75 Best Sights in The Veneto and Friuli–Venezia Giulia, Italy

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.

Udine was conquered by the Venetians in 1420, so there is a distinctly Venetian stamp on the architecture of the historic center, most noticeably here, in the large main square. The Loggia del Leonello, begun in 1428, dominates the square and houses the municipal government. Its similarity to the facade of Venice's Palazzo Ducale (finished in 1424) is clear, but there is no evidence that it is an imitation of that palace. It's more likely a product of the same architectural fashion. Opposite stands the Renaissance Porticato di San Giovanni (1533–35) and the Torre dell'Orologio, a 1527 clock tower with naked mori (Moors), who strike the hours on the top.

Frescoed buildings surround this medieval square, where a busy Roman forum once stood; during the week it's still bustling, as vendors sell produce and trinkets, much as they have been doing for generations. Eyes are drawn to the often sun-sparkling Madonna Verona fountain (1368) and its Roman statue (the body is from AD 380, with medieval additions).

Also known as Piazza Giuseppe Garibaldi, this graceful square is surrounded by Renaissance palaces, historical cafés, and the mosaic-adorned cathedral. The Fontana Maggiore is fed by the remains of a Roman aqueduct; the fountain's latest form combines 16th-century marble with a lion added in 1918, attesting to centuries of Venetian rule here.

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.

The oldest of Verona's elegant and graceful Roman portals, the Porta dei Leoni (on Via Leoni, just a short walk from Piazza delle Erbe) dates from the 1st century BC, but its original earth-and-brick structure was sheathed in local marble during the early imperial era. It has become the focus of a campaign against violence—there are often flowers and messages by the monument—in memory of the murder of a young Veronese here in 2009.

While strolling the city, take in this handsomely restored district between Riviera Garibaldi and Piazza Santa Maria Battuti. It's the site of university buildings, upscale apartments, and restaurants and shops.

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.

The most important church in Treviso, this huge Venetian Gothic structure from the early 14th century has an ornate vaulted ceiling and frescoes (circa 1350) of saints by Tommaso da Modena (circa 1325–79) on the columns. The depiction of St. Agnes on the north side is particularly interesting, combining the naturalism initiated a few decades earlier by Giotto with the grace and elegance of Gothic abstraction. Also worth examining are Tommaso's realistic portraits of 40 Dominican friars, found in the Sala del Capitolo of the seminary next door. They include the earliest known painting of a subject wearing eyeglasses, an Italian invention (circa 1280–1300).

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.

Verona's largest church, begun in 1290 but only consecrated in 1471, is a fine example of Gothic brickwork and has a grand doorway with elaborately carved biblical scenes. The main reason for visiting this church, however, is St. George and the Princess (dated 1434, but perhaps earlier) by Pisanello (1377–1455). It's above the Pellegrini Chapel off the main altar. As you come in, look also for the gobbi (hunchbacks) supporting the holy-water basins.

An exceptionally fine Baptism of Christ (1502), a work of Giovanni Bellini's maturity, hangs over the altar on the left, just in front of the transept of this 13th Century Gothic-style church. Santa Corona also houses the elegantly simple Valmarana chapel, designed by Palladio, and an Adoration of the Magi (1573) by Veronese. Ask about the free audio guide via QR code for smartphone/tablet at the entrance.

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.

One of the major monuments of contemporary Italian architecture, the Brion family tomb was designed and built by the architect Carlo Scarpa (1906–78) between 1970 and 1972. Combining Western rationalism with Eastern spirituality, Scarpa avoids the gloom and bombast of conventional commemorative monuments, creating, in his words, a secluded Eden.

Extensive grounds with rare trees, ornamental fountains, and garden follies surround this extraordinary palace in Stra, 13 km (8 miles) southeast of Padua. Built in 1721 for the Venetian doge Alvise Pisani, it recalls Versailles more than a Veneto villa. This was one of the last and grandest of many stately residences constructed along the Brenta River from the 16th to 18th centuries by wealthy Venetians. Gianbattista Tiepolo's (1696–1770) spectacular fresco on the ballroom ceiling, The Apotheosis of the Pisani Family (1761), alone is worth the visit. For a relaxing afternoon, explore the gorgeous park and maze.