Duomo

Duomo Review

The cathedral's 12th-century Romanesque facade received a Renaissance face-lift with the addition of a loggia in a rosy pink stone. A stunning contrast in styles, the Duomo is one of the finest cathedrals in the region. The eight rose windows are especially dazzling in the late afternoon sun. Look under the largest rose window and you see two figures that appear to be holding up the structure; in the corners of the square surrounding the window, the four Evangelists are sculpted. Inside, the original tile floor dates from an earlier church that was destroyed by Frederick I (circa 1123-90).

Above the church's entrance is Bernini's bust of Pope Urban VIII (1568-1644), who had the rest of the church redecorated in 17th-century baroque; fortunately he didn't touch the 15th-century frescoes painted in the apse by Fra Filippo Lippi (circa 1406-69) between 1466 and 1469. These immaculately restored masterpieces—the Annunciation, Nativity, and Dormition—tell the story of the life of the Virgin. The Coronation of the Virgin, adorning the half dome, is the literal and figurative high point. Portraits of Lippi and his assistants are on the right side of the central panel. The Florentine artist priest "whose colors expressed God's voice" (the words inscribed on his tomb) died shortly after completing the work. His tomb, which you can see in the right transept (note the artist's brushes and tools), was designed by his son, Filippino Lippi (circa 1457-1504).

Another fresco cycle, including work by Pinturicchio, is in the Cappella Eroli, off the right aisle. Note the grotesques in the ornamentation, then very much in vogue with the rediscovery of ancient Roman paintings. The bounty of Umbria is displayed in vivid colors in the abundance of leaves, fruits, and vegetables that adorn the center seams of the cross vault. In the left nave, not far from the entrance, is the well-restored 12th-century crucifix by Alberto Sozio, the earliest known example of this kind of work, with a painting on parchment attached to a wood cross. To the right of the presbytery is the Cappella della Santissima Icona (Chapel of the Most Holy Icon), which contains a small Byzantine painting of a Madonna given to the town by Frederick Barbarossa as a peace offering in 1185, following his destruction of the cathedral and town three decades earlier.