Umbria is a small region with an unusual quantity of artistic treasures - within a reduced territory there are cities like Assisi, Perugia, Spoleto and... Orvieto.
Orvieto is a gem by itself and what makes it special is no doubt its magnificent Duomo, the cathedral. A medieval work of art, Orvieto Cathedral may remind you of some Tuscan examples you have seen but is much more than a Tuscany-inspired structure.
Mosaics, sculptures, bas-reliefs, frescoes and a peculiar story of miracles await you at the entrance! Here you will find a complete guide to the Duomo's history, cultural background, origins and a full guided tour through its wonders.
In this article:
Duomo di Orvieto: History and Cultural Background
Duomo di Orvieto: Your Visit
Duomo di Orvieto: Plan Your Visit
Duomo di Orvieto: History and Cultural Background
INTRODUCTION
The Italian region of Umbria is known for its immense medieval and Renaissance artistic patrimony and for the many treasures it keeps within a rather small territory.
However, a cathedral as grandiose as that of Orvieto is a view we would expect to see in bigger centers and that, indeed, may remind us of Siena, Florence or other cities which power was greater during their golden ages.
And yet, thanks to its strategic position between Tuscany and Rome, Orvieto has always had a role that may surprise you and justifies its Duomo's presence with the magnificent decorations we are about to discover. To understand what happened, we first need to take a quick jump into history and medieval devotion!
HISTORY OF ORVIETO CATHEDRAL
Premises
The history of Orvieto's Duomo began in the 13th century when the city was experiencing a phase of prosperity and relative political relevance.
When we mention politics in medieval Europe, and especially in Italy, we often include the Papacy, and so is the case here. During the Late Middle Ages, Orvieto saw its influence spiking thanks to the frequent visits of the Popes who, when traveling to and from Rome, would stop in the Umbrian city to rest or to find shelter from the Eternal City's summer heat.
Of course, as you may imagine, having such a special guest in town (with his numerous court) meant prestige but also the need to make sure Orvieto could keep up with the standard of the highborn - a goal not easy for a provincial urban center. So the more the visits increased, the more Orvieto began to question its present urban plan and to think of a new one.
By the late 1200s, a decision was to be made and a series of circumstances seemed to facilitate the process. In 1263, a miracle was said to have occurred in the nearby city of Bolsena (read about it here) and to have involved a very delicate topic for the Church at the time: the Transubstantiation during the Eucharist.
The legitimacy of the Eucharist, forever the most contested sacrament in the history of Christianity, was being threatened by several heresies and controversies in the mid-13th century and the Church was struggling to find a way to solve the issue. This is why, when the news of the miracle in Bolsena began to spread, the Papacy welcomed and exploited it: in 1264 the feast of the Corpus Domini, which precisely celebrates the Eucharist, was established in Orvieto, the most prestigious among the centers closest to Bolsena.
This occasion was seen as the right pretext to start the construction of a massive cathedral. However, before works could begin, the urban asset had to be modified: two churches, old and in a state of disrepair, stood right where the cathedral is now. They were demolished and, following a custom typical of medieval times, a new structure was erected in the very same spot (the soil was considered sacred and therefore could not be used otherwise).
The 3-century long construction of the Duomo
The first stone of the cathedral was laid on the 13th of November, 1290 at the presence of Pope Nicholas IV (1288-1292). From that moment, centuries would pass before the Duomo could be considered complete.
➊ Why did it take so long to build the Duomo?
While in 1290 Orvieto was a strategic city often visited by the Popes, changes would soon follow: first, from 1309 to 1377 the Papacy would reside in Avignon, France, thus depriving Orvieto of its role of papal residency; second, without the support of the Popes, the city evidently struggled to collect the resources and to sustain the costs of both the construction and the many artists' salaries, who did not reside in Orvieto and had to come from bigger centers, often Rome or Tuscany.
The first to design the cathedral was probably Arnolfo di Cambio (1245-1305 ca.), one of the greatest masters of the Late Middle Ages who, however, never actually worked on the building. The first recorded chief mason was Fra Bevignate da Perugia, followed by Giovanni di Ugoccione. The two architects began erecting a beautiful but unstable Romanesque structure that soon needed adjustments.
