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Top Reasons to Go | Getting Oriented | Planning | Eating and Drinking Well in Florence

Updated by Patricia Rucidlo

Florence, the city of the lily, gave birth to the Renaissance and changed the way we see the world. For centuries it has captured the imaginations of travelers, who have come seeking “a room with a view” and phenomenal art. Indeed, no city in Italy can match Florence’s astounding artistic wealth. Important paintings and sculptures are everywhere, and art scholars have been investigating their subtleties for hundreds of years. But what makes the art of Florence a revelation to the ordinary sightseer is a simple fact that scholarship often ignores: As astonishing percentage of Florence’s art is just plain beautiful. Nowhere in Italy—perhaps in all Europe—is the act of looking at art more rewarding.

As a city, Florence has a subtle beauty—its staid, unprepossessing palaces built in local stone are not showy. Their architecture retains many of the stern, fortresslike features of pre-Renaissance palazzi, whose facades were mostly meant to keep intruders out rather than to invite sightseers in. The typical Florentine exterior gives nothing away, as if obsessively guarding secret treasures within.

The treasures, of course, are very real. And far from being a secret, they are famous the world over. The city is an artistic treasure trove of unique proportions. A single historical fact explains the phenomenon: Florence gave birth to the Renaissance. In the early 15th century the study of antiquity—of the glory that was Greece and the grandeur that was Rome—became a Florentine passion, and with it came a new respect for learning and a new creativity in art and architecture. It was funded by the city’s leading businessmen: the Medici were first and foremost bankers until the most famous of them, Lorenzo de’Medici gathered around him, in the late 15th century, a court of poets, artists, philosophers, architects, and musicians. Art began to make great leaps toward a new naturalism through the study of perspective and anatomy, when architects forged a new style based on the techniques used by the ancient Romans. The Renaissance man was born, a man who, like Leonardo da Vinci, could design a canal, paint a fresco, or solve a mathematical problem with equal ease.

Happily, Leonardo could still take a walk along the Arno—as you can today—and find little changed. Navigating Piazza Signoria, almost always packed with tourists and locals alike, still, as has been the case for almost 700 years, requires patience. There’s a reason why everyone seems to be here, however. It’s the heart of the city, and, today, home to the Uffizi—arguably the world’s finest repository of Renaissance art.

Florence—Firenze in Italian—was “discovered” in the 1700s by upper-class northerners making the Grand Tour. It became a mecca for travelers, particularly the Romantics, particularly those English ladies of the Room-with-a-View type who flocked to the city to stay in charming pensioni and paint romantic watercolors of the surrounding countryside. They were captivated by a wistful Botticelli smile, impressed by the graceful dignity of Donatello’s bronze David, and moved by Michelangelo’s provocative Slaves twisting restlessly in their marble prisons. Today millions of modern visitors follow in their footsteps. When the sun sets over the Arno and, as Mark Twain described it, “overwhelms Florence with tides of color that make all the sharp lines dim and faint and turn the solid city to a city of dreams,” it’s hard not to fall under the city’s magic spell.

Top Reasons to Go

Galleria degli Uffizi: Italian Renaissance art doesn’t get much better than this vast collection bequeathed to the city by the last Medici, Anna Maria Luisa.

The dome of the Duomo: Brunelleschi’s work of engineering genius is the city’s undisputed centerpiece.

Michelangelo’s David: See it in person and you’ll know why this is the one of the world’s most famous sculptures.

The view from Piazzale Michelangelo: From this perch the city is laid out before you. The colors at sunset heighten the experience.

Piazza Santa Croce: After you’ve had your fill of Renaissance masterpieces, hang out here and watch the world go by.

Getting Oriented

The historic center of Florence is flat and compact—you could walk from one end to the other in half an hour. In the middle of everything is the Duomo, with its huge dome towering over the city’s terra-cotta rooftops. Radiating out from the Duomo are Renaissance-era neighborhoods identified by their central churches and piazzas. Though the majority of sights are north of the Arno River, the area to the south, known as the Oltrarno, has its charms as well.

The Duomo to the Ponte Vecchio. You’re in the heart of Florence here. Among the numerous highlights are the city’s greatest museum (the Uffizi) and its most impressive square (Piazza della Signoria).

San Lorenzo to the Accademia. The blocks from the church of San Lorenzo to the Accademia museum bear the imprints of the Medici and of Michelangelo, culminating in his masterfulDavid.Just to the north, the former convent of San Marco is filled with ethereal frescoes and paintings by Fra Angelico. David. Just to the north, the former convent of San Marco is filled with ethereal frescoes and paintings by Fra Angelico.

