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The Uffizi is a parade of intellect, a gallery of wonders, a compendium of absolute masterpieces from western painting, set out in chronological order, from the 13th to the 18th centuries, with the addition of an archaeological collection of ancient Greek and Roman sculptures.

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An encounter with great Western art: an everlasting wonder

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Purchased in 1550, the Palace was chosen by Cosimo I de’ Medici and his wife Eleanor of Toledo as the new Grand Ducal residence, and it soon became the new symbol of the Medici’s power over Tuscany. It housed the Court of other two dynasties: the House of Habsburg-Lorraine (which succeeded the Medici from 1737) and the Kings of Italy from the House of Savoy, who inhabited it from 1865. Nonetheless the palace still bears the name of its first owner, the Florentine banker Luca Pitti that in the mid-1400s started its construction – maybe after a design by Brunelleschi – at the foot of the Boboli hill beyond the Arno River.

Today the Palace is divided into five museums: the Treasury of the Grand Dukes and the Museum of Russian Icons (with the Palatine Chapel) on the ground floor, the Palatine Gallery and the Imperial and Royal Apartments on the first floor, the Gallery of Modern Art and the Museum of Costume and Fashion on the second floor.

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Purchased in 1550, the Palace was chosen by Cosimo I de' Medici and his wife Eleanor of Toledo as the new Grand Ducal residence, and it soon became the new symbol of the Medici's power over Tuscany. It also housed the Court of other two dynasties: the House of Habsburg-Lorraine (which succeeded the Medici from 1737) and the Kings of Italy from the House of Savoy, who inhabited it from 1865. Nonetheless the palace still bears the name of its first owner, the Florentine banker Luca Pitti that in the mid-1400s started its construction - maybe after a design by Brunelleschi - at the foot of the Boboli hill beyond the Arno River.

Today the Palace is divided into five museums: the Treasury of the Grand Dukes and the Museum of Russian Icons (with the Palatine Chapel) on the ground floor, the Palatine Gallery and the Imperial and Royal Apartments on the first floor, the Gallery of Modern Art and the Museum of Costume and Fashion on the second floor.

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Purchased in 1550, the Palace was chosen by Cosimo I de’ Medici and his wife Eleanor of Toledo as the new Grand Ducal residence, and it soon became the new symbol of the Medici’s power over Tuscany. It also housed the Court of other two dynasties: the House of Habsburg-Lorraine (which succeeded the…

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Ραφαήλ

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Behind Pitti Palace are the magnificent Boboli Gardens, created by the Medici family, establishing the Italian garden style that became a model for many European courts. These gardens, with their vast and orderly green expanse, serve as an outdoor museum, populated by ancient and Renaissance statues. The gardens feature grottos, including the famous grotto by Bernardo Buontalenti, and large fountains such as the Fountain of Neptune and the Fountain of the Ocean. The subsequent Habsburg-Lorraine and Savoy dynasties further developed the layout, extending the boundaries to the ancient city walls up to Porta Romana. In the beautiful terraced area, there is an 18th-century pavilion called the Kaffeehaus, a rare example of Rococo architecture in Tuscany, and the Lemon House built by Zanobi del Rosso between 1777 and 1778. The tour of the Boboli Gardens completes the visit to Pitti Palace, allowing visitors to fully appreciate the spirit of court life and enjoy the gardens, which, although constantly updated, remain true to their original design.

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Directly behind Pitti Palace are the marvellous Boboli Gardens. The Medici family established the layout of the gardens, creating the Italian garden style that would become a model for many European courts. The vast green expanse with a regular layout is a real outdoor museum, populated by ancient and Renaissance statues. The Gardens are also adorned with grottos, the most important of which is the famous grotto realized by Bernardo Buontalenti, as well as large fountains, such as the Fountain of Neptune and the Fountain of the Ocean. The subsequent Habsburg-Lorraine and Savoy dynasties further developed the layout, extending the boundaries that flank the ancient city walls until Porta Romana. In the stunningly beautiful terraced area there is an 18th-century pavilion called the Kaffeehaus, a rare example of Rococo architecture in Tuscany, and the Lemon House built by Zanobi del Rosso between 1777 and 1778. The tour of Boboli Gardens complete the Pitti Palace visit of which it is an integral part, allowing the spirit of court life to be fully appreciated and the gardens to be enjoyed, which, although constantly updated, remain true to their original project.

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Directly behind Pitti Palace are the marvellous Boboli Gardens. The Medici family established the layout of the gardensand the subsequent Habsburg-Lorraine and Savoy dynasties further developed the layout, extending the boundaries that flank the ancient city walls until Porta Romana. Today the garden is part of the Uffizi Galleries.

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The Galleria dell'Accademia di Firenze is home to some of the most important painting and sculpture collections in the world, including sculptures by Michelangelo, his renowned David among them, and a rich collection of early Italian painting.

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The Museum opening hours are from 8:15 am to 6:50 pm (last admission at 6:20 pm).

Closed: January 1, December 25, every Monday.

B-Ticket is the only official channel authorized by MiC

Regular12€

Reduced EU citizens 18-25 2€

Free

ADMISSION TO THE GALLERY ENDS 30 MINUTES BEFORE CLOSING TIME.
Book your ticket and entrance time by calling:
Firenze Musei: Tel. +39 055 294883
Price of booking: € 4,00

BUY ONLINE

LOCATION

Galleria dell'Accademia di Firenze, Via Ricasoli
58/60 50122 Firenze, Italia

GOOGLE MAPS

From Tuesday 21 June, groups of a maximum of 20 people including guide are allowed. The use of headphones (whisper) is mandatory for all groups consisting of 8 people or more​.

The museum is equipped with facilities for persons with disabilities. Entrance and ticket office are accessible from Via Ricasoli 60. Each of the halls and galleries that are open for exhibition are completely wheelchair accessible.

An accessible restroom is available at the ground floor, near the lift.

Paintings Cent. XIII - XIV

Paintings Cent. XV

Paintings Cent. XVI

Music

Sculpture

Temporary exhibition

6b. Giotto and Giotteschi's Room

Paintings Cent. XV

10. Lorenzo Monaco and the late Gothic

11. Lorenzo Monaco and the late Gothic

12. Lorenzo Monaco and the late Gothic

Download Map

Useful Information

No green pass or mask is required for museum admission.
To access the Museum and ensure everyone's safety, visitors must go through security inspection.
Items like scissors, blades, and any other metal objects that could pose a danger to people or the art works on display will be collected by the security staff at the entrance to the Museum and left at the metal detector.

The Museum does not have a cloakroom, therefore visitors with large bags and backpacks, helmets, etc. will not be allowed to enter. Access is allowed for bottles of water not exceeding 0.5 liters.
RULES FOR ACCESS AND VISIT TO THE MUSEUM Lost items
Objects left at the metal detector and not collected on the day of the visit will remain in custody at the Museum until the first Tuesday of the following month. After this date they will be considered lost objects and delivered to the Lost and Found Office of the Municipality of Florence (via Veracini 5/5 , 50144 Florence, tel. +39 055 334802, fax +39 055 3246473, e-mail oggettitrovati@serviziallastrada.it), in accordance with current legislation.

The same procedure will be followed for objects lost by visitors inside the Museum. The Museum does not under any circumstances provide for the shipment of forgotten or lost objects.

