a statue of St. Antonio Abate and a coeval processional cross, but above all the vault with stucco and fresco decoration ( Trinity, Angels, Saints Anthony and Paul, Saints George and Mark) of the early seventeenth century.
The eighteenth-century piece of furniture in the sacristy, with a baroque, neoclassical and eclectic treasure; neoclassical is the high altar, one of the most impressive in the area.
The complex of the Church of S. Giorgio is located in the upper part of the town, on the site of an ancient fortification, and consists of the church, the sacristy located on the north side and the entrance bell tower, which falls under the Westwerk typology. like that of the church of the SS. Nazaro and Celso di Scaria. All the buildings are in masonry, mostly plastered and painted, and left visible only in the lower part of the bell tower and in a portion of the south side. The lower part of the bell tower, which houses the atrium of the church, is in stone masonry, with regularly squared ashlars; on the south side of the bell tower we find a portion of column inserted in the masonry and on the north side a frame with arches. The plinth is in stone slabs. A portion of the south elevation, just after the building that contains the chapels, has different types of masonry, more or less regular, and a frame in arches as a crowning.
The Oratory of the Madonna of Restello stands isolated, at the edge of the inhabited area, and considerably below the road that runs along it; you arrive at the level of the church going down a staircase with stone steps. It is an octagonal building with access on the north side, a rectangular plan presbytery on the south side and the sacristy on the west side. The sacristy, connected to the presbytery, has an independent access on the north side. The façades are in irregular stone masonry, face to face, with strolling plinth. On the east elevation, which overlooks the nearby stream, we find a second masonry plinth, rather large, which could have been built as a reinforcement for the church.
The building is set against the church of S. Maria; the plan is articulated, distributed on three floors. The PT houses the museum; on the first floor there are the rooms for oratorial activities, the parish archive and the sacristy; on the second floor there is the parish priest’s house.
The perimeter walls are in reinforced concrete with exposed Moltrasio stone cladding on the PT façades. The interior space is punctuated by pillars in c.a., walls in perforated bricks and floors in brick and cement. The three floors are connected by two staircases with two ramps with a structure in c.a., cladding of the treads in Botticino and risers in gray bardiglio; the floors are sown with large flakes of white marble for the atrium of the first and second floors, in squares of square grit and, in the museum, in large sown tiles. The roof consists of beams in c.a. lean against the load-bearing walls, primary framework in wooden beams, joists and black cement roof tiles.
On the occasion of the first centenary of the Sanctuary of San Rocco, in the year 1944, on the Order of Sunday, “an entire page appeared, dedicated to the little church outside Lino Gelpi, in the article that traces the events of the Sanctuary, suppose that the first construction (a small Oratory) had arisen before 1737, a year engraved on the smaller of the two bells that are found on the bell tower.
Today we can probably say that the first Oratory was already built in the seventeenth century because from a research done in the “Teresian Land Registry” of 1722 it appears that in that year already existed the Oratory called “San Rocco”. The road that flanked it had then a great importance, being the only one that united San Fedele with Lanzo and Pellio and again in 1860, this street was called “National Street Argegno – Osteno”.
The cult of San Rocco, not only by some Sanfedelini, but by the inhabitants of the whole valley, is testified by the bishop Muggiasca in his pastoral visit of 1768.
The faithful came to San Rocco from all over the valley because the intercession of the saint, benefactor of the plague victims, was sought and spread at a time when the plague decimated entire populations. However, the cult of the Saint had been rooted in the popular conscience in San Fedele for a long time and in his pastoral visit in 1593, Bishop Niguarda described a small chapel dedicated to San Rocco which stood next to the main door of the cemetery which then surrounded the church. parish.
Another historical note, engraved on the larger bell of the Oratory, could bring its erection to the early 1600s; in this recording we read, in fact: “1636 Universitatis – Vallis Intelvi – Feliz Bizozeris – Fecit”. With this we arrive at the time of the Manzonian plague, a very opportune moment to justify the birth of the Oratory dedicated to San Rocco.
We have already mentioned that in the year 1737 the Oratory had already existed in its edition, but it was certainly rebuilt in 1840 thanks to the parish priest of the time don G. B. Peduzzi, based on the design of the Sac. Antonio Pertinoli, who designed the present building, with Greek-Romanesque lines with a pronaos, equipped with a bell tower, adorned with a simple apse.
Construction in style, harmonious, was blessed in August 1844 as it appears from the accounting register of San Rocco written by hand by the parish priest: “The undersigned Don Giovanni Battista Peduzzi, parish priest of San Fedele, (..) made by him manufactured in 1840 (..) and later blessed in August of the year 1844; notes (…) “.
