112 Best Sights in Vienna, Austria

The center of this square is marked by an oversize equestrian sculpture of Prince Schwarzenberg, a 19th-century field marshal for the imperial forces. See if you can guess which building is the newest—it's the one on the northeast corner (No. 3) at Lothringerstrasse, an exacting reproduction of a building destroyed by war damage in 1945 and dating only from the 1980s. The military monument occupying the south end of the square behind the fountain is the Russian War Memorial, set up at the end of World War II by the Soviets; the Viennese, remembering the Soviet occupation, call its unknown soldier the "unknown plunderer." South of the memorial is the stately Schwarzenberg Palace, designed as a summer residence by Johann Lukas von Hildebrandt in 1697 and completed by Fischer von Erlach, father and son.

Dating from 1552 and decorated with some of the earliest classical motifs in the city, the Schweizertor leads from In der Burg through to the oldest section of the palace, a small courtyard known as the Schweizer Hof. The gateway is painted maroon, black, and gold, giving a fine Renaissance flourish to the building's facade.

If the Academy of Fine Arts represents the conservative attitude toward the arts in the late 1800s, then its antithesis can be found in the building immediately behind it to the southeast: the Secession Pavilion, one of Vienna's preeminent symbols of artistic rebellion. Rather than looking to the architecture of the past, like the revivalist Ringstrasse, it looked to a new antihistoricist future. In its heyday, it was a riveting trumpet-blast of a building and is today considered by many to be Europe's first example of full-blown 20th-century architecture.

The Secession began in 1897, when 20 dissatisfied Viennese artists, headed by Gustav Klimt, "seceded" from the Künstlerhausgenossenschaft, the conservative artists' society associated with the Academy of Fine Arts. The movement promoted the radically new kind of art known as Jugendstil, which found its inspiration in both the organic, fluid designs of Art Nouveau and the related but more geometric designs of the English Arts and Crafts movement. The Secession building, designed by the architect Joseph Olbrich and completed in 1898, was the movement's exhibition hall. The lower story, crowned by the entrance motto Der Zeit Ihre Kunst, Der Kunst Ihre Freiheit ("To Every Age Its Art, To Art Its Freedom"), is classic Jugendstil: the restrained but assured decoration (by Koloman Moser) complements the facade's pristine flat expanses of cream-color wall. Above the entrance motto sits the building's most famous feature, the gilded openwork dome that the Viennese were quick to christen "the golden cabbage" (Olbrich wanted it to be seen as a dome of laurel, a subtle classical reference meant to celebrate the triumph of art). The plain white interior was also revolutionary; its most unusual feature was movable walls, allowing the galleries to be reshaped and redesigned for every show. One early show, in 1902, was a temporary exhibition devoted to art celebrating the genius of Beethoven; Klimt's Beethoven Frieze was painted for the occasion, and the fragments that survived can be admired in the basement. Guided tours are given daily 10 am to 1 pm.

The world-famous Spanish Riding School has been a favorite for centuries, and no wonder; who can resist the sight of the white Lipizzaner horses going through their masterful paces? For the last 300 years they have been perfecting their haute école riding demonstrations to the sound of Baroque music in a ballroom that seems to be a crystal-chandeliered stable. The interior of the riding school, the 1735 work of Fischer von Erlach the Younger, makes it Europe's most elegant sports arena.

The performance schedule is fairly consistent throughout the year. From September to June, evening performances are held mostly on weekends and morning exercises with music are held mostly on weekdays. Booking months ahead is good idea for the main show; morning exercise tickets are a bit easier to get. Pick up tickets at the office under the Michaelerplatz rotunda dome. Otherwise tickets are available at the visitor center in Michaelerplatz (Tuesday through Saturday 9 am to 4 pm) and at Josefsplatz on the day of the morning exercise (9 am to 5 pm), or online.

