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Uffizi Gallery

The World's Greatest Renaissance Art Collection

Botticelli's Masterpieces • Da Vinci • Skip-the-Line Access

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🎨 Your Perfect Florence Experience

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Open

Tue-Sun 8:15 AM - 6:30 PM, last entry 5:30 PM

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Visit Time

2-4 Hours

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Tickets

Priced by season and time of day; check uffizi.it

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Closed

Mondays

🧭 Why Visit

The Renaissance's family album. Botticelli's Venus and Primavera, Leonardo's Annunciation, and Michelangelo's only panel painting hang in the offices Vasari built for the Medici. Book the first slot and walk straight to the Botticelli room; you'll have Venus nearly alone.

🏛️ A Little History

Vasari built the 'uffizi' (offices) for Cosimo I's bureaucracy in 1560; the family's art migrated in, and when the Medici line ended in 1737, Anna Maria Luisa's Family Pact bound the collection to Florence forever. It is the gift that made the city a museum.

💡 Did You Know?

The Vasari Corridor, a kilometer-long elevated passage, runs from the Uffizi over the Ponte Vecchio to Pitti Palace, built in five months so the duke could commute without touching street level. The 1993 Mafia bomb that killed five reshaped the museum's west wing.

THIRTEENTH AND FOURTEENTH CENTURY

Gold Ground Panels

The first rooms hold three enthroned Virgins painted within about forty years of each other, by Cimabue, by Duccio and by Giotto, hung so they can be read against one another. The gold behind them is leaf, punched and tooled so it breaks the light as you move.

Cimabue's Santa Trinita Maesta complete, the enthroned Virgin above four prophets in a painted arcade.
Cimabue, about 1290Painted for Santa Trinita and more than three metres tall. The Virgin sits above four Old Testament prophets set into a painted arcade at the foot of the throne.
The Virgin and the upper tiers of angels in Cimabue's Santa Trinita Maesta.
The upper tiersAngels stacked in ranks either side of the throne, each rank a little smaller than the one in front. That is how depth was suggested before perspective.
The painted and gilded throne at the centre of Cimabue's Santa Trinita Maesta.
The throne itselfGilded and architectural, built up in gesso so the relief catches real light. Cimabue is describing a structure here, not just drawing one.
Two prophets under the arcade at the foot of Cimabue's Maesta, the punched and tooled gold ground raking in the light.
Tooled goldThe ground is not flat leaf. It is punched and tooled so the surface breaks the light differently as you move past it, which is the one thing no reproduction carries.
Giotto's Ognissanti Maesta, the Virgin enthroned among ranked angels and saints on a gold ground.
Giotto, about 1310Painted for the Ognissanti church. The throne has depth, the Virgin has weight under her robe, and the angels stand on a floor instead of floating on gold.
The throne and the kneeling angels at its foot in Giotto's Ognissanti Maesta.
Kneeling at the footTwo angels kneel in front of the throne and their bodies overlap it. Twenty years after Cimabue and the space has become a real room.
The third of the great gold ground Maestas in the Uffizi, standing free on the floor of the timber roofed room.
The third panelThe room holds three great enthroned Virgins hung within sight of each other. This is the third of them, standing free on the floor under the open timber roof.
The Virgin and Child at the centre of the third great Maesta in the Uffizi.
Virgin and ChildThe centre of the same panel, close enough to read the modelling of the faces and the tooling around the haloes.
A thirteenth century panel of Saint Francis receiving the stigmata, the seraph's rays crossing to the kneeling friar.
Francis and the seraphA thirteenth century panel. The rays run from the winged seraph to the kneeling friar as straight gold lines ruled across the ground.
A pointed panel of Saint Luke the Evangelist by the Maestro della Maddalena, its painted inscription legible.
Maestro della MaddalenaA pointed panel of Luke the Evangelist, its painted inscription still legible along the board.
A thirteenth century Madonna enthroned on a tarnished silver ground, an Annunciation running along the foot of the panel.
Silver, not goldThe ground is silver leaf, now tarnished dark, and an Annunciation runs in small scenes along the foot of the panel.
The Maestro del Bigallo's Madonna and Child enthroned among angels on a gold ground.
Maestro del BigalloThe Virgin enthroned among angels, the figures set almost flat against the gold with very little overlap.
A tall narrow gold ground panel of the Virgin and Child enthroned, in a plain gilt surround.
A tall narrow panelVirgin and Child enthroned in a plain gilt surround. The proportions were dictated by the space the panel had to fill.
THE PASSION ON ONE OBJECT

