Church of San Nicolò

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Bureau d’accueil touristique
Piazza Duomo 24 - 05018 Orvieto
In 1576 the church of San Nicolò (the first one dates back to the twelfth century.) was reconstructured by the architect Scalza, "urbevetanus" (as he defines himself in the signature on the marble group of the Pietà, which is in the Orvieto Cathedral). He personally followed the works for about 10 years; only in the last period, during the construction of the bell tower, he was replaced by Antonio Carrarino.

San Nicolò is the first religious building realized by Scalza. The church is characterized by Tuscan Style both inside and outside.
The interior of San Nicolò is composed by a single axis with two chapels; Scalza put on the walls an order of pilasters framing arches, surmounted by an attic window. The gray basalt stone and the plaster are in Tuscan style, characteristic of Brunelleschi's artworks. The windows, internally, have a finishing of external, because of the impossibility of treating the outer walls that are rustic. The great arch before the chorus is inspired by Bramante. In the chapel of SS. Sacramento, on the right, a precious triptych by Giovanni di Paolo, Siena (1440), represents the Madonna, St. Nicholas and another saint.
The body of San Longino, patron of the country, rests under the altar. The ceiling, paneled, was restored by Paolo Zampi, engineer of Orvieto, in the early 1900s; it was previously covered with a large cloth on which the Virgin with the angels were painted above a large cloud and St. Nicholas down. In 1700 a beautiful organ was placed above the central door.
As for the façade, here is how it is observed by the architect Renato Bonelli, Orvieto: "... harmony in the lower zone; purity of lines, composition and purity of design: a facade designed that slowly fades at the top in a different plastic. Below the entablature runs straight, did not stand out, has only one projection corner, but high the entablature is
broken several times at the secondary and upper pediment pilasters. So the facade as it marches towards the 'high frays, it's divided, it has variations that contribute to give her momentum. Doors have an air of Florence, they seem drawn from a Tuscan. "