Your combo ticket is valid for 3 consecutive days and allows you to access each of the sites that make up the Uffizi Galleries once (the Uffizi Gallery, Palazzo Pitti, and the Boboli Garden).
In the booking form, choose the date and time of the ticket's activation at the Uffizi Gallery, which will be the first museum to visit. You will have to be at the reservations desk at the Uffizi Gallery at least 15 minutes before the confirmed time on the chosen date. You will then have this first day of access to visit the Uffizi and the two consecutive days to visit Palazzo Pitti and the Boboli Garden, during opening hours.
The sites included in the Ticket:
Uffizi Gallery: One of the most famous museums in the world, its collection counts thousands of works from a past rich in creativity and lively artistic imagination. Part of the collection is the result of commissions by the Florentine arts and crafts guilds that brought about those commercial, cultural and artistic exchanges that made Florence one of the world capitals of art. Other works come from diplomatic donations, from ancient convents and dynastic legacies. Works include artists such as Cimabue, Giotto, Masaccio, Botticelli, Leonardo da Vinci, Michelangelo, and Raphael.
Palazzo Pitti: Symbol of the power of the Grand Ducal family of the Medici, the palace was also the residence of the Habsburg-Lorraine dynasties (successors of the Medici from 1737) and of the Savoy, Italy’s royal family from 1865. It is currently home to four museums: the Treasure of the Grand Dukes, the Palatine Gallery, and the Royal and Imperial Apartments, the Modern Art Gallery and the Fashion and Costume Museum.
Boboli Garden: This iconic Italian garden, which was initially curated by the Medici family, is in itself a collection of ancient and Renaissance statues, adorned with caves - of which the most famous one was created by Bernardo Buontalenti - and large fountains. The circuit includes the Boboli Garden, the adjoining Bardini Garden, and the Porcelain Museum.
Before You Book
PLEASE NOTE: Immediately after submitting an order, you will receive two emails. The first email contains your order summary (this one you receive immediately after placing your order), the second email confirms your successful payment (one business day after placing the order). In order to receive these two emails, please make sure that you enter your email address correctly and check that antispam or antivirus filters do not block emails from our [email protected] address. Users of AOL, Comcast and Sbcglobal.net need to pay special attention to this, please. Vouchers will also be available, one business day after the request, at your dashboard.
IMPORTANT NOTE: The time you select on the order form is your preferred time. The closest available time, which can be anytime during opening hours on the selected date, will be automatically confirmed if your preferred time is no longer available.
Once a confirmation code has been assigned to your reservation, we can refund the cost of unused tickets, also for no-shows, minus a service fee (reservation fee and online booking fee).
European Union citizens aged 18 to 25
Children under 18 years old from any country
Children under 12 (must be accompanied by an adult)
Tourist guides and interpreters (accompanying a group), with official documentation
Students/scholars of all nationalities may apply for special research permits for a limited period.
Free admission the first Sunday of every month
Italian and European school groups accompanied by their teachers, with official authorization from the school and with an advance booking made directly with the museum.
Service fees (pre-sale and online booking fees), as well as fees for temporary exhibitions happening during your visit are due for ANY KIND OF TICKET as well as for free admission days.
When picking up a reduced or free ticket, you will be asked for a document proving your right to the price reduction. Entrance will be denied without it.
Rules & Regulations
Before entering the exhibition areas, backpacks, bags, umbrellas and other bulky items must be deposited in the wardrobe. The deposit is free of charge. Some museums require visitors to go through the metal detector before accessing the site.
Uffizi Gallery and Palazzo Pitti:
All visitors are required to observe a behavior consistent with the common rules of good manners.
- In general, it is forbidden to behave in any way that may endanger the safety of the works or other visitors.
- It is necessary to respect the general instructions on the museum signs and as indicated by the staff on site.
- Please keep to a moderate tone of voice.