Painted Crosses

Before the altarpiece there was the painted cross, hung above the rood screen of a church. Tiers of small narrative scenes run down the sides and out along the arms, so the whole Passion is carried on a single shaped panel.

A thirteenth century painted crucifix, Christ on a gold ground flanked by tiers of small narrative scenes.
Christ and the small scenesTiers of narrative run down both sides of the body, so a single object carries the whole Passion rather than one moment of it.
An early painted crucifix with narrative tiers along both arms of the cross, filling its gold ground.
Narrative on the armsHere the scenes run out along both arms of the cross as well as down the sides, filling the gold to the edge.
A painted crucifix on a dark ground hung flat on a white wall, half figures in the arm terminals.
Hung flatA crucifix on a dark ground shown flat against a white wall rather than suspended, with half figures set into the terminals.
A small kneeling donor painted at the foot of the cross, below Christ's feet.
The donor at the footA small kneeling figure painted below Christ's feet. That is the person who paid for the cross, at the scale the convention allowed him.
The upper terminal of a painted crucifix, a half figure set into the arm of the cross.
The upper terminalA half figure set into the top arm of the cross, the panel shaped around it.
GOLD, PATTERN AND PROCESSION

International Gothic

Gentile da Fabriano and Lorenzo Monaco were working in Florence at the same moment as Masaccio, and they were not behind him. This is a different ambition: surface, ornament, cloth of gold, and a cavalcade that winds back through the hills into the frame.

Gentile da Fabriano's Adoration of the Magi complete in its cusped gold frame, the cavalcade winding back through the arches.
Gentile da Fabriano, 1423Painted for Palla Strozzi, the richest man in Florence. The cavalcade winds back through the three arches, out of the hills and down to the stable, all inside one frame.
Hounds and a horse's head in the retinue of Gentile da Fabriano's Adoration of the Magi.
Hounds and horsesThe retinue is full of animals, observed rather than symbolic, and the gold on the harness is worked in relief.
The Virgin and the kneeling eldest Magus at the centre of Gentile da Fabriano's Adoration.
The eldest MagusHe has already taken off his crown and is kneeling to hold the Child's foot, with the Virgin at the centre of the crowd behind him.
Horses and riders crowded in the train of Gentile da Fabriano's Adoration of the Magi.
The trainHorses and riders packed shoulder to shoulder behind the kings. The depth is carried by overlap, not by perspective.
One narrative panel from the predella below Gentile da Fabriano's Adoration of the Magi.
One panel of the baseA narrative scene from the predella that runs under the main panel. One of the three scenes here is a modern copy, and which panel this is has still to be checked against the label.
Gentile da Fabriano's Adoration seen at a raking angle, hard shadow along the carved frame.
Across the goldSeen at a raking angle so the carved frame throws a hard shadow and the tooled ground reads as a surface rather than as a colour.
Lorenzo Monaco's Adoration of the Magi of about 1420, the Redeemer and the prophets Isaiah and David in the pinnacles.
Lorenzo Monaco, about 1420The Redeemer in the central pinnacle with the prophets Isaiah and David either side of him, the shape of the altarpiece intact.
Lorenzo Monaco's Coronation of the Virgin, the pair enthroned under a ciborium above a starry rainbow, pinnacles complete.
The CoronationChrist and the Virgin enthroned under a ciborium above a rainbow scattered with stars, complete from pinnacles down to predella.
Lorenzo Monaco's Coronation of the Virgin standing on its mount under the skylight of its room.
Under the skylightThe same Coronation on its mount in a room lit from above, which is close to the light these panels were built for.
A Coronation of the Virgin attributed to Fra Angelico, gold ground and radiating rays above dense ranks of saints.
Fra AngelicoRays radiate from the crowning across the gold ground, with the saints packed into dense ranks below it.
The crowning itself at the centre of Fra Angelico's Coronation of the Virgin.
The crowningThe moment itself at the centre of the panel, Christ setting the crown on the Virgin's head.
Ranked saints and their overlapping gold haloes in Fra Angelico's Coronation of the Virgin.
Ranked haloesThe haloes overlap in rows going back. That is how a crowd is given depth on a flat gold ground.
PERSPECTIVE, WEIGHT AND OIL

