The Urbino Cathedral is the main church of the city and cathedral of the Archdiocese of Urbino-Urbania-Sant'Angelo in Vado. The size of the Renaissance cathedral, demolished by the earthquake of 1789, has been preserved and was rebuilt in a neoclassical sense; measuring 64.5 meters in length, 36.8 meters in width and 50 meters in height. It is dedicated to Santa Maria Assunta. In November 1950 Pope Pius XII raised it to the dignity of a smaller basilica. Founded in 1021, replacing a former church outside the walls, the urbined cathedral had an originally rotated plant of 90 degrees, compared to the present one, and was of a much smaller size. Rebuilt in the 15th century by Federico da Montefeltro, the Urbino cathedral was built according to a simple and bare plan, with three aisles on white pylons, according to a project attributed to Sienese Francis by Giorgio Martini, who in those years was an architect of trust of the duke. The building was completed in 1604. This singular work of the Renaissance was lost with the earthquake of January 12, 1789 with the collapse of the dome, which forced the urbins to rebuild their cathedral, entrusting the project. to the Roman architect Giuseppe Valadier (1762-1839), who concluded the building in 1801. The façade, in the Furlo stone, is the work of Camillo Morigia (1743-1795); built in 1782, commissioned by Archbishop Domenico Monti, is decorated with five statues on the pediment representing the Theological Virtues (Faith, Hope and Charity), while on the two slopes there are Sant'Agostino (left) and San John Chrysostom (right). Below the pediment is the inscription "STUDIORUM UNIVERSITATI FASTIGIUM", as a thank you to the University for funding the works of realization of the roof. The staircase in front of the Duomo was placed in existing forms in 1859, on the design of Archbishop Alessandro Angeloni; presents, at the end of an elegant balustrade, on the left the statue of the Patron Saint Crescentino and on the right the statue of Compatrono Blessed Mainardo, Bishop of Urbino. The refined interior, the work of Valadier, is a fine example of a neoclassical style: a Latin cross with three white aisles covered by a vaulted vault, is crowned at the crossing of the transept by a majestic cupola cupola. Among the works of art are two canvasses (San Sebastiano (1557), Santa Cecilia (1555) in the right nave and the beautiful Last Supper in the Sacramento chapel 1603-1608), by Federico Barocci, an Assumption of Carlo Maratta (1707) and the Nativity of the Virgin of Carlo Cignani (1708). In the plumes of the dome, the rounds with the Evangelists are works of artists from the Roman school of the eighteenth century (including Domenico Corvi and Giuseppe Cades). The blade of the tall altar, which stands in the apse, with the Madonna among the patron saints of Urbino, is Christopher Unterperger. To be pointed out by Organo di Gaetano Callido of 1801 (384), expanded and transformed to 2 keyboards by Luigi Giudici in 1892; the organ was always uncertain in its operation and reduced under completely abandoned conditions, with irretrievable windswepts, made of poplar-hardwood, so that in 1980, after the favorable opinion of the Superintendence, recovering and inserting all the sound of the Callido and of the Giudici, it has been completely reconstructed and extended to electric transmission by the master Alessandro Girotto.