- Adequate clothing is required for museum environments (it is considered inappropriate, for example, to visit the museum in bathing suits, or in clothes that expose too much bare skin). Walking barefoot and bare-chested in museum environments is prohibited.
- Visitors who are less than 12 years old must be accompanied.
- Mobile phones must be switched off or at least put in silent mode.
The following are, however, absolutely prohibited:
- Touching works of art or putting objects that could damage them in their proximity (with the exception of the visually impaired and blind visitors, in as far as the works included in their dedicated paths are concerned)
- Leaning on the sculpture stands and the walls
- Running in museum environments
- Consuming food and drink in the exhibition areas
- Introducing canned drinks
- Introducing alcoholic beverages or corrosive beverages (such as Coca-Cola)
- Smoking (the ban also includes electronic cigarettes)
- Photographing with the use of the flash
- Photographing or making video footage with selfie sticks, stands, and professional equipment of any kind
- Writing or dirtying the walls
- Abandoning maps, bottles, chewing gum, or other waste: Please use the appropriate containers!
- Introducing knives and/or metallic tools of various kinds inside the museum
- Introducing any kind of firearm and/or dangerous material. Armed visitors are not allowed to access (even with a regular license to carry firearms) further conditions must be communicated beforehand and possibly authorized by the Director of the Institute.
- Introducing animals, with the exception of guide dogs for the visually impaired, of service dogs for assistance to the disabled and of the domestic animals certified to support therapeutic treatment (pet therapy) with certifications issued by physicians of p[ublic sanitary structures.
The surveillance staff, identifiable by the badge and a special uniform, is available to visitors for information on the collections and services offered by the museum. The staff is responsible for the safety of the exhibits and that of persons and for the observance of this regulation. The visitors are therefore obliged to adhere to the indications expressed by the supervisory staff, who, if necessary, is authorized to intervene and also to remove those who are endangering the safety of the works of art or disturbing the other visitors with their behavior.
In terms of photographic footage, it is permissible to take photographs of the works (excluding those exhibited in the temporary exhibitions) for the purposes of personal and scientific use. For the shooting of photographic footage for commercial purposes or for publications, a permit must be requested in advance and a fee must be paid, where applicable.
We also remind you that it is allowed to draw and take notes with the pencil, or with digital devices, while the use of colors, easels, lecterns, and other supports or bulky equipment are not allowed.
The following are prohibited:
- Defacing or damaging sculptures, architectural, or furnishing elements of the garden
- Trampling the meadows where signaled or where cordoned off
- Picking fruits or flowers, climbing trees and hanging from the branches
- Introducing Nordic walking sticks, bicycles, skateboards or skates, as well as motorized vehicles of any kind
- Introducing dogs and animals in general, even if on a leash or with a muzzle, with the exception of guide dogs for the blind
- Discarding any kind of garbage outside the appropriate containers
- Igniting fires, leaving lighted cigarettes or adopting behaviors that may cause a fire hazard
- Capturing or harassing specimens of the fauna
- Feeding animals
- Playing ball, digging holes, throwing stones, running, disturbing other visitors, getting wet in basins and fountains
- Calling loudly or using a radio without headphones
- Wearing inappropriate clothing or behaving in a way that is not suited to the dignity of the place
- Adults and teachers must accompany and supervise minors and school groups.
- For the safety of visitors, please note that the path can present perils due to different terrain profiles, uneven paths, steps that may be worn or slippery from rain or humidity. It is also recommended that you do not walk on slopes, grass and cliffs, likewise, climbing on parapets or leaning from them is not permitted, as holds true for standing under the trees in the presence of strong wind, given the danger of falling branches.
- We remind you that filming and photographing for publication in any media or for-profit need specific authorization.
Uffizi Gallery Special Rules for Groups:
- As of March 1, 2019, all groups of at least 15 persons visiting the Uffizi Gallery will be required to pay a fee of €70.00 to be added to the price of individual tickets and bookings.
