Livorno Shore Excursion: Pisa and Florence Private Day Trip

When your cruise ship docks in Livorno and you have only a single day to see the surrounding Italian towns of Pisa and Florence, you’ll need a privately guided shore excursion to see the best of these picturesque cities. On this trip from Livorno, immerse yourself in Italian life, explore the historic streets of Florence and see the famous Leaning Tower of Pisa before returning to your cruise ship.

The Leaning Tower of Pisa (Torre pendente di Pisa) is the campanile, or freestanding bell tower, of the cathedral of the Italian city of Pisa, known worldwide for its unintended tilt. The tower is situated behind the Pisa Cathedral and is the third oldest structure in the city’s Cathedral Square (Piazza del Duomo), after the cathedral and the Pisa Baptistry.

The tower’s tilt began during construction in the 12th century, caused by an inadequate foundation on ground too soft on one side to properly support the structure’s weight. The tilt increased in the decades before the structure was completed in the 14th century. It gradually increased until the structure was stabilized (and the tilt partially corrected) by efforts in the late 20th and early 21st centuries.

The height of the tower is 55.86 metres (183.27 feet) from the ground on the low side and 56.67 metres (185.93 feet) on the high side. The width of the walls at the base is 2.44 m (8 ft 0.06 in). Its weight is estimated at 14,500 tons. The tower has 296 or 294 steps; the seventh floor has two fewer steps on the north-facing staircase. In 1990 the tower leaned at an angle of 5.5 degrees, but following remedial work between 1993 and 2001 this was reduced to 3.97 degrees, reducing the overhang by 45 cm. It lost a further 4 cm of tilt in the two decades to 2018.

The square of the Duomo of Pisa – dominated by the Cathedral, the Baptistery, the Bell Tower and Graveyard (the Campo Santo) – represents an architectural whole characterized by a really surprising stylistic accordance, to the point of having been compared by Le Corbousier to the acropolis of Athens. The choice of materials, with an almost absolute supermacy of the white marble, and the constant presence of blind arches at the base and practicable small loggias in the upper orders lead to the thought of single project, almost the expression of the group of artists that works well together in the same building site in a relatively short lapse of time. Still, this is the result of long process that saw various architects, sculptors and painters taking turns, in the space of more than three centuries, and amongthem some leading personalities who have marked their epoch.

Each visitor entering this space is rapt in the sudden vision of the four monuments, a vision that looks ‘miraculous’, quoting the fortunate definition coined by D’Annunzio. The buildings seem to spring up from a wide regular lawn, which however dates back to the XIX century, when th square was redesigned in neo-medieval slant, clearing it from many more or less poor buildings and from the vegetable gardens that were still tended there. Also because of these uses, the one of Pisa has no comparison with other medieval squares of the cathedral that, from Parma to Modena, from Siena to Perugia, see the structure of the city radiating from them. Nevertheless, this unusual decentred area has been the spiritual, and not only, heart of the city of Pisa.

The bridge spans the Arno at its narrowest point where it is believed that a bridge was first built in Roman times, when the via Cassia crossed the river at this point. The Roman piers were of stone, the superstructure of wood. The bridge first appears in a document of 996. After being destroyed by a flood in 1117 it was reconstructed in stone but swept away again in 1333 save two of its central piers, as noted by Giovanni Villani in his Nuova Cronica. It was rebuilt in 1345.Giorgio Vasari recorded the traditional view of his day that attributed its design to Taddeo Gaddi — besides Giotto one of the few artistic names of the trecento still recalled two hundred years later. Modern historians present Neri di Fioravanti as a possible candidate. Sheltered in a little loggia at the central opening of the bridge is a weathered dedication stone, which once read Nel trentatrè dopo il mille-trecento, il ponte cadde, per diluvio dell’ acque: poi dieci anni, come al Comun piacque, rifatto fu con questo adornamento. The Torre dei Mannelli was built at the southeast corner of the bridge to defend it.

The bridge consists of three segmental arches: the main arch has a span of 30 meters (98 feet) the two side arches each span 27 meters (89 feet). The rise of the arches is between 3.5 and 4.4 meters (11½ to 14½ feet), and the span-to-rise ratio 5:1.

It has always hosted shops and merchants who displayed their goods on tables before their premises, after authorization of the Bargello (a sort of a lord mayor, a magistrate and a police authority). The back shops (retrobotteghe) that may be seen from upriver, were added in the seventeenth century.

During World War II, the Ponte Vecchio was not destroyed by Germans during their retreat on the advance of the liberating British 8th Army on 4 August 1944, unlike all other bridges in Florence. This was allegedly, according to many locals and tour guides, because of an express order by Hitler. Access to Ponte Vecchio was, however, obstructed by the destruction of the buildings at both ends, which have since been rebuilt using a combination of original and modern design.