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Visit - Galleria dell'Accademia di Firenze

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The Museum opening hours are from 8:15 am to 6:50 pm (last admission at 6:20 pm). Closed: January 1, December 25, every Monday. B-Ticket is the only official channel authorized by MiC Regular12€ Reduced EU citizens 18-25 2€ Free ADMISSION TO THE GALLERY ENDS 30 MINUTES BEFORE CLOSING TIME.

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The Museo Nazionale del Bargello is located in Florence's oldest public building and houses the world's most important collection of Italian Renaissance sculpture. The museum features masterpieces by renowned artists such as Donatello, Verrocchio, the Della Robbias, Michelangelo, Giambologna, and Cellini.

Founded in 1255, the palace itself is a captivating monument. Initially built as Florence's first public building, it soon became the residence of the Podestà, the chief city magistrates, whose numerous coats of arms still adorn the courtyard walls. From the late 1500s, the building served as the headquarters for the "Bargello," the head of the city police, and was used as a prison for several centuries thereafter.

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The Museo Nazionale del Bargello showcases the most important collection in the world of Italian Renaissance sculpture.

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Michelangelo

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Palazzo Vecchio is the most characteristic building of the Signoria square, in its entrance we can appreciate the sculptures of Adam and Eve, the copy of Michelangelo's David and Hercules and Cacus. Also part of this place are the Loggia dei Lanzi, the Fountain of Neptune and the equestrian statue of Cosimo I.

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Activities
Museo di Palazzo Vecchio

Since over seven centuries Palazzo della Signoria, better known as Palazzo Vecchio, is the symbol of civil power of the city of Florence.

Museum, Tower and Battlements will be closed to the public on Wednesday 14 February 2024.

The Ticket Office close one hour before museum closing time.
With an entrance ticket of Palazzo Vecchio or Arnolfo Tower, throughout 2023 you are entitled to a special reduced ticket for the Stefano Bardini Museum and the Museo 900. Keep your ticket and visit the Museums.

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Activities Museo di Palazzo Vecchio Since over seven centuries Palazzo della Signoria, better known as Palazzo Vecchio, is the symbol of civil power of the city of Florence. Museum, Tower and Battlements will be closed to the public on Wednesday 14 February 2024. The Ticket Office close one hour before museum closing time.

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Salone dei Cinquecento (Hall of the Five Hundred)

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Salone dei Cinquecento (Hall of the Five Hundred)

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The Medici Chapels in Florence are part of the Basilica of San Lorenzo and serve as the burial place of the powerful Medici family.

The New Sacristy (Sagrestia Nuova) was designed by Michelangelo in the 16th century. It contains the tombs of Medici dukes, decorated with famous sculptures like Day and Night and Dawn and Dusk.

The Chapel of the Princes (Cappella dei Principi), begun in the 17th century, is a grand baroque space with a huge dome and walls covered in precious stones. It celebrates the glory of the Medici Grand Dukes.

Below is the Crypt, where many Medici family members are actually buried.

It’s one of the most impressive monuments to Renaissance power and art.

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The burial place of the Medici family, the Cappelle Medicee (Medici Chapels) are today a national monument and museum. It features the “Sagrestia Nuova”, whose architecture and sculptures are by Michelangelo Buonarroti, the “Cappella dei Principi”, a monumental grand ducal mausoleum, and the crypts below.

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6,000+ square meters of surface structured into 28 rooms and divided over three floors: a spectacular setting capable of enhancing unique masterpieces in the world that for the first time are presented in an adequate and faithful way according to the sense for which they were created.

It's less crowded than other major museums and beautifully curated.

Why visit?

Learn about Florence’s religious and artistic heritage

Explore the origins of the Duomo, Baptistery, and Bell Tower

Enjoy a quiet, immersive experience in a stunning setting

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Palazzo Strozzi is a stunning Renaissance palace in Florence that hosts major temporary exhibitions of ancient, modern, and contemporary art. Visitors can enjoy the elegant courtyard, often featuring art installations, and explore the palace’s architecture, rich in historical details. It's a cultural hub offering educational activities, a bookshop, and a café, all in a magnificent setting.

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Fondazione Palazzo Strozzi - Mostre ed esposizioni d'arte internazionali

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La Fondazione Palazzo Strozzi offre un ricco programma di eventi culturali e mostre dal grande rilievo internazionale.

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The Museo Novecento is dedicated to the Italian art of the 20th and 21st Century and offers a permanent collection and many temporary exhibitions, art installations and special projects. The museum is located in the ancient Spedale of the Leopoldine in Santa Maria Novella Square.

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Of great value is the Alberto Della Ragione Collection, donated to the city of Florence in the aftermath of the 1966 flood, with artworks by Giorgio De Chirico, Filippo De Pisis, Gino Severini, Giorgio Morandi, Mario Mafai, Renato Guttuso, Felice Casorati among others.

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Salvatore Ferragamo, known as the “shoemaker to the stars,” founded his fashion business in Florence in 1927, after early success in Hollywood. He chose Florence for its strong tradition of craftsmanship and art.

Today, the palazzo hosts the Ferragamo Museum, showcasing his iconic shoe designs, inventions, and exhibitions blending fashion and culture.

Ferragamo is celebrated for his innovative use of materials and timeless elegance, making Florence a key center of Italian fashion.

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Salvatore Ferragamo Museum | Salvatore Ferragamo's Life & Creations

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Museo Salvatore Ferragamo is a company museum dedicated to the history of the Ferragamo company, the life of its founder and his creations.

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An exhibition dedicated to the universal genius of Leonardo Da Vinci, in the heart of Florence and with different traveling all over the world, the Museum of Leonardo da Vinci offers each visitor a unique experience where the sensory perception and knowledge of "Leonardo" marry, giving visitors the sensation to be immersed in a history of extraordinary relevance.

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Leonardo da Vinci Interactive Museum Florence Official Site

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Tickets online, click here! Discover the Museo Interattivo Leonardo da Vinci in Florence where you can experience the most beautiful machines designed by the Universal Genius in his Codices.

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Santa Maria del Fiore Cathedral - Free Entrance

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Santa Maria del Fiore Cathedral - Free Entrance

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The Cathedral of Santa Maria del Fiore was begun by Arnolfo di Cambio in the 13th century, while Brunelleschi's dome was completed in the 15th century. The richly decorated façade in white, pink, and green marble is a true masterpiece of Neo-Gothic style. The dome was frescoed by Vasari with scenes of the Last Judgment: there is nothing better than admiring them up close by climbing the stairs inside the dome, and then enjoying a splendid view of the city from the top! On the left side of the internal nave, there are three 15th-century frescoes by Domenico da Michelino, Paolo Uccello, and Andrea del Castagno, each more beautiful than the last.

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Cattedrale di Santa Maria del Fiore | Opera Duomo Firenze

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Santa Maria del Fiore, la cui costruzione fu progettata da Arnolfo di Cambio.

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The basilica is the largest Franciscan church in the world. Its most notable features are its sixteen chapels, many of them decorated with frescoes by Giotto and his pupils, and its tombs - Michelangelo, Galileo etc. - and cenotaphs. Legend says that Santa Croce was founded by St Francis himself.

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For centuries the sacred spaces in churches, convents and confraternities received the mortal remains of the deceased, housing their graves to keep their memory alive for posterity, a duty that has always been a feature of Santa Croce.