- A group must not consist of more than 25 people.
- It is mandatory to use earphones for groups of at least 7 people who intend to visit the museum with the help of a talking tour guide.
Public and private schools of the European Union:
- The public and private schools of the European Union have free admission to the state museums of Florence after booking directly through the official reseller.
- Groups that book within the quota reserved for public and private schools of the European Union are excluded from the payment of the additional €70.00.
The Uffizi Gallery
Francesco I de' Medici created an art gallery on the second floor of the Palazzo degli Uffizi for his personal enjoyment. The collection became “public and inalienable good” thanks to Duchess Anna Maria Luisa de' Medici who handed it over to the Lorena family providing that it would remain open to the public.
Today, the Uffizi Gallery is one of the most important museums in the world The collection keeps growing, thanks in part to artworks commissioned by the corporations of arts and crafts. Through their economic, cultural and artistic exchanges, Florence has become the world capital of art and a point of meeting and exchange for important Italian and foreign artists. Other additions to the Uffizi Gallery come from private donations, diplomatic exchanges, from convents and dynastic legacies.
The entrance to the Uffizi Gallery is located under the left portico. After the ticket office you access the Aula di San Piero Scheraggio, the still existing central aisle of the church, which was destroyed to widen Via della Ninna. It is now a richly decorated exhibition space with Medieval and Roman art works. Note the historical-religious frescoes by Andrea del Castagno.
From the Uffizi Gallery ticket office you enter the Monumental Staircase by Vasari, which leads you to the first floor. From the big hall you pass on to the exhibition and reference room of the Drawings and Prints Cabinet. This vast collection contains drawings by artists such as Leonardo da Vinci, Michelangelo, Pontormo, Vasari and others. The collection, among the greatest and most important in the world, was started by the will of Lorenzo de' Medici and continued by his followers. Today, the Drawing and Prints Cabinet can only be visited for research reasons. After the Drawing and Prints Cabinet there is the Library and areas reserved for temporary exhibits. The Uffizi Gallery itself is located on the second floor.
Uffizi Gallery - The first corridor:
The entrance hall to the Uffizi Gallery hosts Roman sculptures (plaster moulds and copies) belonging to the Medicean collection.
The first corridor, also called 'eastern corridor', is dedicated to examples of sacred art including art of the Renaissance and works by Flemish artists illustrating the strong connection between art and spirituality. The first corridor gives access to the rooms with artworks belonging to the 13th-16th centuries. Along the perimeter of the corridor the Medicean collection of head moulds and sculptures are placed at regular intervals. The vaults are decorated with frescoes representing animals, imaginary monsters, satyrs, and Medicean achievements. Portraits of famous men and rulers from all over the world are placed under the arches.
The first rooms are dedicated to the art of the 13th and 14th centuries. Here we find examples of sacred art including the Madonna d'Ognissanti by Giotto, the Maestà di Santa Trinita by Cimabue and the Maestà by Duccio di Buoninsegna. the Triptych of San Matteo by Andrea di Cione, the Polyptych of San Pancrazio by Bernardo Daddi and the Presentation in the Temple by Ambrogio Lorenzetti (rooms 3-4) plus works from 14th century Florence and Siena.
Rooms 5-6 are dedicated to the international Gothic, including The Adoration of the Magi by Lorenzo Monaco. Among the artworks of the early Renaissance are The Coronation of the Blessed Virgin by Beato Angelico, The Battle of San Romano by Paolo Uccello, Portrait of the Dukes of Urbino by Piero della Francesca (room 7). In rooms 8 and 9 are artworks by artists such as Filippo Lippi: The Coronation of the Blessed Virgin, The Adoration of the Magi, and by Antonio del Pollaiolo: A Female Portrait, Hercules and Antes. Room 10 hosts masterpieces by Botticelli: The Slander, Primavera, The Birth of Venus, Adoration of the Magi, Madonna della Melograna, and Coronation of the Blessed Virgin.
