The metropolitan cathedral of Santa Maria Assunta is the main Catholic worship site in Lecce, the parent church of the same metropolitan archdiocese. It is located in Piazza del Duomo, in the historic center of the city. A first cathedral of the diocese of Lecce was built in 1144 by bishop Formoso; In 1230, at the wish of bishop Roberto Voltorico, the cathedral was renovated and rebuilt in Romanesque style. In 1659, Bishop of Lecce Luigi Pappacoda gave to the architect Lecce Giuseppe Zimbalo, called Zingarello, the task of reconstructing the cathedral church in Lecce baroque style. The architect chose not to alter the plan of the Romanesque cathedral and the first stone was laid on January 1 of the same year. The construction was carried on from 1659 until 1670, when the new cathedral was solemnly consecrated by Bishop Pappacoda. The main façade, which is rather simple decorative, develops in two orders where statues are found, housed in niches, of Saint Peter and Paul, of San Gennaro and of Saint Ludovico da Toulouse. The layout of the grooves shows that the church is structured in three naves. The northern, rich and exuberant prospect fulfills a definite scenic function, which is the main entrance of the church for those who enter the churchyard. Unbundled in five grooved areas and columns, the first order presents a portal to the sides of which two niches house the statues of San Giusto and San Fortunato. The trabeation is crowned by a high balustrade alternating with columns and pilasters, beyond which, in the center, the statue of Sant'Oronzo rises. The Bell Tower of the Duomo was built between 1661 and 1682 by the Lecce architect Giuseppe Zimbalo on behalf of the then bishop of the city, Luigi Pappacoda. It was built as a replacement for Norman, wanted by Goffredo d'Altavilla, collapsed at the beginning of the seventeenth century. The bell tower has a square shape and consists of five tapered planks, the latter of which is topped by an octagonal cupola of majolica, on which is placed an iron statue depicting Sant'Oronzo. The last four floors have four monoforements to which the antique balustrades give the picturesque function of long balconies. The interior, with a Latin cross, is divided into three naves divided by semicolons. The central nave and the transept are covered with a wooden carved ceiling dating back to 1685, in which the canvases are laid, by Giuseppe da Brindisi, depicting the Preaching of Sant'Oronzo, the Protection from the Plague, the Martyrdom of Sant 'Oronzo and the Last Supper. The Duomo is home to 12 altars, plus the larger one, and is rich in picturesque works by valued artists, including Giuseppe da Brindisi, Oronzo Tiso, Gianserio Strafella, G. Domenico Catalano and G. A Coppola. The greatest altar in marble and golden bronze was built by Bishop Sersale and consecrated in 1757 by Bishop Sozi Carafa who commenced Oronzo Tiso's great central picture of the Assumption (1757) and the two sides depicting the Sacrifice of Prophet Elijah and the Sacrifice Of Noah after the Flood (1758). From 1759 it is the walnut chorus with the episcopal bishop wanted by bishop Fabrizio Pignatelli and perhaps perhaps by designs by Emanuele Manieri. The Cathedral has a twelfth-century crypt, restored in the XVI with baroque additions. It has a longitudinal body containing two baroque chapels with paintings that cross a long corridor consisting of ninety-two columns with capitals decorated by human figures.