If you travel to Trieste, don’t fail to visit its historical cafés. Part of their patina is due to their connection with literary figures – writers such as Svevo, Saba, Stendhal and Joyce frequented these establishments in search of conversation, inspiration and rest.

While these cafés enjoyed their moment of splendour in the late-19th and early-20th century, they have endured to the present, albeit with some changes, transporting their customers back to a bygone age. Visitors can admire their wooden furnishings, framed in tall architectural devices, the classic marble tables and an atmosphere redolent with the aroma of coffee.

Here are some of the standout historical cafés of Trieste:

Caffè Tommaseo (Piazza Tommaseo, 4/c)

Opened in 1830 by the Paduan, Tommaso Marcato, this is Trieste’s oldest café. It was decorated by the painter, Gatteri, who among other things commissioned the mirrors to be brought from Belgium. It was once a meeting place of merchants and writers and the first establishment in the city to serve ice-cream. It also used to host art exhibitions and concerts, a tradition still kept alive on its premises.

Caffè degli Specchi (Piazza Unità d’Italia, 7)

Founded in 1839 by the Greek, Nicolò Priovolo, it is located in one of the most privileged spots in Trieste, the Piazza Unità d’Italia, on the ground floor of the Stratti building. When you get to this café, you are hard put to decide where to sit – the interior is still tinged with the charm of its glorious past, while the terrace affords lovely views of the square and the sea. Curiously, during World War II it was used to garrison troops, and also as a warehouse and even a stable.

Caffè Tergesteo (Piazza della Borsa, 15)

Housed in the shopping arcade of the Tergesteo Palace, the former seat of Trieste’s stock exchange, it is famed for its stained-glass windows depicting scenes from the city’s history. It was once frequented during the day by businessmen who attended the stock exchange, and by night by the cultural elite.

Caffè San Marco (Via Battisti, 18)

The early years of this café were troubled ones. Having opened in 1914, the following year it was closed down and destroyed by Austro-Hungarian troops for having been the meeting place for the irredentists. It was rebuilt in the twenties, when its regular clientele featured such literary figures as Saba, Svevo and Giotti. It is now a café, cultural centre and library and still breathes the atmosphere of another age.

Caffè Torinese (Corso Italia, 2)

The first thing that strikes one when entering this bar, opened in 1915, is its Art Nouveau decoration, the work of the Trieste cabinet-maker, Debelli. Another stunning feature is the spectacular crystal chandelier that lights its comfortable interior. The current owners have managed to endow the locale with a cool, modern air in the guise of its cocktails and its wine list, which includes local wines.

How to Order a Coffee in Trieste

While this might sound outlandish, Trieste has its own names for different types of coffee and you should bear this in mind unless you want to end up gawking at the waiter who has just served up your order. An expresso is called a nero, while a capuccino is known as caffè latte. If you want a macchiato, you have to ask for a capo (capuccino) and, if you’d like your coffee served in a glass, you should specify “in a b”, as “b” is the abbreviation for glass (bicchiere) in Italian.

Ready for a good cup of coffee in Trieste? Book your Vueling here.

Text by ISABELYLUIS Comunicación

Photos by dani7c3, Caffè Tommaseo, Caffè Torinese, Caffè degli Specchi

Milan is celebrated as having one of the highest economic development rates among Italy’s cities. It is also famed for being one of the international hubs of fashion and design. When considering a trip to this incredible city, we inevitably think of attending one of its great fashion shows, roaming through its boundless Furniture Fair or delighting in window shopping its fabulous stores and splashing out on the amazing apparel, if we can afford it.

Some head for Milan to soak up its cultural assets by visiting its most emblematic monuments, notably the Duomo or the Castello Sforzesco, relishing the artworks housed in the Pinacoteca di Brera, the Pinacoteca Ambrosiana and the Museo del Novecento, or venturing into the Church of Santa Maria delle Grazie. There, the art lover is greeted by one of the icons of art history, Leonardo da Vinci’s The Last Supper. Then again, others prefer to don their finery to attend an opera performance in the iconic Teatro alla Scala.

The Carnevale Ambrosiano

No less celebrated is one of Milan’s more spirited, entertaining facets – its Carnival. When the subject of Italy’s carnivals comes up, it is common to talk about the two most popular instances in the land. First, the Venice Carnival, with its magnificent face masks and spectacular period costumes, which unfolds against the magical backdrop of that unique city. The other is the Viareggio Carnival, where festival-goers never fail to be amazed by the mechanical ingenuity of the floats that file past during the parade.