The Renaissance is celebrated with paintings by Leonardo da Vinci, including L'Adorazione dei Magi, the Annunciation, and Perugino's Pietà, (room 15). Sixteenth century Florence is represented in the Tribuna with Medicean portraits by Pontormo, with Rosso Fiorentino's L'Angiolino musicante and Andrea del Sarto's La Dama col Petrarchino. In a series of adjoining rooms are works belonging to German art of the 15th and 16th century and paintings evoking mythological tales from Lombardia and Emilia, as well as detailed Flemish landscapes (rooms 19-23). Among these are Adam and Eve by Lukas Cranach, Adoration of the Magi by Andrea Mantegna, The Blessed Virgin adoring the Child by Correggio.
Uffizi Gallery - The second corridor:
The second corridor, also called 'midday corridor', is certainly one of the most enthralling places of the whole Palazzo degli Uffizi. It is the connecting corridor between the two wings of the horseshoe-shaped palace. Enjoy the picturesque beauty and elegance of Florence through the high windows: the Ponte Vecchio, the Vasari Corridor, the Arno River, the more distant hills. The vaults are decorated with precious grotesque frescoes, among them a painting representing a pergola with birds, flowers and plants and the Virtues of the Medicean Grand Dukes by Nasini.
The Miniature Cabinet is the only room connected to this corridor. It was originally called Camera degli Idoli (Room of the Idols) and later Camera di Madama (Madam Room) since it first hosted a collection of bronze statues and then the jewels of Cristina di Lorena. The vault is decorated with an Allegory of Fame by Filippo Lucci. The oval room holds around 400 miniature portraits, most of which come from the collection of Leopoldo de' Medici. The floor is very characteristic: the inlaid marble creates the image of a big carpet. Portraits of rulers from all over the world are placed under the frescoed vaults along the entire corridor. Among the numerous sculptures from the Roman age is a delicate representation of Amor and Psyche.
Uffizi Gallery - The third corridor:
The third corridor is also known as the 'western corridor'. Sixteenth century artworks by great artists such as Michelangelo, Raffaello Sanzio and Rosso Fiorentino open the collections of the third corridor. Like the two previous ones, the third corridor has frescoed vaults with grotesques depicting animals, famous personalities, and Medicean achievements. Here, too, are portraits of the 'Jovian series' with royalties from all around the world and Roman statues.
The museum visit continues with rooms 25-27, which host the work of Florentine painters of the 16th century. These include Michelangelo Buonarroti's Tondo Doni or Sacra Famiglia con San Giovannino, Ridolfo del Ghirlandaio’s La Coperta di Ritratto, Raffaello Sanzio’s La Madonna del Cardellino, Andrea del Sarto’s La Madonna delle Arpie, Pontormo’s Cena in Emmaus, Rosso Fiorentino’s La Madonna col Bambino e Santi, and artworks that introduce a dramatic mannerism. Tiziano is represented as the most illustrious of 16th century Venetian artists (room 28) with La Venere d'Urbino, and Flora.
Among the examples of Italian painting in Europe in the 16th century (rooms 29-34) are Tintoretto's Leda e il Cigno (Leda and the Swan), Parmigianino's Madonna dal Collo Lungo (Madonna with the Long Neck), and Giorgio Vasari's La Fucina di Vulcano (The Furnace of Volcano). The 17th century is represented with Rubens' Portrait of Isabella Brandt and Diego Velasquez' Filippo IV of Spain riding a Horse. The following room (42) is named after queen Niobe, with sculptures based on the mythological theme portraying Niobe trying to protect her children from the deadly rage of Apollo and Diana.