Early Renaissance Panels

Uccello laying out broken lances on a perspective grid, Masaccio giving the Virgin weight under her robe, Piero della Francesca in strict profile, and the Portinari Triptych arriving from Bruges in 1483 to show Florence what oil paint could do.

Paolo Uccello's Battle of San Romano, lances crossing above the melee and broken arms scattered on the ground.
Uccello's battleOne of three panels made for a Florentine bedchamber, now divided between Florence, London and Paris. The broken lances on the ground are laid out on a perspective grid.
Masaccio and Masolino's gold ground Virgin and Child, Saint Anne behind them and angels holding a cloth of honour.
Masaccio and MasolinoSaint Anne stands behind the Virgin and Child while angels hold a cloth of honour. The Child is modelled in light rather than drawn in line.
The head of the Virgin and the Child beside her, a detail from the Sant'Anna Metterza panel.
The Virgin's headClose on the head of the Virgin and the Child beside her, where the modelling is heaviest and the two hands in the panel are easiest to separate.
Domenico Veneziano's Santa Lucia de' Magnoli altarpiece, the Virgin enthroned in a pink and green arcade with four saints.
The Santa Lucia altarpieceThe Virgin enthroned in a pink and green arcade with four saints, the whole thing lit as though by real daylight coming from one side.
Hugo van der Goes's Portinari Triptych open, the Adoration of the Shepherds at the centre and the donor wings turned in.
Hugo van der GoesPainted in Bruges for Tommaso Portinari and shipped to Florence in 1483, where its oil technique and its plain realism were studied hard by local painters.
The left wing of the Portinari Triptych, the male donors kneeling with their patron saints.
The male donorsPortinari and his sons kneel with their patron saints, at the same scale as the saints standing behind them.
The right wing of the Portinari Triptych, the female donors kneeling with their patron saints.
The female donorsMaria Baroncelli and her daughter kneel on the opposite wing with their own patrons.
Piero della Francesca's paired portraits of the Duke and Duchess of Urbino, both panels in one free standing case.
Both panels togetherPiero della Francesca's paired portraits of the Duke and Duchess of Urbino, in a free standing case so that both sides can be seen.
Federico da Montefeltro in profile against a pale hilltop landscape, the right half of Piero's diptych.
Federico da MontefeltroIn strict profile, which was the coin convention and also the side of his face that survived the tournament that cost him an eye.
Battista Sforza in profile with her pearls and jewelled headdress, the left half of Piero's diptych.
Battista SforzaHer pearls and jewelled headdress set against the same continuous landscape that runs on behind her husband.
The two Triumph panels painted on the back of Piero's Montefeltro diptych, seen together.
The reverseThe backs of both panels carry allegorical Triumphs, which is why the diptych is displayed free standing rather than on a wall.
An angel crowning Federico da Montefeltro in armour on his chariot, from the Triumphs on the back of Piero's diptych.
Federico crownedAn angel sets a wreath on the duke as he rides in armour on his chariot.
Battista Sforza on her chariot with her attendant Virtues, from the Triumphs on the back of Piero's diptych.
Battista's chariotThe duchess rides with her attendant Virtues. The two Triumphs read as one continuous procession across both panels.
THE ROOM MOST PEOPLE COME FOR

Botticelli

Four large panels and a shelf of smaller ones. The Birth of Venus and the Primavera hang in the same room, which is a fairly recent arrangement and worth standing still for before the room fills.

