MUSEUM OF ORIENTAL ART – TRIESTE
porcelain from the Song period,
MORPURGO MUSEUM – TRIESTE
PALAZZO TERGESTEO -TRIESTE
DUINO CASTLE – TRIESTE
Duino Castle is located in the municipality of Duino-Aurisina, a few kilometers from Trieste. In 1389, to replace the Castelvecchio dating back to the 10th century still visible on the spur of the rock overlooking the sea, Ugone di Duino, captain of Trieste, ordered the construction of a Castle which was built on the ruins of a Roman outpost incorporating a tower of the 16th century.
Owned for over 420 years by the Della Torre di Valsassina family first and then by the princes della Torre and Tasso, the history of the family is linked to the management of postal services which was exercised by the family, from 1400 onwards, for more than 350 years. in several European countries, including Italy, Austria, Germany, Hungary and the Netherlands.
The Castle during the First World War suffered extensive damage and was largely rebuilt. Since 1600, many important personalities both in the political and artistic worlds have been hosted in the castle of the princes including: Gabriele D’Annunzio, Franz Listz, Paul Valery, the empress Sissi and the archduke Francesco Ferdinando.
The Prague poet Reiner Maria Rilke, in a period of his life, was a guest of Princess Maria della Torre and Tasso to whom he dedicated the “Duino Elegies” that had been conceived and started during the long walks that the poet used to take around the Castle . In homage to the poet it was inaugurated in 1987 ”
The Rilke path “, a 2-kilometer panoramic walk at the edge of the karst ridge overlooking the sea that connects the towns of Duino and Sistiana. During the route there are some war posts open to the sea. From the manor you can enjoy a wonderful view on the steep rocky walls overlooking the sea.
The Castle has a magnificent park with 21,000 flowers in regular rotation. romantic avenues full of statues and archaeological finds,
and from the wonderful terraces and from the terraces you can enjoy a wonderful view of the sea.
LIGHTHOUSE OF VICTORY – TRIESTE
The Victory Lighthouse was born from an idea of the Trieste architect Arduino Berlam who, after the defeat of Caporetto and the battle of the Piave, wanted to design an imposing work whose functions included the commemoration of the sailors who fell in the First World War and the guide for the night navigation in the Gulf of Trieste.
The works began in 1923 and the inauguration took place on May 24, 1927 in the presence of King Vittorio Emanuele III.
The Lighthouse was built on the Poggio di Gretta site, 60 meters above sea level and with a large base that incorporates the round
bastion of the former Austrian Fort Kressich, completed in 1854. One of the most important defense structures in the gulf and in the city, built by the Austro-Hungarian Empire in 1854, remained efficient for almost thirty years. 12 long 48-pound, 5 short 48-pound, 10 24-pound, and 20 8-pound guns, a gallery with musket slots, a moat, a drawbridge, wide and deep dungeons and the connection to Barcola, all this constituted the Kressich Fort. The 68.85 meters high structure is clad in Orsera stone in the upper part and in Gabria karst stone in the lower part.
At the top of the column, the coffa, decorated with scales, supported by a capital and built in Naples, contains the bronze and crystal cage of the lantern.
MERIDIANA -PIAZZA DELLA BORSA – TRIESTE
In 1820, a 12-meter-long sundial was built on the floor in front of the ground floor of the Palazzo della Borsa, which was used to synchronize the marine clocks of the large ocean-going ships arriving in Trieste.
Through a hole made in a slit on the main facade of the Palazzo della Borsa, the sun’s rays penetrate until they reach the Sundial and thus the elliptical image of the Sun is formed at noon. it is recalled by a circle in white Aurisina stone bearing the name of the manufacturer of the Sundial, the Friulian watchmaker Antonio Sebastianutti and the date of the autumn equinox of 1820, 23 September.
ARCH OF RICCARDO -TRIESTE
The construction of the Arch of Riccardo probably dates back to the middle of the 1st century BC. and it has a height of 7.20 meters, width of 5.30 meters, depth of 2 meters and a plant motif in the archway.
The Arch is located on an ancient Roman road and it is assumed that it was a gate of the city walls of Tergeste, the Roman Trieste founded by Octavian Augustus, or the entrance to a sacred area dedicated to the Magna Mater. Even during the Middle Ages, the Arco di Riccardo retains the function of a door within a wider defense wall system.