The final rooms are dedicated to paintings from the 17th century. Caravaggio is represented with his Bacchus, The Sacrifice of Isaac and Medusa. Rooms 44 and 45 give access to works by Rembrandt and the Venetian views by Canaletto, among others. The entrance to the bar and to the terrace of the Uffizi Gallery is located next to the final room. From the terrace, you can admire architectural masterpieces such as Arnolfo di Cambio's tower of the Duomo Santa Maria del Fiore with the Cupola by Brunelleschi.
The Boboli Garden is the most popular city park, and one of the most important examples of Italian gardens in the world. The garden's architectural landscaping and collection of sculptures, ranging from Roman antiquities to the 20th century, make it a veritable outdoor museum. Discover the picturesque amphitheater, the “Ocean” and “Neptune” fountains, as well as the staircase leading to the Garden of the Knight, the Cave of Buontalenti, and a thousand other beauties – all with stunning views of the center of Florence.
It was Eleonora di Toledo, wife of Cosimo I de' Medici, who bought the first part of the garden in 1550 from the Pitti family. The landscaping plans were initially created by Niccolò Pericoli called Tribolo. After his death in 1555, works were directed by Davide Fortini followed by Giorgio Vasari. Ammannati also contributed to the project between 1560 and 1583, designing the courtyard that still bears his name.
The Medici, Lorraine, and Savoy families continued to alter and enlarge the garden into the 19th century, adding meadows, groves, avenues, as well as precious works of art and landscaping features.
Pertaining to the first phase of transformation of the garden, the large semi-elliptical area known as the Amphitheater, which was later to create a harmonious whole with the two wings of Ammannati's courtyard, was dug out of a huge stone quarry at the foot of the Belvedere hill. This architectural feature serves to visually unify the Pitti Palace and Boboli Gardens.
Francis I called upon the help of the architect Bernardo Buontalenti, who designed the Grotta Grande after 1574. The niches at the entrance to the grotto hold the statues of Bacchus and Ceres by Baccio Bandinelli (1552-1556). Michelangelo's Prisoners stood in the corners until they were replaced with cement casts in 1924. During the early 17th century, the period of the grand duchy of Cosimo I (1609-1621), the garden was extended beyond the wall built during the war against Siena.
The “ideal” axis of the garden is the cypress avenue leading to the impressive Bacino dell'Isola (Island Basin), built between 1612 and 1620. The Vasca dell'Isola (Island Pond), one of the most evocative spaces in the garden originally intended for the cultivation of citrus fruits and flowers, was created by Giulio Parigi. A Venus fountain was originally at the centre of the pond, replaced by Ferdinand II with Giambologna's Oceanus in 1636. During that same year, the statue of Plenty, begun by Giambologna and completed by Pietro Tacca was placed in its current position.
In the 18th century, the Medici dynasty disappeared and the Grand Duchy passed to the Habsburg-Lorraine family. After an initial period of abandonment, wide-scale restoration work took place involving the sculptures, architecture, waterworks and plants. New buildings were placed in the garden including the Kaffeehaus (1775) and the Limonaia (a building for raising citrus fruits constructed from 1777-1778), designed by Zanobi del Rosso, and the Palazzina della Meridiana, begun in 1776 by Niccolò Gaspero Paoletti.
During the period of the Napoleonic rule (1799-1814), the Grand Duchess Elisa Baciocchi, younger sister of Napoleon, initiated a failed attempt to transform the Boboli into an English-style garden, the Lorraine family later restored the gardens to their original formal appearance. In 1834, under Leopoldo II, the labyrinths were destroyed to make way for a wide avenue suitable for carriages. During the 19th century, the garden provided the backdrop for spectacular open-air entertainment.
The Porcelain Museum, a section of the Silver Museum, is located in a separate building, the "Casino del Cavaliere." Built in the 17th century at the top of the hill that overlooks the Gardens of Boboli, it was a chosen retreat for the Grand Duke. The collections comprise mainly porcelain tableware belonging to the royal families that ruled Tuscany (Medici, Lorraine, Savoy), thus clearly reflecting their tastes.
The museum has three rooms, in which the collection is arranged according to period, nations, and manufacturers.