Botticelli's Birth of Venus complete in its frame, Venus on the shell between the winds and the figure waiting with a cloak.
The whole panelVenus arrives on the shell between the blowing winds and the figure waiting with a cloak. It is painted on canvas rather than panel, which was unusual at this scale.
Venus standing on the scallop shell, a detail from Botticelli's Birth of Venus.
On the shellClose on the figure herself. The hair carries gold, and the contour is drawn with a line that does not really belong to any anatomy.
Botticelli's Primavera complete in its frame, the orange grove behind Venus and the Three Graces.
The whole panelVenus at the centre under the orange grove, the Three Graces dancing at the left, Flora scattering flowers, and Zephyr taking Chloris at the right edge.
Flora in her flowered gown scattering blossom, a detail from Botticelli's Primavera.
FloraHer gown is painted with the flowers she is scattering. Botanists have identified well over a hundred plant species in the panel.
The Three Graces dancing in their thin drapery, a detail from Botticelli's Primavera.
The Three GracesDancing in drapery thin enough to be a technical demonstration on its own.
Botticelli's Pallas and the Centaur, Pallas holding the centaur by the hair with her halberd resting on her shoulder.
Pallas and the CentaurShe has him by the hair with the halberd resting on her shoulder and he has stopped struggling. The usual reading is reason over appetite.
Pallas in her laurel wreathed gown with the halberd, a detail from Botticelli's Pallas and the Centaur.
Laurel and halberdHer gown is worked with interlaced rings, a Medici device, and laurel is wound round her arms and her head.
The head and torso of the centaur, a detail from Botticelli's Pallas and the Centaur.
The centaurHead and torso, the bow still in his hand and the expression already given up.
Botticelli's Adoration of the Magi, the ruined arcade behind the Holy Family and the Medici court ranged in front.
The Medici AdorationA ruined classical arcade behind the Holy Family, with the Medici and their circle standing in as the court of the Magi.
The standing group at the right edge of Botticelli's Adoration of the Magi.
The standing groupAt the right edge, where the figure who looks out of the panel is traditionally taken to be Botticelli himself.
Botticelli's Adoration of the Magi seen at a raking angle across the panel surface.
Across the surfaceA raking view along the panel, which shows how much of the gold is worked into the paint rather than laid behind it.
Botticelli's Cestello Annunciation, the red tiled floor running from Gabriel to the Virgin and out to a river landscape.
The Cestello AnnunciationPainted in 1489 for the church of Cestello. The tiled floor runs from Gabriel to the Virgin and then out through the opening to a river landscape.
Gabriel kneeling with the lily, the window and the river landscape beyond, a detail from the Cestello Annunciation.
GabrielKneeling with the lily, the window and the pale landscape behind him carrying the eye straight out of the room.
The Virgin swaying back from the angel, a detail from Botticelli's Cestello Annunciation.
The VirginShe sways back from the angel with her hand out. The two figures bend toward each other and never touch.
The dead Christ painted along the bottom of the original frame of Botticelli's Cestello Annunciation.
On the frameThe dead Christ is painted along the bottom member of the original frame, so the panel carries its own ending underneath it.
A wide detached fresco of the Annunciation set in an arcaded loggia, its surface washed pale.
A detached frescoAn Annunciation in an arcaded loggia, lifted off a wall and now hung as a panel. The surface has washed pale in the move.
THE PUPIL AND THE WORKSHOP

Leonardo and Verrocchio

The Baptism where Leonardo painted the kneeling angel, the Annunciation he made in his early twenties, and the Adoration he walked away from unfinished when he left for Milan in 1482.