Santa Maria Novella to the Arno. This part of town includes the train station, 16th-century palaces, and the city’s chicest shopping street, Via Tornabuoni.

Santa Croce. The district centers on its namesake basilica, which is filled with the tombs of Renaissance luminaries. The area is also known for its leather shops, some of which have been in operation for centuries.

The Oltrarno. Across the Arno you encounter the massive Palazzo Pitti and the narrow streets of the Santo Spirito district, which is filled with artisans’ workshops and antiques stores. A climb to Piazzale Michelangelo gives you a spectacular view of the city.

Planning

Making the Most of Your Time

Even for the most dedicated art enthusiast, trying to take in Florence’s abundance of masterpieces can turn into a headache—there’s just too much to see. In fact, the surfeit of art and wonders has given rise to a “malady” to which foreign tourists are especially susceptible: “Stendhal’s syndrome,” named after the 19th-century French novelist, who was the first to describe it in print. The symptoms can be severe: confusion, dizziness, disorientation, depression, and sometimes persecution anxiety and loss of identity. Some victims immediately suspect food poisoning, but the true diagnosis is far more outlandish. They are suffering from “art poisoning,” brought on by overexposure to so-called Important Works of High Culture. The victims seems to view Florentine art as an exam (Art History 101, 10 hours per day, self-taught, pass/fail), and they are terrified of flunking.

Obviously, the art of Florence should not be a test. So if you are not an inveterate museum goer or church collector, take it easy. Remember to pace yourself. Allow time to wander and follow your whims, and ignore any pangs of guilt if you’d rather relax in a café and watch the world go by than trudge on sore feet through another breathtaking palace or church. Remember: Florence isn’t a city that can be “done.” It’s a place you can return to again and again, confident there will always be more treasures to discover.

Now that you had those advisos, take heart: with some planning, you can see Florence’s most famous sights in a couple of days. Start off at the city’s most awe-inspiring work of architecture, the Duomo, climbing to the top of the dome if you have the stamina. On the same piazza, check out Ghiberti’s bronze doors at the Battistero. (They’re actually high-quality copies; the Museo dell’Opera del Duomo has the originals.) Set aside the afternoon for the Galleria degli Uffizi, making sure to reserve tickets in advance.

On Day 2, visit Michelangelo’s David in the Galleria dell’Accademia—reserve tickets here, too. Linger in Piazza della Signoria, Florence’s central square, where a copy of David stands in the spot the original occupied for centuries, then head east a couple of blocks to Santa Croce, the city’s most artistically rich church. Double back and walk across Florence’s landmark bridge, the Ponte Vecchio.

Do all that, and you’ll have seen some great art, but you’ve just scratched the surface. If you have more time, put the Bargello, the Museo di San Marco, and the Cappelle Medicee at the top of your list. When you’re ready for an art break, stroll through the Boboli Gardens or explore Florence’s lively shopping scene, from the food stalls of the Mercato Centrale to the chic boutiques of the Via Tornabuoni.

Hours

Florence’s sights keep tricky hours. Some are closed on Wednesday, some on Monday, some on every other Monday. Quite a few shut their doors each day (or on most days) by 2 in the afternoon. Things get even more confusing on weekends. Make it a general rule to check the hours closely for any place you’re planning to visit; if it’s someplace you have your heart set on seeing, it’s worthwhile to call to confirm.

Here’s a selection of major sights that might not be open when you’d expect. And be aware that, as always, hours can and do change.

The Uffizi and the Accademia are both closed Monday. All but a few of the galleries at Palazzo Pitti are closed Monday as well.

The Duomo closes at 3:30 on Thursday (as opposed to 5:30 on other weekdays, 4:45 on weekends). The dome of the Duomo is closed on Sunday.

The Battistero is open from noon until 7, Monday through Saturday, and on Sunday from 8:30 to 2.

The Bargello closes at 1:50 pm, and is closed entirely on alternating Sundays and Mondays. However, it’s often open much later during high season and when there’s a special exhibition on.

The Cappelle Medicee are closed on alternating Sundays and Mondays.

Museo di San Marco closes at 1:50 on weekdays but stays open until 7 on weekends—except for alternating Sundays and Mondays, when it’s closed entirely.

Palazzo Medici-Riccardi is closed Wednesday.

