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It was Francesco I de' Medici who created an art Gallery on the second floor of the Palazzo degli Uffizi to delight himself, during his walks, with the collection of paintings, sculptures and arrases belonging to the Medici family. Thanks to Anna Maria Luisa de' Medici the Gallery became a "public and inalienable good": the Duchess, in fact, handed it over to the Lorena family providing that it would remain open to the public. At the present day the Uffizi Gallery is one of the most famous and celebrated museums in the world, the symbol of the vocation for collecting and to patronage. An interesting group is represented by the artworks commissioned by the corporations of arts and trades thanks to their economical, cultural and artistic exchanges, Florence has become the world capital of art and, especially a meeting and exchanging landmark for the most important Italian and foreign artists. Other artworks come from private donations, from diplomatic exchanges, from antique convents and dynastic inheritance.

The entrance is located under the left portico. After the ticket office you access the Aula di San Pier Scheraggio, the still existing central aisle of the antique church which was destroyed to widen via della Ninna. Presently it is an exposition seat rich of decorations belonging to the Roman and Medieval ages among which historical-religious frescoes by Andrea del Castagno. From the ticket office you enter the Monumental Staircase by Vasari which leads you to the first floor. From the big hall you pass on to the exposition and reference room of the Drawings and Prints Cabinet: a vast collection of drawings by artists such as Leonardo da Vinci, Michelangelo, Pontormo, Vasari and others. The collection, among the greatest and most important in the world, has very antique origins. It was started by the will of Lorenzo de' Medici and it was continued by his followers. It cannot be visited at the present day for studying reasons. After the Drawing and Prints Cabinet there's the Library and the areas reserved for temporary exhibits. The Uffizi Gallery is located on the second floor.

The first rooms are dedicated to the art of the 13th and 14th centuries. Here we find examples of sacred art among which the Madonna d'Ognissanti by Giotto, the Maestà di Santa Trinita by Cimabue and the Maestà by Duccio di Buoninsegna. From the 14th century in Florence and Siena the Triptych of San Matteo by Andrea di Cione, the Polyptych of San Pancrazio by Bernardo Daddi and the Presentation to the Temple by Ambrogio Lorenzetti (rooms 3-4). The rooms 5-6 are dedicated to the international Gothic: by Lorenzo Monaco the Adoration of the Magi. Among the artworks of the early Renaissance the Coronation of the Blessed Virgin by Beato Angelico, the Battle of San Romano by Paolo Uccello, Portrait of the Dukes of Urbino by Piero della Francesca (room 7).

In the rooms 8 and 9 are the artworks by artists such as Filippo Lippi: the Coronation of the Blessed Virgin, the Adoration of the Magi; by Antonio del Pollaiolo A Female Portrait, Hercules and Antes. Followed by the masterpieces by Botticelli: La calunnia, Primavera, the Birth of Venus, Adoration of the Magi, Madonna della Melagrana, Coronation of the Blessed Virgin.

The Renaissance is celebrated by the paintings by Leonardo among which l'Adorazione dei Magi and the Annunciation and by Perugino la Pietà, (room 15). In the Tribune is the 16th century in Florence with Medicean portraits by Pontormo. By Rosso Fiorentino l'Angiolino musicante and by Andrea del Sarto la Dama col Petrarchino. In a series of adjoining rooms are the works belonging to German art of the 15th and 16th century and paintings from Lombardia and Emilia that evoke mythological tales and detailed Flemish landscapes (rooms 19 -23). Among them Adam and Eve by Lukas Cranack, Adoration of the Magi by Andrea Mantegna, the Blessed Virgin adoring the Child by Correggio.

The 16th century artworks by artists famous worldwide such as Michelangelo, Raffaello Sanzio and Rosso Fiorentino open the collections of the third corridor. Like the two previous ones, the third corridor has grotesque frescoed vaults which depict animals, famous personalities and Medicean achievements. Here as well there are the portraits of the 'Jovian series' with the royalties from all around the world and the Roman statues.

The museum's pathway starts again with the rooms 25- 27, which host the Florentine painters of the 16th century: by Michelangelo Buonarroti the Tondo Doni or Sacra Famiglia con San Giovannino; by Ridolfo del Ghirlandaio la Coperta di ritratto; by Raffaello Sanzio la Madonna del cardellino; by Andrea del Sarto la Madonna delle Arpie. By Pontormo Cena in Emmaus, by Rosso Fiorentino la Madonna col Bambino e Santi, artworks that introduce a dramatic manierism. Tiziano is represented as the most illustrious exponent of 16th century Venetian art (room 28): by the artist there's la Venere d'Urbino, Flora. Among the examples of Italian painting in Europe in the 16th century (rooms 29-34): by Tintoretto Leda e il cigno (Leda and the swan), by Parmigianino Madonna dal collo lungo (Blessed Mary with a long neck), by Giorgio Vasari La fucina di Vulcano (the furnace of Volcano)

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In the heart of the city, it hosts the examples of paintings and sculptures by the great masters of the Florentine 14th and 15th centuries who have made Florence the capital of art.