The Baptism of Christ by Verrocchio and Leonardo, seen square on in its deep white frame recess.
Verrocchio and LeonardoA workshop picture. The kneeling angel at the left and much of the landscape are given to Leonardo, who was Verrocchio's pupil when it was made.
Christ's feet in the water of the Jordan and the kneeling angels' drapery beside them, a detail from the Baptism.
Feet in the JordanThe water is worked so the feet read through it, and the drapery beside them is where the two hands in the picture separate most clearly.
Leonardo's Annunciation seen square on, the angel at the left and the Virgin at her lectern before a walled garden.
The whole panelAn early work seen square on. The angel kneels at the left and the Virgin sits at a carved lectern in front of a walled garden.
The angel Gabriel with his lily and folded wing, a detail from Leonardo's Annunciation.
GabrielThe lily in his hand and the wing folded behind him, built from a bird rather than from convention.
The Virgin at her carved marble lectern, a detail from Leonardo's Annunciation.
At the lecternThe lectern is a carved marble piece modelled on a Verrocchio tomb, and the Virgin's arm reaches across it further than an arm should.
The garden wall, the cypresses and the pale harbour beyond, a detail from Leonardo's Annunciation.
Out past the wallCypresses along the garden wall, then a pale harbour and mountains dissolving into haze.
Leonardo's unfinished Adoration of the Magi, the ochre underdrawing with its rearing horsemen and ruined arcade.
Left unfinishedBegun in 1481 and abandoned when Leonardo went to Milan. What survives is the ochre underpainting, with rearing horses behind the ruined arcade.
The kneeling group at the left of Leonardo's unfinished Adoration of the Magi.
The kneeling groupAt the left, where the heads are worked up further than the rest and the composition can be read as it was meant.
TWO PANELS AND A PAPAL PORTRAIT

Michelangelo and Raphael

The Doni Tondo is the only finished panel painting anyone gives to Michelangelo, and its carved frame was made for it. Raphael is here as a painter of children and as a painter of power.

Michelangelo's Doni Tondo of 1505 to 1506, complete inside the carved frame with its five heads.
Michelangelo, about 1505The only finished panel painting generally given to him, made for Agnolo Doni. The carved frame with its five heads was made for the picture and is part of the work.
Raphael's Madonna of the Goldfinch set square in its white wall recess, the infant Baptist holding out the bird.
Madonna of the GoldfinchRaphael, about 1506. The infant Baptist holds out the bird. The panel was shattered in a building collapse in 1547 and has been repaired more than once since.
Saint John the Baptist as a boy, given to Raphael, seated against a dark rocky ground.
The Baptist as a boyGiven to Raphael, seated against a dark rocky ground.
Raphael's portrait of Pope Leo X with Cardinals Giulio de' Medici and Luigi de' Rossi, complete in its carved gilt frame.
Leo X with two cardinalsGiovanni de' Medici as pope, with Giulio de' Medici and Luigi de' Rossi behind him. Both were relatives, and the picture is partly a dynastic statement.
The illuminated manuscript and the pope's magnifying glass on the red table cloth, a detail from Raphael's Leo X.
The illuminated pageThe manuscript is open and legible and the pope's magnifying glass sits on the cloth beside it, painted as a still life inside a portrait.
The chased metal bell standing on the red table cloth, a detail from Raphael's Leo X.
The bellChased metal standing on the red cloth, with the window of the room reflected in the body of it.
AFTER THE HIGH RENAISSANCE

The Sixteenth Century

Andrea del Sarto at altarpiece scale and at bedchamber scale, Albertinelli, Granacci, Beccafumi and Bugiardini. Several of these panels were made as sets for one room and are now hung as separate pictures.

