Italy / Friuli Venezia Giulia


A rich and influential Jewish community lived in Trieste, a large port city of the Austro-Hungarian Empire that became Italian only after the First World War. During the nineteenth century and the first decades of the twentieth century, this community had a profound impact of the economic and cultural life of the city. Enclosed in the ghetto in 1696, the Jews enjoyed a de facto emancipation in 1782 through the Toleranzpatent of Emperor Joseph II. Consequently, the history of Trieste’s Judaism mingles with that of Austria, especially Viennese Judaism, and shares all its splendor. This is still in evidence today by the many palaces of large bourgeois families in the city, such as the Morpurgo de Nilma, the Hierschel de Minerbi, the Treves, the Vivantes, and others. This large commercial port was the empire’s only access to the sea. It was also an intellectual capital, where the Jews, before and after 1918, had important roles as writers (Italo Svevo, Umberto Saba, the publisher Roberto Bazlen, Giorgio Voghera and as painters (Isodoro Grünhut, Gino Parin, Vittorio Bolaffio, Arturo Nathan, Giorgio Settala and Arturo Rietti). The presence of Edoardo Weiss (1889-1970) in the city made it the cradle of Italian psychoanalysis. During the the first half of the Twentieth century, Trieste was also one of the ports of departure for Jews emigrating to Palestine. The Shoah was deeply felt by the Jews of this city. Nowadays, the Jewish community counts one tenth of what it was before the war.

Synagogue © Zacqary Adam Xeper – Wikimedia Commons

The Grand Synagogue

Constructed in 1912 by a community that wanted to show its wealth and power, the  synagogue of Trieste represents architecturally one of the most significant edifices of emancipated Judaism at the end of the nineteenth century. Spacious, elegant, and free of any kitsch, the synagogue was designed by the architects Ruggero and Arduino Berlam without any regard for expense. The decorations, in part inspired by those of certain Christian edifices of the Near East (i.e., Syrian), also show – in the mosaics, the starry dome, and the splendid luminosity of the interior – the influences of the styles fashionable in Vienna at the beginning of the twentieth century.

Jewish Trieste

The  Jewish cemetery is at 4 via della Pace since 1843. The old one was on the hill of San Giusto (mid 15th century – mid 19th century), behind via del Monte, the steep street in which are now located the Jewish school and the  Carlo and Vera Wagner Museum. This was formerly the location of an Ashkenazic oratory where German, Czech, and Polish refugees prayed before emigrating to Palestine between the wars. The building hosted the Jewish Agency for Israel, which helped thousands of people escape from Russian and then Nazi anti-Semitism. In fact, Jews called the port city of Trieste the “Door of Zion”. The oratory is now part of the Museum. Ornaments and gold objects on display here are in some cases quite antique; many come from Bohemia and Germany as well as from Italy.

Caffè San Marco. Photo by Alexandros Delithanassis – Wikipedia

Narrow streets such as Via del Ponte, near the Piazza della Borsa give an idea of what this former Jewish quarter might have been like a century ago, when it was inhabited by poor Jews and still had four synagogues, whose discreet facades hid richly decorated interiors. The buildings and synagogues of the early Ghetto were totally razed in the 1930s to the great joy of the heads of the Jewish community of Trieste, which had no desire to see the remains of their miserable past. Many of the synagogue’s furnishings are now in Israel.

The Caffè San Marco near the Grand Synagogue, a favorite haunt of Trieste’s intelligentsia, remains one of the most memorable places in the city. Italo Svevo frequented Caffè San Marco, as did a number of artists and writers both Jewish and non-Jewish. The traditions continues today with authors such as Claudio Magris, who dedicated the magnificent pages Microcosmes (Paris: Gallimard, 1998) to the café. The turn-of-century Viennese Succession-style interior is remarkable -as are the coffee and food.

Renowned throughout the city for the quality of its products – not to mention its interior decor – the celebrated pastry shop  La Bomboniera was also, until the 1930s, a kosher pasticceria whose Purim cakes made between February and March delighted Trieste’s residents, Jewish and non-Jewish alike.

The poet and writer Umberto Saba’s masterpiece Canzionere was first published in his  bookstore in 1921. The shop, which he managed until his death in 1956, has remained as it was during Saba’s lifetime, when he was often found engaged in long discussions with the customers and friends he received here.

Risiera San Saba © Pier Luigi Mora – Wikimedia Commons

Morpurgo de Nilma Civic Museum

Installed in the palace he had built in 1875, the  Morpurgo de Nilma Civic Museum is named after Carlo Marco Morpurgo, declared a valiant knight of the empire for his achievements. The palace suggests what daily life was like for a large Jewish family of Trieste.

The private apartments are on the third floor and include a magnificent Louis XVI-style music room, a large azure reception hall decorated in the Venetian style, and a pink salon, among others. Other palaces once belonging to great Jewish families such as the Hierschel de Minerbi at 9 Corso Italia, or the Vivante at 4 Piazza Benco are located in the neighboring streets and have been transformed into apartment buildings or offices.

Risiera of San Saba

The Nazis established the only Italian concentration camp with a crematorium,  Risiera of San Saba, in the buildings of a former rice-processing factory. It was a camp used for the detention and elimination of Jews, hostages, partisans and political prisoners. For Jewish prisoners, it was mainly a transit site on the way to the extermination camps. Between October 1943 and March 1945, 22 convoys of Jews were deported from Risiera. In total, more than 1000 Jews were deported from Trieste and about 30 were killed in the Risiera.

The site was transformed into a memorial in 1965. Ten years later, it became a Civic museum designed by architect Romano Boico and it has been recently renewed.