There are several outstanding examples of Italian porcelain objects produced in Doccia (near Florence), which were especially used by the Grand ducal family for large services of daily use, and at the Royal Manufactory of Naples. Fine table sets from Vienna and from the German Manufactory of Meissen are on display, as well as French porcelain from Vincennes and Sèvres, brought to Florence by the Savoy. The oldest pieces of the collections were produced in the German Manufactory of Meissen and belonged to Gian Gastone, the last Medici Grand Duke (1671-1737).
The Bardini Garden
Close to the Boboli Garden, the little-known Bardini Garden spans 4 hectares of park between the left bank of Arno river, the Montecuccoli hill and the medieval walls. It was originally a system of vegetable gardens walled-in toward Palazzo Mozzi and the hill behind. In the 18th century, Giulio Mozzi, a garden lover, enriched the property with a long wall with fountains. In the middle of the 19th century, the baroque garden was enlarged by the purchase of the neighboring anglo-chinese garden of Villa Manadora, created by Luigi Le Blanc at the beginning of the 19th century.
In the second half of the 19th century, princess Carolath Benten purchased the whole property and enriched the garden with Victorian details.
In 1913, the antique dealer Stefano Bardini purchased the complex and created a road to go up to the Villa from the Arno river, destroying the walled-up gardens of medieval origins. After the death of his son Ugo in the 1965, a long process concerning hereditary matters began, which minister Paolucci ended in 1996. In 2000, the Cassa di Risparmio di Firenze, through the Fondazione Parchi Monumentali Bardini e Peyron, began an almost 5 year long restoration of the complex, restituting identity, composition, and plant richness to the park.
The baroque staircase is the most impressive part of the garden, with the Belvedere over the city and the six fountains with mosaic decorations. A series of Bourbon roses and iris has been planted along the staircase. An oat grass garden and the green theater are located in the lower part. Fruit trees of Tuscan tradition have been planted in the agricultural park. A belvedere leads to a wisteria tunnel from which some 60 kinds of hydrangeas can be admired. The azaleas field is located in the English garden, where you'll also see some beautiful ferns, viburnum, camellia, and a citrus tree collection.
From Villa Bardini (only minutes from the Boboli), you can wind your way downhill through the luscious gardens, with views onto the monuments of Florence. You'll exit on the Via Bardi after 7 km (4.3 miles) in nature!
Situated on the first large square in the area the Florentines call "Diladdarno" - beyond the Arno - Palazzo Pitti dominates from a small elevation at the feet of the Boboli hill. Only minutes from the Ponte Vecchio, the vast, mainly Renaissance Pitti Palace was the residence of the Medici. The powerful Florentine family bought it from a rich banker named Luca Pitti in 1549 and transformed it into the main residence for the Grand-Duchy of Tuscany. The Medici added to the original core building and transformed the Palazzo into a veritable treasure chest.
In 1565 the Grand-Duke ordered the construction of a “secret” corridor for the family so they could walk to Piazza della Signoria and the Palazzo Vecchio, seat of government, avoiding the danger of attacks. Vasari was commissioned to design and build the project.
Grand-Duke Ferdinand II summoned artists of great fame, such as Giovanni da Sangiovanni and Pietro da Cortona, to decorate some of the rooms with their magnificent frescoes, making it a truly royal palace.
It was the Lorraine Family who completed the façade as we know it today, adding the two lateral "rondò" which stretch the palace towards the square, seemingly embracing it.
At the end of the 18th century, Pietro Leopoldo commissioned Gaspare Maria Paoletti and Pasquale Poccianti to build the Palazzina della Meridiana, the last part added to the building.
