The Palazzo Vecchio Museum and Tower Florence

Palazzo della Signoria in Florence: The Exterior Appearance

Visiting Palazzo Vecchio in Florence means immersing oneself in a timeless world. The entrance to this marvel showcases neo-Gothic arches and mullioned windows adorned with rich framing. Observing the battlements of the balcony and Arnolfo’s tower (Torre di Arnolfo), you’ll notice that Palazzo Vecchio blends the styles of two historic political factions – the Guelphs and the Ghibellines – who fiercely clashed between the 12th and 14th centuries. You’ll see battlements with both square tops and swallowtail ends. The balcony features underlying arches, within which the symbolic attributes of the Florentine Republic are depicted through a series of crests:

• The Florentine people and public matters, represented by a red cross on a white background.
• The Guelphs, symbolized by a red lily on a white background.
• The Ghibellines, a white lily on a red background.
• The relationship between the cities of Florence and Fiesole, represented by red and white colors dividing the crest.
• Loyalty to the papacy, with keys on a red background.
• The Signoria, with the word “Libertas” on a blue background.
• The Order of the Guelf Party, with an eagle preparing to plant its paws in the scales of a dragon.

Until the 19th century, Palazzo Vecchio featured an “aringhiera,” a space dedicated to the Priori to witness ceremonies held in the enchanting Piazza della Signoria, and a broader staircase resized during Renaissance renovations.

The entrance portal, adorned with two marble elements crafted by sculptors Vincenzo de’ Rossi and Bandinelli – representing the masculine and feminine – has always been accompanied by two sculptures, which currently correspond to a replica of Michelangelo’s David and Bandinelli’s Hercules and Cacus. Around 1450, these positions were occupied by Donatello‘s masterpieces, Judith and Holofernes, and the Marzocco, the symbolic lion of Florence.

By lifting your gaze, you’ll notice two marble lions against a blue background quilted with lilies, flanking a monogram of Christ the King and a trigram bearing the inscription “Rex Regum Et Dominus Dominantium” – strongly advocated by Cosimo I.

Last but not least, the central element of Palazzo Vecchio, the Tower of Arnolfo, also known as the Clock Tower, was built around 1310. An intriguing fact is its slightly off-center position, leaning slightly to the south, of the Florentine symbol. It features architecturally fascinating solutions, such as the pronounced protrusion compared to the structure above.

The Tower of Arnolfo hosted prisoners like Cosimo the Elder and Girolamo Savonarola inside its small chamber. Three bells within the tower’s chamber ring: the striking bell, the noon bell, and the Martinella. At the top stands a Marzocco of about two meters: the creature supports a staff with three paws, ending in the iconic Florentine lily.

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Palazzo Vecchio in Florence: What to See in the Courtyards

Palazzo Vecchio boasts five entrances to access the ground floor, where you’ll find the three courtyards. Among them are the Porta di Tramontana to the north, the Porta della Dogana, which once led to the offices, the entrance from Via Leoni with a distinct Medici emblem, and the security door on Via della Ninna, emerging onto a secret passage built by order of the Duke of Athens.

You can reach the first courtyard, or the Michelozzo Courtyard, through the main entrance from Piazza della Signoria, immersing yourself in Florence’s face changed in 1565: the wedding of Francesco I and Joanna of Austria. Much like the Ponte Vecchio, this palace area has been completely transformed, adorned with exquisite Mannerist decorations. Admire the vaults adorned with grotesques and the paintings in the lunettes, beautifully preserved. Keep a keen eye out and take advantage of the views of the cities within the Habsburg Empire, specifically created for Archduchess Joanna of Austria.

A small fountain, situated where the old well once stood, was designed by Vasari and Ammannati and features Verrocchio‘s statue called Putto with Dolphin, now replaced with a copy. In 1592, Pierino da Vinci crafted the dramatic sculpture of Samson and the Philistine, placed within a niche. The biblical character wields a jawbone of an ass, poised to strike it against the trembling figure of a man crushed beneath his weight.

