The house to the most excellent collection in the world of the Italian Renaissance art, the main gallery of Florence occupies extensive U-shaped the Palace of degli of Uffitsi (1560-80), constructed as government agencies. The collection bequeathed to the city by Medici's family in 1743 provided that it never leaves Florence, contains some most known pictures of Italy, including number full of Botticelli's masterpieces.

The integrated ticket (valid three days) with Palazzo Pitti, to Giardino di Boboli and Museo Archeologico is available for €38/21 (€18/11 from November to February).

As a part of huge repair for €65 million, Uffitsi was object of continuous repair since 1995 with the doubling of exhibition space and works of art reorganized to be filled - according to the last calculation - about 100 numbers through two floors. Disputed modern loggia intended in 1998 for an exit of gallery by the Japanese architect Arata Izozeki seems only a pipe dream these days: future work of projects will focus more on the areas intended for temporary exhibitions and conferences. Planning visit, check the website of the museum what numbers are closed that day.

The world famous collection shown in a chronological order covers art history scale from an Ancient Greek sculpture to pictures of the Venetian of the 18th century. But its kernel - the Renaissance collection.

The visits which are kept in a full order at most to three or four hours. When all this reaches too much, the head cafe of a roof (differently a terrace hanging garden where Medici's clan listened to musical performances in the square below) for drink, fresh air and fantastic types. If at you was enough after capture in the main highlights of gallery on the 2nd floor, 'a fast exit' the route designated by cafe allows you, well, generally, to do a fast exit.

Tuscan Masters: the 13th by the 14th centuries

Arriving to Prima Corridoio (First Corridor) on the 2nd floor, Number 1 - 7 are devoted before - and early Renaissance art of the Tuscan. Among the 13th age of work of Sienese, shown in Number 2, are three big altar-pieces from the Florentine churches the painter of Sienese Duccio di Buoninsegna and the Florentine owners Simebu and Giotto. They clearly reflect transition from a Gothic font to the arising Renaissance style. Pay attention to openly naturalistic implication of realism in Giotto's image of Virgin Mary and Saints in Le Maestà di Ognissanti (1306-10).

Moving to Siena, Bologna and Pisa in the 14th century, a main issue in Number 3 is the flickering Simona's Annunciazione of Martini (1333) painted by Lippo Memmi and Madonna's situation in the sea of gold. Also well-known Madonna in trono of the child of a saddle e angelus (The enthroned Madonna with the Child and Angels; 1340) Pietro Lorenzetti who shows realism, similar Giotto; unfortunately, both Pietro and his artistic brother Ambrogio died of plague in Siena in 1348.

Masters in the 14th century Florence (Number 4) paid as much attention to details how much them the colleague of Sienese: enjoy Kompiento Su Christ's realism of morto (Complaints according to Dead Christ (1360-65) the gifted pupil Giotto, Dzhiottino.

Pioneers of Renaissance

The known portraits of a profile of Piero della Franceschi (1465) from the duke in red clothes, with a dishonest nose and the duchess Urbino hold the central position in Number 8. The duke appears on the left side as he lost the right eye in the competing accident while the duchess is drawn deadly white as a stone, having reflected the fact, the portrait was drawn posthumously. Royal couple is immortalized with Advantages on a reverse side.

In the same number the victory of Florence over Sienese in San Romano's Battle, near Pisa, in 1432, is realized with remarkable realism and the increased use of prospect in magnificent Battaglia di San Romano Paolo Uccello (1435-40). From a handful of masterpieces of Fra' Filippo Lippi is the Carmelite monk who had unsuccessful weakness to carnal pleasures and scandalously married the nun from Prato - doesn't miss the fresh, graceful Child of Madonna's saddle of e due angelus (Madonna and Rebenok with Two Angels; 1460-65). This work clearly influenced his pupil, Sandro Botticelli.

In Number 9, seven cardinal and theological qualities of the 15th century Florence brothers Antonio and Piero del Pollayolo - the representative for tribunal of the seller in the area of Signoria - radiates energy. More reserved Ritrano di Galeazzo Maria Sfortsa of Piero (Galeazzo's Portrait of Maria Sfortsy; 1471). The only canvas in a theological and cardinal number of advantages which won't be painted by Polleyolo is the Strength of mind (1470), the first registered Botticelli's work.

Botticelli number

Fascinating Zala del Botticelli, listed as Number 10 - 14, but actually two light and graceful halls, is always packed. From many works of Botticelli shown to Uffitsi, cult La nascita di Venere (the Birth of Venus; since 1485), Primavera (Spring; since 1482) and Madonna del Magnifikat (Madonna Magnifikat; 1483), are known first of all for the owner of Renaissance famous for his radio figures. Take time to study less known Annunciazione, 6m-wide the fresco painted by Botticelli in 1481 for Ospedeyl San Martino's di Alla Scala, hospital in Florence which took in orphans.

Northern influences

Clear influence which the North European artists had on the Florentine artists during the Renaissance, is investigated in Number 15 with works of the Flemish painter Hugo van der Goes (1430-82). Its monumental Altar-piece of Portinari (1476-78) - a triptych 2.5 m high and 3 m wide - representation of Adoration of Shepherds arrived in Florence in 1483 and was shown in church in Santa-Maria-Nowella Florention's hospital. Van der Goes drew it for Tommasso Portinari, the director of bank Medici in Bruges - admire his portrait and that from his wife and their three children on side panels. The only work of Botticelli is also shown in this number: Flagiellazyone di Christ (Christ's Castigation; 1505-10), a part of a cycle of the pictures illustrating Christ's life was one of the latest works of Botticelli before his death from a disease and an old age in 1510.