For a brief time the palace was also home to the King of Italy when Florence was capital of Italy,
Palazzo Pitti, which through time assumed different functions, is today the seat of important museums, such as the Silver Museum, the Porcelain Museum, the Costume Gallery, the Carriage Museum, the Palatina Gallery, the Modern Art Gallery, and the Boboli Garden. A visit to these makes it possible to experience the buildings, rooms, and halls of the palace, and taste the court splendors of a faraway epoch, passed down faithfully through history.
The palace's gardens, the Boboli, are one of the most beloved gardens in Florence, and offer vast green spaces, landscaped to perfection, splendid works of sculpture, as well as stunning views onto Florence.
The Palatina Gallery
The Gallery takes its name from the fact that it is located in the palace of the reigning family. Opened to the public by the House of Lorraine as early as 1828, it still preserves the traditional layout of a private collection, not following a chronological order nor schools of paintings, revealing instead the lavishness and personal taste of the inhabitants of the palace.
The history of this gallery is inextricably linked with the history of the Medici, their collections and the artists taken on by the family, in particular by Cardinal Leopoldo (1613-1675), Cardinal Giovan Carlo (1611-1663), and Prince Ferdinand (1663-1713). The works they collected had a private function and value, while the gallery of representation was that of the Uffizi. Thanks to the interest of the Habsburg-Lorraines (1737-1848) the collections grew, and were reunited in the Medici family's apartments.
You will access the 28 rooms that house the Palatina Gallery from the staircase built by Ammannati. These rooms were the Grand Duke's apartments and audience rooms at the time of the Medici. A majestic decorative complex of frescoes and stuccoes by Pietro da Cortona (1596-1669) graces these spaces. Inspired by classical myth as an allusion to the education and life of the Prince, this work is one of the most representative examples of the Florentine Baroque. It forms a magnificent backdrop to the 16th and 17th century works of art displayed here.
Noteworthy among the many important works of art is a group formed by masterpieces from the hands of Titian and Raphael. These came into the Medici's possession through the will of Vittoria della Rovere, wife of Ferdinand II de' Medici and youngest daughter of the Duke of Urbino. Alone the Portrait of a Gentleman and Magdalene by Titian, the Madonna of the Grand Duke , the Madonna of the Chair, and the Portrait of Maddalena Doni by Raphael are worth the visit.
The Gallery also offers a comprehensive overview of 17th century European painting, displaying famous works such as The Four Philosophers and The Allegory of War by Rubens, the Cardinal Bentivoglio portrait by Van Dyck, the Madonna with the Child by Murillo, Caravaggio's Sleeping Cupid, and other portraits by Frans Pourbus and Velazquez. Exceptional older works by Bronzino, Fra Bartolomeo, Piero del Pollaiolo, and Filippo Lippi are also on view.
From an historical and artistic point of view a few of the rooms are particularly noteworthy: the Music Room decorated and furnished in a neo-classical style, the Putti Room dedicated entirely to Flemish painting, and the Stove Room, decorated with the 1637 masterpiece The Four Ages of Man by Pietro da Cortona, commissioned by the Medici. This cycle of paintings represents the beginnings of the Baroque for the Florentine painting school.
The Gallery of Modern Art
Palazzo Pitti opened its doors to the Gallery of Modern Art in 1924. Of the apartments occupied by the royal family until 1920, 30 rooms are today filled with masterpieces of Italian painting, Tuscan Neoclassicism, Naturalism, and the Tuscan Impressionist school, known as the Macchiaioli.
The chronologically organized exhibition begins with Neoclassicism, with works by Napoleone di Pietro Benvenuti, Joseph Bezzuoli, and Francesco Hayez. The most important sculptures in the first rooms are the Calliope by Antonio Canova, Pietro Tenerani's Psyche and Giovanni Dupré's famous Abel.
Some of the best known works include paintings from the Macchiaioli circle, a group of painters active in Tuscany who somewhat anticipated the French Impressionist movement, even though the pursued slightly different goals. Thanks to the collection of Diego Martelli, art critic and friend of many of these painters, the gallery includes many works by Giovanni Fattori, head of the movement, as well as works by Silvestro Lega and Telemaco Signorini.