The Carnevale Ambrosiano, as Milan’s carnival is known, offers a peculiarity which makes it stand out from the rest – its duration. Carnival usually ends on Carnival Tuesday, also known as Mardi Gras, which then gives way to Ash Wednesday, marking the start of Lent. In the case of Milan, it extends four more days, lasting until the Saturday, known locally as Sabato Grasso. And, it’s not merely because of some whim, as the reason for its duration is related to a long-standing legend. It is said that the bishop, St Ambrose, the patron saint of Milan, who happened to be on a long pilgrimage in foreign lands, requested an extension of Carnival until his return to the city, as he wished to celebrate the start of Lent with all his people.

Like any noteworthy carnival, the Milan Carnival prizes itself on its parades and street festivities, characterised by a fanfare of colour, music and festive atmosphere. On the Saturday, the crowning event is a grand parade which ends in one of the city’s most emblematic spots, the Piazza del Duomo.

One of the standout aspects of this Carnival is the traditional costume known as the Meneghino. Just as the figure of the harlequin is traditional in Bergamo, or Pantaleon in Venice, the Milan Carnival has its own popular figure, drawn from the Italian Commedia dell'arte. TheMeneghinocan be spotted by his three-cornered hat.

Among the traditional confectionery loved by the Milanese are the chiacchiere and bugie, simple fried pastries made of flour and coated in castor sugar which are ideal for topping up your strength between one street party and the next.

Don your mask and come to Milan to delight in its Carnival!

Text by ISABELYLUIS Comunicación

Images by gnuckx

The magnificent sea port of Genoa, situated in the north of Italy, is the perfect spot for a two-day getaway. There you can discover the jewels yielded by the sediment of numerous stories that took place in that city over the years.

The old harbour is undoubtedly Genoa’s major attraction. To mark the 500th anniversary of the discovery of America – one of the city’s most celebrated citizens was Christopher Columbus – the harbour was renovated, a make-over that was long overdue. The result of that restoration includes the Bigo, a futuristic structure designed by Renzo Piano affording interesting views over the city, in addition to the Aquarium, the Biosphere and the Galata Sea Museum, one of the largest marine exhibitions in Europe.

But, apart from its harbour, the capital of Liguria offers many other enticements, such as strolling through the Old Town and wandering around the caruggi or dark, narrow back streets. Also worth visiting are the Palazzi dei Rolli, a system of 16th- and 17th-century Renaissance and Baroque palaces, forty-two of which are listed as World Heritage Sites by UNESCO. Not to be missed either are Genoa Cathedral, dedicated to St Lawrence, and the spectacular Piazza de Ferrari. For those eager to delve into Italy’s history, the place to head for is the Museo del Risorgimento, housed in the erstwhile residence of Giuseppe Mazzini, a key figure in the unification of the country.

The Monumental Cemetery of Staglieno

Apart from these monuments and landmarks, which you are sure to come across in the course of any tourist itinerary through the city, Genoa has another unusual attraction well worth visiting, the Monumental Cemetery of Staglieno. Located on the outskirts of Genoa, on a hillside next to the Bisagno Valley in the Staglieno district, lies one of Europe’s largest cemeteries, celebrated for its interesting sculptural and architectural ensembles on tombs and pantheons.

The construction of cemeteries on the outskirts of towns got under way after the 1804 Napoleonic Edict of Saint-Cloud, by which burials in churches or within city walls were banned. In the case of Genoa, Carlo Barabino was tasked with designing the city’s new cemetery in 1835. Construction work began in 1844 and the precinct was inaugurated in 1851, although building continued until 1880. The precinct was extended over time and areas dedicated to other religions were added, notably the Jewish, Orthodox, Protestant and English cemeteries – the latter houses the tomb of  Oscar Wilde’s wife, Constance Lloyd.

Its origins coincide with the rise of a markedly affluent bourgeoisie, intent on extolling their merits for posterity, to which end they commissioned artists to adorn their opulent mausoleums. These artists included such sculptors as Leonardo Bistolfi, Augusto Rivalta, Giulio Monteverde and Edoardo Alfieri.