This Florentine piazza was designed by architect Giuseppe Poggi and built in 1869 on a hill just south of the historic center, during the redevelopment of Oltrarno, the left (South) bank of the Arno river. In 1869, Florence was the capital of Italy and the whole city was involved in an urban renewal, the so-called “Risanamento” or the “Renovation” of the city’s neighborhoods. Lungarni (riverside walkways; “lungarno”, singular) were built on the riversides. On the right bank, the fourteenth-century city walls were removed and turned into the Viali di Circonvallazione, mimicking the French “boulevard” design, six lanes wide and lined with trees. On the left bank winding up the hill of San Miniato the Viale dei Colli was built, a tree-lined street over 8 kilometers long ending at the Piazzale Michelangelo which was built as a terrace with a panoramic view of the city.

Bronze cast of David facing Florence from the center of the square

The square, dedicated to the Renaissance sculptor Michelangelo, has bronze copies of some of his marble works found elsewhere in Florence: the David and the four allegories of the Medici Chapel of San Lorenzo. The monument was brought up by nine pairs of oxen on 25 June 1873. Poggi designed the loggia in the neoclassical-style that dominates the whole terrace, which today houses a restaurant. Originally it was intended to house a museum of works by Michelangelo, never realized. In the wall of the balcony, under the loggia, there is an epigraph in capital letters referring to his work: Poggi turned this into his monument in 1911.

The view captures the heart of Florence from Forte Belvedere to Santa Croce, across the lungarni and the bridges crossing the Arno, including the Ponte Vecchio, the Duomo, Palazzo Vecchio, the Bargello and the octagonal bell tower of the Badia Fiorentina. Beyond the city are the hills of Settignano and Fiesole.

The Piazzale Michelangelo can be accessed by car along the tree-lined Viale Michelangelo, constructed at the same time, or by walking the stairs or going up the ramps from the Piazza Giuseppe Poggi, also known as the “Poggi Ramps” in the district of San Niccolò.

The Basilica di Santa Croce (Basilica of the Holy Cross) is the principal Franciscan church in Florence, Italy, and a minor basilica of the Roman Catholic Church. It is situated on the Piazza di Santa Croce, about 800 meters south-east of the Duomo. The site, when first chosen, was in marshland outside the city walls. It is the burial place of some of the most illustrious Italians, such as Michelangelo, Galileo, Machiavelli, the poet Foscolo, the philosopher Gentile and the composer Rossini, thus it is known also as the Temple of the Italian Glories

Florence Cathedral, formally the Cattedrale di Santa Maria del Fiore; in English “Cathedral of Saint Mary of the Flower”), is the cathedral of Florence, Italy (Italian: Duomo di Firenze). It was begun in 1296 in the Gothic style to a design of Arnolfo di Cambio and was structurally completed by 1436, with the dome designed by Filippo Brunelleschi.[1] The exterior of the basilica is faced with polychrome marble panels in various shades of green and pink, bordered by white, and has an elaborate 19th-century Gothic Revival façade by Emilio De Fabris.

The cathedral complex, in Piazza del Duomo, includes the Baptistery and Giotto’s Campanile. These three buildings are part of the UNESCO World Heritage Site covering the historic centre of Florence and are a major tourist attraction of Tuscany. The basilica is one of Italy’s largest churches, and until the development of new structural materials in the modern era, the dome was the largest in the world. It remains the largest brick dome ever constructed.

Giotto’s Campanile is a free-standing campanile that is part of the complex of buildings that make up Florence Cathedral on the Piazza del Duomo in Florence, Italy.

Standing adjacent to the Basilica of Santa Maria del Fiore and the Baptistry of St. John, the tower is one of the showpieces of Florentine Gothic architecture with its design by Giotto, its rich sculptural decorations and its polychrome marble encrustations.

The slender structure is square in plan with 14.45 metre (47.41 ft) sides. It is 84.7 metres (277.9 ft) tall and has polygonal buttresses at each corner. The tower is divided into five stages.

The Palazzo Vecchio (Old Palace) is the town hall of Florence, Italy. It overlooks the Piazza della Signoria with its copy of Michelangelo’s David statue as well as the gallery of statues in the adjacent Loggia dei Lanzi.

Originally called the Palazzo della Signoria, after the Signoria of Florence, the ruling body of the Republic of Florence, it was also given several other names: Palazzo del Popolo, Palazzo dei Priori, and Palazzo Ducale, in accordance with the varying use of the palace during its long history. The building acquired its current name when the Medici duke’s residence was moved across the Arno to the Palazzo Pitti.

Consisting of two interconnected ogival shells, the cathedral’s octagonal dome was erected between 1418 and 1434 to a design which Filippo Brunelleschi entered in a competition in 1418 but which was only accepted, after much controversy, in 1420.