Andrea del Sarto's Madonna of the Harpies, the Virgin on a carved pedestal between Saint Francis and Saint John.
Andrea del Sarto, 1517The Virgin stands on a carved pedestal between Saint Francis and Saint John the Evangelist. The harpies that give the picture its name are carved on the base.
The Virgin and Child with the two putti clinging to the pedestal, a detail from the Madonna of the Harpies.
Virgin and ChildTwo putti cling to the pedestal beneath her and take the weight of the composition.
Saint John the Evangelist in red at the right of Andrea del Sarto's Madonna of the Harpies.
Saint JohnIn red at the right, where the drapery does most of the work of the figure.
Saint Francis with his cross and a putto at the left of Andrea del Sarto's Madonna of the Harpies.
Saint FrancisAt the left with his cross and a putto beside him.
Andrea del Sarto's panel of Joseph interpreting Pharaoh's dream, complete in its carved frame.
Joseph and PharaohJoseph interpreting the dream, complete in its carved frame. One of a set made for a Florentine wedding chamber.
Andrea del Sarto's panel of the stories of Joseph's childhood.
Joseph's childhoodA companion panel from the same set, several episodes running across one continuous field.
Panels of the Vallombrosa altarpiece by Andrea del Sarto, saints above and the predella below.
The Vallombrosa altarpieceSaints above and the narrative predella below, the parts shown together.
The narrative predella of Andrea del Sarto's Vallombrosa altarpiece, close.
The predellaThe narrative base of the same altarpiece, close.
Mariotto Albertinelli's Visitation, the two women meeting under an arch, with its predella below.
Albertinelli's VisitationThe two women meet under an arch. The composition is reduced to two figures and one gesture, and it does not need more.
Francesco Granacci's panel of Joseph being led to prison.
Joseph led to prisonFrancesco Granacci, from the same wedding chamber set as the Andrea del Sarto panels.
Francesco Granacci's panel of the entry of Charles VIII into Florence.
Charles VIII enters FlorenceGranacci's record of the French entry of 1494, painted for the same room.
Domenico Beccafumi's tondo of the Holy Family with the young Saint John, in its heavy gilt frame.
Beccafumi's tondoThe Holy Family with the young Baptist, in a heavy gilt frame.
Giuliano Bugiardini's Madonna nursing the Child.
BugiardiniThe Virgin nursing the Child, a private devotional picture rather than an altarpiece.
A standing female nude in a landscape with putti at her feet, in a gilt frame.
A standing nudeA female figure in a landscape with putti at her feet. Not identified from the frame, so the attribution is one for the wall label.
A kneeling Virgin Annunciate in a gold veil, a vase of lilies at her side and an inscription along the ledge.
The Virgin annunciateKneeling in a gold veil with a vase of lilies beside her and an inscription running along the ledge.
Christ and the kneeling Magdalene before the tomb arch, in a carved gilt frame.
Noli me tangereChrist and the kneeling Magdalene in front of the tomb arch, in a carved gilt frame.
Cigoli's Deposition of about 1580, painted for the Compagnia della Santa Croce of Figline.
Cigoli, about 1580Painted for the Compagnia della Santa Croce at Figline.
THE MEDICI AS THEY WISHED TO BE SEEN

Portraits of the Court

Bronzino built a state image for Cosimo I and repeated it. What the court portraits spend their attention on is armour, brocade and device, and only then on a face.