The main architect of the entire Duomo came right after and was called Lorenzo Maitani (1275-1330). Belonging to a different generation, he transformed the original plan into a Gothic cathedral and made several modifications to the structure, thus preventing it from collapsing. He also worked on the façade, which he managed to partially decorate before death took him in 1330, leaving the church incomplete.
After Maitani's additions, works would proceed slowly and unevenly. Andrea Pisano took over in 1347, followed by the Orcagna and several others (including artists who worked on the decorations as well), reaching the number of about 20. By the end of the 16th century when Ippolito Scalza (1532-1617) majorly intervened on the cathedral, this latter was still to be finished. In 1617, we may say the structure was almost over, although works never really ceased and, for this reason, the Opera del Duomo with its Fabbrica (workshop) is still active today.
Some of what we see today you may not recognize as medieval or from the Renaissance, and indeed it isn't: from 1890 onwards, attempts were made to eliminate later additions and heavily restore damaged parts to give the Duomo the impression of coming right from the Middle Ages. As of today, only preservation is allowed.
THE MIRACLE OF BOLSENA AND THE EUCHARIST
The history of Orvieto Cathedral is closely associated with that of the Miracle of Bolsena, an event that occurred in the nearby town of Bolsena and that was considered the right pretext to build a new massive cathedral for Orvieto and to foster the legitimacy of a much-contested sacrament of Christianity, the Eucharist.
The Miracle of Bolsena
In 1263 a Bohemian priest, Peter of Prague, found himself in Bolsena while journeying home from Rome. He had visited the center of Christianity because of some doubts that had haunted him regarding the true nature of the Transubstatantion during Eucharist, the transformation of the Host and wine used during mass in the true body and blood of Christ.
While in Rome, his doubts seemed to have cleared up but, during a night spent in Bolsena, his mind felt blurry again so he decided to say mass. While he was doing so, the Host he was about to use for the Eucharist began to bleed and stained both his linen robe and the church's marble.
The news of the miracle spread fast and was quickly interpreted as the evidence, sent by God themselves, of the legitimacy of the Eucharist and of the real presence of Christ. The bloodied robe of Peter, the Corporal, was safely kept and turned into a relic, transferred to the nearby Orvieto, shown during processions and stored in the new cathedral, where it still is today.
The Miracle of Bolsena left an important mark on Orvieto: to this day, the city commemorates the event and the Corpus Domini celebration with a solemn procession during which the Corporal is brought about the streets.
➜ Not a believer myself, I won't go deeper into the issue of this miracle being truthful or just a story - this is for you to choose! Many scholars have studied the Miracle and blood was indeed discovered on the Corporal, so who knows what the robe had actually seen. However, the Miracle no doubt occurred at a very handy moment for the Church, which was having a hard time coping with the ever-stronger voices rising against the Eucharist.
The Eucharist
The Eucharist is a sacrament among the most sacred for Christianity. It may be familiar to you as it is one of the most represented and crucial moments of Mass: it is when the priest takes the bread (Host) and the wine and reproduces the Last Supper of Christ before giving each attendant a Host for personal consumption and as a sign of redemption.
Known by the whole of Christianity, since the 16th century it has often been associated with Catholicism, for Protestants among others have historically expressed doubts regarding its validity.
Catholics actually believe in the presence of Christ (his body in the Host, his blood in the wine) during the Eucharist, while the majority of other Christians do not. Considering its delicate procedures and the assumed involvement of the actual body and blood of Christ, it has always been contested, even before Protestantism took in, and caused much trouble to the Church, including heresies and the birth of independent movements.
Duomo di Orvieto: Your Visit
THE BASICS
Full Name: Cattedrale di Santa Maria Assunta (Assumption of Mary's Cathedral)
What: Gothic cathedral with rich decorations, mosaics and cycles of paintings
Why: Historical significance, excellent examples of 14th- and 16th-century painting
Who: Lorenzo Maitani, Ippolito Scalza (architects), Luca Signorelli, Orcagna, Ugolino di Prete Ilario (artists)
Building Period: 1290-1617 (with interruptions), later modified in the 19th century
Current Status: façade and exterior heavily restored in the 1800s, interior partially restored but mostly intact, main chapels largely intact
Ticket to visit: Yes
ARCHITECTURE AND EXTERIOR
Piazza del Duomo
If just arrived in Orvieto and looking for the Duomo, you won't struggle much to find it: it stands in a small, airy square that it dominates completely, and it looks as if towering on top of a hill, with the sun illuminating it brightly.
