Duomo

Duomo Review

Orvieto's Duomo is, quite simply, stunning. The church was built to commemorate the Miracle at Bolsena. In 1263 a young priest who questioned the miracle of transubstantiation (in which the Communion bread and wine become the flesh and blood of Christ) was saying mass at nearby Lago di Bolsena. His doubts were put to rest, however, when a wafer he had just blessed suddenly started to drip blood, staining the linen covering the altar. The cloth and the host were taken to the pope, who proclaimed a miracle and a year later provided for a new religious holiday—the Feast of Corpus Domini. Thirty years later, construction began on a duomo to celebrate the miracle and house the stained altar cloth.

It's thought that Arnolfo di Cambio (circa 1245-1302), the famous builder of the Duomo in Florence, was given the initial commission for the Duomo, but the project was soon taken over by Lorenzo Maitani (circa 1275-1330), who consolidated the structure and designed the monumental facade. Maitani also made the bas-relief panels between the doorways, which graphically tell the story of the Creation (on the left) and the Last Judgment (on the right). The lower registers, now protected by Plexiglas, succeed in conveying the horrors of hell as few other works of art manage to do, an effect made all the more powerful by the worn gray marble. Above, gold mosaics are framed by finely detailed Gothic decoration.

Inside, the cathedral is rather vast and empty; the major works are in the transepts. To the left is the Cappella del Corporale, where the square linen cloth (corporale) is kept in a golden reliquary that's modeled on the cathedral and inlaid with enamel scenes of the miracle. The cloth is removed for public viewing on Easter and on Corpus Domini (the ninth Sunday after Easter). In the right transept is the Cappella di San Brizio, or Cappella Nuova. In this chapel is one of Italy's greatest fresco cycles, notable for its influence on Michelangelo's Last Judgment, as well as for the extraordinary beauty of the figuration. In these works, a few by Fra Angelico and the majority by Luca Signorelli, the damned fall to hell, demons breathe fire and blood, and Christians are martyred. Some scenes are heavily influenced by the imagery in Dante's (1265-1321) Divine Comedy.