ABSTRACT
Trieste’s Canal Grande is emblematic of its city in that, as Jan Morris (2001: 153) notes in Trieste and the Meaning of Nowhere, it “is not exactly Germanesque, it is not precisely Italian.” While the canal resembles a Venetian canal, it is really an artificial inlet and its Italianate tempietto is offset by almost severe Germanic buildings. It is the hybrid nature that contributes to Trieste’s urban form.