The view is spectacular, but before we give our full attention to the protagonist here, let's take a look at the square we are in: it's Piazza del Duomo and the cathedral, as you may notice, is not the only ancient building we can spot.
➊ When looking at the Duomo's façade, turn your head right and search for a medieval brick structure: it's Palazzo Soliano and is known for having been the residence of the Popes who temporarily resided here during the Late Middle Ages. It was built starting from the 1260s, so right when Orvieto was flourishing and the cathedral was being initiated. Today, it is part of the MODO - Museo dell'Opera del Duomo di Orvieto and hosts Museo Emilio Greco. In front of it, turned to the cathedral, a small Neoclassical chapel.
➊ Now turn your back to the façade because behind you is an imponent orangey building, not medieval but slightly more recent: this is where you may decide to experience Orvieto Underground, a journey through the thousand-year-old tunnels that run below the city and that have been used by the inhabitants for centuries. The building is also the location for the city's tourist office, on the left.
➊ Then, on the right, at the corner of Lorenzo Maitani street, you should spot another building, a bit taller than the others around and Renaissant in style. On its façade, a sign: "Museo Claudio Faina e Museo Civico". This ancient residence today indeed hosts the Museo Claudio Faina, dedicated to the Etruscan era of Orvieto and its territory, and the Museo Civico, thus focusing on the city's history and culture.
➊ If you wander around the square, you will notice more buildings, mostly medieval-looking and hosting restaurants, cafés and more. Here, all around the cathedral, is where the core of the religious life of Orvieto took place and when its élite resided: those structures used to be the residences of the bishop and the canons (priests taking care of the cathedral).
Architecture
Despite having been built over 3 centuries and later re-adjusted, Orvieto's Duomo looks harmonious and overall Gothic in its style. The façade and the entire structure are characterized by horizontal and vertical lines and all sides replicate the white and black marble pattern you will see at your entrance.
The cathedral is cross-shaped, as usual, but the transept (the transversal part, the arm of the cross hosting the jewels of the Duomo, San Brizio and Corporale Chapels) was expanded and the buttresses were added later - they were not part of the original Romanesque church.
Façade
The façade is so richly decorated and finely made that it never fails to amaze visitors!
If you are familiar with Central Italy or are in Umbria after visiting Tuscany, at first sight, Orvieto's Duomo may remind you of that of Siena or Florence perhaps. Their style is indeed very similar and this is because in the 1300s Tuscany was the heart of Italian Gothic art - artists and architects working on the cathedral either came from Tuscany themselves or were heavily influenced by the mainstream style.
➊ This huge block is a game of geometry and shapes used to divide the space. The lower part (up to where the 3 portals open on arches) is all bas-reliefs and sculptures and is the most ancient portion of the façade: it was begun together with the whole building but was mostly made by Lorenzo Maitani in the early 1300s. ➜ Maitani also designed the façade as we see it today: the original plan for to have a Romanesque entrance, but Maitani, Gothic at heart, changed it. ➜ The bas-reliefs, exquisite examples of Gothic art, depict the story of humankind from the Creation until the Last Judgement, spanning from the Old and to the New Testament.
➊ The upper portion is dominated by vertical lines, triangles and sharp proportions. ➜ It also shines bright, as golden mosaics constellate its surface: they were made by several artists over the decades and, although they all follow a rather Gothic style, they were created from 1321 but then restored over the centuries, until they almost fully lost their original appearance. They represent scenes from the life of Mary (to whom the Duomo is dedicated). ➜ The spectacular rose window is the mid-1300s work of Andrea di Cione, known as Orcagna, who also worked inside the Corporale Chapel. Around the windows are 12 niches with 12 Prophets, the works of the 15th century.
➊ Between the portals and on top of them are bronze statues: they represent the Four Evangelists, then two Angels and the Agnus Dei. Made by several artists, including Lorenzo Maitani, they were restored in the 1800s.
➊ The bronze portals are modern works of the sculptor Emilio Greco (1913-1995), to whom the nearby Museo Emilio Greco is dedicated.
