13 Best Sights in Trieste, The Veneto and Friuli–Venezia Giulia

Opened in 2024, Trieste's newest museum brings together various collections exploring multifarious facets of the written word and the lives of literary figures who have become synonymous with the city. Sections include the introductory "History Kiosk," a wonderful space dedicated to cinematic adaptations, and immersive exhibitions dedicated to James Joyce, Italo Svevo, and poet Umberto Saba. If you fancy a leaf through 1,000 books, there's the "Writers' Bookstore," and listening stations allow visitors to enjoy audiobooks while gazing through picture windows with city views.

A 19th-century castle on the Gulf of Trieste, this is nothing less than a major expression of the culture of the decaying Austrian Hapsburg monarchy: nowhere else—not even in Vienna—can you savor the decadent opulence of the last years of the empire. Maximilian of Hapsburg, brother of Emperor Franz Josef and the retired commander of the Austrian Navy, built the seafront extravaganza between 1856 and 1860, complete with a throne room under a wooden ceiling shaped like a ship's keel. The rooms are generally furnished with copies of medieval, Renaissance, and French period furniture, and the walls are covered in red damask. In 1864 Maximilian became emperor of Mexico at the initiative of Napoléon III. He was executed three years later by a Mexican firing squad.

During the last years of the Hapsburg reign, Miramare became one of the favorite residences of Franz Josef's wife, the Empress Elizabeth (Sissi). The castle was later owned by Duke Amedeo of Aosta. Changing exhibitions in the revamped Sala Progetti showcase the impressive museum archive. Tours in English are available by reservation via  coopculture.it. Surrounding the castle is a gorgeous 54-acre park. To get here from central Trieste, take Bus No. 36 from Piazza Oberdan; it runs every half hour.

Housed in three magnificent buildings and partly remodeled by influential Italian architect Carlo Scarpa, the Revoltella provides a stimulating survey of 19th- and 20th-century art and decoration. Building on the bequeathment of the grand palazzo and art of Triestino collector-industrialist Pasquale Revoltella (1795–1869), the institution has continued to add important artworks from the Venice Biennale by the likes of Carrà, Mascherini, Morandi, de Chirico, Manzù, Fontana, and Burri. In contrast, a gorgeous cochlear staircase connects the three floors of the museum: its history and 1850–60 cityscapes are on the ground floor; 19th-century classical statuary, portraits, and historic scenes take up the first; while the third preserves opulent saloni.

This 14th-century castle, the property of the Princes of Thurn and Taxis, contains a collection of antique furnishings and an amazing Palladian circular staircase, but the main attractions are the surrounding gardens and the spectacular views. In 1912 Rainer Maria Rilke wrote much of his masterpiece, the Duino Elegies, here. The easy path along the seacoast from the castle toward Trieste has gorgeous views that rival those of the Amalfi Coast and the Cinque Terre. For more spectacular cliff-top views, visit the ruins of the nearby 11th-century Castelvecchio.

This hilltop castle, built between 1470 and 1630, was constructed on the ruins of the Roman town of Tergeste. Given the excellent view, it's no surprise that 15th-century Venetians turned the castle into a shipping observation point; the structure was further enlarged by Trieste's subsequent rulers, the Hapsburgs. The castle also contains the Civic Museum, which has a collection of furnishings, tapestries, and weaponry, as well as Roman artifacts in the atmospheric Lapidario Tergestino.

Dating from the 14th century and occupying the site of an ancient Roman forum, the cathedral contains remnants of at least three previous buildings, the earliest a hall dating from the 5th century. A section of the original floor mosaic still remains, incorporated into the floor of the present church. In the 9th and 11th centuries two adjacent churches were built—the Church of the Assumption and the Church of San Giusto. The beautiful apse mosaics of these churches, done in the 12th and 13th centuries by a Venetian artist, still remain in the apses of the side aisles of the present church. The mosaics in the main apse date from 1932. In the 14th century the two churches were joined and a Romanesque-Gothic facade was attached, ornamented with fragments of Roman monuments taken from the forum. The jambs of the main doorway derive from Roman funereal stelae.

More than 300 feet high, 900 feet long, and 200 feet wide, this gigantic cave is filled with spectacular stalactites and stalagmites. The required tour takes 50 minutes. Bring a sweater to ward off the year-round chill and be willing (and able) to descend 500 steps and then climb back up. To get here you can take Bus No. 42, which leaves every 30 minutes from the Piazza Oberdan; a more scenic route is to take the tram uphill from Piazza Oberdan to Opicina, where you connect with Bus No. 42.

On the hill near the Castello, this eclectic collection showcases statues from the Roman theater, mosaics, and a wealth of artifacts from Egypt, Greece, and Rome. There's also an assortment of glass and manuscripts. The Orto Lapidario (Lapidary Garden) has classical statuary, pottery, and a small Corinthian temple. The collection was renamed in 2018 after the pioneering art historian and Hellenist J. J. Winckelmann, who was murdered in Trieste in 1768.

A statue of Hapsburg emperor Leopold I looks out over this square, which contains Trieste's original stock exchange, the Borsa Vecchia (1805), an attractive neoclassical building now serving as the chamber of commerce. It sits at the end of the Canal Grande, dug in the 18th century by the Austrian empress Maria Theresa as a first step in the expansion of what was then a small fishing village of 7,000 into the port of her empire.

The imposing square, ringed by grandiose facades, was set out as a plaza open to the sea, like Venice's Piazza San Marco, in the late Middle Ages. It underwent countless changes through the centuries, and its present size and architecture are essentially products of late-19th- and early-20th-century Austria. It was given its current name in 1955, when Trieste was finally given to Italy. On the inland side of the piazza, note the facade of the Palazzo Comunale (Town Hall), designed by the Triestino architect Giuseppe Bruni in 1875. It was from this building's balcony in 1938 that Mussolini proclaimed the infamous racial laws, depriving Italian Jews of most of their rights. The sidewalk cafés on this vast seaside piazza are popular meeting places in the summer months.

In September 1943 the Nazi occupation established Italy's only concentration camp in this rice-processing factory outside Trieste. In April 1944 a crematorium was put into operation. The Nazis destroyed much of the evidence of their atrocities before their retreat, but a good deal of the horror of the place is still perceivable in the reconstructed museum (1975). The site, an Italian national monument since 1965, receives more than 100,000 visitors per year.

This small Romanesque gem, dating from the 9th to the 12th centuries, is the oldest church in Trieste that's still in use and in approximately its original form. Its interior walls have some fragmentary remains of Romanesque frescoes. The church was deconsecrated under the secularizing reforms of the Austrian emperor Josef II in 1785 and was later sold to the Swiss Evangelical community; it then became, and is still, the Reformed Evangelical and Waldensian Church of Trieste.

The ruins of this 1st-century amphitheater, opposite the city's questura (police station), were discovered during 1938 demolition work. Its crumbling and partly grassy steps can be viewed from the street, while its statues are now displayed at the Museo Civico. The space is used for summer plays and concerts.