ORVIETO, a town in Umbria, Italy, on the main road from Florence to Rome, situated on an almost isolated volcanic rock, about 770 feet above the plain. It is now the capital of a province, the seat of a bishop, and in 1881 had a population of 8626. The town is of Etruscan origin, and is said to have joined the Volscians in their war against Rome; it is the Urbibentum of Procopius (with which the Herbanum of Pliny has been conjecturally identified), and the mediaeval Urbs Vetus (whence the modern name). Owing to the strong Guelphic sympathies of the inhabitants, and the inaccessible nature of the site, Orvieto has been constantly used as a place of refuge by the popes, of whom no less than thirty-two have at different times found shelter there. The town is very picturesque, both from its magnificent position and also from the unusually large number of fine 13th-century houses and palaces which still exist in its streets. The chief glory of the place is its splendid cathedral, dedicated to the Virgin; it was founded in 1290 by Nicholas IV. on the site of an older church; it was designed by Lorenzo Maitani, a Sienese architect, and from the 13th till the 16th century was enriched by the labours of a whole succession of great Italian painters and sculptors (see Orcagna). The exterior is covered with black and white marble; the interior is of grey limestone with bands of a dark basaltic stone. The plan consists of large rectangular nave, with semicircular recesses for altars, opening out of the aisles, north and south. There are two transeptal chapels, and a short choir. The most magnificent part of the exterior is the west façade, built of richly-sculptured marble, divided into three gables with intervening pinnacles, much resembling the front of Siena cathedral, the work ...of the same architect. The mosaics are modern, and the whole church has suffered greatly from recent “restoration.” The four wall-surfaces that flank the three western doorways are decorated with very beautiful sculpture in relief, once ornamented with colour, the work mainly of pupils of Niccolô Pisano, at the end of the 13th century. This at least is Vasari’s statement. Giovanni Pisano, Arnolfo del Cambio, and Fra Guglielmo da Pisa were the chief of these. The subjects are scenes from the Old and New Testaments, and the Final Doom, with Heaven and Hell. In the interior on the north, the Cappella del Corporale possesses a large silver shrine, enriched with countless figures in relief and subjects in translucent coloured enamels —one of the most important specimens of early silversmith’s work that yet exists in Italy. It was begun by Ugolino Veri 'of Siena in 1338, and was made to contain the Holy Corporal from Bolsena, which, according to the legend, became miraculously stained with blood during the celebration of mass to convince a sceptical priest of the truth of the doctrine of transubstantiation. This is supposed to have happened in the middle of the 13 th century, while Urban IV. was residing at Orvieto; and it was to commemorate this miracle that the existing cathedral was built. On the south side is the chapel of S. Brizio, separated from the nave by a fine 14th-century wrought-iron screen. The walls and vault of this chapel are covered with some of the best-preserved and finest frescos in Italy—among the noblest works of Fra Angelico, his pupil Benozzo Gozzoli, and Luca Signorelli, mainly painted between 1450 and 1501,—the latter being of especial importance in the history of art owing to their great influence on Michelangelo in his early days (see Symonds, Renaissance in Italy—Fine Arts, pp. 278-291). The choir stalls are fine and elaborate specimens of tarsia and rich wood-carving—the work of various Sienese artists in the 14th century. In 16th-century sculpture the cathedral is especially rich, containing many statues, groups, and altar-reliefs by Simone Mosca, Ippolito Scalza, and Gian di Bologna,—some of them well designed and carefully executed, but all showing strongly the rapid decay into which the art of that time was falling. The well, now disused, called II pozzo di S. Patrizio, is one of the chief curiosities of Orvieto. It is 180 feet deep to the water-level and 46 feet in diameter, cut in the rock, with a double winding inclined plane, so that oxen could ascend and descend to carry up the water from the bottom. It was begun by the architect San Gallo in 1527 for Clement VIL, who fled to Orvieto after the sack of Rome, and was finished by Simone Mosca under Paul III. It resembles in many respects the “Well of Joseph” (Saladin) in the citadel of Cairo. The Palazzo Faina has an interesting collection of objects found in Etruscan tombs, of which a large number exist in the neighbourhood of Orvieto. The church of S. Domenico contains one of the finest works in sculpture by Arnolfo del Cambio. This is the tomb with recumbent effigy of the Cardinal Brago or De Braye (1282), with much beautiful sculpture and mosaic. It is signed hoc opvs fecit arnvlfvs. It was imitated by Giovanni Pisano in his monument to Pope Benedict XI. at Perugia.
See Guglielmo della Valle, Storia del Duomo di Orvieto (1791), and Stampe del Duomo di Orvieto (1791); Luzi, Descrizione del Duomo di Orvieto, &c., 1836; Cicognara, Storia della Scultura, 2d ed., 1823—24; Perkins, Tuscan Sculptors, 1864; Vasari, Vite dei pittori, &c., Milaneses ed., 1878-82; Gruner, Die Basreliefs des Doms zu Orvieto, 1858; Crowe and Cavalcaselle, Painting in Italy, vols. i. and iii., 1866; Benois, Cathédrale d’Orvieto, 1877. For Etruscan remains see Dennis, Cities of Etruria, ii. p. 36, 1878.
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