INTERIOR
If you are visiting the Duomo on a sunny day, then take off your shades when entering it: the interior does not let much of the sunlight in and the result is fascinatingly dim.
To visit the cathedral you will need a ticket: read more about this here.
➊ The Duomo has a basilica plan and was conceived this way back in the 13th century, with major adjustments in the 14th. The plan includes three large naves, a wooden truss ceiling and five pillars per side dividing the space into 6 bays. It ends with a presbytery (the area behind the high altar), impressively decorated, and contains a transept (transversal area crossing the naves before the high altar) with the jewels of the Duomo, the Chapel of San Brizio and of the Corporal.
➜ As you may see, the same pattern of white and black lines you noticed outside is proposed here. However, don't let it fool you: travertine and basalt are only present up to the arches on the main naves, just over the pillars. The rest is a painted reproduction. Note that the model for this kind of pattern was definitely Siena Cathedral, in case you had the chance to visit it.
➊ The floor is made of local pink marble.
➊ Looking at the central nave, you will likely spot white statues on both sides: these are not medieval but were made by various artists between the 16th and the 18th century, before being removed in the 1800s to give the church a full medieval appearance. They have only recently returned to the Duomo and represent the Apostles. Check the first pillar on the right to find a Maestà by Gentile da Fabriano (1370-1427).
➊ The side naves open on several lateral chapels, which look however rather empty. They mostly contain ancient traces of medieval paintings but are overall fragmented. ➜ The stained glass windows scattered all around the side chapels are beautiful works that however only recall medieval examples: originally made in the 14th century, today they had all been substituted by 1800s neo-Gothic panels.
➊ Near the left entrance is a large baptismal font made of white and red marble, a 1390-1407 work which red parts are more recent.
➊ Apart from the spectacular chapels on the two sides of the transept, the other treasure you should definitely pay some attention to is the presbytery, which you will find at the end of the main nave (so you should be able to spot it at your entrance), behind the main altar. This area was entirely painted by Ugolino di Prete Ilario (1330-1404), a skilful Tuscan master. He likely worked on the many frescoes from 1370 inwards, helped by several assistants. ➜ The cycle depicts scenes from the life of the Virgin Mary, to whom the church is dedicated (the exterior also presents similar subjects right for this reason) ➜ Despite still being one of the highest examples of 14th-century Italian patining, what you see today has been partially restored over the centuries, while the scenes of the Annunciation and the Visitation of Mary belong to the 15th century. ➜ The stained glass window is a 14th-century original piece by Giovanni di Bonino, depicting the lives of Christ and Mary.
FOCUS: THE CHAPEL OF THE CORPORALE
Once you have your overview of the Duomo, it is time to focus on two true masterpieces of Italian medieval and Renaissant painting. You will find them both in the transept, right where the pews end and the main altar gets in sight.
Let's first move left to see the Chapel of the Corporale (Cappella del Corporale). This impressive space saw the light in the 1350s, after the building of the main church.
▶ TIP: to access the Chapel of the Corporale, exit the Duomo and look for the lateral entrance on the right side (if looking at the façade)!
The chapel takes its name from the corporale, the blood-stained linen robe worn by Peter from Prague when the Miracle of Bolsena occurred in 1263. Here is where the corporale is stored in its precious reliquary - you can see the original medieval version of it in the Museo dell'Opera del Duomo (MODO).
➊ Take a look around you: the walls are fully frescoed and were painted mainly by Ugolino di Prete Ilario (the same painter who decorated the presbytery), with the occasional help of other artists. ➜ on the right wall are episodes of the Miracle of Bolsena ➜ on the left wall are miraculous episodes linked to the Eucharist ➜ on the front wall, at the two sides of the tabernacle, are: the Crucifixion of Christ and the two thieves; the Deposition; and the Resurrection.
➜ above the entrance arch is the episode of the Last Supper, which the Eucharist reproduces. A peculiarity is visible here: Judas, who sits alone on the other side of the table, has a demon climbing on his back.
➊ On the right wall, you should also spot the ca. 1320 Lippo Memmi's Madonna dei Raccomandati (Virgin Mary of the Recommended). It is called this way because it shows a protective Mary welcoming believers under her cloak. It symbolizes the shelter Christians could expect to find in their devotion to the Virgin.
