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  La fabbrica del Duomo  
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I lavori si interruppero nei primi anni del Trecento per supposti problemi strutturali, finché, nel 1310, si ebbe una fervida rinascita del cantiere con l'arrivo in città di Lorenzo Maitani. Il mutamento di indirizzo imposto dall'architetto senese è riscontrabile in due preziosi disegni originali della facciata della cattedrale, conservati negli archivi dell'Opera del Duomo.
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Work came to an abrupt halt in the early fourteenth century for alleged structural problems until the work site enjoyed a feverish rebirth in 1310, when Lorenzo Maitani arrived in town. This Sienese architect called for a profound change to the project layout, also reflected in two precious original drawings of the Cathedral facade, which are kept in the Opera del Duomo archives. They are probably the most ancient actual project designs in the history of Italian architecture.
  La fabbrica del Duomo  
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I lavori si interruppero bruscamente nei primi anni del Trecento per supposti problemi strutturali, finché, nel 1310, si ebbe una fervida rinascita del cantiere con l'arrivo in città di Lorenzo Maitani.
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The initial Duomo project, conceived by a Master Architect who is still unknown, included a basilica-type layout with three naves and six semi-circular chapels on each side, a cross-vaulted, rather than protruding, transept, and a semi-cylindrical apse. In a little over ten years, a cosmopolitan workforce, supervised by Friar Bevignate during the first stage of works, built as far as the roof rafter, constructing part of the facade and its marble decorations, the sides with the six peculiar protruding chapels and a semi-circular apse. Work came to an abrupt halt in the early fourteenth century for alleged structural problems until the work site enjoyed a feverish rebirth in 1310, when Lorenzo Maitani arrived in town.
  Palazzo e Museo Claudio...  
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Eugenio infatti, piuttosto che acquistare antichità sul mercato d'arte, indirizzò l'interesse verso i reperti che durante gli anni Settanta e Ottanta dell'Ottocento venivano riportati alla luce dalla fervida attività di scavo nelle necropoli orvietane.
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Started by earl Mauro, upon his death it was inherited by his brother Claudio who, in turn, entrusted his nephew Eugenio with the task of looking after it; the latter decided to move the collection from the family palace in Perugia to Orvieto, thereby also changing the collection orientation. In fact, rather than buying antiquities in art markets, Eugenio oriented his interest towards the findings that were being brought to light in the 1870s and 1880s thanks to the feverish excavation activity in Orvieto's necropolis. The collection was left by Claudio junior to the Municipality of Orvieto in 1954, together with all his properties, in order to fund the Fondazione per il Museo "Claudio Faina", an entity that deals with the management and conservation of these precious works of art still today. The collection includes a rich coin cabinet, prehistoric and protohistoric materials, buccheri, Etruscan bronze and ceramic items, Attic vases with red and black figures, amongst which three beautiful amphorae are attributed to Exekias, the main Attic potter in the black-figure technique.