Reservations

At most times of day you’ll see a line of people snaking around the Uffizi. They’re waiting to buy tickets, and you don’t want to be one of them. Instead, call ahead for a reservation (055/294883; reservationists speak English). You’ll be given a reservation number and a time of admission—the further in advance you call, the more time slots you’ll have to choose from. Go to the museum’s reservation door at the appointed hour, give the clerk your number, pick up your ticket, and go inside. You’ll pay €4 for this privilege, but it’s money well spent. You can also book tickets online through the website www.polomuseale.firenze.it; the booking process takes some patience, but it works.

Use the same reservation service to book tickets for the Galleria dell’Accademia, where lines rival those of the Uffizi. (Reservations can also be made for the Palazzo Pitti, the Bargello, and several other sights, but they usually aren’t needed.) An alternative strategy is to check with your hotel—many will handle reservations.

Getting Here and Around

Air Travel

Aeroporto A. Vespucci.
Florence’s small Aeroporto A. Vespucci, commonly called Peretola, is just outside of town, and receives flights from Milan, Rome, London, and Paris. | 10 km (6 miles) northwest of Florence | 50127 | 055/30615 | www.aeroporto.firenze.it.

To get into the city center from the airport by car, take the autostrada A11. A Sita bus will take you directly from the airport to the center of town. Tickets may be purchased on the bus.

Aeroporto Galileo Galilei.
Pisa’s Aeroporto Galileo Galilei is the closest landing point with significant international service, including a few direct flights from New York each week on Delta. Sadly, the flight is seasonal and shuts down when it’s cold outside. It’s a straight shot down the SS67 to Florence. A train service connects Pisa’s airport station with Santa Maria Novella, roughly a 1 hour trip. Trains start running about 7 am from the airport, 6 am from Florence, and continue service every hour until about 11 pm from the airport, 10 pm from Florence. | 12 km (7 miles) south of Pisa and 80 km (50 miles) west of Florence | 56121 | 050/849300 | www.pisa-airport.com.

Florence Air Terminal.
For flight information, call the airport or Florence Air Terminal—which, despite the misleading name, is simply an office at the Santa Maria Novella train station, around the corner from train tracks 1 and 2. | Stazione Centrale di Santa Maria Novella | 50100 | 055/216073.

Bus Travel

Long-distance buses provide inexpensive if somewhat claustrophobic service between Florence and other cities in Italy and Europe. Lazzi Eurolines and SITA are the major lines; they have neatly divided up their routes, so there’s little overlap.

Lazzi Eurolines.
Via Mercadante 2 , Santa Maria Novella | 50231 | 055/363041 | www.lazzi.it.

SITA.
Via Santa Caterina da Siena 17/r , Santa Maria Novella | 50123 | 055/47821 | www.sita-on-line.it.

Car Travel

Florence is connected to the north and south of Italy by the Autostrada del Sole (A1). It takes about an hour and a half of driving on scenic roads to get to Bologna (although heavy truck traffic over the Apennines often makes for slower going), about three hours to Rome, and three to 3½ hours to Milan. The Tyrrhenian Coast is an hour west on the A11.

An automobile in Florence is a major liability. If your itinerary includes parts of Italy where you’ll want a car (such as Tuscany), pick the vehicle up on your way out of town.

Train Travel

Florence is on the principal Italian train route between most European capitals and Rome, and within Italy it’s served frequently from Milan, Venice, and Rome by Intercity (IC) and nonstop Eurostar trains.

Stazione Centrale di Santa Maria Novella.
Florence’s main train station, Stazione Centrale di Santa Maria Novella, is in the center of town. Avoid trains that stop only at the Campo di Marte or Rifredi stations, which are not convenient to the city center. | 892021 | www.trenitalia.com.

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Public Transportation in Florence

Buses

Florence’s flat, compact city center is made for walking, but when your feet get weary you can use the efficient bus system, which includes small electric buses making the rounds in the center. Buses also climb to Piazzale Michelangelo and San Miniato south of the Arno.

Maps and timetables for local bus service are available for a small fee at the newsagent directly outside the Santa Maria Novella train station, or for free at visitor information offices. Tickets must be bought in advance from tobacco shops, newsstands, automatic ticket machines near main stops, or ATAF booths. The ticket must be canceled in the small validation machine immediately upon boarding.

You have several ticket options, all valid for one or more rides on all lines. A €1.20 ticket is good for one hour from the time it’s first canceled. A multiple ticket—four tickets, each valid for 70 minutes—costs €4.50. A 24-hour tourist ticket costs €5. Two-, three-, and seven-day passes are also available.

