Panorama di Orvieto with the famous Duomo
 The hill which supports Orvieto is volcanic in origin, therefore porous, therefore in danger of bringing the city down as it crumbles. There is a city noise ordinance — largely neglected — to prevent such an occurrence.
After climbing up serpentine curves and through narrow streets, cars burst into the unexpected and exquisite expanse of the Piazza del Duomo. With any luck, the hour will be late afternoon as the sun is glittering off the tesserae of the 14th Century cathedral's astonishing facade. The cathedral's steps are always generously littered with Orvietans, soldiers garrisoned down the street and visitors.
The cathedral was begun Nov. 15,1290 to house relics of the miracles of Bolsena (1263): principally a chalice-cloth onto which blood flowed from the host during a celebration of the mass. Although the original architect is a matter of some debate, by its completion in the late 14th Century the Duomo's construction required the input of legions of architects, sculptors, painters and mosaicists. The result is amazing. The Lorenzo Maitani-designed facade is bolstered by zebra horizontals of basalt and travertine. Inside, the black and white stripes point up the curvilinear arches. The wall of the apse is decorated by scenes from the life of the Virgin begun by Ugolino di Prete Ilario and completed by' Pinturicchio and Antonio Viterbo during the late 14th Century. To the left of the altar is the Cappella del Corporale painted by Ugolino and assistants, depicting the miracles of Bolsena. To the right is the Cappella Nuova whose decoration was begun by Fra Angelico in 1447, completed finally by Luca Signorelli at the turn of the next century. The frescoes feature lurid scenes of hellfire with a deep contextual nod to Dante.
The Via Duomo and the Corso Cavour are both generously equipped with examples of Orvietan ceramics — whose simple, medieval designs are some of the prettiest in the region — elegant restaurants, chic clothiers, and purveyors of unique Orvietan wood sculptures. To the right off the Corso Cavour is the Palazzo and Piazza del Popolo (the latter now a parking lot). Straight ahead are the Palazzo Comunale and the Chiesa di S. Andrea in the Piazza della Republica. To the left is the Old or Medieval Quarter, easily the most charming part of town with its antique walls hung with pots of tumbling geraniums, high-walled gardens and the songbirds they attract, and tiny cave-like workrooms of Orvietan artisans.
On the east side of town sinks Pozzo di S. Patrizio (St. Patrick's Well), remarkable for its dampness and tourists. We suggest a postcard instead of a descent. Bypass the well and continue down the hill to the Necropoli del Crocifiso del Tufo, a group of Etruscan tombs unearthed in a field of clover and buttercups. One section was constructed in the 6th Century BC, the other, two centuries later. Inside are the resting couches of the husband and wife with ample space for their gold and silver and several bottles of white wine. After a visit to the tombs, sample said vino bianco, evanescently crisp, inordinately cheap. You'll understand why for the past 26 centuries Orvie-tans have insisted on being buried with at least three large bottles.
It could not be mere coincidence that a patron of the arts such as Duke Federico da Montefeltro constructed one of the great treasures of cinquecento architecture in the Marchean hills.
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