77 Best Sights in Florence, Italy

Of the Etruscan, Egyptian, and Greco-Roman antiquities here, the Etruscan collection is particularly notable—one of the most important in Italy (the other being in Turin). The famous bronze Chimera was discovered without its tail, which is a 16th-century reconstruction by Cellini. If you're traveling with kids, they might particularly enjoy the small mummy collection. Those with a fondness for gardens should visit on Saturday morning, when the tiny but eminently pleasurable garden is open for tours. If you're going to the Uffizi, hang on to your ticket, as admission to this museum is free.

The 19th-century collector and antiquarian Stefano Bardini turned his palace into his own private museum. Upon his death, the collection was turned over to the state and includes an interesting assortment of Etruscan pieces, sculpture, paintings, and furniture that dates mostly from the Renaissance and the Baroque.

Florence's Children's Museum may be the best-kept public-access secret in Florence. A series of interactive tours includes "Encounters with History," during which participants meet and talk with Giorgio Vasari or Galileo Galilei and explore secret passageways. Events occur at different venues (Palazzo Vecchio, Museo Stibbert, Cappella Brancacci, and the Museo Galileo). Tours are in English and must be booked in advance. Though most of the tours are geared for the three- to eight-year-old crowd, adults will find them lots of fun, too.

This way-off-the-beaten-path museum has a stunning fresco by Andrea del Sarto. Begun sometime around 1511 and finished in 1526–27, the fresco depicts the moment when Christ announced that one of his apostles would betray him. Andrea has rendered the scene in subtle yet still brilliant colors. Also on display are a couple of lesser-known works by Pontormo and copies of other 16th-century works.

Down the street is the church of San Salvi, founded by John Gualbert and begun in 1048. Though it suffered damage during the siege of 1529–30, the interior has a modest but lovely Madonna and Child by Lorenzo di Bicci as well as a 16th-century wooden cross on the altar. To get here, take Bus 6 from Piazza San Marco and get off at the Lungo L'Affrico stop—it's the first stop after crossing the railroad tracks.

Adjacent to this fascinating small museum is an opificio, or workshop, that Ferdinand I established in 1588 to train craftsmen in the art of working with precious and semiprecious stones and marble (pietre dure means hard stones). Four hundred–plus years later, the workshop is renowned as a center for the restoration of mosaics and inlays in semiprecious stones. The museum is highly informative and includes some magnificent late-Renaissance examples of this highly specialized and beautiful craft. If you're going to the Uffizi, do keep your ticket, as entrance to this museum is free.

The wealthy Martelli family, long associated with the all-powerful Medici, lived, from the 16th century, in this palace on a quiet street near the Basilica of San Lorenzo. The last Martelli died in 1986, and, in October 2009, the casa-museo (house-museum) opened to the public. It's the only nonreconstructed example of such a house in all of Florence, and for that reason alone it's worth a visit. The family collected art, and while most of the stuff is B-list, a few gems by Beccafumi, Salvatore Rosa, and Piero di Cosimo adorn the walls. 

A former Dominican convent adjacent to the church of San Marco houses this museum, which contains many stunning works by Fra Angelico (circa 1400–55), the Dominican friar famous for his piety as well as for his painting. When the friars' cells were restructured between 1439 and 1444, he decorated many of them with frescoes meant to spur religious contemplation. His unostentatious and direct paintings exalt the simple beauties of the contemplative life. Don't miss the famous Annunciation, on the upper floor, and the works in the gallery off the cloister as you enter. Here you can see his beautiful Last Judgment; as usual, the tortures of the damned are far more inventive and interesting than the pleasures of the redeemed.

Although it tends to be obscured by the glamour of the neighboring Uffizi, this science museum has much to brag about: Galileo's own instruments, antique armillary spheres, and other reminders of the artistic and scientific feats of the Renaissance.

Englishman Herbert P. Horne (1864–1916), architect, art historian, and collector, spent much of his life in his 15th-century palazzo surrounded by carefully culled paintings, sculptures, and other decorative arts mostly from the 14th to 16th century. His home has since been turned into a museum, and the jewel of the collection is Giotto's St. Stephen. The rest of the collection is decidedly B-list (he owned plenty of minor works by major artists such as Masaccio and Bernini), but it's still worth a visit to see how a gentleman lived in the 19th century. Many of the furnishings, such as the 15th-century lettuccio (divan), are exemplary. Note that this museum has been undergoing development and may be closed; check ahead on its status before visiting.