On the left side of the courtyard is the entrance to the Armory Chamber, the only one that has retained its original appearance from 1312. The Porta di Tramontana overlooks it.

In the second courtyard, also known as the Dogana Courtyard, you’ll find the pillars supporting the massive hall on the second floor, called the Hall of the Five Hundred. Before the flood of the Arno River in 1844, this area was used to store goods from outside, awaiting collection by the owner, who would pay the corresponding tax. Today, the courtyard houses the museum’s ticket office and the bookstore.

From the municipal offices, you can admire the third courtyard or the new courtyard, designed by Vasari. Compared to the first and second, it is much simpler and less well-preserved, having lost architectural elements like balconies and the loggia.

Palazzo Vecchio Inside: Rooms Waiting to Be Explored

Among the beauties of Palazzo Vecchio in Florence, there are dozens of rooms of great artistic and cultural value, among which we highly recommend including the already mentioned Hall of the Five Hundred on the first floor, mainly dedicated to the Medici family.

Here’s a detailed description of what you’ll find in the marvelous rooms of Palazzo Vecchio museum:

The Hall of the Five Hundred

The Hall of the Five Hundred, created by Cronaca, is a symbol that encompasses history and politics, ancient and modern. With its vastness of fifty-four meters by twenty-three, it once accommodated five hundred members of the Grand Council during the rule of the Savonarola and now serves as the venue for official political ceremonies. The iconic room has also been the backdrop for iconic films “Hannibal” by Ridley Scott and “Inferno” by Ron Howard, in 2001 and 2016, respectively. Adorning the hall’s walls are six enormous frescoes depicting the decisive phases of Florence’s battles against Siena and Pisa.

Raising your gaze, you’ll marvel at the splendid panels designed and executed by Vasari, illustrating episodes centered around the life of Cosimo I to glorify his image. Bandinelli, for the Grand Duke, created “L’udienza,” an elevated level that he used to receive people in his presence.

The Studiolo

The Studiolo of Francesco I is yet another masterpiece by Vasari and his apprentices, entirely adorned with the typical style of Mannerism. Every inch of this small room is covered in artworks: you’ll find bronze statuettes by Giambologna and Amedeo Ammanati, portraits of Cosimo I and Eleonora di Toledo by Alessandro Allori, and a small staircase leading to the Grand Duke’s Treasure.

Quartieri Monumentali

The rooms called the Quartieri Monumentali, used by the mayor to welcome high officials and informal guests, were designed specifically to pay homage to the Medici family. Among them, Giovanni di Lorenzo de’ Medici, son of Lorenzo the Magnificent, has gained an honorable place within the room dedicated to him, bearing his pontifical name, which he held from 1513 until he died in 1521. The Sala Leone X is a monument to his person, immortalized in timeless images depicting his life, accompanied by “The Capture of Milan by the French,” “The Battle of San Leo,” and marble busts representing him, Duke Giuliano di Nemours, Duke Lorenzo di Urbino, and Clement VII.

The Room of Cosimo the Elder narrates episodes of his exile through the ceiling painting and niches that further illustrate his life, patronage activities, and other important events, such as the moment he’s presented with plans for the construction of the San Lorenzo Church.

The Room of Lorenzo the Magnificent celebrates the life of the Tuscan Grand Duke, whose title “Magnificent” is owed to his fervent support of arts and culture. Here, you’ll see the portrait of his brother Giuliano de’ Medici, the visit to the court of Ferdinand of Aragon, his regular association with intellectuals and artists of all kinds, the capture of Sarzana, and the portrait of his son, Leo X.

In the Room of Cosimo I and the one dedicated to his father, the Room of Giovanni dalle Bande Nere, the celebration of the Medici family continues, with frescoed ceilings depicting triumphant scenes, highlighting their qualities as military leaders and brilliant politicians. From the Room of Cosimo I, you can reach the Writing Room, where the painting of Caesar writing the commentaries provides a vivid glimpse of the atmosphere that once permeated the space.