Bronzino's portrait of Cosimo I de' Medici in polished armour.
Bronzino's Cosimo IThe duke in polished armour. Bronzino's workshop produced this image again and again as state portraiture, which is exactly what it was for.
Bronzino's portrait of Eleonora di Toledo in brocade with her son Giovanni beside her.
Eleonora di ToledoThe duchess in brocade with her son Giovanni beside her. The dress is painted with more attention than either face.
A commemorative portrait of a seated man in a fur lined robe, an antique vase and a grotesque mask on the plinth behind him.
A commemorative portraitA seated man in a fur lined robe, with an antique vase and a grotesque mask on the plinth behind him. The sitter's name belongs to the wall label rather than to us.
A seated portrait of a young man in polished armour with a baton, his helmet on the ground and a city view beyond.
A young man in armourSeated with a baton, his helmet on the ground and a city beyond. Not identified from the frame.
A young sitter in a dark furred doublet against a green wall painted with a gold device.
Against a green groundA dark furred doublet against a green wall painted with a gold device.
A full length court portrait of a child in a rose and white gown, a small dog beside the sitter.
A child at courtA full length portrait in a rose and white gown with a small dog. Court children were painted as small adults and the clothes carry the rank.
An interior scene with a boy attended by courtiers, one in a blue tabard sewn with gold fleurs de lis.
A court interiorA boy attended by courtiers, one of them in a blue tabard sewn with gold fleurs de lis.
ONE CANVAS FROM THE OTHER TRADITION

Venice

The Venetian rooms are a change of temperature after the Florentine panels. Titian is the reason most people stop here.

Titian's Venus of Urbino in its gilt frame on the teal wall of the Venetian room.
Titian, 1534Painted for Guidobaldo della Rovere and hung now on the teal wall of the Venetian room. Its debt to Giorgione's sleeping Venus is the usual place to start.
Head and shoulders from Titian's Venus of Urbino.
Head and shouldersClose on the head, where the eyes come out to meet the viewer instead of turning away from it.
THE END OF THE SEQUENCE

Caravaggio and Artemisia

A shield, a knife and two canvases where the light is doing the argument. Artemisia Gentileschi painted her Judith in Florence, working for the Medici, and it hangs a few metres from Caravaggio.

Caravaggio's Medusa painted on its ceremonial shield, against the deep red wall of the room.
Caravaggio's MedusaPainted on a convex ceremonial shield about 1597 for Cardinal del Monte, who sent it to Ferdinando I de' Medici. The curve of the shield is part of the effect.
The open mouth and staring eyes of Caravaggio's Medusa, close.
Mouth and eyesClose on the face in the moment after the blow, still looking.
The Sacrifice of Isaac, the angel catching Abraham's arm with the ram waiting at the right.
The Sacrifice of IsaacThe angel catches Abraham's arm and the ram waits at the right, the whole event compressed into the front of the canvas.
Isaac's head pressed against the altar stone, a detail from the Sacrifice of Isaac.
Isaac's headPressed against the altar stone, which is where the picture spends its attention.
Artemisia Gentileschi's Judith Beheading Holofernes.
Artemisia GentileschiJudith beheading Holofernes. She painted the subject more than once, and this is the Florentine version, made while she was working for the Medici court.
Artemisia Gentileschi's Judith Beheading Holofernes hanging in its frame on the gallery wall.
In the roomThe canvas in its frame on the gallery wall, at the scale it is actually met.

🖼️ Must-See Masterpieces

🎨

Birth of Venus

Botticelli's iconic painting of the goddess emerging from the sea
🌸

Primavera

Botticelli's celebration of spring with over 500 plant species
✨

Annunciation

Leonardo da Vinci's early masterwork showing his genius

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Frequently Asked Questions

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Book at least 2-3 weeks ahead in high season (April-October). Same-day tickets rarely available.
What are the must-see works?
Birth of Venus and Primavera by Botticelli, the Annunciation by Leonardo, Michelangelo's Doni Tondo, Titian's Venus of Urbino and Caravaggio's Medusa. Room numbers move with each rehang, so follow the current floor plan rather than an old guidebook.
Is the Firenze Card worth it?
Yes if visiting 3+ museums. Includes Uffizi priority entry and 72-hour access to 60+ Florence attractions.
What about the building itself?
The corridors, the Tribuna, the Niobe Room, the antique marbles and the terrace above the Loggia dei Lanzi are all inside the same ticket. They have their own page here.

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