Orvieto is one of the most striking, memorable, and enjoyable hill towns in central Italy. Less than 90 minutes from Rome, Orvieto sits majestically high above the valley floor atop a big chunk of tufo volcanic stone, overlooking cypress-dotted Umbrian plains. A visit here will reward you with a delightful, perfectly preserved, and virtually traffic-free world highlighted by a colorful-inside-and-out cathedral and some of Italy's best wine.
Orvieto has two distinct parts: the old-town hilltop and the dull new town below. All travelers start at the bottom, where train passengers disembark and drivers can leave their cars for free. Visitors can then drive or take an elevator or escalator to the medieval upper town. But my preferred mode is joining the locals to climb the town's natural fortress hill on the slick funicular, which deposits riders about a 10-minute walk from the heart of town.
Orvieto's cathedral gets my vote for Italy's liveliest facade. This colorful, prickly Gothic facade, divided by four pillars, has been compared to a medieval altarpiece — a gleaming mass of mosaics, stained glass, and sculpture. It's a circa 1330 class in world history, back when no one dared question "intelligent design." Things start with Creation and end with the Last Judgment.
Inside, the nave feels spacious and less cluttered than those in most Italian churches. It used to be filled with statues and fancy chapels until 1877, when the people decided they wanted to "un-Baroque" their church. The nave is also an optical illusion; the architect designed it to be wider at the back and narrower at the altar, making it appear longer than it is. Windows of thin sliced alabaster bathe the interior in a soft light.
The cathedral's highlight is the Chapel of San Brizio, featuring Luca Signorelli's brilliantly lit frescoes of the Day of Judgment and Life after Death. Although the frescoes refer to themes of resurrection and salvation, they also reflect the turbulent political and religious atmosphere of Italy in the late 1400s. Signorelli's ability to tell stories through human actions and gestures, rather than symbols, inspired his younger contemporary, Michelangelo, who meticulously studied Signorelli's work.
Orvieto has two distinct parts: the old-town hilltop and the dull new town below. All travelers start at the bottom, where train passengers disembark and drivers can leave their cars for free. Visitors can then drive or take an elevator or escalator to the medieval upper town. But my preferred mode is joining the locals to climb the town's natural fortress hill on the slick funicular, which deposits riders about a 10-minute walk from the heart of town.
Orvieto's cathedral gets my vote for Italy's liveliest facade. This colorful, prickly Gothic facade, divided by four pillars, has been compared to a medieval altarpiece — a gleaming mass of mosaics, stained glass, and sculpture. It's a circa 1330 class in world history, back when no one dared question "intelligent design." Things start with Creation and end with the Last Judgment.
Inside, the nave feels spacious and less cluttered than those in most Italian churches. It used to be filled with statues and fancy chapels until 1877, when the people decided they wanted to "un-Baroque" their church. The nave is also an optical illusion; the architect designed it to be wider at the back and narrower at the altar, making it appear longer than it is. Windows of thin sliced alabaster bathe the interior in a soft light.
The cathedral's highlight is the Chapel of San Brizio, featuring Luca Signorelli's brilliantly lit frescoes of the Day of Judgment and Life after Death. Although the frescoes refer to themes of resurrection and salvation, they also reflect the turbulent political and religious atmosphere of Italy in the late 1400s. Signorelli's ability to tell stories through human actions and gestures, rather than symbols, inspired his younger contemporary, Michelangelo, who meticulously studied Signorelli's work.