A 21-foot-tall bronze horse and rider, one of the major works by artist Marino Marini (1901–80), dominates the space of the main gallery here. The museum itself is an eruption of contemporary space in a deconsecrated 9th-century church, designed with a series of open stairways, walkways, and balconies that allow you to peer at Marini's work from all angles. In addition to his Etruscanesque sculpture, the museum houses Marini's paintings, drawings, and engravings. The Cappella Rucellai, commissioned by one of Florence's most powerful families, shows Renaissance man Leon Battista Alberti (1404--72) at the height of his architectural powers.

It began life as a 13th-century Franciscan hostel offering shelter to tired pilgrims. It later became a convalescent home, and in the late 18th century it was a school for poor girls. Now the former Ospedale di San Paolo houses a museum devoted to Italian art of the 20th century. Admittedly, most of these artists are not exactly household names, but the museum is so beautifully well done that it's worth a visit. The second floor contains works by artists from the second half of the century; start on the third floor, and go directly to the collection of Alberto della Ragione, a naval engineer who was determined to be on the cutting edge of art collecting.

It began life as a 13th-century Franciscan hostel offering shelter to tired pilgrims. It later became a convalescent home, and, in the late 18th century, it was a school for poor girls. Now the former Ospedale di San Paolo houses a museum devoted to Italian art of the 20th century. Most of these artists are not exactly household names, but the museum is so beautifully done that it’s worth a visit. The second floor contains works by artists from the second half of the century; start on the third floor, and go directly to the collection of Alberto della Ragione, a naval engineer determined to be on the cutting edge of art collecting. The museum frequently hosts temporary exhibitions of very contemporary art.

A shrine to footwear, the shoes in this dramatically displayed collection were designed by Salvatore Ferragamo (1898–1960) beginning in the early 20th century. Born in southern Italy, Ferragamo jump-started his career in Hollywood by creating shoes for the likes of Mary Pickford and Rudolph Valentino. He then returned to Florence and set up shop in the 13th-century Palazzo Spini Ferroni. The collection includes about 16,000 shoes, and those on display are frequently rotated. Special exhibitions are also mounted here and are well worth visiting—past shows have been devoted to Audrey Hepburn, Greta Garbo, and Marilyn Monroe.

Frederick Stibbert (1838–1906), born in Florence to an Italian mother and an English father, liked to collect things. Over a lifetime of doing so, he amassed some 50,000 objects. This museum, which was also his home, displays many of them. He had a fascination with medieval armor, as well as costumes, particularly Uzbek costumes, which are exhibited in a room called the Moresque Hall. These are mingled with an extensive collection of swords and guns.

The Umiliati owned this architectural hodgepodge of a church before the Franciscans took it over in the mid-16th century. Beyond the fanciful baroque facade by Matteo Nigetti (1560–1649) are a couple of wonderful 15th-century gems. On the right in the nave is the Madonna della Misericordia by Ghirlandaio; a little farther down is Botticelli's St. Augustine in His Study. A companion piece, directly across the way, is Ghirlandaio's St. Jerome. Also worth seeing is the wooden crucifix by Giotto: the colors dazzle. Pass through the rather dreadfully frescoed cloister to view Ghirlandaio's superb Last Supper.

Founded in 1441 by Antoninus, Bishop of Florence, to offer alms to the poveri vergognosi (the ashamed poor), this one-room oratory is decorated with 15th-century frescoes by the school of Ghirlandaio that vividly depict the confraternity's activities. More than 500 years later, the Compagnia dei Buonomini, or Confraternity of the Good Men, continues to perform charitable works, linking Renaissance notions of charity to the 21st century.

This structure has served multiple purposes. Built in the 8th century as an oratory, in 1290, it was turned into an open-air loggia for selling grain. Destroyed by fire in 1304, it was rebuilt as a loggia-market. Between 1367 and 1380 its arcades were closed and two stories were added above. Finally, at century's end, it was turned into a church.

Although the interior contains a beautifully detailed 14th-century Gothic tabernacle by Andrea Orcagna (1308–68), its the exterior that is most interesting. Niches contain sculptures (all copies) dating from the early 1400s to the early 1600s by Donatello and Verrocchio (1435–88), among others, which were paid for by the guilds. 

Folco Portinari, the father of Dante's Beatrice, founded this sprawling complex in 1288. It was originally a hostel for pilgrims and other travelers. During the Black Death of 1348, it served as a hospice. At another point, it served as an office where money could be exchanged and deposited and letters could be received; Michelangelo did his banking here. It had been lavishly decorated by the top Florentine artists of the day, but most of the works, such as the frescoes by Domenico Veneziano and Piero della Francesca, have disappeared or been moved to the Uffizi for safekeeping.