Founded in 1784 by the will of the Grand Duke Leopoldo of Lorena, La Galleria dell'Accademia had the goal to host a collection of antique and modern paintings and sculptures to make it easier for the students of the nearby Academy of Beau Arts to know and study them. The seat was in part drawn from the antique building that once belonged to the hospital of S.Matteo, which was adjoined by other contiguous environments of the old convent of San Niccolò in Cafaggio.

In 1873 arrives the David, transferred here to subtract it from the cruelty of time and weather, but only in 1882 the masterpiece by Michelangelo will find its position in the Tribune specially projected by Emilio de' Fabris.

Through time the Galleria became famous for its collection of the sculptures by Michelangelo and is enriched by the masterpieces of painting and sculpture by famous and less famous who have transformed Florence into one of the most imnportant capitals of art. Around 1980, the Galleria is endowed by a Gipsoteca located in the Salone dell'Ottocento (19th century hall). The Galleria is arranged on two floors of which, the ground floor is certainly the most famous and admired one. On the background dominates unchallenged the David in its tribune. Commissioned in 1501 to Michelangelo by the Florentine Republic, the statue was first placed in piazza della Signoria, in front of the Palazzo Vecchio, as a symbol of liberty. The David represents, in fact the young biblical hero in the moment when he gathers his powers to defeat the giant Goliath. Michelangelo, who was just a little more than 25 years of age was paid 400 scudi for this work of art and used a big marble block already reduced to bad conditions by the efforts of other artists to draw a great sculpture out of it. And from this marble, which by then seemed unusable, came one of the greatest masterpieces of civilization, the height of the Renaissance ideal of the free man and the maker of his own destiny

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The Medici Chapels were built as a personal sepulchre of the Medici family right in the basilica of San Lorenzo, the one considered by the Medici as their private church and located in front of the residential palace in via Larga (presently via Cavour).
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The cardinal Giulio de' Medici, the future Clemente VII, and Leone X, in 1520, involved Michelangelo Buonarroti in the project of the Sacrestia Nuova: or better of a chapel en pendant with the Sacrestia Vecchia by Filippo Brunelleschi, where distinguished members of the family would be buried. The works began in March 1520 and were definitely completed by Giorgio Vasari in 1546, after Michelangelo, in 1534, had left Florence directed to Rome.

The project provided that in the chapel would be placed the tombs of Lorenzo il Magnifico, of his brother Giuliano de' Medici, of Lorenzo the Duke of Urbino (Piero's son, the eldest son of Lorenzo) and of Giuliano the Duke of Nemours (the third son of the Magnifico): the two Magnifici and the two Capitani.

Only the tombs of the Capitani were completed. On the left of the altar is the sepulchre of Lorenzo Duke of Urbino, whom, in the act of reflecting, was defined by Vasari as il Pensieroso (the thoughtful), and it is, thus, identified by the critics as the symbol of contemplative life: beneath him are, set over the volutes of the sepulchre, the symbolizations of il Crepuscolo (dusk), characterized in the face by the famous uncompleted typical of Michelangelo, and l'Aurora (dawn), of which the plastic force reveals the interest cultivated by the artist towards anatomical studies.

In front of it is the sepulchre of Giuliano, the symbol of active life, with the swagger-cane in his hand: and underneath it il Giorno (the Day), in a un motion of rebellion, and la Notte (the Night), inspirer on the other hand of very famous verses written by Michelangelo. In the Brunelleschi style architecture - because of the duotone of the grey stone with the white plaster - Tolnay interprets it as the subdivision of three spheres: the sphere of the Hades, the earthly one and at last the celestial sphere culminating with the cupola - inspired by the Pantheon's.

While on the other hand the sepulchres would allude to the concept of the soul free from the earthly commitments and tending towards the contemplation of the divine life incarnated by the Virgin. This statue - created by Michelangelo in 1521 and placed above the sarcophagus of the two Magnifici - represents, in fact, the spiritual mainstay of the Chapel and is surrounded by the statues of the two patron saints of the Medici family: on the right Cosma, produced by Montorsoli (1537), and on the left Damiano, created by Raffaele da Montelupo (1531).