➊ The vault was decorated by Giacomo da Bologna with the typically medieval pattern of gold stars on a blue background. Divided into eight sections, it shows various symbols and popular prophecies that recall the Eucharist, angels and the coat of arms of the Opera del Duomo.
➊ Lastly, the tabernacle - alas that Gothic shrine standing behind the altar on the front wall. It was made to host the corporale by Andrea di Cione, known as Orcagna based on a design by Nicola da Siena. Gothic-styled with two distinctive spires on the sides, this marble piece dates back to the mid-14th century, it includes some mosaic decorations such as the Agnus Dei on the top arch, and is a delicate expression of Late medieval sculpture.
FOCUS: THE CHAPEL OF SAN BRIZIO
The last thing to visit is the Cappella di San Brizio, probably the most remarkable view in the Duomo. Exiting the Chapel of the Corporale, proceed straight and go through the transept's length, San Brizio stands on the opposite side (on your right if you come from the main nave).
Background
This chapel was originally called Cappella Nova (New Chapel) because it was not included in the architectural plan and further construction works were needed to erect it. The trigger for its creation was the 1396 will of a citizen of Orvieto, Tommaso di Micheluccio, who left a generous sum for a sacred space dedicated to the Virgin Mary. ➜ The current name, Cappella di San Brizio, was only attributed in 1622 when the chapel became the host of the Madonna di San Brizio, a miraculous medieval icon. St. Brizio was one of Orvieto's first bishops, later venerated as a saint.
Works started soon after Tommaso's death and continued till 1425. Once over, the Opera del Duomo found itself with the task of selecting a painter who could advise on the scenes to depict and depict them. The first choice was Beato Angelico (1395-1455), an extremely popular Dominican-friar-turned-painter who was renowned for his works in Florence and Rome.
Beato Angelico accepted the commission in 1447 and came to Orvieto, however, a few months later he was already gone. His contract was cancelled in 1449 but he managed to design the overall iconographic focus (the Last Judgment) and to leave a few traces of his art, helped by several assistants including Benozzo Gozzoli.
After Angelico's departure, works would not resume until 1499. In fact, the Opera del Duomo struggled to find a substitute and its favorite candidates, among them Pietro Perugino, proved too expensive. Orvieto's golden age was over and its financial capability scarcer.
In 1499, the Opera del Duomo finally opted for Luca Signorelli (1441-1523), a painter from Cortona well-known for his reliability and quickness of execution. Indeed, by 1500 the vaults were already done and in 1502 the whole chapel was frescoed. ➜ Luca Signorelli belonged to a very different generation than Angelico's: the first was a fully Renaissance man, the latter still had a medieval mindset, although he was no stranger to innovation. This gap is clear in the chapel, which looks evidently Renaissant in style. ➜ Signorelli anyway maintained the original theme chosen by Angelico, the Last Judgement.
Description
The chapel bursts with color, symbols, decorations and figures!
➊ Upon your entrance, notice the wrought iron gate (1516) and the icon of the Madonna di San Brizio inscribed in a pompous Baroque frame and supported by Angels. Right below is a similarly Baroque altar (1715).
➊ Now let's focus on the paintings: on the lower register are portraits of illustrious men alternated by grotesques and rich floral decorations. The grotesques (the monochromatic scenes) represent episodes that recall the main theme of the chapel, the Last Judgement, and are sometimes taken from the Divine Comedy by Dante or the Heneid by Virgil. ➜ Among the portraits, notice Dante Alighieri (left wall, right after the lateral small chapel) and an amazing representation of a man hanged out from his oval to observe the scene above him (left of the entrance gate). The other figures are sometimes hard to identify but likely represent Roman and Greek literati, poets and scholars - a theme perfect for an epoch, like the Renaissance, all focused on humankind and its present deeds rather than religion.
➊ The upper register is the protagonist and entirely focuses on the Last Judgement. The scenes are (from the window above the main altar, right to left):
Call to Hell
Damned in Hell
Resurrection of the Flesh
Apocalypse (above the entrance arch)
Sermon and Deeds of the Antichrist (the Antichrist is the figure standing on the pedestal, he looks like a devilish Christ with a demon behind him!)