A walk through this graveyard effectively becomes a tour of the different art styles that emerged in the 19th and 20th century, as visitors are regaled with works of Neoclassicism, Symbolism, Liberty and Art Deco. This is augmented by the presence of nature, in the guise of plant growth interspersed among the various architectural features, making for an unsettling yet inspiring experience.

Many a visitor has succumbed to the charms of this monumental cemetery. Friedrich Nietzsche and Paul Rée used to discuss philosophy as they strolled through it, while Hemingway described it as “One of the wonders of the world”. Peter Saville, for his part, used photos by Bernard Pierre Wolff of some of the sculptures in the cemetery when he designed the Joy Division album covers for Love Will Tear Us Apart and Closer.

Book your Vueling to this fantastic Mediterranean city – discover its old harbour, stroll through itscaruggi,soak up the beauty of its palaces and drop in on this very special cemetery.

Text by Los Viajes de ISABELYLUIS

Images by jeff kerwin, Enrico Sirola, Superchilum

In addition to its canals, the dockside in the old harbour, the Gravensteenor Castle of the Counts of Flanders, the City Hall and the Korenmarkt, one of Ghent’s major attractions is an altarpiece. Granted, it might not sound overly exciting or novel at first glance. If we add that it is one of the masterpieces of Flemish painting and the cornerstone in the transition from medieval to Renaissance art, it might start arousing some interest. And, that it is one of the artworks which, in the course of history, has been stolen most often, as well as having travelled through many countries, you are bound to see it in a different light.

The masterpiece in question is the Polyptych of The Adoration of the Mystic Lamb,also known as the Ghent Altarpiece, the work of the brothers Hubert and Jan van Eyck. It is located on the high altar in St Bavo Cathedral and was executed in 1426, commissioned by Joost Vijdt and his wife, Lysbette Borluut. The altarpiece consists of 12 panels painted in oil on both sides and measuring 3.5 m high by 4.6 m wide. It remains closed most of the year, and is only opened on festive holidays, revealing all its splendour. The paintings on the outer panels are more sober, with a marked sculptural air, the central theme being the Annunciation. A noteworthy highlight of the inner panels is their colouring, with a Deësis of Christ the King, the Virgin Mary and John the Baptist as the prominent upper feature, and the Adoration of the Lamb in the lower centre. Without going into the subject, the symbology and details behind the scenes of the altarpiece would fill a whole book.

The startling vicissitudes affecting this artwork date from 1566, when the retable had to be dismantled and concealed in the City Hall to preserve it from an assault by Calvinist iconoclasts.

In 1781, the two upper panels, depicting Adam and Eve, were removed from the ensemble, as Joseph II of Bohemia and Hungary found the nakedness of the figures disagreeable. In the 19th century, the panels were replaced with clothed versions of Adam and Eve, executed by the Belgian painter, Victor Lagye.

In 1800, the Napoleonic troops regarded it as the spoils of war – the wings were sectioned off and sold, while the central panels ended up in the Louvre. Once Napoleon had been defeated, the panels were restored to their rightful place in Ghent. But not for long.

In 1816, the vicar of St Bavo sold several of the side panels, which passed through a number of hands before coming into the possession of Wilhelm II, King of Prussia. They ended up being displayed at the Kaiser Friedrich Museum in Berlin. To provide a better view of them, the panels were sectioned lengthwise to reveal the obverse and reverse sides in the same plane. At the end of the First World War, among the multitude of artworks Germany was forced to return were these panels, which were again replaced in their original site.

In 1934, the panel of The Just Judges was stolen and a ransom of one million Belgian francs was demanded for its safe return, but the deal was rejected. It is still missing to this day and has been replaced by a copy, the work of the Brussels Fine Arts Museum curator, Jef Van der Veken.

Needless to say, the altarpiece was not left unscathed by the Second World War either, forming part of the large-scale plunder perpetrated by the Nazis. After a complex hunt for stolen art undertaken by the so-called “Monuments Men”, it was located in the Altaussee salt mine in the Austrian Alps.

The altarpiece is currently being restored, so not all the panels are on display in St Bavo Cathedral. To make up for this, those interested can follow the restoration project live in the Ghent Fine Arts Museum (MSK).

Now that you’re up to speed with all the ins and outs behind this marvellous artwork, we recommend you get hold of a Vueling and see it for yourself. And, don’t leave it too long, in case it gets stolen again!

Text by ISABELYLUIS Comunicación