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Visit the monumental complex of Santa Croce and discover its timeless masterpieces

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The Basilica of Santa Maria Novella in Florence is a prominent religious building and the first notable sight for visitors arriving from the nearby train station named after it. Renowned for its Renaissance art, the church features works by famous artists and serves as a prestigious exhibition space. The complex includes the Green Cloister with frescoes by Paolo Uccello, the Cappellone degli Spagnoli, the Cloister of the Dead, and an exhibition space in the refectory displaying paintings, sacred vestments, goldsmith works, relics, and liturgical garments. Additionally, the Santa Maria Novella Pharmacy, the oldest in Europe, is linked to the Basilica and has been operating for over four centuries.

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The church, one of the most revered Marian shrines in Florence, was established in 1250 as the Oratory of Cafaggio by the Seven Holy Founders of the Servite Order. These noblemen from Florence had a vision of the Virgin Mary and retreated to a hermitage at Monte Senario, north of the city. The church's history is closely tied to a painting of the Madonna depicting the Annunciation, still housed in a chapel at the basilica's entrance. According to legend, a 14th-century artist named Friar Bartolomeo struggled to paint the Virgin's face and fell asleep, only to awaken and find the fresco miraculously completed by angels. The religious excitement from this miracle led to the church being surrounded by houses in the 14th century, as people wanted to live near the miraculous site.

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The Basilica della Santissima Annunziata ( Basilica of the Most Holy Annunciation) is a Renaissance-style, Catholic minor basilica in Florence, region of Tuscany, Italy. This is considered the mother church of the Servite Order. It is located at the northeastern side of the Piazza Santissima Annunziata near the city center.

Map of the church and the convent

The church was founded in 1250 by the seven original members of the Servite Order. In 1252, a painting of the Annunciation had been begun by a friar Bartolomeo, commissioned by the Servite monks. It is said he despaired about being able to paint a virgin with a beautiful enough face, and fell asleep, only to find the painting completed.

The fresco of the Annunciation after cleaning, 2020.

This miracle he attributed to an angel. The painting now housed in the church, acquired increasing veneration, such that in 1444 the Gonzaga family from Mantua financed a special tribune. Initially Michelozzo, who was the brother of the Servite prior, was commissioned to build it, but since Ludovico III Gonzaga had a special admiration for Leon Battista Alberti, this latter architect was given the commission in 1469. Alberti's designs were constricted by the pre-existing foundations. Construction was completed in 1481, after Alberti's death. Though the structure was refurbished in Baroque-style in the seventeenth century, the basic scheme of a domed circular space flanked by altar niches is still evident.

The facade of the church was added in 1601 by the architect Giovanni Battista Caccini, imitating the Renaissance-style of Brunelleschi's facade of the Foundling Hospital, which defines the eastern side of the piazza. The building across from the Foundling Hospital, designed by Sangallo the Elder, was also given a Brunelleschian facade in the 1520s.

Annunziata Temple

Pilgrims who came to the church to venerate the miraculous painting often left wax votive offerings, many of them life-size models of the donor (sometimes complete with horses). In 1516, a special atrium was built to house these figures, the Chiostrino dei Voti. By the late 18th century there were some six hundred of these images and they had become one of the city's great tourist attractions. In 1786, however, they were all melted down to make candles.

Pope Alexander VI, in appreciation for the survival of Rome after French occupation, paid homage and gifted a silver effigy to the church.

The Florentine brides traditionally visit the shrine to leave their bouquets.

Pietà by Baccio Bandinelli

This church is entered from the Chiostrino dei Voti. The Baroque decoration of the church interior was begun in 1644, when Pietro Giambelli frescoed the ceiling with an Assumption as a centerpiece based on designs by Baldassare Franceschini.

The 1st chapel to right contains a Madonna in Glory by Jacopo da Empoli, with walls frescoed by Matteo Rosselli. The 5th chapel on the right contains a Monument to Orlando de' Medici (1456) by Bernardo Rossellino. The right transept has a small side chapel has a Pietà (1559) by Baccio Bandinelli and graces his tomb.

The chapel-surrounded tribune or choir, known as the Rotonda, was designed in turn by Michelozzo and Alberti between 1444 and 1476. Notable among the chapels is the fifth (aligned to nave axis), which has a crucifix (1594-8) by Giambologna for his tomb, with statues of the "Active and Contemplative Lives" by his pupil Francavilla, saints and angels by Pietro Tacca, and murals by Bernardino Poccetti. The next chapel has a Resurrection (1548-52) by Bronzino with a statue of St Roch attributed to Veit Stoss. The next chapel has a Madonna with Saints by a follower of Perugino.

In the sixth chapel to the left of the nave is a SS Ignatius, Erasmus and Blaise by Raffaellino del Garbo; the next chapel has one of the panels of Annunziata Altarpiece (1507) by Perugino, once at the high altar of the church (the Deposition, begun by Filippino Lippi, is now at the Gallerie dell'Accademia, while other panels are divided between other collections in the world). The altarpiece of the next chapel has a Trinity with Saint Jerome and two saints (c. 1455) by Andrea del Castagno, who also painted the mural of The Vision of St. Julian in the next chapel, called the Feroni chapel. This chapel was elaborately decorated in a baroque fashion by Gianbattista Foggini in 1692. The first chapel just to the left of the entrance has a tabernacle of the Annunciation (1448-52) by Michelozzo and the sculptor Pagno di Lapo Portigiani .

The organ built by Domenico Di Lorenzo da Lucca in 1509-1521 is the oldest in Florence and the third oldest in Italy. Today the titular organist of the church is Simone Stella. The church contains the tomb of the Italian writer Maria Valtorta. A memorial was erected in the church to the painter Giovanna Tacconi Messini by her husband after her death.

Chiostrino dei Voti, fresco decoration by Andrea Feltrino, 1510-14

The Chiostrino dei Voti was designed by Michelozzo. The center of this small cloister in front of the basilica facade is now sheltered by a glass roof. Baldovinetti painted the first lunette in the chiostro in c. 1460. In about 1476, Rosselli began its decoration with a lunette dedicated to the then blessed Filippo Benizzi, fifth Prior General of the Servites. Further lunettes were added (1509-1510) by Andrea del Sarto.

Andrea del Sarto, S Filippo Benizi's Death and Child restored to Life (detail), 1509-10

Andrea del Sarto, Birth of the Virgin (detail), 1509-15

Pontormo, Visitation, 1516

The large cloister, known as the Chiostro Grande or dei Morti, flanking the northwest of the church, contains the famous frescoed lunette depictiong the Madonna del Sacco (1525) by del Sarto.

The Capella di San Luca, which opens off it, has belonged to the artists confraternity or the Accademia delle Arti del Disegno since 1565. Many artists are buried in its vault, including Benvenuto Cellini, Pontormo, Franciabigio, Giovanni Angelo Montorsoli and Lorenzo Bartolini. Inside is Pontormo's Holy Family (c. 1514) painted for church of St. Ruffillo and murals by Alessandro Allori: Trinity; Vasari: St. Luke paints Madonna; and Santi di Tito: Solomon directs the construction of the temple of Jerusalem. The ten large stucco figures were sculpted by Vincenzo Danti, Montorsoli and others.

Most part of the Cloister of SS. Annunziata is today the seat of Istituto Geografico Militare (IGM). In 2007, in the west part of the cloister occupied by the Istituto, the group found a monumental stair by Michelozzo, previously hidden, an Annunciation attributed to Paolo Uccello[citation needed ], and some 'Grottesche' frescoes by Morto da Feltre[citation needed ].