La Tribuna

Medici's clan hid their most precious masterpieces in this graceful valuable treasure of octagonal form (Number 18), created by Francis I between 1581 and 1586. Intended to strike and perfectly returned to its original graceful state, the small collection of classical statues and pictures decorates the walls upholstered with matter in dark red silk, and 6000 nacreous sinks painted by dark red varnish inlay a dome-shaped ceiling.

In other place in Italy: the 15th century

Final numbers in Prima Corridoio (First Corridor), Number 19 - 23, dig in work of painters in Siena, Venice, Emilia-Romagna and Lombardy in the 15th century. As demanded as the art tense on walls is decorative vaulted ceilings here, decorated with frescos in the 16th and 17th centuries with military facilities, allegories, battles and festivals stuck to the area in Florence.

The high Renaissance to affectation

Passing through a loggia or Secondo Corridoio (Second Corridor), visitors enjoy a beautiful view of Florence before entering Corridoio Tertso (Third Corridor).

Michelangelo & Raphael

Number 34, with glaucous walls, calls the artistic environment in which young Michelangelo lived and I worked in Florence. It shows sculptures from classical old times of excellent influence on the aspiring sculptor, and from Medici - being - in - the property of a garden of sculptures in San Marco where Michelangelo studied a classical sculpture as the pupil from age 13. The owner, Michelangelo, blinds from Dhoni Tondo, the description of Holy family which steals the High Renaissance show further down a corridor in Number 41. The structure is unusual - Joseph holding plentiful Jesus on a brawny shoulder of his mother as she spins to stare at it, colors as bright as when they at first were applied in 1506-08. It was painted for the rich Florentine dealer Agnolo Dhoni (who hung up him above his bed), and bought Medici for Palazzo Pitti in 1594. Other masterpiece in Number 41 is a Child of a saddle of Madonna of Raphael of e San Dzhovann (Madonna with Child & St John); 1505-106), differently known as Madonna del of cardellino (Madonna Shchegla) after the goldfinch with red feathers shakes in a cradle in full hands of the child John the Baptist. Raphael drew it during the four years' stay in Florence, and it hung in Uffitsi since 1704.

Leonardo Da Vinci

Three great early Florentine works of Leonardo da Vinci are brilliantly shown in beautifully arranged Number 35. Its Annunciazione (Announcement; 1472-75), it was consciously painted to be delighted, don't stand on (from where Mary's hand seems too long, her face, too easy, a corner not of absolutely right buildings), and it is rather from lower right side of painting. The adoration of Magicians (1481-82), San Donato who is originally authorized for an altar of the monastery who never finished Scopeto near Florence and, is typical for the Florentine figurative painting in the 15th century. Battesimo di Christ (Christ's baptism; 1475), represents John the Baptist christening very naturalistic Christ on the bank of Jordan.

Galleries of the 1st floor

Post coffee - and a break of fresh air on a terrace on a roof of Uffitsi, go down to galleries of the 1st floor. Turn on the left on the lower platform of a ladder to dig in Donazione Contini Bonacossi (Number 46 - 55), a private collection of the Italian politician and collector of works of art bequeathed to the Italian state on his death in 1955 but only on the constant display since 2018. The beautiful glazed terracotta coat of arms (1510-20) of Giovanni della Robbiyei lifts a curtain on a collection with eight numbers and among many pictures, sculptures, graceful maiolica of ceramics and pieces of ancient furniture, there are Veronese, Goya and Tintoretto's works. An overwhelming main issue - a sensual marble sculpture of Gian Lorenzo Bernini (1613-17) from the tormenting San Lorenzo writhing above fire as it burns alive on a grill lattice.

Having returned to a staircase, turn to the right in Number 56 - the desired, extensive long place with benches to relax on and clean white walls on which movies and digital art structures are designed. (Number 67 is another empty, number of a relaxation.)

Number 57 - 59, with their deep walls of a red Bordeaux, visit transition of the 16th century from the High Renaissance to Affectation in Florence with Andrea del Sarto's works (1486-1530). The artistic successor of the considered Michelangelo in Florence to the 1520th, the Florentine painter Iacopo Carucci (1494-1557) famous just as Pontormo, fills out Number 61. Its absolutely realistic saddle of Madonna Babino of e San Hiovanno (Madonna and Rebenok with John the Baptist; 1527-28), hung up in Tribune in Uffitsi with 1589, but it was moved to Palazzo Pitti later.

Number 64 and 65 are devoted to the artist of a portrait Medici of Agnolo Brontsino (1503-72) who worked in Cosimo I's court from 1539 to 1555 (when it was replaced with Vasari). His portraits of 1545 of the Great duchess Eleonora from Toleto and its son Giovanni together and only one 18-month-old Giovanni a continence of a goldfinch - symbolization of his call to church - consider masterpieces of the European portrait painting of the 16th century. Giovanni was really elected the cardinal in 1560, but died of malaria two years later.

Caravaggio's works in Numbers 96 and 97 considered vulgar at that time for his direct interpretation of reality. The head of the Jellyfish (1598-99), authorized for a ceremonial board, is, presumably, a self-portrait of the young artist who died at the age of 39 years later. The bible drama of the angel stabilizing Abraham's hand as it keeps a knife to the son Isaac's throat in Caravaggio Isaac (1601-02) Victim is magnificent in its intensity.

If you still have any energy for art assessment, Number 99 provides a view of the Uffitsi collection of foreign artists, the 16th to works of the 18th century, namely, Rembrandt, Rubens and Van Dyck. The subsequent numbers are devoted to temporary exhibitions.