The Chapel of Saints Cosmas and Damian was specifically built for the patron saints of the Medici family, where a gentle copy of Raphael’s “Madonna dell’Impannata” takes center stage. The original has been moved to Palazzo Pitti. Here, you can admire the ancient 16th-century flooring.

The Room of Clement VII narrates the papacy of Giulio Zanobi, de’ Medici, who held office from 1523 until his death in 1534. Here, too, you can learn about the pontiff’s history through dedicated works, including Clement naming his nephew Ippolito de’ Medici a cardinal and Clement VII opening the Holy Door for the 1525 Jubilee.

The frescoed vault of the retreat, created by painter Lorenzo Sabatini, is a fusion of fantastic figures with strong symbolic value, concluding the path through the rooms. From here, you can access the Room of the Two Hundred, where the city council convenes, and the Room of the Eight, where you can admire Marco da Faenza’s “Annunciation.”

After ascending the impressive Vasari staircase, you’ll find yourself on the second floor of Palazzo Vecchio, where the two Quarters, the Audience Room and the Room of the Lilies, stand out in grandeur.

Apartments of the Elements

You can visit the Apartments of the Elements here, comprising the private chambers of Cosimo I, composed of seven rooms. Allegorical figures representing the four elements of water, fire, earth, and air converge on the painting of Saturn, mutilating the sky on the ceiling and adorning the Elements Room. Following this, you’ll step into a space entirely dedicated to allegories of the months and the figure of the goddess Opi, to whom this second room is dedicated. The Room of Ceres opens with the fresco of the fertility goddess searching for her beloved daughter Proserpina, whose abduction she will mourn desperately.

Jupiter, whose childhood is depicted in the company of nymphs and his nurse, the Goat Amalthea, takes center stage in the fourth room. Once an open area, the Terrace of Juno illustrates the visitor with the might of this glorious figure – mother of the gods – depicted on a chariot pulled by peacocks. You can recognize the famous twelve labors in the coffered ceiling in the Room of Hercules.

Finally, you can admire the panorama from the beautiful Terrace of Saturn, also frescoed with events related to the titan, father of the Olympian gods, including the famous “Saturn Devouring His Son.”

You access the  Apartments of Eleonora of Toledo from the Elements Room, created in honor of Eleonora di Toledo. The first room, featuring decorations by Ridolfo del Ghirlandaio, leads straight to the Vasari Corridor, which continues to the Uffizi Gallery. You can also access the Writing Room and the Chapel of Eleonora from here, where the biblical tale of Moses comes to life in Bronzino’s paintings. The faithfulness, patriotism, righteousness, and all admirable qualities of Eleonora di Toledo are embodied by the figures to whom additional rooms in this quarter are dedicated: the Room of Esther, the Room of the Sabines, the Room of Penelope, and the Room of Gualdrada.

The Chapel of the Priors is where the shrine of Saint Bernard is kept, where Ghirlandaio once again showcased his genius, covering the walls with his exquisite frescoes. The priors came here to pray, and Girolamo Savonarola did the same before his condemnation to death.

The Audience Room of Palazzo Vecchio features two exquisitely refined elements: the gold-laminated roof and the marble door leading to the Room of the Lilies, both the work of Giuliano da Maiano. Artistic feats that leave an indelible mark in memory.

The Room of Lilies was created to honor the alliance between the Florentine Guelfs and the Angevins, whose symbol is a gold and blue lily without stamens. This symbol adorns the walls and ceiling of this room. Here, you can admire works such as Saint John the Baptist and the cherubs, the Apotheosis of Saint Zanobius with deacons Eugenius and Crescentius, the portraits of Petrarch and Dante, and a copy of Donatello‘s splendid Judith and Holofernes.

The adjacent Geographical Maps Room or Guardaroba, born from the masterful collaboration between Giorgio Vasari and Dionigi Nigetti, safeguarded the treasures of the Tuscan grand dukes. Notable elements include the Mappa Mundi and scientific interest maps by Ignazio Danti.