The Bishop Macchi with his decree erected the small church of San Rocco as a sanctuary on 10 August 1944.
This historical information agrees with the documentation of the parish archive and with the widespread tradition in the Valley and collected in the monograph of dr. Conti.
Thanks to the new display panels you will be able to discover the appearance of fossilized prehistoric animals. Simple and synthetic explanations will show you their main features and their lifestyle.
Furthermore, following the geological changes, you will discover the evolutionary stages of our territory over a very long period of time, from 310 million to 36 thousand years ago.
In the museum the most important specimens found in the intelvese mountains and in the surrounding ones will be visible; in particular:
- the giant conifers of the Sanagra valley
- the Reptiles of the Gulf of Tethys of Besano
- the sensational Crustaceans and Jurassic Sharks of Osteno d’Intelvi
- the Fossil Leaves of King (in Val Vigezzo – Ossola)
- the glacial predators of Mount Generoso
The complex of the church of S. Maria is composed of the church, with a single nave with presbytery and rectangular side chapels and the bell tower, placed between the church and the parish house. On the left side of the façade rests an arch that connects the church with the neighboring house and on the right side of the church is the parish house. The buildings consist of a stone wall, which in the case of the bell tower is exposed and in the case of the church it is visible only on the north side, while on the other free sides it is plastered and painted.
The church, with a single nave, has two side chapels on each side, the chapels of the Baptistery and the Crucifix on the left, that of Saint Monica and the chapel called “of Genovesi” on the right. The starting point for the eighteenth-century redevelopment was the testamentary legacy of Giovan Battista Carloni, father of Diego and Carlo Innocenzo, who ordered 900 lire for the renewal of the choir. From the codicil, affixed to the will of 26 February 1718, it is clear that the legate was fulfilled still being Giovanni Battista alive in 1710. Since 1711, Diego Carloni has been active in the church for the stucco decorations since 1724, for the frescoes, Carlo Innocenzo. The work of the two brothers continued, with long interruptions, for several decades: if for Diego the last known date is 1741, when the statues of Saints Nazaro and Celso, patrons of Scaria were placed on the façade with elegantly modulated forms, we know that Carlo Innocenzo completed in 1751 the side frescoes of the presbytery and that, in the winter of 1751-52, he executed the two altarpieces of the Crucifixion with the saints Rocco and Sebastiano and of the Madonna with the Child and Saint Monica for the eponymous chapels. The conclusion of the works is perhaps after the death of Diego in 1750, as seems to suggest the date 1753 marked on the floor. The scarcity of the archival documentation is explained by the fact that the paintings, frescoes and stuccos were mostly offered by the Carloni brothers as a sign of attachment to the church of the native town, according to a custom of the Como, Intelvi and Ticino craftsmen, of which we find other examples in Rovio, in the parish church of Saints Vitale and Agata and in the church of Santa Maria, for which various exponents of the Carloni di Rovio family of the Genoese and Turin branch were active, and in the splendid decoration of the vault of the church of San Martino in castle of Valsolda, offered by Paolo Pagani in 1697. Despite the long time span of the works, interrupted by the frequent commitments of Diego and Carlo Innocenzo Carloni on large transalpine sites and northern Italy that kept them away from their native land, the whole is perfectly unified. The harmonious fusion of architecture, painting and stucco plastic apparatuses makes the complex an absolutely typical example of the baroque ideal of Gesamtkunstwerk. Despite the predominantly Carlonian imprint, the interior of the church preserves evidence of the work of other intelvese masters.
Next to the entrance, the marble basin of the water blessed with a figure of a sitting angel was made and offered, as indicated in the inscription, by Giovan Gaspare De Angelis in 1607. In 1635 the “Genoese chapel” received a testamentary bequest always by the sculptor Giovan Gaspare De Angelis, long active in Genoa: from school Genoa is in fact the altarpiece of the Madonna and saints attributed to Giovanni Carloni. The high altar, surmounted by a marble temple by Antonio Silva di Lanzo (1709-1710), contains a late seventeenth-century front in scagliola attributed to Giovan Battista Molciani. Among the carvings of the wooden pulpit (1781) appears the corn cob (in the Carlòn dialect), the “speaking” emblem of the Carloni family of Scaria. Historical information While the parish church of the Saints Nazaro and Celso, isolated from the town, is an important testimony of the history and art of the Vallintelvese period in the Middle Ages and the Renaissance. dei Carloni and the great artistic flowering of Vallintelvese in the Baroque and Rococo periods.
