The date of origin of the Duomo di Orvieto is unclear but there is a very interesting story surrounding its construction. It said that a Bohemian priest was on his way home from a pilgrimage to Rome when he stopped at Lake Bolsena (near the town of Orvieto in the Umbrian province) to celebrate a holy mass. He was amazed to see that a cloth soaked up a huge amount blood that dripped out of the communion wafers. The news of the miracle reached Pope Urban IV and he had the cloth carried to Orvieto. He also established the sacred holiday of Corpus Domini to commemorate the miracle. This event is roughly dated to between 1263 and 1264.

This event proved to be a second lease of life for the old dilapidating cathedral of Orvieto. As it was unworthy of housing such an important relic the Pope started discussions with the town’s people to pitch in to renovate the cathedral. But discussions took a long time and it took all of sixty years to start the reconstruction with the cornerstone being laid 1290 and took over two centuries to reach its greatest splendor. The old basilica was built in the Italian-Gothic style, which is a mixture of Byzantine and northern Italian architectural features.

Another mystery surrounding the cathedral is its architect. It is unclear as to who actually designed the construction but it is largely speculated by scholars that a monk named Fra' Bevignate da Perugia executed the plans drawn up by the Florentine architect Arnolfo di Cambio. The horizontal stripes of black and white marble, the bifore windows and the external niches all suggest that the Florentine architect Arnolfo di Cambio drew up the original plans.

The narrow medieval alleyways that lead you to the cathedral will in no way prepare you for the beauty and the magnificence of the duomo. You will be absolutely mesmerized by its astounding façade, which an amazing seven stories in height. You will find it hard to imagine that behind the breathtaking façade is an old simple oblong structure.

The delicately carved rose window of the façade is surrounded by life sized sculpted figures and framed marble busts in gothic niches. The panels surrounding the main doors have sculptures depicting stories from Genesis. This was done, as in those days not many people knew how to read. The Duomo di Orvieto is on Among the most important examples of early 14th-century Italian sculpture. Apart from the elaborate Genesis depiction, the lower left panel shows God creating Eve from Adam's rib and above, the snake presides as Eve hands Adam the apple of original sin.

The cathedral's majestic interior is divided into a main nave and two flanking ones. It is elaborate yet simplistic. The delicate capitals on top of the columns should no be missed. The Brizio Chapel is entirely frescoed. The scenes depict the end of the world, the resurrection of the dead, Paradise and Hell. The fresco was probably influence by Dante's Divine Comedy and also the public death by torture of Savonarola, the apocalypse-preaching Florentine zealot.

It is the greatest masterpiece in this cathedral is the work of Luca Signorelli. His creation shows the rewards of loving God while we are on Earth. He depicts angels playing in Heaven and places crowns on the heads of the Blessed chosen to ascend to Paradise. This tranquil work is a direct contrast to the horrifying scenes of Hell depicted elsewhere in the chapel.

The upper part of the scene shows angels playing and gazing at the Blessed, some of whom kneel while others prepare to take off in flight. The opposite side of the wall bears reference to the first verses of the Divine Comedy with two very sad angels watching helplessly as mountains erupt into flame and a group of people who were too lazy to choose between God and Satan follow the Devil carrying a white flag. These doomed souls will not gain entry to Heaven or to Hell. Below, a boat piloted by Charon crosses the River Acheron to carry the condemned towards Hell. In the bottom right corner, the judge Minos punishes a guilty man.

The desperation of the condemned, the persecution and torture in the hands of the devils is depicted in this fresco. This scene occupies the great entrance arch to the chapel. In the lower right corner you will see Sibilla reading a book of prophesies announcing the imminent cataclysm, while the prophet Ezechiel (wearing a turban) points to the warning signs: the disappearing stars, the red moon and the gray or black sun. Above to the left, devils spit fire on the men who try to flee while deranged women attempt in vain to protect their children.

To the right of the center, the figure of the Anti-Christ stands on a pedestal with a devil clinging to his shoulders. All around is a crowd of figures each representing an important role, such as the rebellious Archangel hit by lightning, a woman receiving money for her sins from a Jew.

The small chapel of Corpi Santi portrays an entirely different atmosphere that reigned during the vigil over Christ’s body. Signorelli also painted an exquisite portrait of himself and his fellow artist, Fra' Angelico, who was renowned for his artistic genius and his utter Christian devotion. These two portraits are seen on the wall featuring the stories of the Antichrist.