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Santissima Annunziata, Florence - Wikipedia

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The Basilica della Santissima Annunziata ( Basilica of the Most Holy Annunciation) is a Renaissance-style, Catholic minor basilica in Florence, region of Tuscany, Italy. This is considered the mother church of the Servite Order. It is located at the northeastern side of the Piazza Santissima Annunziata near the city center.

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The Basilica of Santo Spirito is one of the most evocative places in Florence. It is located on the south bank of the Arno River in the heart of Palazzo Santo Spirito. The Basilica was designed by Filippo Brunelleschi and since its establishment, has always been governed by the Friars of the Order of Saint Augustine. The Basilica is home to works by renowned Florentine artists, including the wooden Crucifix by the young Michelangelo.

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The Basilica of Santo Spirito - Basilica di Santo Spirito

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OFFICIAL AUDIO GUIDE The new app includes an audio guide of the tour of our Basilica and is available on Rambl platform. The cost of the app includes access to ...

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Brancacci Chapel & Santa Maria del Carmine (Oltrarno)

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Brancacci Chapel & Santa Maria del Carmine (Oltrarno)

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The Brancacci Chapel is a chapel in the Church of Santa Maria del Carmine. It is sometimes called the "Sistine Chapel of the early Renaissance" for its painting cycle, among the most famous and influential of the period.

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The Brancacci Chapel (in Italian, “Cappella dei Brancacci”) is a chapel in the Church of Santa Maria del Carmine in Florence, central Italy. It is sometimes called the “Sistine Chapel of the early Renaissance”[1] for its painting cycle, among the most famous and influential of the period. Construction of the chapel was commissioned by Felice Brancacci and begun in 1422. The paintings were executed over the years 1425 to 1427. Public access is currently gained via the neighbouring convent, designed by Brunelleschi. The church and the chapel are treated as separate places to visit and as such have different opening times and it is quite difficult to see the rest of the church from the chapel.

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The Basilica of San Lorenzo was founded in 393 AD as the first cathedral of Florence and later rebuilt in 1419 by Brunelleschi for the powerful Medici family, who chose it as their official church. It is a masterpiece of Renaissance architecture, featuring works by Brunelleschi, Donatello (his tomb is here), and Michelangelo. Fun fact: the façade was never completed.

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Interior looking toward the high altar

The Basilica di San Lorenzo ( Basilica of St. Lawrence) is one of the largest churches of Florence, Italy, situated at the centre of the main market district of the city, and it is the burial place of all the principal members of the Medici family from Cosimo il Vecchio to Cosimo III. It is one of several churches that claim to be the oldest in Florence, having been consecrated in 393 AD, at which time it stood outside the city walls. For three hundred years it was the city's cathedral, before the official seat of the bishop was transferred to Santa Reparata.

San Lorenzo was the parish church of the Medici family. In 1419, Giovanni di Bicci de' Medici offered to finance a new church to replace an eleventh-century Romanesque rebuilding. Filippo Brunelleschi, the leading Renaissance architect of the first half of the fifteenth century, was commissioned to design it, but the building, with alterations, was not completed until after his death. The church is part of a larger monastic complex that contains other important architectural and artistic works: the Old Sacristy ("Sagresta Vecchia") by Brunelleschi and having interior decoration and sculpture by Donatello; the Laurentian Library by Michelangelo; the Medici Chapels, two structures that include the New Sacristy ("Sagrestia Nuova") based on Michelangelo's designs; and the larger Cappella dei Principi ("Chapel of the Princes") being a collaboration between the family and architects.

The Basilica of San Lorenzo is considered a milestone in the development of Renaissance architecture. The basilica has a complicated building history. The project was begun around 1419, under the direction of Filippo Brunelleschi. Lack of funds slowed the construction and forced changes to the original design. By the early 1440s, only its sacristy (now called the Old Sacristy) had been worked on because that was being paid for by the Medici. In 1442, the Medici stepped in to take over financial responsibility of the church as well. After Brunelleschi's death in 1446, the job was handed either to Antonio Manetti or Michelozzo; scholars are uncertain which. Although the building was largely completed by 1459 in time for a visit to Florence by Pius II, the chapels along the right-hand aisles were still under construction during the 1480s and 1490s.

By the time the building was completed, aspects of its layout and detailing no longer corresponded to the original plan. The principal difference is that Brunelleschi had envisioned the chapels along the side aisles to be deeper than those built and he intended them to resemble the chapels in the transept, the only part of the building that is known to have been completed as Brunelleschi designed it.

The interior columns of the basilica

The Basilica of San Lorenzo demonstrates many innovative features of the developing style of Renaissance architecture,

a simple mathematical proportional relationship using the square aisle bay as a module and the nave bays in a 2x1 ratio

the use of an integrated system of column, arches, and entablatures, based on Roman Classical models

the use of Classical proportions for the height of the columns

a clear relationship between column and pilaster, the latter meant to be read as a type of embedded pier

the use of spherical segments in the vaults of the side aisles

the articulation of the structure in pietra serena (Italian: "serene stone")

The balcony on the interior west wall designed by Michelangelo

According to one scholar, features such as the interior's Corinthian arcades and ceiling's flat panels mark "a departure from the Gothic and a return to the Romanesque Proto-Renaissance."

At times, the design of San Lorenzo has met with criticism, particularly when compared with Santo Spirito, also in Florence and which is considered to have been constructed more or less in conformity with Brunelleschi's ideas, even though he died before most of it was built. By the sixteenth century, Giorgio Vasari commented that along the nave, the columns should have been elevated on plinths. The steps along the aisles, supporting the pilasters, also have been considered to deviate from Classical ideals.

Outer and inner façades

The Medici Pope Leo X gave Michelangelo the commission to design an outer façade of the basilica in white Carrara marble in 1518. Michelangelo made a large wooden model that shows how he adjusted the classical proportions of the facade, drawn to scale, after the ideal proportions of the human body, to the greater height of the nave.

Michelangelo's model for the outer facade of the basilica

Although the outer facade of the basilica remained unbuilt, Michelangelo's large wooden model of it remains.

Michelangelo did design and build the internal facade of the basilica that is seen from the nave looking back toward the entrances. It comprises three doors between two pilasters with garlands of oak and laurel and a balcony on two Corinthian columns.

In recent years, the association of "Friends of the Elettrice Palatina" and the Comune of Florence re-visited the question of completing the outer facade of the basilica according to Michelangelo's designs. To assist with the public debate, a computerized reconstruction was projected onto the plain brick facade in February 2007. As yet, no decision has been made regarding a project use Michelangelo's design to build the outer facade following his wooden model.

The campanile dates from 1740.

Opening off the south transept of the basilica is the square, domed space, the Sagrestia Vecchia, or Old Sacristy, that was designed by Brunelleschi (1377-1446) and that is the oldest part of the present church and the only part completed in Brunelleschi's lifetime. It contains the tombs of several members of the Medici family. It was composed of a sphere on top of a cube; the cube acting as the human world and the sphere as the heavens.

Opposite the Old Sacristy in the north transept of the basilica is the Sagrestia Nuova (New Sacristy), begun in 1520 by Michelangelo, who also designed the Medici tombs within it. That the architect of a building also designed the interior furnishings is a historical novelty in European architecture that is driven by his being a sculptor by training. The new sacristy was composed of three registers, the topmost topped by a coffered pendentive dome. The articulation of the interior walls may be described as early examples of Renaissance Mannerism (see Michelangelo's Ricetto in the Laurentian Library). The combination of pietra serena pilasters on the lower register is carried through to the second register; however, in Mannerist fashion, architectural elements 'seem impossible', creating suspense and tension that is evident in this example.