Blessed in Paradise
Ascension to Paradise
➊ The vaulted ceiling is the most medieval-ish portion of the chapel, probably because already initiated by Beato Angelico some fifty years before Luca Signorelli's arrival and continued by this latter on the same page. ➜ Angelico's work is located right above the window (Christ as Judge with Angels) and immediately right (the Prophets), if facing the altar. ➜ Everything else is by Signorelli and represents the inhabitants of Heaven: Apostles, Virgins, Doctors of the Church.
▶ Tip: in case you don't have the chance to see the Cappella di San Brizio in person just yet or you wish to reminisce on your visit, you can check this amazing virtual high-definition visit on HaltaDefinizione!
Duomo di Orvieto: Plan Your Visit
HOW TO REACH
The cathedral is simply the very core of Orvieto. When I arrived, I remember coming out of the street where we parked our car and finding the Duomo right there, in all its beauty! Of course, it depends on which direction you arrive from, but sooner or later you will no doubt see it.
This means that reaching it will be a piece of cake if ever in town. Orvieto is small and can be visited in 1-2 days, so everything is pretty much at a walkable distance.
Anyway, you may be wondering how to reach Orvieto itself.
● By car: Orvieto is easily reachable by car from Perugia (1h15min), Rome (1h36min), Florence (1h56min). It is how I reached it myself and, generally speaking, is probably the best solution. Umbria is not excellently served by trains due to its geographical structure.
● By train: Orvieto has its own main station (Orvieto FS). However, note that Umbria is not served by high-speed trains and movements may sometimes be tricky (and time-consuming). ➜ You can decide to get off at Orvieto FS, then take the Funicolare till Piazza Cahen, at the city's gates. From there, it's 15 minutes to the Duomo.
Planning a tour of Umbria? Check out this selection of the best historical small towns you can visit in this amazing little region!
OPENING HOURS AND TICKETS
Unlikely most Italian churches, you need a ticket to visit Orvieto's Duomo. The ticket, however, covers your visit to the cathedral, to the two main chapels and to some other venues!
Opening Hours
Orvieto Cathedral is open:
PERIOD | OPENING HOURS |
January-February | 9:30 AM / 5:00 PM |
March | 9:30 AM / 6:00 PM |
April-September | 9:30 AM / 7:00 PM |
October | 9:30 AM / 6:00 PM |
November-December | 9:30 AM / 5:00 PM |
Sundays | afternoon opening only |
Tickets
Orvieto Cathedral is part of the MODO - Museo dell'Opera del Duomo di Orvieto. By purchasing a single ticket, you can visit multiple venues:
Orvieto Cathedral
Museo dell'Opera del Duomo
Museo Emilio Greco + Palazzo Soliano
Orvieto Underground
➜ Tickets can be purchased in place, at Piazza del Duomo, 25, or online at this link.
➜ A full ticket costs 5€. There are no reduced tariffs but you may be eligible for a free ticket. Check here for more information.
USEFUL INFO
➊ Should you buy your tickets in advance? I visited the cathedral in high season, purchased the ticket in place and had no problems whatsoever! Orvieto can get crowded in summer, but the cathedral is spacious and few places are prone to easily fill up (except for the Chapel of San Brizio, which however has its own rules such as a 15-minute limit per visit). However, since there are no additional fees if you buy the tickets online, you may opt for it to speed up your visit!
➊ How long does a visit to Orvieto Cathedral last? Keep 2 hours for the Duomo, or half a day if you plan to visit all venues included in your ticket.
➊ Is Orvieto Cathedral easily accessible or a good option for kids? Orvieto Cathedral can be accessed by wheelchairs and by people with reduced mobility. As for kids, the cathedral requires its visitors to lower the volume of their voices and to behave in full respect for the religious nature of the place. It's a great experience for everyone, but consider speeding up the visit a bit if have little kids!
References:
Enzo Carli, Le Sculture del Duomo di Orvieto, The Art Bulletin (1952), 34:1, 60-63 .
John White, The Reliefs on the Façade of the Duomo at Orvieto, Journal of the Warburg and Courtauld Institutes, Vol. 22, No. 3/4 (Jul. - Dec., 1959), pp. 254-302.
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