Today, it functions as a hospital in the modern sense of the word, but you can visit the single-nave church of Sant'Egidio, in the middle of the complex, where the frescoes would have stood. Imagine, too, Hugo van der Goes's (1435–82) magnificent Portinari Altarpiece, which once crowned the high altar; it's now in the Uffizi. Commissioned by Tommaso Portinari, a descendent of Folco's, it arrived from Bruges in 1483 and created quite a stir. Bernardo Rossellino's immense marble tabernacle (1450), still in the church, is worth a look.

The prestigious Davizzi family owned this 14th-century palace in one of Florence's swankiest medieval neighborhoods (it was sold to the Davanzati in the 15th century). The place is a delight, as you can wander through the surprisingly light-filled courtyard and climb the steep stairs to the piano nobile (there's also an elevator), where the family did most of its living. The beautiful Sala dei Pappagalli (Parrot Room) is adorned with trompe-l'oeil tapestries and gaily painted birds.

The main attraction of this palace, begun in 1444 by Michelozzo for Cosimo de' Medici, is the interior chapel, the Cappella dei Magi, on the piano nobile (main floor). Painted on its walls is Benozzo Gozzoli's famous Procession of the Magi, finished in 1460 and celebrating both the birth of Christ and the greatness of the Medici family. Keep in mind that the admission fee is a bit pricey when you consider that visits are limited to 15 minutes and the chapel is the only interesting thing to see in the building.

This enormous palace is one of Florence's largest architectural set pieces. The original palazzo, built for the Pitti family around 1460, consisted of the main entrance and the sections extending as far as three windows on either side. In 1549, the property was sold to the Medici, and Bartolomeo Ammannati was called in to make substantial additions. Although he apparently operated on the principle that more is better, he succeeded only in producing proof that more is just that: more. Today, the palace houses several museums. The Museo degli Argenti displays a vast collection of Medici treasures, including exquisite antique vases belonging to Lorenzo the Magnificent. The Galleria del Costume showcases fashions from the past 300 years. The Galleria d'Arte Moderna holds a collection of 19th- and 20th-century paintings, mostly Tuscan.

Most famous of the Pitti galleries is the Galleria Palatina, which contains a broad collection of paintings from the 15th to the 17th century. Its rooms remain much as the Lorena, the rulers who took over after the last Medici died in 1737, left them. Their floor-to-ceiling paintings are considered by some to be Italy's most egregious exercise in conspicuous consumption, aesthetic overkill, and trumpery. Still, the collection possesses high points, including a number of paintings by Titian and an unparalleled collection of paintings by Raphael. The price of admission to the Galleria Palatina also allows you to explore the former Appartamenti Reali, containing furnishings from a remodeling done in the 19th century.

Architect Leon Battista Alberti (1404–72) designed perhaps the very first private residence inspired by antique models—which goes a step further than the Palazzo Strozzi. A comparison between the two is illuminating. Evident on the facade of the Palazzo Rucellai, dating between 1455 and 1470, is the ordered arrangement of windows and rusticated stonework seen on the Palazzo Strozzi, but Alberti's facade is far less forbidding. He devoted a far larger proportion of his wall space to windows, which lighten the facade's appearance, and filled in the remainder with rigorously ordered classical elements borrowed from antiquity. The result, though still severe, is less fortresslike, and Alberti strove for this effect purposely (he is on record as saying that only tyrants need fortresses).

Ironically, the Palazzo Rucellai was built some 30 years before the Palazzo Strozzi. Alberti's civilizing ideas here, it turned out, had little influence on the Florentine palazzi that followed. To Renaissance Florentines, power—in architecture, as in life—was equally as impressive as beauty. While you are admiring the facade (the palazzo isn't open to the public), turn around and look at the Loggia dei Rucellai across the street. Built in 1463–66, it was the private "terrace" of the Rucellai family, in-laws to the Medici. Its soaring heights and grand arches are a firm testament to the family's status and wealth.

The Strozzi family built this imposing palazzo in an attempt to outshine the nearby Palazzo Medici. The exterior is simple, severe, and massive: it's a testament to the wealth of a patrician, 15th-century Florentine family. The interior courtyard is another matter altogether. It is here that the classical vocabulary—columns, capitals, pilasters, arches, and cornices—is given uninhibited and powerful expression. 

Florence's forbidding, fortress-like city hall was begun in 1299, presumably designed by Arnolfo di Cambio, and its massive bulk and towering campanile dominate Piazza della Signoria. It was built as a meeting place for the guildsmen governing the city at the time; today, it is still City Hall. The interior courtyard is a good deal less severe, having been remodeled by Michelozzo (1396–1472) in 1453; a copy of Verrocchio's bronze puttino (cherub), topping the central fountain, softens the space. (The original is upstairs.)