Other important Italian painters represented are Giovanni Boldini, Federico Zandomeneghi, Francesco Podesti (with the remarkable portrait of the poet Elizabeth Barrett Browning with her young son Robert), Antonio Donghi, Giorgio Morandi, Filippo De Pisis, the Futurists such as Giacomo Balla and Filippo Marinetti, and the French painter Elisabeth Chaplin. Sculptures also form a part of the collection, with for example works by Adriano Cecioni.
The Museum of the Grand Ducal Treasure or Silver Museum
The Museum of the Grand Ducal Treasure or Silver Museum occupies twenty-five rooms of the left wing of Palazzo Pitti, chosen in 1861 as the location for the display. The core of the collection was originally preserved in Palazzo Medici in Via Larga (now Via Cavour), where Cosimo the Elder had started a rich collection of precious objects in the 15th century. His son Piero and his grandson Lorenzo the Magnificent later added to this collection. Some of the most valuable objects are the vases that belonged to Lorenzo, which are considered extremely precious both historically and artistically. The present arrangement of the museum focuses both on different aspects of the grand ducal collection and on the beauty of the rooms chosen to display it in.
A secret stairway leads to the first floor, the heart of the treasure of the Museum: the Rooms of the Cameos and of the Jewels which belonged to Anna Maria Luisa, the last Medici (early 18th century), who purchased precious jewels in all of Europe.
The two following rooms contain the famous Treasure of Salzburg, which was brought to Florence by Ferdinand III of Lorraine, after his return from exile following the brief Napoleonic period.
The Silver Museum also includes the Oriental Room, and Chinese and Japanese chinaware.
On the ground floor you'll also find the precious collection of ambers and the Room of the Crystals and Semi-precious stones.
Noteworthy is the great room frescoed by Giovanni da San Giovanni (1592-1636) and his assistants on the occasion of the marriage of Ferdinando II de' Medici and Vittoria della Rovere (1634), where sumptuous mythological allegories and references highlight the many aspects of the cultural and political life of the Medici under Lorenzo the Magnificent.
The Costume Gallery - The Museum of Fashion and Costume
You'll find the Costume Gallery In the heart of Palazzo Pitti, in the small building of the Meridiana. It is the first state-operated museum dedicated entirely to study and preservation of costumes, accessories, and fabrics.
Founded in 1983 by Kristen Aschengreen Piacenti, the Costume Gallery preserves a collection of more than 6,000 items, including ancient and modern garments, accessories, and costumes for the theater and the cinema of great historical value.
The Costume Gallery is a unique museum whose center is the famous Medici collection, among the world’s oldest, made up of the burial clothes worn by Cosimo I Grand Duke of Tuscany, his wife Eleonora de Toledo, and their son Don Garzia, all restored in the museum’s own restoration shops.
Preservation needs dictate the biennial rotation of costumes on display in the 13 exhibition rooms. This constant costume change makes the Gallery a living institution bustling with new ideas and events, and allows the public to experience “new” costumes on a regular basis.
A particular section of the Gallery hosts the fascinating Flora Wiechmann Savioli Collection, with jewelry created by the artist from 1958 to 1968. Made of steel, silver, and other “poor” metals, the pieces are all hand-worked with simple, modern, and geometric lines.
A significant place is also reserved for contemporary costume, with selected nuclei representing the greatest protagonists of international high fashion and prêt-à-porter, such as Worth, Poiret, Vionnet, Capucci, Missoni, Valentino, Pucci, Ferrè, and Yves Saint Laurent, to name only a few.
Closure: Museum of Fashion and Costume
Attention: the Museum of Fashion and Costume of Pitti Palace will be partially open from Tuesday November 13 to Sunday November 18, 2018 (only the first corridor halls 1-6 will remain visible), and it will close completely from Monday November 19, 2018 to January 7, 2019.