One of Italy’s most fascinating cathedrals, famous for its golden façade, rose window, San Brizio Chapel and the Holy Corporal.
Discover the CathedralArt, faith and history meet in the heart of the city on the cliff.
Orvieto Cathedral, dedicated to Santa Maria Assunta, dominates the main square of the historic centre and is one of Umbria’s most recognisable monuments. Its polychrome façade, covered with marble, mosaics, sculptures and bas-reliefs, changes continuously with the light and anticipates the artistic richness preserved inside.
Construction began in 1290, during the period of greatest political and economic prosperity of the medieval commune. Pope Nicholas IV supported the creation of the new cathedral and laid the foundation stone. In the initial phase, the building site was entrusted to Fra Bevignate, documented as head of the Opera, while numerous local and foreign craftsmen took part in constructing the building.
Before 1310, technical and artistic direction passed to Lorenzo Maitani. The Sienese master builder profoundly transformed the project, helping define the three-gabled façade and reinforce the structure. From that moment, the Cathedral became not only a major religious building but also a symbol of the city’s identity and ambition.
The Cathedral’s history is also linked to the memory of the Eucharistic miracle of Bolsena. The Holy Corporal is preserved in the chapel of the same name and remains one of the Cathedral’s principal spiritual references.
The Cathedral façade is one of the high points of Italian Gothic architecture. Its construction began around 1310, following the three-gabled design associated with Lorenzo Maitani, and continued for more than two centuries until its architectural completion in the 16th century.
The four pillars flanking the portals are covered with bas-reliefs in which the story of salvation is narrated like a great book of stone: from Creation and the Old Testament to the life of Christ and the Last Judgement. Above them, statues, pinnacles, polychrome marble and golden mosaics create a richly decorated yet surprisingly harmonious surface.
At the centre stands the rose window by Andrea di Cione, known as Orcagna, who was called to direct the works in 1358. The head of Christ occupies the central point, surrounded by delicate marble tracery; fifty-two heads of saints appear around the outer square, with the Prophets at the sides and the Apostles above.
The mosaics mainly depict episodes from the life of the Virgin. Many sections were restored or remade over the centuries, but their golden backgrounds still create one of the square’s most striking effects, especially when illuminated by the afternoon light.
The three entrances also deserve attention. The modern bronze doors were commissioned from Emilio Greco in 1962, delivered in 1964 and installed in 1970. The central door, decorated with the Works of Mercy, establishes a contemporary dialogue with the medieval architecture.
The visit does not end at the façade: the interior preserves major works from the history of Italian art.
It is one of the Cathedral’s most celebrated spaces. The cycle devoted to the Last Days and the Last Judgement was begun by Fra Angelico in the 15th century and completed by Luca Signorelli between 1499 and 1504.
The scenes are remarkable for their dynamism, expressive power and anatomical study of the figures, anticipating themes central to the great painting of the Renaissance.
Built in the 14th century, it preserves the Holy Corporal associated with the Eucharistic miracle of Bolsena.
The walls are decorated with frescoes depicting episodes connected with the miracle and the history of the Eucharist. The chapel also preserves important works of goldsmithing and evidence of the city’s devotion.
The great stained-glass window of the tribune was created in the 14th century by Giovanni di Bonino of Assisi and is one of the finest Gothic masterpieces preserved in the Cathedral.
The work is arranged in 44 rectangular panels depicting episodes from the life of Mary. The light passing through the coloured glass combines with the apse frescoes and emphasises the vertical development of the presbytery.
The interior is divided into three naves by columns and pillars. The alternation of dark basalt and pale travertine creates a strong perspective rhythm, while ten small apses open along the sides.
The transept contains the monumental Pietà by Ippolito Scalza, created between 1570 and 1579. The four figures were carved from a single block of marble and form a group of intense theatrical and emotional power.
The central nave leads the eye towards the tribune, where the great 14th-century stained-glass window interacts with the painted cycle devoted to the Virgin. Episodes from the life of Mary are depicted on the walls, while her glorification is represented on the vault.
The frescoes were painted by Ugolino di Prete Ilario and his workshop towards the end of the 14th century. At the end of the 15th century, some sections were restored or reworked by Giacomo da Bologna, Bernardino di Betto, known as Pinturicchio, and Antonio da Viterbo, known as Pastura.
The presbytery is separated from the transept by steps that emphasise its solemnity. Nearby stands the Pietà by Ippolito Scalza, one of the Cathedral’s most moving sculptural groups: the dead Christ, the Virgin, Saint John and Mary Magdalene are united in a compact composition carved from a single block of marble.
According to tradition, in 1263 a Bohemian priest, doubtful about the real presence of Christ in the Eucharist, celebrated Mass in the church of Santa Cristina in Bolsena. During the celebration, the host is said to have stained with blood the corporal placed on the altar.
The relic was brought to Orvieto, where Pope Urban IV was staying. The event is closely connected with the spread of the Feast of Corpus Christi and the religious history of the city.
Today the Corporal is preserved in its dedicated chapel, while each year the tradition is commemorated through celebrations and events involving the historic centre.
Some practical advice for enjoying the visit at a relaxed pace while respecting the Cathedral’s religious function.
Opening times, tickets and access arrangements may change. Before setting out, always consult the official Orvieto Cathedral website, especially during liturgical celebrations and events.
A peaceful base at the foot of the cliff for visiting the historic centre.
B&B Il Terrazzo is in a convenient and easily accessible area, just a few minutes from the historic centre. You can leave your car in the free parking area in front of the property, reach the Cathedral and return in the evening to a peaceful setting, with breakfast included and panoramic views of the cliff.
The foundation stone was laid in 1290 during the pontificate of Nicholas IV. Construction continued for centuries with the contribution of numerous architects and artists.
The main masterpieces include the polychrome façade, Orcagna’s rose window, the bas-reliefs, San Brizio Chapel, the Corporal Chapel, Giovanni di Bonino’s stained-glass window, the apse frescoes and Ippolito Scalza’s Pietà.
The chapel preserves the Holy Corporal associated with the Eucharistic miracle of Bolsena, one of the most important religious testimonies in Orvieto’s history.
The Cathedral is located in Piazza del Duomo, in the heart of Orvieto’s historic centre.
Yes. Opening times, tickets and access may change because of celebrations, events or maintenance work. It is advisable to consult the official website before visiting.
B&B Il Terrazzo is located at the foot of the cliff, a few minutes from the historic centre, and offers free parking, breakfast included and rooms for couples and families.
Book your stay and give yourself enough time for the Cathedral, the alleys of the historic centre and the city’s other treasures.
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