Michelangelo completed most of the statuary for the new sacristy as well, however, the statues of the two patron saints planned to accompany the Madonna and Child that were planned for placement on the main wall and the sculptural elements of the two sarcophagi were left undone when he was redirected to another project by the pope, the political situation in Florence changed, and changes later occurred in papal succession. Although the new sacristy was vaulted over by 1524, these circumstances, the temporary exile of the Medici (1527), the death of Giulio, eventually Pope Clement VII, and the permanent departure of Michelangelo for Rome in 1534, meant that Michelangelo never finished the project and he refused to direct completion.

The statues that Michelangelo had carved by the time of his departure had not been put in place and were left in disarray within the chapel. In 1545, they were installed by Niccolò Tribolo. By order of Cosimo I, the remaining work was completed by 1555 by Giorgio Vasari and Bartolomeo Ammannati.

In a statement in a biography of Michelangelo that was published in 1553 by his disciple, Ascanio Condivi, and reportedly is based largely on Michelangelo's own recollections, Condivi gives the following description of the sculptures that were planned for the sarcophagi:

The statues are four in number, placed in a sacristy... the sarcophagi are placed before the side walls, and on the lids of each there recline two big figures, larger than life, to wit, a man and a woman; they signify Day and Night and, in conjunction, Time which devours all things... And in order to signify Time he planned to make a mouse, having left a bit of marble upon the work (which [plan] he subsequently did not carry out because he was prevented by circumstances), because this little animal ceaselessly gnaws and consumes just as time devours everything.

Concealed corridor discovered

In 1976, a concealed corridor with drawings by Michelangelo on its walls was discovered under the New Sacristy.

In 1527 the citizens of Florence rebelled against the Medicis; Michelangelo supported them. After the Medicis recaptured the city in 1530, Pope Clement VII, a Medici, sentenced Michelangelo to death. It is thought that Michelangelo hid for two months in a small chamber under the Medici chapels in the Basilica of San Lorenzo with light from just a tiny window, making many charcoal and chalk drawings which remained hidden until the room was rediscovered in 1975, and opened to small numbers of visitors in 2023. Michelangelo was eventually pardoned by the Medicis and the death sentence lifted, so that he could complete work on the Sistine Chapel and the Medici family tomb. He left Florence for Rome in 1534.

Cappelle Medicee

The cruciform basilica with the vast domed apsidal Medici Chapel; in the cloister is the Laurentian Library

Glory of Florentine Saints on the interior of the dome over the crossing

The most celebrated and grandest part of San Lorenzo is the Cappelle Medicee (Medici Chapels) in the apse. The Medici were still paying for it when, in 1743, the last living member of the family, Anna Maria Luisa de' Medici, died. In 1742, she had commissioned Vincenzo Meucci to paint the Glory of Florentine Saints, a fresco, inside the cupola. Approximately fifty lesser members of the Medici family are buried in the crypt. The final design (1603-1604) was by Bernardo Buontalenti, based on models of Alessandro Pieroni and Matteo Nigetti. Above is the Cappella dei Principi (Chapel of the Princes), a great but awkwardly domed octagonal hall where the grand dukes are buried. The style shows Mannerist eccentricities in its unusual shape, broken cornices, and asymmetrically sized windows. In the interior, the ambitious decoration with coloured marble overwhelms the attempts at novel design. Its centre was supposed to feature the Holy Sepulchre, moved from Jerusalem, although attempts to buy and, failing that, to steal it failed. Ref.?

The Corbelli chapel, in the southern transept, contains a monument by the sculptor Giovanni Dupré to the wife of Count Moltke-Hvitfeldt, formerly Danish ambassador to the Court of Naples.

Rosso Fiorentino, Marriage of the Virgin

Bronzino - The Martyrdom of St Lawrence, fresco, north aisle

Desiderio da Settignano - Pala del Sacramento, tabernacle, south aisle

Donatello - two pulpits, (his last works); bronze and marble, nave

Donatello - frieze, reliefs, tondi, and bronze doors, (Sagrestia Vecchia)

Rosso Fiorentino - Marriage of the Virgin, oil on canvas, in one of the south aisle chapels

Fra Filippo Lippi - Annunciation, altarpiece, north transept chapel

Michelangelo - Madonna and Child, main wall of new sacristy and statues among the two tombs on the side walls of the new sacristy (Sagrestis Nuova)

Antonio del Pollaiuolo - Crucifix, wood, south transept chapel

Verrocchio - Tomb of Giovanni and Piero de Medici, bronze, marble, (Sagrestia Vecchia)

Further reading

Balas, Edith (1995). Michelangelo's Medici Chapel: a New Interpretation, American Philosophical Society, Philadelphia

Barenboim, Peter (2006). Michelangelo Drawings: Key to the Medici Chapel Interpretation, Moscow, Letny Sad. ISBN 5-98856-016-4

Barenboim, Peter, Sergey Shiyan (2006). Michelangelo: Mysteries of Medici Chapel, SLOVO, Moscow, 2006. ISBN 5-85050-825-2

Barenboim, Peter with Arthur Heath (2019). 500 Years of the New Sacristy: Michelangelo in the Medici Chapel, LOOM, Moscow. ISBN 978-5-906072-42-9

Beck, James, Antonio Paolucci, Bruno Santi (2000). Michelangelo: The Medici Chapel, Thames & Hudson, London and New York

Brock, Maurice (2002). Bronzino. Paris: Flammarion. pp. 20-24.

Luchinat, Cristina A. (2002). The Medici, Michelangelo & the Art of Late Renaissance Florence. New Haven and London: Yale University Publishing. pp. 13-14.

Pilliod, Elizabeth (1992). "Bronzino's Household". The Burlington Magazine (134): 92-100.

Saalman, Howard (1985). "The New Sacristy of San Lorenzo Before Michelangelo". The Art Bulletin. 67 (2). Colorado Springs: 199-228. doi:10.2307/3050908. JSTOR 3050908.

Vasari, Giorgio. "Filippo di ser Brunelesco", in: Lives of the Most Eminent Painters, Sculptors & Architects, transl. by Gaston du C. de Vere, Macmillan and & The Medici Society, London, 1912-15, archieved online as part of Internet Medieval Sourcebook by Fordham University, New York

Wittkower, Rudolf (1958). Art and Architecture Italy, 1600-1750. Pelican History of Art (1991? ed.). Penguin Books Ltd. p. 126.

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Basilica of San Lorenzo, Florence - Wikipedia

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The Basilica di San Lorenzo ( Basilica of St. Lawrence) is one of the largest churches of Florence, Italy, situated at the centre of the main market district of the city, and it is the burial place of all the principal members of the Medici family from Cosimo il Vecchio to Cosimo III.

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Santa Felicita (Church of St Felicity) is a Roman Catholic church in Florence, probably the oldest in the city after San Lorenzo. In the 2nd century, Syrian Greek merchants settled in the area south of the Arno and are thought to have brought Christianity to the region.