The Spittelberg is like a slice of Old Vienna, a perfectly preserved little enclave that allows you to experience the 18th century by strolling along cobblestone pedestrian streets lined with pretty Baroque town houses. The quarter—one block northwest of Maria-Theresien-Platz off the Burggasse—offers a fair visual idea of the Vienna that existed outside the city walls a century ago. Most buildings have been replaced, but the engaging 18th-century survivors at Burggasse 11 and 13 are adorned with religious and secular decorative sculpture, the latter with a niche statue of St. Joseph, the former with cherubic work-and-play bas-reliefs. Around holidays, particularly Easter and Christmas, the Spittelberg quarter, known for arts and handicrafts, hosts seasonal markets offering unique and interesting wares. Promenaders will also find art galleries and lots of restaurants.

Set into the building on the west side of Kärntner Strasse and protected by glass is one of the city's odder relics, an ancient tree trunk studded with blacksmiths' nails. Researchers in the 1970s identified the trunk as a 600-year-old spruce. Since the Middle Ages, any apprentice metalworker who came to Vienna to learn his trade hammered a nail into the trunk for good luck. During World War II, when there was talk of moving the relic to a museum in Munich, it mysteriously disappeared (and then reappeared perfectly preserved after the threat of removal had passed).

About a 10-minute walk from Schönbrunn Palace is the Technical Museum, which traces the evolution of industrial development over the past two centuries. On four floors you'll find actual locomotives from the 19th century, a Tin Lizzie, airplanes from the early days of flying, as well as examples of factory life, how electric lighting took the place of gas lamps, and how mountain highway tunnels are constructed.

This doorway (up the incline) was made famous in 1949 by the classic film The Third Man. It was at Schreyvogelgasse 8 that Orson Welles, as the malevolently knowing Harry Lime, stood hiding in the dark, only to have his smiling face illuminated by a sudden light from the upper-story windows of the house across the alley. To get to this apartment building from the nearby Schottenkirche, follow Teinfaltstrasse one block west to Schreyvogelgasse on the right.

Part of the imperial summer residence of Schönbrunn, a UNESCO World Heritage site, the world's oldest zoo has retained its original Baroque design, but new settings have been created for both the animals and the public so that entertainment is combined with conservation and education. Founded in 1752, Schönbrunn Zoo is the oldest continuously operating zoo in the world and also one of the most popular—it has been voted Europe's best zoo five times. The more than 700 animal species housed here include koalas, lions, pandas, hippos, orangutans, and Siberian tigers. There's also a fantastic canopy trail with a suspension bridge through the forest for up-close views of birds and open-air terrariums.

This Tyrolean-style building to the west of the Gloriette was a favorite retreat of Empress Elisabeth; it now includes a restaurant.

At the far end of Kurrentgasse, which is lined with attractive 18th-century houses, the appealing Uhrenmuseum's three floors display clocks and watches—more than 3,000 timepieces—dating from the 15th century to the present. The ruckus of bells and chimes pealing forth on any hour is impressive, but for the full cacophony try to be here at noon. Enter to the right on the Schulhof side of the building.

The oldest university in the German-speaking world (founded in 1365), the main section of the university is a massive block in Italian Renaissance style designed by Heinrich Ferstel and built between 1873 and 1884. Statues representing 38 important men of letters decorate the front of the building, while the rear, which encompasses the library (with nearly 2 million volumes), is adorned with sgraffito. Guided tours are available on Thursdays and Saturdays, but people can also take a self-guided tour using a free app.

This church was built around 1630. Its flamboyant Baroque interior contains a fine trompe-l'oeil ceiling fresco by Andrea Pozzo, the master of visual trickery, who was imported from Rome in 1702 for the job. You might hear a Mozart or Haydn mass sung here in Latin on many Sundays.

Just opposite the Hofburg is a green oasis with a rose garden, a shining white 19th-century Greek temple, and a rather wistful white-marble monument to Empress Elisabeth, Franz Josef's Bavarian wife, who died of a dagger wound inflicted by an Italian anarchist in Geneva in 1898. If not overrun with latter-day hippies, these can offer spots to sit for a few minutes while contemplating Vienna's most ambitious piece of 19th-century city planning: the Ringstrasse.

When Emperor Franz Josef was a young man, he was strolling along the Mölker Bastei, one of the few remaining portions of the old city wall, when he was taken unawares and stabbed in the neck by a Hungarian revolutionary. He survived, and in gratitude his family ordered that a church be built exactly on the spot he was looking at when he was struck down. The neo-Gothic church was built of gray limestone with two openwork turrets and was finally completed in 1879, after 23 years of construction.