A masterpiece capable of withstanding lightning, earthquakes and the passage of time, it continues to enchant all those who observe it from afar. The dome has a diameter of 45.5 metres.

The competition that the Opera di Santa Maria del Fiore ran in 1418 was won by Brunelleschi, but work did not get under way until two years later and was not completed until 1434.

The cathedral of Florence was consecrated by Pope Eugene IV on 25 March 1436.

Brunelleschi’s astonishingly innovative approach involved vaulting the dome space without any scaffolding by using a double shell with a space in between. The inner shell (with a thickness of more than two metres) is made of light bricks set in a herringbone pattern and is the self-supporting structural element while the outer dome simply serves as a heavier, wind-resistant covering. The dome is crowned by a lantern with a conical roof, designed by Brunelleschi but only built after his death in 1446, while the gilt copper sphere and cross on top of the lantern, containing holy relics, was designed by Andrea del Verrocchio and installed in 1466.

The inner shell of the dome was frescoed by Giorgio Vasari and Federico Zuccari from 1572 to 1579, the subject matter chosen, namely the Last Judgement, reflecting the iconography adopted in the baptistry. The frescoes on the inner shell of the dome were the object of a thorough restoration between 1978 and 1994.

The Galleria dell’Accademia di Firenze, or “Gallery of the Academy of Florence”, is an art museum in Florence, Italy. It is best known as the home of Michelangelo’s sculpture David. It also has other sculptures by Michelangelo and a large collection of paintings by Florentine artists, mostly from the period 1300–1600, the Trecento to the Late Renaissance. It is smaller and more specialized than the Uffizi, the main art museum in Florence. It adjoins the Accademia di Belle Arti or academy of fine arts of Florence, but despite the name has no other connection with it.

It is famous worldwide for its outstanding collections of ancient sculptures and paintings (from the Middle Ages to the Modern period). The collections of paintings from the 14th-century and Renaissance period include some absolute masterpieces: Giotto, Simone Martini, Piero della Francesca, Beato Angelico, Filippo Lippi, Botticelli, Mantegna, Correggio, Leonardo, Raffaello, Michelangelo and Caravaggio, in addition to many precious works by European painters (mainly German, Dutch and Flemish). Moreover, the Gallery boasts an invaluable collection of ancient statues and busts from the Medici family, which adorns the corridors and consists of ancient Roman copies of lost Greek sculptures.

• Wheelchair accessible
• Infants and small children can ride in a pram or stroller
• Public transportation options are available nearby
• Specialized infant seats are available
• Transportation options are wheelchair accessible
• All areas and surfaces are wheelchair accessible
• Suitable for all physical fitness levels
• If you require wheelchair access, please request at time of booking. Only foldable wheelchair are allowed
• Baby seats are mandatory for infants, please request at time of booking
• A dress code is required to enter places of worship and selected museums. No shorts or sleeveless tops allowed. Knees and shoulders MUST be covered for both men and women. You may risk refused entry if you fail to comply with these dress requirements
• IMPORTANT: Accademia Gallery and Uffizi Museum, are NOT AVAILABLE on Mon and the first Sun of the month. You can upgrade your tour to include 3-hour private guide in Florence + timed entrance fees for Accademia or Uffizi, ONLY IF OPTION AVAILABLE AND BOOKED.

• Tour, Driver & Guide Uffizi
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  Pisa & Florence private day trip with driver plus guide in Florence for 3 hours and skip-the-line entry to the Uffizi gallery
  Pickup included
• Tour, Driver & Guide Accademia
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  Pisa & Florence private day trip with driver + guide for 3 hours in Florence + skip-the-line entry to the Accademia gallery
  Pickup included
• Tour with driver only
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  Pisa and Florence private day trip with English-speaking driver. (NO ENTRANCE FEES AND LICENSED GUIDE)
  Pickup included

• Private professional English-speaking driver
• ONLY IF AVAILABLE & RESERVED: 3hr in Florence with private guide & Uffizi skip-the-line tickets
• ONLY IF AVAILABLE & RESERVED: 3hr in Florence with private guide & Accademia skip-the-line tickets
• Worry-Free Shore Excursion Guarantee
• Private transport by air-conditioned sedan or minivan
• Port pickup and drop-off

• Food and drinks

Trending Florence Nearby Tours Likely To Sell Out

Opening hours are:

07:00 – 19:00 Monday to Sunday

Please be advised..

• This Tour is Provided by Prestige Rent.
• Tour Timezone & Starts at Europe/Rome.
• Mobile or paper ticket accepted.
• For a full refund, cancel at least 24 hours before the scheduled departure time.
• This Tour is Rated 4.5 Stars based on 192 valid reviews on VIATOR.
• Minimum 1 Travelers is required to book.
• Maximum 8 Travelers is accepted for booking.