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Chiesa di Santa Felicita (Firenze) - Wikipedia

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San Miniato al Monte is one of the oldest and most beautiful churches in Florence, located on a hill above Piazzale Michelangelo. Built in the 11th century in Romanesque style, it offers stunning views and a peaceful atmosphere.

According to legend, Saint Minias was beheaded for being Christian, but miraculously picked up his head, crossed the river, and walked to the hill where he died. The church was later built on that sacred spot.

It’s still run by monks today and is known for its art, mosaics, and spiritual calm.

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San Miniato al Monte (St. Minias on the Mountain) is a basilica in Florence, central Italy, standing atop one of the highest points in the city. It has been described as one of the finest Romanesque structures in Tuscany and one of the most scenic churches in Italy. There is an adjoining Olivetan monastery, seen to the right of the basilica when ascending the stairs.[1]

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The Piazzale Michelangelo is an 1860 square by Giuseppe Poggi and is full of replicas of Michelangelo statues, including a second copy of the David (the original is in the Accademia Gallery). The Piazza is located on a hill, giving you a beautiful 360 degree view of Florence and the surrounding area.

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Cascine Park is a historic and monumental park in Florence, spanning 160 hectares (395 acres). It forms a long, narrow strip along the north bank of the Arno River, stretching from the city center to the confluence of the Mugnone and Arno rivers.

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Typical boulevard.

The Parco delle Cascine (Cascine Park) is a monumental and historical park in the city of Florence. The park covers an area of 160 hectares (395 acres). It has the shape of a long and narrow stripe, on the north bank of the Arno river. It extends from the centre of Florence until the point where the Mugnone flows into the Arno.

Piazzale Kennedy

The building of the Park began in 1563, under the rule of Cosimo I de' Medici, as a farming and hunting estate of the Medici family, ruling the city of Florence since 1434. The very name of the Park derives from the ancient Italian word "cascio", meaning cheese. The farm and parklands were well cared by the Medicis. Rare and exotic plants were chosen for the park, also for scientific reasons.

In the 18th century, with the Grand Duchy transferring to the Habsburg-Lorraines, the park gradually acquired a recreative function in the urban system, conserved until the present days. However, until the beginning of the 19th century, the park remained usually closed to the public, with the exception of some particular events.

The Grand Duke Pietro Leopoldo commissioned from the architect Giuseppe Manetti, the design construction of a model farming estate, centered around the Palazzina Reale delle Cascine (small casino-palace now housing the Agronomy faculty of the University of Florence). Other structures added were the Abbeveratoio del Quercione fountain, the pyramid-shaped ice-house, the amphitheatre and two neoclassical Pavoniere (originally ornamental peacock cages). Among the fountains was the Narcisus Fountain, from which the English poet Percy Bysshe Shelley putatively draw inspiration writing the Ode to the West Wind, in 1820. Giuseppe Manetti was also responsible for organizing celebrations and receptions in the park, such as the ceremony to celebrate the arrival of Ferdinand III of Tuscany, in July 1791.

In 1809-1811, the new Grand Duchess, Elisa Bonaparte, converted the farm into a public park. The park was acquired by the Municipality of Florence in 1869, which committed the renovation of the park to the architect Felice Francolini. Sport clubs which regularly competed in the Quercione meadow were: Florence Football Club, Itala Foot Ball Club, Juventus Foot-Ball Club, Firenze FBC, Club Sportivo Firenze and PGF Libertas. However, in 1917 the

Pavoniera, formerly a peacock cage.

municipality decided to forbid to any sport club to play football in the park.

The last relevant monument built in the Cascine Park was the Monumento all'Indiano a monument realised by the English sculptor Fuller in honour of the young Indian ( Maratha) prince His Highness Rajaram II, Maharaja of Kolhapur, who suddenly died while visiting Florence in 1865.

The amphitheatre was named in March 2015 after a well-known son of Florence, Ernesto de Pascale, music journalist and blues-rock musician who died 2011.

Vittorio Emanuele II Monument, once in Piazza della Repubblica.

A number of meadows of different extension, sometimes limited by wooded areas, are situated in the park: their names are Tinaia, del Quercione, delle Cornacchie. Other smaller meadows are situated within gardens or squares. Wooded areas cover more than 35 hectares. The total number of trees situated in the park is about 19.000.

The secular human presence radically modified flora, reducing its natural self-renovation.

Centuries-old English oaks, elms, maples and ashes are slowly being replaced by spontaneous vegetation, represented by acacias, trees of heaven, elders, ivy, pines and nettle trees. The highest level of species assortment can be found in the western part of the park, while in the eastern part, nearer to the city centre, mainly lindens and oaks are diffused. A botanically relevant arboretum is situated in the garden of the Scuola di Guerra Aerea (School of Air War).

The strength and luxuriance of plants show the fecundity of soil and the presence of a good water reserve, communicating with the Arno bed. Long hedges, selected to resist to dryness and to shady positions, are present everywhere in the park (their overall length is about 30 km).

The central part of the park is characterised by a monumental complex, situated in Piazzale delle Cascine, dominated by the Palazzina Reale, and its bordering areas, including Piazzale Kennedy with its circular fountain.

The Piazza Vittorio Veneto, with the Vittorio Emanuele II bronze statue, represents the monumental entrance of the park. The statue was once situated in the centre of Florence, Piazza della Repubblica, and was moved in the actual position in 1932. The square, along with the bordering Giardino della Catena, is decorated with impressive trees (pines, plane trees, Ginkgo Biloba, oaks, horse chestnuts and cedars). This variety of species gives to the area the autumn colourfulness typical of Italian style gardens.

The park hosts a number of civil and sport infrastructures, such as tennis and football fields, a velodrome, shooting and archery fields, two hippodromes, a public swimming pool, the School of Air War, a visiting centre, police offices, the Faculty of Agronomy, and a public school.

Since 2010 the Line T1 of the tramway of Florence has a stop in the park, in Viale degli Olmi, which improves accessibility in the area for visitors arriving from the city centre ( Stazione SMN) or from Scandicci.

Park visiting centre, situated in Piazzale delle Cascine

A visiting centre for the park opened in August 2013, in the old stable building, Piazzale delle Cascine, to offer visitor cultural, natural and historical information about the Park. In the framework of a broader enhancing interventions plan, a number of other structural interventions are being carried out by the municipality, in order to improve usability conditions for the area. Part of the 2013 cycling UCI road world Championship will take place inside the park.

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The Parco delle Cascine (Cascine Park) is a monumental and historical park in the city of Florence. The park covers an area of 160 hectares (395 acres). It has the shape of a long and narrow stripe, on the north bank of the Arno river.

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Officina Profumo-Farmaceutica di Santa Maria Novella

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Officina Profumo-Farmaceutica di Santa Maria Novella

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Officina Profumo-Farmaceutica di Santa Maria Novella

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SCOPRI LE MERAVIGLIE BOTANICHE DELL'ETÀ MEDICEA CON QUATTRO EAU DE PARFUM SAPIENTEMENTE COMPOSTE.

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Tutti i prodotti Fragranze Cura del Viso Corpo e Capelli Casa

Officina Profumo-Farmaceutica di Santa Maria Novella affonda le sue radici nell'anno 1221. Nata come convento dei frati domenicani, è considerata oggi la farmacia più antica del mondo, che svolge la sua attività proprio nei luoghi in cui ebbero inizio. La sua eredità nell'arte dello speziale attraversa otto secoli ed è profondamente intrecciata con la storia, le personalità e il tessuto sociale Fiorentino: considerata la farmacia più antica del mondo, svolge ancora oggi le sue attività proprio negli stessi luoghi in cui tutte hanno avuto inizio.