Most of the carriages on display here are still roadworthy, and in fact Schönbrunn dusted off the black royal funeral carriage for the burial ceremony of Empress Zita in 1989. There are also a number of sleighs in the collection, including one upholstered in leopard skin. Today a special Sisi trail leads through the museum; on show are some of her famous gowns, carriages, personal objects, and paintings, highlighting the empress's life from marriage to her tragic death.

One of modern architecture's greatest curiosities, the Post Office Savings Bank was designed in 1904 by Otto Wagner, whom many consider the father of 20th-century architecture. In his manifesto Modern Architecture, he condemned 19th-century revivalist architecture and pleaded for a modern style that honestly expressed modern building methods. Accordingly, the exterior walls of the Post Office Savings Bank are mostly flat and undecorated; visual interest is supplied merely by varying the pattern of the bolts used to hold the marble slabs in place. Later architects embraced Wagner's beliefs wholeheartedly, although they used different, truly modern building materials: glass and concrete rather than marble.

Beethoven lived in the Pasqualatihaus multiple times between 1804 and 1815, including while he was composing his only opera, Fidelio. He also composed his Seventh Symphony and Fourth Piano Concerto when this was his home. Today this small apartment houses a commemorative museum (in distressingly modern style). After navigating the narrow and twisting stairway, you might well ask how he maintained the jubilant spirit of the works he wrote there. Note particularly the prints that show what the window view out over the Mölker bastion was like when Beethoven lived here, and the current view too—it's a fantastic fourth-floor look out onto the Ringstrasse. A Musicus combination ticket for homes of six musicians is available.

Housed in an incongruously modern building at the east end of the Karlsplatz, this museum possesses Viennese historical artifacts and treasures (everything from 16th-century armor to paintings by Schiele and Klimt to the preserved facade of Otto Wagner's Die Zeit offices). The museum is scheduled to reopen from renovations in December 2024, and the museum exterior will host rotating (and free!) open-air exhibits until then.

Austrians take seriously the pomp of a funeral, brass bands and all, and nowhere is that more evident than the Central Cemetery. A streetcar from Schwarzenbergplatz takes you to the front gates of the cemetery that contains the graves of most of Vienna's great composers: Ludwig van Beethoven, Franz Schubert, Johannes Brahms, the Johann Strausses (father and son), and Arnold Schönberg, among others. Find your way around with the help of an audio guide, which can be rented for a small fee. For a hefty fee, Fiakers are on standby for a carriage ride around the beautiful grounds. The monument to Wolfgang Amadeus Mozart is a memorial only; the approximate location of his unmarked grave can be seen at the now deconsecrated St. Marx-Friedhof at Leberstrasse 6–8.

Kids of all ages enjoy this outstanding museum, where they can experience the fine line between the real and virtual worlds, making screenplays come to life by becoming directors, sound technicians, authors, and actors. For the little ones there's an "ocean" where kids and parents enter a play area inhabited by magical underwater creatures. The museum operates through little workshops, with the staff very hands-on and available to the children. You must book your tickets for a specific admission time, so reserve via the website before you go.

Today this block, bounded by Singerstrasse, Grünangergasse, and Blutgasse, is a splendid example of city renovation and restoration, with cafés, shops, and galleries tucked into the corners. Nobody knows for certain how its gruesome name originated—Blut is German for "blood"— but one legend has it that Knights Templar were slaughtered here when their order was abolished in 1312. (There are roads named "Blutgasse" in villages surrounding Vienna, so many believe the name to be in remembrance of massacres suffered during the two Turkish invasions.) In later, pre-pavement, years the narrow street was known as Mud Lane. You can look inside the courtyards to see the open galleries that connect various apartments on the upper floors, the finest example being at Blutgasse 3. At the corner of Singerstrasse sits the 18th-century Neupauer-Breuner Palace, with its monumental entranceway and delicate windows. Opposite, at Singerstrasse 17, is the Rottal Palace, attributed to Hildebrandt, with its wealth of classical wall motifs, a contrast to the simple 18th-century facades on Blutgasse.