Originally from the fifteenth century, its original appearance, before the Baroque transformations, is handed down to us from the description contained in the documents of the pastoral visit of Bishop Felicino Ninguarda of 1593, but only a few fragments of frescoes survive today from this older phase. The current Baroque face is the result of the commitment, taken over more than fifty years, by various members of the Carloni family flanked by other local artistic craftsmen. Current use: whole well: church Historical use: whole well: church Legal status: property Catholic religious body.
An opportunity not to forget our past. The Milk Museum was created in the “dairy of Cerano” for exhibition and educational purposes, to enhance agricultural resources and local heritage: typical products, but also tradition and local culture.
The Milk Museum is the place where the technological and ethnographic traditions of milk processing in the Intelvi Valley are collected and preserved.
In the museum there are churns, congas, fascere, brentel, a beautiful culdera … but also something alive: in fact, a film was recovered filmed in the early Eighties in which the inhabitants of the town proudly tell and show the ancient crafts: the carpenter, the dairyman, the farmer, the painter, the wool processing. A unique opportunity to not forget our origins and the value of our past.
In the dairy it is possible to visit:
- Local milk reception
- Processing room
- Maturing cellars
The museum is a cultural occasion to get to know the past, not only through working tools, but also through everyday objects. A life very different from ours, harder and full of sacrifices in our eyes, but certainly true and in close contact with nature.
The complex of the church of the Saints Pietro e Paolo, which is accessed through a masonry portal dated 1600 at the top of a cobbled staircase, consists of the church, the bell tower, placed on the north side, and the sacristy on the south side. The main façade is in stone ashlars regularly squared on the pilasters; the two wings have a masonry of mixed stone in the upper part and in regular ashlars in the lower part; the central portion also has the lower part in regular ashlars and the upper mixed part, with backgrounds in regular and irregular ashlars. A terracotta frame decorates the part under eaves. The south elevation and the apsidal area are in irregular stone masonry, partly plastered, and feature an ornamental terracotta frame. The bell tower is made up of stone masonry with ashlars regularly squared on pilasters and cornices and an irregular masonry in the mirrors.
Specific typology: church Structural configuration: The church complex of the SS. Nazaro and Celso is located in adherence to the cemetery and is composed of: the church, with a single nave and quadrangular presbytery; the bell tower; a porch. The church consists of two clearly distinguishable parts; the lower part of the building containing the nave and that of the presbytery. The bell tower, which on the ground floor also constitutes the atrium to the church, is characterized by a differentiated masonry according to the levels: a shoe in the lower part; in regular ashlars higher up; in irregular masonry and then still regular, under the eaves. The portico, with five spans with cross vaults, is supported on one side by the south elevation of the church, and on the other is supported by stone columns and masonry walls. The buildings are in stone masonry, mostly irregular, with the exception of the bell tower and part of the masonry of the apsidal area of the church, where we find stone square pilasters and stone arches.
On June 23, 2002, “The Small Museum of the Guardia di Finanza e del Contrabbando” was inaugurated in Erbonne, a district of San Fedele Intelvi, province of Como.
The National Association of Italian Financiers Section “Alceo Salvini” wanted to give back to the Intelvi Valley a living testimony of one of his moments of important history, restructuring the “barracks” of the Guardia di Finanza closed in November 1977. The Financiers have completed the 24-hour anti-contraband service, since 1947. The structure remained in a state of disrepair until the year 2001. It is a state-owned property and was transformed by the ANFI into a small museum that collects, thanks also to the collaboration of the smugglers of that time, of the Swiss Border Guard, of the private individuals and financiers who have served here, the memorabilia and objects that have marked such an important and significant era for this area.
The Museum has been named “Burlanda and Sfrusaduu” in homage to the Intelvi Valley, being so called in the local dialect the financiers and the smugglers. The renovations were carried out by the financiers on leave: Pietro Vitelli, Guido D’Orazio, Ulderico Battista, Angelo Serra and Gabriele Lombardo.
Since the Museum is small (4×4 m), you can visit it from the outside thanks to a window in front of the entrance door and other side windows.
The museum is located at the beginning of the path that, in 20 minutes, from Erbonne leads to Scudelatte in the Muggio Valley, in Swiss territory.
The small and charming village, located at 963 m asl, is set between Mount Generoso and the lace of the Cross and spread over a natural rock terrace in the initial stretch of the Muggio Valley that at that point softens the steep slope of the slopes of Valley. Some remains suggest Mesolithic bivouacs; during the Copper and Iron Age the place became a stable settlement point of the agrosilvopastorale type.
Currently the village is inhabited by only twelve people and is the starting point for numerous excursions to the surrounding mountains and above all to the summit of Mount Generoso. From San Fedele Intelvi, crossing the town of Casasco and the Pian delle Alpi, you reach Erbonne.