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Un nome come nessun altro: dal 1221 coltiviamo la poetica della meraviglia.

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SCOPRI IL NOSTRO MONDO DI MERAVIGLIE

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Officina Profumo-Farmaceutica di Santa Maria Novella da 1221

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Officina Profumo-Farmaceutica di Santa Maria Novella Official Online Shop. Acquista ora.

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Borgo San Frediano, a major street in the area, was recently recognized by Lonely Planet as one of the coolest neighborhoods in the world, and the buzz from that honor is still evident in the district. However, the neighborhood's mix of artisan studios and its effortless blend of contemporary trends with traditional elements make it clear that San Frediano and its residents don't need a guidebook to affirm that their neighborhood is truly "ganzo" (Tuscan slang for "cool").

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Long the stomping grounds of artisans and bootstrapping workers, San Frediano is the eclectic southwest portion of the Oltrarno neighborhood in Florence.
Its exact geography can be nebulous, but via dei Serragli is its generally-agreed-upon eastern border, while the Porta San Frediano, the "gateway to Pisa", is its western entry point.

One of the area's main drags, Borgo San Frediano, was named by Lonely Planet as one of the world's coolest neighborhoods to explore just last year, and the excitement around that designation still permeates the district. But with its concentration of artisan studios and its seamless combination of trends and traditions, San Frediano and its people hardly need guidebook approval to know their neighborhood is ganzo (Tuscan slang for "cool").

Although San Frediano is famous and packs on the charm at every turn, it's generally not a stop for first-time tourists here for a few hours. If what you're seeking is a slower, less visitor-saturated section of Florence, teeming with trattorie, bars, boutiques and more-plus artistic treasures off the usual "top five" list-you'll find it all here.

Crossing over the Ponte alla Carraia from piazza Goldoni will take you right into the heart of the district. Veer right on Borgo San Frediano-that Lonely Planet "hip strip"-but first make a quick left into piazza del Carmine to pop in to the Brancacci Chapel in the Church of Santa Maria del Carmine, best known for its Masaccio frescoes, namely the Tribute Money and the Expulsion from Eden. (You're in Florence, after all: don't skip out on this neighborhood's top artistic attraction).

Wander east down via Santa Monaca and you'll land on the border-stretch of via dei Serragli, home to vintage and antique shops, cafes and curiosities. Circle back to the beginning of Borgo San Frediano and you'll have a host of restaurants and eateries to choose from come dining time. Ahead are a few of our favorites.

Two stops in particular on Borgo San Frediano vaunt that inimitable mix of Tuscan know-how and international innovation.
Pre-dinner, consider opting for "Tuscan-style tapas" at Gesto, a spot known for its super-social atmosphere and snack-size portions, great for ordering a few dishes and divvying them up with friends; you'll find some "remixed" Tuscan specialties as well as fare from beyond the Boot.

For something more familial and less fashion-y come dinner time, perhaps try cozy PassaGuai, where Florentine and Tuscan favorites come served with new spins, courtesy of the young chef.

Further down the same road, closer to the Porta San Frediano, you'll come upon B.O.R.G.O., a solid option if it's classic Tuscan you're craving. This no-frills spot has no cover charge and prides itself on using the finest fresh ingredients from around the local and regional territory. But just to mix things up a bit, their menu isn't divided into the standard antipasti, primi and secondi categories: here you can "have it your way", but with top-shelf ingredients exclusively.

Venture just a smidgen further off the beaten path and you'll come to La Bocca di Leone at the beginning of via Pisana: it's atmospheric and a delight for date night, though without the price tags of some similar spots more "downtown". The seasonal menu includes IGP Chianina dishes and other regional delicacies worth savoring with a loved one.

Wherever your wanders may take you in San Frediano, be sure to leave time to slow down and savor the experience. Hurrying and worrying have no place here!

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My video for you! (made with the help of AI)

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My video for you! (made with the help of AI)

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Mercato Centrale made its debut in Florence in one of the city's most crucial places: the first floor of the historic San Lorenzo market. It opened in the spring of 2014 to celebrate the 140th anniversary of the iron and glass architecture erected in 1874. It was designed by Giuseppe Mengoni, the man behind Florence's Sant' Ambrogio market and the Galleria Vittorio Emanuele II in Milan.

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Mercato Centrale made its debut in Florence in one of the city's most crucial places: the first floor of the historic San Lorenzo market. It opened in the spring of 2014 to celebrate the 140th anniversary of the iron and glass architecture erected in 1874.

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Il Mercato più antico di Firenze - Mercato sant'ambrogio

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Dal 1873, luogo di incontri, colori, sapori e profumi. Qui troverai la qualità che cerchi: prodotti genuini di filiera corta, tipicità locali ed eccellenze italiane. Ti aspettiamo in Piazza Lorenzo Ghiberti, dal lunedì al sabato dalle 7:00 alle 14:00.

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All the must-try vegetable cuisine addresses in town

Despite being renowned for its strong meat-centred culinary tradition, Florence increasingly presents a wide choice of vegetarian and vegan restaurants to cater to the tastes and needs of those who prefer a plant-based diet. From cosy trattorias to refined bistros, over the years restaurants in the city have become more inclusive, true gastronomic destinations that embrace a sustainable and environmentally friendly lifestyle.

Thanks to their dedication to the culinary art and great attention to the quality and provenance of ingredients, Florence's vegetarian and vegan restaurants have become must-visit destinations for those wishing to experience the best of veg-friendly cuisine in the setting of the city of art.
Looking for the best restaurants in Florence? You'll find them here!
Vegetarian cuisine designed with the principles of sustainability and ethics towards the environment, animals and workers. The Ora restaurant was created to propose an inclusive and sustainable food and wine format, offering a seasonal, organic and vegetarian menu to guarantee all the taste and aroma of zero-kilometre products. From straccetti di seitan alla veneziana to risotto with pumpkin cream, vegan fondue and wild herbs, at Ora you will find all simple dishes but enriched by the quality of the ingredients, to be enjoyed in a modern and elegant setting.nti in Florence? You'll find them here!

In the heart of the Oltrarno we find L'OV Osteria Vegetariana, with its mix of traditional dishes revisited for an osteria of yesteryear by chef Simone Bernacchioni. L'OV is for everyone: the menu, which changes seasonally, ranges from vegetarian and vegan dishes to those designed for those with coeliac disease or gluten intolerance. A real journey into taste, in a place where the past with the old white marble walls of the old fish market merges with a long moss-green counter and the most modern and colourful furnishings.

Tucked away among the many courtyards in the historic centre, the Brac bookshop is a place where sociability and good food meet. A multifunctional space that includes a contemporary art bookshop, a café and a kitchen where vegetarian and vegan dishes are freshly prepared. On the menu are many simple dishes made with fresh, organic and seasonal ingredients, often with international and fusion touches. One of the best-loved dishes is the single dish, with a choice of three tastings, great for trying out different dishes. The Brac also hosts many events dedicated to contemporary art.

A stone's throw from Palazzo Pitti, Carduccio is a completely organic bistro and shop. Here they serve seasonal fruit and vegetables, cooked in the form of tasty salads, steaming soups, flans, hot croutons, extracts, fruit, vegetable and cereal bowls, and soups. Everything is 0 km and you can even buy the fruit and vegetables that you find at the entrance in pretty wooden crates.