There are several legends about the origin of the name. According to some, the choice was made in honor of King Richard the Lionheart held prisoner in Trieste on his return from the Holy Land. According to others, it derives from the deformation of the name King Charlemagne at the time of Frankish domination in Trieste between 787 and 788 or from the dialectal deformation of the Latin word “cardo maximus”, the name of one of the two main streets of Roman cities (the another is the “decumano maximus”).
THE GIRLS OF TRIESTE AND THE BERSAGLIERI
In 2004, on the occasion of the 50th anniversary of the return of the city of Trieste to Italy, it was inaugurated, near the Molo Audace, and in front of Piazza dell’Unità d’Italia, on the Royal Staircase of the Riva Caduti for the Italianness of Trieste ,
The monument of the Bersaglieri and the Girls of Trieste.
The work of the sculptor from Todi Fiorenzo Bacci recalls the landing of the Bersaglieri on November 3, 1918 and the Italian passion with which the Trieste girls (mules) had in sewing
the tricolor flag to be displayed upon Italy’s arrival in Trieste.
FOUNTAIN OF “GIOVANNIN DEL PONTEROSSO” – TRIESTE
The fountain was built by Giovanni Mazzoleni in the mid-eighteenth century, creator of the fountain of the Four Continents in Piazza Unità d’Italia. The water of the large basin, used by the citizens, came from the San Giovanni aqueduct.In the second half of the eighteenth century, the sculptor Giovanni Carlo Wagner sculpted a statue of a puttino and placed it on top of the fountain.
The street vendors of fruit and vegetables in the market in Piazza Ponterosso confidentially called the puttino Giovanin and on St. John’s day the fountain was decorated with flowers by the flower shops of the market
Before reaching the central basin, the path of the water is articulated through various sculptures. Starting from a shell, the water flows from three large masks and then descends on smaller shells supported by figures of telamons resting on small columns. Coming out of the mouth of the telamons, the water finally arrives in the large basin.
In ancient times the square was a market place and the fountain was decorated by street vendors of flowers on St. John’s day. It is said that the putto was dressed in black cloths when King Umberto was killed.
CHURCH OF SANT’ANTONIO TAUMATURGO – TRIESTE
The Church of Sant’Antonio Taumaturgo popularly called “Sant’Antonio Nuovo” was built on the site where a private chapel dedicated to the Annunciation had already been erected in 1767, which was later demolished because it was small compared to the public. In its place, in 1771, another church in Baroque style was erected but also the latter proved inadequate to the religious needs of the population which, in the meantime, had grown together with the great development of the Borgo Teresiano.
The Church of Sant’Antonio Taumaturgo was built between 1825 and 1849 to a design by the architect Pietro Nobile. An outstanding monument of neoclassical architecture. At the entrance to the church, under the pronaos, there is a plaque: “Because of the cholera that raged in Trieste on 15 October this church was consecrated on 15 November 1849”.
Once the Church was reflected in the waters of the Canal. The main facade is characterized by a majestic pronaos with six Ionic columns and a large pediment while, at the top, there are six statues sculpted, in 1842 by Francesco Bosa, depicting the patron saints of Trieste, San Giusto, San Sergio, San Servolo , San Mauro, Sant’Eufemia and Santa Tecla. The interior is striking for the great grandeur of the twelve Ionic columns and is divided into three naves with three respective altars and three lateral cross vaults that culminate in the large central dome.
In the apse, the fresco depicting the “Triumphal Entry of Jesus into Jerusalem” was painted in 1836 by Sebastiano Santi. Next to one of the altars on the left opens the door that leads to the presbytery and to a small chapel, called the Visitation, where the painting of the same name is kept, the work has been attributed to Alessandro Longhi, the most famous Venetian portrait painter of the epoch.
Six altarpieces framed by the altars depict Sant’Anna educating the Virgin (Michelangelo Grigoretti), the presentation in the temple (Felice Schiavoni), San Giuseppe (Johann Schonmann), Sant’Antonio (Odorico Politi), the passion of Eufemia, Tecla, Erasma and Dorotea (Ludovico Lipparini), the Crucifix (Ernest Tunner).