CHASA CHALAVAINA> "Page 7 " > P1> P2> P3> P4> P5> P6> P7> P8>

las pullas

la staletta

La falla da l'uors

la sulagliva

la strietta


la somnambula

la raieta

la stüvetta


la palantschotta

la diogena

la diala

la stüva dal preir

la Rosaria

Chi bain pierta, bain jalda—
He who shares well, enjoys well.
(Val Müstair proverb. Selfishness brings but few rewards.)


The rooms.

The Chasa Chalavaina has 17 guest rooms. Each has its own name. All the names have a story or meaning behind them. While la raieta—"the little queen"—is named for a daughter of Carl and Ida Fasser, another room is called la sulagliva, because it catches an unusual amount of sun. La diogena is the smallest bedroom in the house and this explains its name. Here, as one visitor remarked, you feel like Diogenes in his barrel. La stüvetta, on the first floor, has its own terrace. This offers the best vantage point for a picture painted on the north outside wall of the Chasa Chalavaina in 1467. The wall painting shows the madonna, the infant St. Rochus on her lap. Beside them stands a man suffering from the plague, with a festering sore on his leg. Rochus, upon whose hand sits a crow, was the patron saint of sufferers from the disease. He could cure those sick with the pestilence.

The subject of the wall-painting bears witness to the fact that the Val Müstair did not escape the ravages of the black death. The plague claimed countless victimes here, indeed virtually wiped out entire villages. It was rife not once but several times. The Val Müstair was most severely affected in 1630.

One of the windows of la stüvetta opens onto the terrace and it is framed by a sgraffito which dates from the same period as the wall-painting. This pattern, scratched into the wall, is among the oldest sgraffiti in Grisons.

In the old part of the Chasa Chalavaina the first floor takes the visitor unawares with its many twists and turns. They echo the building's history and reflect alterations carried out at various times. Nevertheless, the whole jigsaw fits harmoniously together. Structural changes can be read like the rings in a tree trunk.

The walls of the meandering passageway are hung with old Val Müstair farm implements. Doors open in all directions, doors with strikingly attractive locks. The Fasser family collected them from other old houses in order to re-use them here. In the doorways the guest is obliged to lower his head.
Earlier generations were certainly of smaller stature, as is confirmed by the ancient bed-steads in the guest rooms. Every one had to be lengthened in order to meet the needs of the present day.
A woodstove stands in a corner of the passage, reminding us that cooking was once done over two fires in the Chasa Chalavaina; for almost a hundred years after the departure of the Pernsteiners, two farming families lived here.



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