On the other hand, the interior is noble.

The feeling for space possessed by the architect has expressed itself in proportions large and solemn; the area enclosed, though somewhat cold and vacuous to northern taste, is at least impressive by its severe harmony.

But the real attractions of the church are isolated details.

Wherever the individual artist-mind has had occasion to emerge, there our gaze is riveted, our criticism challenged, our admiration won.
The frescoes of Signorelli, the bas-reliefs of the Pisani, the statuary of Lo Scalza and Mosca, the tarsia of the choir stalls, the Alexandrine work and mosaics of the facade, the bronzes placed upon its brackets, and the wrought acanthus scrolls of its superb pilasters--these are the objects for inexhaustible wonder in the cathedral of Orvieto.

On approaching a building of this type, we must abandon our conceptions of organic architecture: only the Greek and northern Gothic styles deserve that epithet.