Nirvana Ristorante is the right place to enjoy good vegetarian cuisine. Here every dish is prepared with natural ingredients, from tagliatelle with truffles to escalopes of tofu, the recipes are one tastier than the next. The menu changes daily and the seasonal vegetables leave an even more special flavour to your plate.

A place of sharing for all those who wish to eat vegan/vegetarian and learn about the most suitable food for their zodiac sign. Here Fairy Serenella, the soul of the restaurant, leaves nothing to chance: her restaurant fully espouses vegatarian cuisine and this is reflected in every recipe. Serenella magically takes you on a sensory and culinary experience as you discover tasty dishes while following a healthy and varied balanced diet.

Walking down Viale Guidoni in Novoli, you might happen to see a chef lowering a basket full of vegan sandwiches from a colourful balcony. We are at Tanotto's, the first and only vegan tripperia in the city, a take-away restaurant founded by chef Gaetano Cerasuolo that serves irresistible lampredotto and tripe sandwiches in veg version.

For more than 40 years, Il Vegetariano has been creating a sustainable alternative to classic Florentine dining while maintaining a strong connection to the land and its traditions. The dishes and desserts are all vegetarian or vegan, prepared with zero-kilometre ingredients and with the love and passion that sets them apart. Its small dining rooms with stained glass windows and antique wooden furniture and the green space outside will make you feel at home.

A vegetarian restaurant offering simple vegetarian cuisine, with a few highlights such as cecina, couscous, focaccia alla ligure and many other tasty dishes with a nod to Ligurian recipes. It also has some outdoor tables.

Flower Burger is the first veganburgheria born in 2015 in the heart of Milan, which is continuously expanding both in Italy and abroad. A bond with nature that is declined in the shades of the rainbow with a 100% vegan culinary proposal: burgers whose fundamental characteristic is colour. They range from yellow bread made with turmeric, to purple thanks to black carrot, to the much-loved pink made with cherry extract. Jungle Burger, Flower Burger and Cherry Bomb are just some of the offerings accompanied by paprika-scented potatoes, edamame or patatas buenas. This concept is the brainchild of Matteo Toto, a young entrepreneur, who embarked on a journey to discover tastes and flavours and to find the perfect meeting point between the burger and vegan cuisine. The venue features colourful and psychedelic graphic walls mixed with atmospheres from the world of clubbing, creating a fun play of light.

In the beautiful Piazza Santa Maria Novella, in the cafeteria of the Museo Novecento, we find Cortese Cafè 900, the first raw pastry shop in the heart of Florence. Chocolate, biscuits, pralines, spoon desserts and ice cream, all rigorously without flour, milk, eggs, yeast and sugar. Behind these wonders is the hand of Vito Cortese, Italy's leading raw pastry chef. A café that has become a reference point not only for veg and gluten free cuisine lovers, but for all those who seek an original way of interpreting the art of pastry making.

Mix Bistrò was born in 2013 out of the desire and enthusiasm of Giulia Chemeri and Daniele Bartolozzi for vegetable cuisine. Training, passion and dedication become the foundations for consolidating themselves in the world of catering. Vegetable cuisine as a story, to be leafed through with care and to be passionate about. Synonymous with freshness, selection and transformation of raw materials.

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The best vegetarian and vegan restaurants in Florence

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All the must-try vegetable cuisine addresses in town

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THE 30 BEST Gluten-Free Restaurants in Florence, Italy - 2023

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Guide to the best gluten-free friendly restaurants in Florence, Italy (Firenze) with reviews and photos from the gluten-free community. Sgrano, Grom, Risotteria Melotti.

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The "wine windows" (buchette del vino) in Florence are a fascinating historical feature. These small, arched windows were created in the 16th century, particularly during the Italian Renaissance, and were used by merchants to sell wine directly to customers.

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There is no official list of the Florentine Wine Windows, in that they have never been catalogued in any of the public archives of the Italian state, the Region of Tuscany, the City of Florence, or by any of the public institutions which list, survey and protect the historical monuments of the city.

The Wine Windows Association would like to protect and provide testimony regarding the existence and state of preservation of the Florentine Wine Windows. We have been working for months on a census of the Windows which is probably not yet complete-the results can be seen in the boxes below and in the page WHO&WHAT. The numbers will change over time, as new Windows are discovered, and as interested individuals send us new information and documents, photographs and evidence of Windows which are still visible or which have been covered up.

Our public census of the Wine Windows does not pretend to be exhaustive, but as information is accumulated, we will alter the maps and put them in the form of pdf files which can be downloaded and printed.

For now, you can see how many Windows there were and are, from our indications on the maps which have been constructed using Google Maps. The largest concentration, obviously, is in the Historical Center of Florence, then expanding outwards into the surrounding territory.

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There is no official list of the Florentine Wine Windows, in that they have never been catalogued in any of the public archives of the Italian state, the Region of Tuscany, the City of Florence, or by any of the public institutions which list, survey and protect the historical monuments of the city.

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A history of Florence, a Renaissance city

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Renaissance-age "wine windows" reopen for business in Italy amid pandemic

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Keeping Florence's artisan traditions alive

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Hungary

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Transform static sketches into fun animations.

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‎Gemini - chat to supercharge your ideas

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Bard is now Gemini. Get help with writing, planning, learning, and more from Google AI.

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Microsoft Copilot is your companion to inform, entertain and inspire. Get advice, feedback and straightforward answers. Try Copilot now.

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Prompt

Create an image of a power generator working with litter. The picture should be realistic and take place on a space station on orbit around earth. Everything is clean and steril. People who work with it wear grey uniform, cap and white gloves. You can see earth through a big round window. It must be realistic. I want to use it on lessons about problems of pollution and sustainability.

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Flying car

https://gemini.google.com/share/d27a18ad6f21

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Create for me the image of a device that will scan DNA and the human body member and create prosthetic limbs for people with disabilities. The device should have a section for screening, one for scanning, one for entering DNA data as well as a space where the limb will be 3D printed and ready for customization

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Ingolstadt

https://suno.com/s/WOeeOGDd9N2HkW0c

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The day of a student

https://suno.com/s/jQoMXgHp46t13OEU

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Der Wecker schneidet durch die Nacht, vi

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Nearpod: Foster a love of learning in every student

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Create active learning experiences students can’t wait to be a part of.

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https://np1.nearpod.com/sharePresentation.php?code=b7e30d53754014ec706bc4869d72da28-1&oc=user-created&utm_source=link

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Inspired by scavenger hunts, Goosechase is an online platform that helps you create interactive experiences.
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The Original Interactive Experiences App | Goosechase

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Inspired by scavenger hunts, Goosechase is an online platform that helps you run real-world interactive experiences for your communities. Try it today for free!

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https://gemini.google.com/share/45141b25a4ae

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Gamma | Best AI Presentation Maker & Website Builder

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Design stunning presentations, websites, and more with Gamma—your all-in-one AI-powered design partner. No code or design experience needed.

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Made with Gamma. A new medium for presenting ideas, powered by AI.

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Design stunning presentations, websites, and more with Gamma—your all-in-one AI-powered design partner. No code or design experience needed.

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Angeliki Black Box Technique for Debugging Code

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Angeliki Black Box Technique for Debugging Code

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Made with Gamma. A new medium for presenting ideas, powered by AI.