Calcata is falisca origin. Built on a spectacular outcrop tuff is in Treja Valley Regional Park, in the province of Viterbo about forty kilometers from Rome in an area inhabited since the mid-second millennium BC

On the hills around Calcata and especially on Narce, Lace Foot and Mount Li Santi, archaeological excavations have found traces of a large inhabited falisco which had its heyday between the seventh and sixth centuries BC The Falisci was an Italic population connected with the Etruscan world and had its capital Faleri Veteres, today's Civita Castellana. In 241 BC The whole area comes under Roman rule.

Very interesting were the graffiti depicting Lanzichenecchi warriors who were in the baronial palace, presumably left by themselves during the sack of Rome. Not only that, but to disappear with the restoration of the building were also the engravings left on the walls by prisoners when the castle functioned as a prison. The Saints Sanctuary of Monte falisco them, it is located along the river Treja within the Regional Park Treja Valley, not far from Calcata on the slopes of Mount Li Santi, where it is believed this becomes falisca city of Narce.

The sanctuary, discovered in 1985, which was to be of considerable size, are now traces of two rooms, which were on the side of the house facing the river. In the room they were found sacrificial tools in one well, which is why we think it could be used as a sacrificial rites.

The cultural reality has instead further enhanced when, from the late '70s, the original inhabitants of the historic center have taken over the attuali.A Calcata many creative people have their studies: they are painters, sculptors, graphic artists, cultural workers, musicians, actors . Trends and searches are different and there are various artistic expressions, from the figurative and the abstract, as works made with nearby technical nature and the environment, to photography and video art. No shortage researches using tools connected with the latest technology.

Coming from all over Italy and from all over the world, attracted by the nature and knowledge of old people, who had lived with that nature in balance until a few years before, the new gave birth, in the historical center and out, tens of initiatives helping to revitalize the country.

• CALCATA & SUTRI 
• BOMARZO PARK OF THE MONSTERS

Lunch stop at the customer's expense.

Each additional hour to the fee will be charged in Total at a cost of Euro 50.00 per hour.

Sutri stands on an imposing tuff hill that dominates the Via Cassia. Its origins are very old and has clear evidence of its past: a fully excavated Roman amphitheater in the tufa, an Etruscan necropolis formed by dozens of tombs also dug into the tuff Etruscan walls built from those medieval, a mitreo then turned into church (dedicated to the Madonna del Parto), the Romanesque cathedral.

The history of Sutri (formerly Sutrium) is testified by the numerous archaeological finds in the area belonging to different eras. Its origins are very old, probably dating back to the Bronze Age. Its foundation is, according to legend, due to an ancient people of Oriental navigators, the Pelasgians. Other legends speak of the foundation by Saturn, which appears on horseback with three ears of corn in his hand in the official coat of arms of the town.

In feudal times was the center of the fighting between the Guelphs and Ghibellines, which culminated in the fire that destroyed the village in 1433 by Nicolò Fortinbras, the mercenary leader. Since that time the city saw a rapid decline in its population and economic importance, also due to the diversion of trade routes along the Via Cimina, in favor of Ronciglione, strongly boosted by the Farnese. Sutri was reduced then to a rural town to the second floor in the Papal States, easy bargaining chip for the noble families.

The church of the Madonna del Parto is a Sutri church, located outside the ancient village of the town. It is located at the foot of the hill Savorelli archaeological area.

Dates from the thirteenth-fourteenth century and is completely dug out of tufa stone, so that externally there is nothing that indicates the presence of a church.

Archaeological studies suggest that originally this underground space, not including the latest apse, was a place of worship of the god Mithras, dating from I-II century. In the Mithraeum floor of Sutri it is still the baptismal font where with a water baptism began believers to the Mysteries of Worship. Mitreo was Christianized in the fourth century. and the central plaque of Taurobolium mithraic was removed and today is clearly visible on the wall of a house on the Via Cassia, fraz. La Botte just a few meters from the road.

The park of Monsters of Bomarzo was devised by the architect Pirro Ligorio (he completed the Cathedral of Saint Peter in Rome after the death of Michelangelo and built Villa d'Este in Tivoli) on commision of Prince Pier Francesco Orsini (1523-1585), called Vicino, only to vent the heart broken at the death of is wife Giulia Farnese.

 A visit to the park will unfold in a series of stages ranging between mythology and fantasy. 

We have individuated 24 works of art even though many more are contained in the park. Bomarzo, a village in Lazio at the foot of Mount Cimino, possesses a unique work, the Villa of Marvels, also called the Sacred Wood or Park of Monsters. lt was designed by Prince Vicino Orsini and the great architect Pirro Ligorio in 1552.

The park is unique, even if it belongs to the erudite architectural-naturalistic culture of the second half of the sixteenth century. Refined ltalian style gardens follow geometric and perspective rationality with embellishments such as wide terraces, fountains with water games and mannerist sculptures. On the contrary the learned Prince of Bomarzo dedicated himself to creating an eccentric "wood" having the blocks of peperino emerging from the ground sculpted into enigmatic figures of monsters, dragons, mythological subjects and exotic animals, a crooked house, a funerary temple, fountains, seats and obelisks with carved mottoes and inscriptions.

The Sacred Wood is an unusual solution which does not follow sixteenth century usage; the different elements have no perspective relationship between each other and have no coherence or common proportions. Everything is invented with iconological criteria which escape even the most impassioned scholars, a labyrinth of symbols which envelopes anyone who enters. They inspired many artists at the time including Annibal Caro, Bitussi and Cardinal Madruzzo. After the death of Vicino Orsini nobody took charge of the place and it only began to be appreciated by intellectuals and artists such as Claude Lorrain, Johann Wolfgang von Goethe, Salvador Dali, Mario Praz and Maurizio Calvesi after centuries of neglect.