Still from the Room of Lilies, you can access the Old Chancellery, the office of the Republic’s secretary, notably Niccolò Machiavelli, the author of the renowned work “The Prince.” His terracotta bust derived from his death mask; a portrait can be admired here.

In the Salotta, the Expulsion of the Duke of Athens, an event that occurred in 1343, is depicted by Orcagna.

Inside the Album Studio, Cosimo I used a small window to discreetly observe the proceedings in the Hall of the Five Hundred.

Along the path from the Album Studio to the upper Ballatoio, you can visit the Room of Flags, an ancient tapestry restoration workshop.

The mezzanine

The mezzanine is a spacious area comprising the dining room, a corner room, Cosimo I‘s study, and the Room of Golden Lilies. These were places where Maria Salviati, Cosimo’s mother lived. These rooms now house the Loeser Collection. Here, you can find various interpretations of the Madonna and Child, painted by different artists, including Jacopo del Sellaio, Lorenzo di Credi, Pietro Lorenzetti, and Berruguete, or sculpted by Donatello, Michelozzo, and an apprentice of Adolfo del Cambio.

Two Romanesque sculptures decorate the fireplace, and a peacock mosaic is above the corner room’s door. You’ll find two groups of Warriors and Knights by Rustici on the credenza in the Room of Golden Lilies. The exhibition is further enriched with a bronze by Benvenuto Cellini, “Autumn,” and additional bronzes and wax figurines, including the Holy Family, Hercules, and the Hydra.

Curiosities about Palazzo Vecchio in Florence:

Ufologists often refer to Palazzo Vecchio, specifically to a painting preserved in one of the rooms, claiming it is the oldest depiction of flying saucers. Are you curious about which painting we’re referring to? Keep reading, and you’ll find more interesting tidbits about one of Florence’s major attractions!

A face is carved into Palazzo Vecchio‘s right side, visible in pietraforte. It is said that Michelangelo wanted to depict a prisoner before their execution; however, this is just one of many hypotheses. There are also rumors about how this engraving was made, with the most famous suggesting that the sculptor executed it while turned around.

Palazzo Vecchio has been the seat of the Florentine government for about seven hundred years. An extraordinary achievement!

Its creator, architect Arnolfo di Cambio, is thought to have been inspired by the Palazzo dei Priori in Volterra. Hence, the initial name of Palazzo Vecchio, meaning “Palace of the Priori of Florence.”

Prisons were installed under the arches of the ancient Roman theater of Florentia in the 13th century.

Palazzo Vecchio bears various inscriptions, including one that recommends not wasting public water, punishable under the decree of August 21, 1646.

The painting we mentioned is the Madonna and Child with Infant St. John (Madonna col bambino e San Giovannino).

Pay attention: Can you spot the gray disc-shaped object emitting rays on the right?

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Palazzo Vecchio in Florence: ticket prices, opening hours, and dates:

Ticket prices:

The ticket is completely free for the following reasons:

Minors;
Tourist guides enrolled in the 2016 Tourist Guide Course and interpreters;
ICOM, ICOMOS, and ICCROM members;
People with disabilities and their companions;
School trips.

Online tickets can be purchased on this website to visit Palazzo Vecchio in Florence.

Palazzo Vecchio in Florence: how to get there

Palazzo Vecchio can only be reached on foot. Using Santa Maria Novella Station as a reference point:

Reach Piazza Santa Maria Novella and continue towards Via Belledonne, then turn left onto Via della Spada and continue on Via Strozzi. You’ll find yourself in Piazza della Repubblica on the right. Then, turn right onto Via Calimala and left onto Via Vaccheria, leading you to Piazza della Signoria.

After Via Spada, you can continue on Via de’ Tornabuoni to the right, then go left onto Via Porta Rossa, and you’ll find yourself on Via Calimala.

Palazzo Vecchio in Florence – Map

Piazza della Signoria, 50122 Firenze FI