The complex of the church of S. Lorenzo consists of the church, the bell tower, the sacristy, the parish house and the Oratory of the Cross and is surrounded by a stone fence that borders the churchyard, which is accessed through an archway inserted in an exposed stone structure covered by a gabled roof. Outside the fence there are three surviving chapels of the eighteenth-century Via Crucis which introduced to the complex. The church is plastered and painted, with the exception of the central part of the façade, which is made of masonry with exposed square stones, with splayed single-light windows and a Baroque portal. The bell tower is in exposed masonry in the basement, plastered in the last two levels and ends with a very pronounced cusp. The chapels of the Via Crucis are plastered and painted. The Oratory of the Cross has a simple gabled façade, plastered and painted, with Croce and Angeli in the area under eaves.
Obstacles to face, difficulties to overcome, paths to follow …
With a bicycle and a helmet available
- Be careful not to underestimate the paths.
- Always check the weather before leaving, leave told where you are going.
- Bring puncture repair kit.
- Mechanical means in perfect condition.
- Clothing suitable for MTB.
- First aid kit.
- Compulsory helmet.
- Remember that even a simple puncture can be a big problem.
- On paved roads, avoid going side-by-side and hindering traffic.
And now a well-connected helmet on your head … and have fun!
Ring of Orimento with departure and arrival from San Fedele Challenging route pedaled at 95% of about 40 km, only for trained bikers. References: departure from San Fedele towards Casasco, Colli Fioriti, take the mule track to the left, Cerano, mule track to the Church of Santa Maria, mule track in the woods to Pian delle Alpi, Prabello refuge, G.Bruno refuge, Baita di Orimento, Trenches Belloni path, Alpe Nuovo, arrival in San Fedele.
Ponna Ring Simple route, 100% pedaled, about 7 km. Also suitable for families. References: Departure from Ponna, Tellero, Brugheria, Roccolo, Dosso Prai, Tellero, return to Ponna. Path entirely marked by yellow directional arrows.
Argegno, Lenno mount, Argegno Very challenging route, 90% pedalable, about 45 km. Only suitable for trained bikers. References: departure from Argegno, go up to San Fedele and then Pigra to the provincial road; or you can comfortably go up by cable car to Pigra. Then stages are Colonno alp, Boffalora refuge and climb up to the Venini refuge. From here begins a very demanding dirt road, then a false floor to the nearby Trenches of the Cadorna line; continue on the right onto the former military road that goes around Tremezzo mountain, always downhill keeping to the right until you take a suggestive tunnel “passable in the dark because you see the exit” and come out into a beautiful rocky gorge. Going straight on the main track you can get to Menaggio cross and then on the path you get to Porlezza; continue with the Provincial road as far as Osteno, where we recommend taking the mule track that goes through Ramponio (San Pancrazio).
Lanzo, Sighignola, Lanzo, Ramponio, Caslè, Lanzo Simple course, pedaled 100%, of about 22 km. Suitable for even less trained bikers. References: From Lanzo, towards the station where the ski lift starts, the summit of Mount Sighignola can be easily reached by a path and a carriage road, which passes near the arrival station of the ski lift. At the top of the mountain the square called “Balcony of Italy” beautiful view of the Grisons Alps up to Monviso and the Apennines “. Descend from the fast asphalted provincial road to the village of Lanzo, direction Ramponio Caslé, a fast 5 km gravel ring. Where you can see Massi Cuppelliformi of prehistoric age. Arrival in the town center. Argegno Pigra Argegno. Challenging course suitable for expert bikers, all mountain and enduro. The mule track that connects the mountains to the lake runs on a very scenic route with a descent of c.a. 1 hour and a half with a drop of 600 meters. References: Departure from Argegno you can take the cable car up to Pigra and from the church of the village you descend from a breathtaking descent also suitable for all mountain enthusiasts, you cross the small town of Muronico and arrive at Argegno all on dirt.
San Fedele, Ermogna, Capanna Bruno, Orimento, San Fedele Itinerary Annual TB Race Intelvi Valley Beautiful and scenic route appreciated by competitors in the last four years (about 200 every year!). It runs for about 30 km, can be pedaled at 95%, is challenging and only for trained bikers if it is run at race pace, but certainly pleasant for anyone who loves sports if taken calmly. Departure from San Fedele principal Square; you reach the built-up area of Casasco on asphalt and continue along the Pian d’Alpe. From here the mule track climbs and touches the rural towns of Ermogna, Carolza, Capanna Bruno, Mater, Orimento, so a steep stretch through the woods reaches the Alpe Nuovo, then descends to the Alpe Lissiga di Pellio Intelvi – with agriturismo – from here we resume the provincial road for the return.