The very beginning of the Uffizi Gallery was the collection of Francesco I de' Medici to which he dedicated the second floor of the building for his personal enjoyment. The collection became “public and inalienable good” thanks to Duchess Anna Maria Luisa de' Medici whose will it was that it would be open to the public forever.
Today, the Uffizi Gallery is one of the most important museums in the world, with new acquisitions and gifts coming from collectors, private donations, diplomatic exchanges, dynastic and church heritages, patronages, and arts and crafts corporations.
Before You Book
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Audio guides rental service
Make the most of your visit to the Uffizi Gallery – book your Uffizi Gallery audio guide, after choosing the date, time, and number of tickets for your visit to the Uffizi Gallery! The Uffizi Gallery is one of the richest museums in the world, with some of the greatest artistic treasures of mankind on view. Make sure you don't miss important works of art, and supplement what you know with the audio guide's insightful commentary.
Audio guides are available in Italian, English, French, German, Spanish, Russian, and Japanese.
The audio guided visit has a complete duration of 1 hour and 25 minutes and includes a selection of the most important works of art in the Gallery. To learn more about the works of art on view, choose the desired room and listen to the explanation of selected works in that room.
You will receive a confirmation voucher (valid only for the audio guide) together with the confirmation voucher for your visit to the museum. In order to pick up the audio guide, please deposit this voucher at the Audio Guides Desk – close to the point for reading the electronic ticket – along with a valid identity document (passports, identity cards or driver's license – only originals are accepted).
In case of loss or failure to return the audio guide, visitors will be requested to pay the cost (€ 250.00 per each audio guide).
From Tuesday to Sunday: 8:15 to 18:50; closed on Monday.
Rules of conduct
The following are forbidden within the museum:
touching the works of art
leaning against the sculpture pedestals/bases or walls
litteriing with chewing gum
consuming food and drink
sitting on the ground and or on the security barriers
behaving in ways not suited to the dignity of the place
bringing backpacks and umbrellas; on a rainy day it is a good idea to use only small handbag umbrellas
using your mobile phone
using the telescopic extender to take photographs (“selfie stick”)
using laser pointers
> Taking photographs and videos ise permitted provided they are taken without flash, lights and tripods, for personal, non-profit use only.
> Using the elevator at the entrance of the museum is reserved for people who have special needs – including temporary – and the maximum capacity is 6 persons at a time.
The Uffizi Palace was commissioned by Cosimo I de' Medici and designed by Vasari (16th Century). Many buildings were demolished to make space for building the new palace, with the most important being the church of San Piero Scheraggio.
The new palace, following the will of Cosimo I de' Medici, had to host the offices of thirteen administrative and judicial magistrates. During the construction of the building, Vasari died and his successors were Buontalenti and Alfonso Parigi. The first designed the Teatro Mediceo (Medici's Theater), as requested by Francesco I, son of Cosimo I, in 1586. This area became the seat of Italy's Senate when Florence was the capital of Italy in the 19th century.
The Uffizi Palace has a unusual U shape, which is closed towards the Arno. The two wings of the palace are connected by a corridor with six big arched windows, facing the Arno and the inner courtyard. Statues of famous citizens of Florence from the Middle Ages to the 19th Century fill several niches of the portico arcades which support the two floors of the building.
Nowadays the building hosts the Uffizi Gallery, one of the most visited museums in the world, collecting masterpieces from the 13th to the 18th Century.
In 1993 a bomb at the Accademia dei Georgofili (hosted in one of the bodies of the building) provoked major damages to some masterpieces of the Uffizi Gallery. Most of these works of art have been restored and are again accessible to the public.
The First Corridor
In the first corridor the examples of sacred art, of the Renaissance and the artworks by Flemish artists narrate a nostalgic and enlightened past through the alliance between art and spirituality. The entrance hall to the Uffizi Gallery hosts Roman age sculptures belonging to the Medicean collection: plaster moulds and copies which serve as an anti-room to the museum.
The first corridor serves as an access to the rooms that expose artworks belonging to the 13th, 14th, 15th and 16th centuries. Along the perimeter of the corridor is the Medicean collection of head moulds and sculptures placed at regular intervals with one statue and two head moulds. On the vaults are frescoes that represent animals, imaginary monsters, satyrs and feats and Medicean achievements. Under the vaults are the portraits of famous men and rulers from all over the world. The first rooms are dedicated to the art of the 13th and 14th centuries. Here we find examples of sacred art among which the Madonna d'Ognissanti by Giotto, the Maestà di Santa Trinita by Cimabue and the Maestà by Duccio di Buoninsegna. From the 14th century in Florence and Siena the Triptych of San Matteo by Andrea di Cione, the Polyptych of San Pancrazio by Bernardo Daddi and the Presentation to the Temple by Ambrogio Lorenzetti (rooms 3-4).