Taxis

Taxis usually wait at stands throughout the city (in front of the train station and in Piazza della Repubblica, for example), or you can call for one (055/4390 or 055/4798). The meter starts at €3.20, with extra charges at night, on Sunday, for radio dispatch, and for luggage. Women out on the town after midnight seeking taxis are entitled to a 10% discount on the fare; you must, however, request it.

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Visitor Information

The Florence tourist office, known as the APT (055/290832 | www.firenze.turismo.toscana.it), has branches next to the Palazzo Medici-Riccardi, across the street from Stazione di Santa Maria Novella (the main train station) and around the corner from the Basilica di Santa Croce. The offices are generally open from 9 in the morning until 7 in the evening. The multilingual staff will give you directions (but usually not free maps) and the latest on happenings in the city. It’s particularly worth a stop if you’re interested in finding out about performing-arts events. The APT Web site provides information in both Italian and English.

Eating and Drinking Well in Florence

In Florence simply prepared meats, grilled or roasted, are the culinary stars, usually paired with seasonal vegetables like artichokes, porcini, and cannellini beans. Bistecca’s big, but there’s plenty more that tastes great on the grill.

Traditionalists go for their gustatory pleasures in trattorie and osterie, places where decor is unimportant, placemats are mere paper, and service is often perfunctory. Culinary innovation has come slowly to this town, though some cutting-edge restaurants have been appearing, usually with young chefs who have worked outside Italy. Though some of these places lack charm (many have an international, you-could-be-anywhere feel), their menus offer exciting, updated versions of Tuscan classics.

By American standards, Florentines eat late: 1:30 or 2 is typical for lunch and 9 for dinner. Consuming a primo, secondo, and dolce (first and second course and dessert) is largely a thing of the past, and no one looks askance if you don’t order the whole nine yards. For lunch, many Florentines simply grab a panino and a glass of wine at a bar. Those opting for a simple trattoria lunch often order a plate of pasta and dessert.

Stale and Stellar

Florence lacks signature pasta and rice dishes, perhaps because it has raised frugality with bread to culinary craft. Stale bread is the basis for three classic Florentine primi: pappa al pomodoro, ribollita, and panzanella. “Pappa” is made with either fresh or canned tomatoes and that stale bread. Ribollita is a vegetable soup fortified with cavolo nero (sometimes called Tuscan kale), cannellini beans, and thickened with bread. Panzanella, a summertime dish, is reconstituted Tuscan bread combined with tomatoes, cucumber, and basil. They all are greatly enhanced with a generous application of fragrant Tuscan olive oil.

A Classic Antipasto: Crostini di Fegatini

This beloved dish consists of a chicken-liver spread, served warm or at room temperature, on toasted, garlic-rubbed bread. It can be served smooth, like a pâté, or in a rougher spread. It’s made by sautéing chicken livers with finely diced carrot and onion, enlivened with the addition of wine, broth, or Marsala reductions, and mashed anchovies and capers.

A Classic Secondo: Bistecca Fiorentina

The town’s culinary pride and joy is a thick slab of beef, resembling a T-bone steak, from large white oxen called chianina. The meat’s slapped on the grill and served rare, sometimes with a pinch of salt.

It’s always seared on both sides, and just barely cooked inside (experts say five minutes per side, and then 15 minutes with the bone sitting perpendicularly on the grill). To ask for it more well done is to incur disdain; most restaurants simply won’t serve it any other way but rare.

A Classic Contorno: Cannellini Beans

Simply boiled, they provide the perfect accompaniment to bistecca. The small white beans are best when they go straight from the garden into the pot. They should be anointed with a generous outpouring of Tuscan olive oil; the combination is oddly felicitous, and it goes a long way toward explaining why Tuscans are referred to as mangiafagioli (bean eaters) by other Italians.

A Classic Dolce: Biscotti di Prato

These are sometimes the only dessert on offer, and are more or less an afterthought to the glories that have preceded them. Biscotti means twice-cooked (or, in this case, twice baked). They’re hard almond cookies that soften considerably when dipped languidly into vin santo (“holy wine”), a sweet dessert wine, or into a simple caffè.

A Classic Wine: Chianti Classico

This blend from the region just south of Florence relies mainly on the local, hardy Sangiovese grape; it’s aged for at least one year before hitting the market. (Riserve—reserves—are aged at least an additional six months.)

Chianti is usually the libation of choice for Florentines, and it pairs magnificently with grilled foods and seasonal vegetables. Traditionalists opt for the younger, fruitier (and usually less expensive) versions often served in straw flasks. You can sample Chianti classico all over town, and buy it in local salumerie (delicatessens) enoteche (wine bars), and supermarkets.

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