The main attraction is on the second floor: two adjoining rooms that supply one of the most startling contrasts in Florence. The first is the opulently vast Sala dei Cinquecento (Room of the Five Hundred), named for the 500-member Great Council, the people's assembly established after the death of Lorenzo the Magnificent, that met here. Giorgio Vasari and others decorated the room, around 1563–65, with gargantuan frescoes celebrating Florentine history; depictions of battles with nearby cities predominate. Continuing the martial theme, is Michelangelo's Victory, intended for the tomb of Pope Julius II (1443–1513), plus other sculptures of decidedly lesser quality.

In comparison, the little Studiolo, just off the Sala dei Cinquecento's entrance, was a private room meant for the duke and those whom he invited in. Here's where the melancholy Francesco I (1541–87), son of Cosimo I, stored his priceless treasures and conducted scientific experiments. Designed by Vasari, it was decorated by him, Giambologna, and many others. Note, too, that spectacular 360-degree views may be had from the battlements (only 77 steps) and the tower (223 more).

In the 14th century, this piazza (once the site of a daily flea market) was part of a working-class neighborhood of primarily wool- and silk-trade workers. The disenfranchised wool workers, forbidden entry to the Arte della Lana (the Wool Guild, whose members included those who traded in wool), briefly seized control of the government. It was a short-lived exercise in rule by the nonrepresented and was eventually overpowered by the ruling upper class. The loggia, executed in 1567, is by Giorgio Vasari.

The square marks the site of an ancient forum, which was the core of the original Roman settlement and which was replaced in the Middle Ages by the Mercato Vecchio (Old Market). The current piazza, constructed between 1885 and 1895 as a neoclassical showpiece, is lined with outdoor cafés, affording an excellent opportunity for people-watching.

Here, in 1497 and in 1498, the famous "bonfire of the vanities" took place, when the fanatical Dominican friar Savonarola induced his followers to hurl their worldly goods into the flames. It was also here, a year later, that he was hanged as a heretic and, ironically, burned. A plaque in the piazza pavement marks the spot of his execution.

Cellini's famous bronze Perseus, shown holding the severed head of Medusa, is among the most important sculptures in the Loggia dei Lanzi. Also noteworthy are The Rape of the Sabine Women and Hercules and the Centaur, both late-16th-century works by Giambologna (1529–1608). But it's the Neptune Fountain, created between 1550 and 1575 by Bartolomeo Ammannati, that dominates the square. The Florentines call it "il Biancone," which may be translated as "the big white man" or "the big white lump." Giambologna's equestrian statue, to the left of the fountain, portrays Grand Duke Cosimo I. Occupying the steps of the Palazzo Vecchio is a copy of Michelangelo's David, as well as Baccio Bandinelli's Hercules.

Originally outside the city's 12th-century walls, this piazza grew with the Franciscans, who used it for public preaching. During the Renaissance, it hosted giostre (jousts), including one sponsored by Lorenzo de' Medici. Lined with many palazzi dating from the 15th and 16th centuries, the square remains one of Florence's loveliest and is a great place to people-watch.

From this lookout you have a marvelous view of Florence and the hills around it, rivaling the vista from the Forte di Belvedere. A copy of Michelangelo's David overlooks outdoor cafés packed with tourists during the day and with Florentines in the evening. In May, the Giardino dell'Iris (Iris Garden) off the piazza is abloom with more than 2,500 varieties of the flower. The Giardino delle Rose (Rose Garden) on the terraces below the piazza is also in full bloom in May and June.

This charmingly simple bridge was built in 1345 to replace an earlier one that was swept away by a flood. Its shops first housed butchers, then grocers, blacksmiths, and other merchants. But, in 1593, the Medici grand duke Ferdinand I (1549–1609), whose private corridor linking the Medici palace (Palazzo Pitti) with the Medici offices (the Uffizi) crossed the bridge atop the shops, decided that all this plebeian commerce under his feet was unseemly. So he threw out the butchers and blacksmiths and installed 41 goldsmiths and eight jewelers. The bridge has been devoted solely to these two trades ever since.

The Corridoio Vasariano ( Piazzale degli Uffizi 6, Piazza della Signoria  055/294883), the private Medici elevated passageway, was built by Vasari in 1565. Though the ostensible reason for its construction was one of security, it was more likely designed so that the Medici family wouldn't have to walk amid the commoners. Take a moment to study the Ponte Santa Trinita, the next bridge downriver, from either the bridge or the corridor. It was designed by Bartolomeo Ammannati in 1567 (probably from sketches by Michelangelo), blown up by the retreating Germans during World War II, and painstakingly reconstructed after the war. The view from the Ponte Santa Trinita is also beautiful, which might explain why so many young lovers hang out there.