The rooms 5-6 are dedicated to the international Gothic: by Lorenzo Monaco the Adoration of the Magi. Among the artworks of the early Renaissance 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 the rooms 8 and 9 are the artworks by artists such as Filippo Lippi: the Coronation of the Blessed Virgin, the Adoration of the Magi; by Antonio del Pollaiolo A Female Portrait, Hercules and Antes. Followed by the masterpieces by Botticelli: La calunnia, Primavera, the Birth of Venus, Adoration of the Magi, Madonna della Melagrana, Coronation of the Blessed Virgin.
The Renaissance is celebrated by the paintings by Leonardo among which l'Adorazione dei Magi and the Annunciation and by Perugino la Pietà, (room 15). In the Tribune is the 16th century in Florence with Medicean portraits by Pontormo. By Rosso Fiorentino l'Angiolino musicante and by Andrea del Sarto la Dama col Petrarchino. In a series of adjoining rooms are the works belonging to German art of the 15th and 16th century and paintings from Lombardia and Emilia that evoke mythological tales and detailed Flemish landscapes (rooms 19 -23). Among them Adam and Eve by Lukas Cranack, Adoration of the Magi by Andrea Mantegna, the Blessed Virgin adoring the Child by Correggio.
The Second Corridor
The Second Corridor
In the second corridor, with wide windows, is disclosed an impressive foreshortened view over the city which narrates itself through art. The second corridor, also called 'midday corridor', is certainly one of the most enthralling places of the whole Palazzo degli Uffizi. It's the connecting corridor between the two wings or structures which give the palace its unusual horse-shape.
The impressiveness derives from its long windows that enlighten it and from which you can catch a glimpse at some views of Florence: the Ponte Vecchio, the Vasari Corridor, the Arno River, the hills: live postcards flow under the enthusiast eyes of those observing the harmony of the hilly landscapes and the serene gayness of the streets and of the elegant bridges of Florence. On the vaults are the 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.
Only the Miniature Cabinet opens on this corridor, originally called Camera degli Idoli (the Room of the Idols) and afterwards Camera di Madama (the Madam Room) since at first it hosted a collection of bronze statues and then the jewels of Cristina di Lorena. On the vault the Allegory of fame by Filippo Lucci. In the oval room is kept the collection of miniature portraits most of which come from the collection of Leopoldo de' Medici. Very characteristic is the marble pavement. The inlaid marble creates an image of a big carpet. Along the entire corridor, under the frescoed vaults, are the portraits of the rulers from all over the world. Among the sculptures is a Roman copy of Love and Psiche and numerous sculptures from the Roman age: flexuous female bodies and the powerful muscles of heroes and divinities.
The Third Corridor
The 16th century artworks by artists famous worldwide such as Michelangelo, Raffaello Sanzio and Rosso Fiorentino open the collections of the third corridor. Like the two previous ones, the third corridor has grotesque frescoed vaults which depict animals, famous personalities and Medicean achievements. Here as well there are the portraits of the \'Jovian series\' with the royalties from all around the world and the Roman statues.
The museum\'s pathway starts again with the rooms 25- 27, which host the Florentine painters of the 16th century: by Michelangelo Buonarroti the Tondo Doni or Sacra Famiglia con San Giovannino; by Ridolfo del Ghirlandaio la Coperta di ritratto; by Raffaello Sanzio la Madonna del cardellino; by Andrea del Sarto la Madonna delle Arpie. By Pontormo Cena in Emmaus, by Rosso Fiorentino la Madonna col Bambino e Santi, artworks that introduce a dramatic manierism. Tiziano is represented as the most illustrious exponent of 16th century Venetian art (room 28): by the artist there\'s la Venere d\'Urbino, Flora.
Among the examples of Italian painting in Europe in the 16th century (rooms 29-34): by Tintoretto Leda e il cigno (Leda and the swan), by Parmigianino Madonna dal collo lungo (Blessed Mary with a long neck), by Giorgio Vasari La fucina di Vulcano (the furnace of Volcano). From the 17th century, Rubens with the portrait of Isabella Brandt, Diego Velasquez with Filippo IV of Spain riding a horse. Followed by the room named after the queen Niobe: sculptures based on a mythological theme portraying the woman trying to protect her children from the deadly rage of Apollo and Diana who are shooting fatal arrows against them (room 42).
Following there are the 17th century collections through the examples of the Bacchus, The sacrifice of Isaac and Medusa by Caravaggio; by Rembrandt the Juvenile self-portrait and the Venetian foreshortenings and views by Canaletto (room 44). Next to this last room is located the entrance to the bar and to the terrace of the Gallery where you can admire the architectural masterpieces of the city such as the Tower by Arnolfo di Cambio which towers over Palazzo Vecchio and the Cupola by Brunelleschi.
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.