According to tradition, the cathedral would be built in the early Christian burial at San Feliciano, probably the first bishop of the Diocese, martyred at the time of the Emperor Decius, the mid-third century d.C. Around a first shrine was probably built, between the eighth and tenth centuries, a building in the form of a basilica with a crypt that was the first fortified city, the Castrum Sancti Feliciani. The cathedral took its present form as a result of modifications made at different times. An inscription that runs along the main facade of the cathedral informs us that this was renewed in 1133 at the behest of Bishop Mark, in times of severe famine. Around the middle of the century is part of the activities of the architect Louis Vanvitelli, which, present in Foligno in 1769, was invited to work on the project of change of the cathedral for which he worked until his death, in 1773, after which he was succeeded by his pupil Foligno Giuseppe Piermarini.

The work, which gave the cathedral the neo-classical style that even today we see, continued until the early decades of the nineteenth, even after the death of the architect Piermarini, occurred in 1808, with the construction of altars and the remodeling of the floor (rebuilt in 1825 preserving the original geometric pattern, but replacing the local stone that of Pesaro).

Of the medieval cathedral are the two sides.

The the main facade, which looks out on Largo Carducci, Ideally addressed to Rome, was restored in 1904 Welcome to the architect Vincenzo. Above the eight small arches that form the balcony above the main portal, preserves a part of the original hanging in pink and white stone. Original is also the Latin inscription that runs under the loggia (“In 1133 this noble mansion of the Father and of him that was generated by the work of the Holy Spirit, began to be renewed by Marco, created bishop by Pope Callistus, while famine raged. The great Act was the stone-cutter and the head of accounts: that God will protect them, bless them and help them. Amen.)

The restoration of the twentieth century made it possible to place the mosaic in the tympanum depicting the Redeemer enthroned, Feliciano and the saints at the sides Messalina and the kneeling Pope Leo XIII, performed by the factory of the mosaics of the Vatican, designed by the painter Charles Botti Foligno, gift of Pope Leo XIII.

The smaller facade promises to the ancient audience vetus, current Republic Square; its present form is the result of the reconstruction carried out between 1903 and 1904, designed by Vincenzo Welcome.

Made in 1201, thanks to the intervention of Bishop Anselm of Acts, as shown by two inscriptions readable on the portal, in the lower register for the largest number of original architectural elements: the hanging rows of small two-colored blocks (White and red ammonitic), the portal to multiple ring and string-course cornice with decorative busts with human and animal, monsters in the shape of a serpent and metopes decorated.

Is the rich iconography of this facade, which is undoubtedly one of the masterpieces of Romanesque sculpture monuments in Umbria, with overt references to classical sculpture.

Extraordinary is the portal, Ridolfo and work of masters Binello. In the middle is engraved on the stone profile of the sun, while in the bow below you can see the fingerprints of the moon and stars. The inner arches are painted the signs of the zodiac, astrological chart alluding to the cyclical nature of time. Sequence is located at the center of a panel with the busts of the sun and moon. On the outer face of the ferrule decorated are the four living creatures of Revelation (Bull, Aquila, Man and Lion), that appeal to the Evangelists and the four cardinal constellations of the Zodiac band. The two female figures in the intrados of the arch are allusions Cathar heresy and orthodoxy, reference to the message antiereticale and defense of orthodoxy of the Catholic Church. The two figures placed in the inner faces of the jambs represent Pope Innocent III and the Emperor Otto IV of Brunswick, to symbolize the alliance between the Papacy and the Empire in the fight antiereticale. The central face is decorated with the traditional theme of the plot vegetation populated by monsters and fantastic animals with parables from the Gospel (the tenants) or collections of medieval tales (the fox and the crow the string-course). The same string-course seems to combine the two central themes of the facade, the allegory of the time and the theme antiereticale. The center console with two-faced head of man is evident reference to the duality of time.

Of later (1620) is the wooden door, carved.

The bell tower is, the base, the medieval, which was rebuilt by the Vitali 1847, following the disastrous earthquake of 1832. Inside, however, preserves the small room where he retired in solitude blessed Peter Crisci, with frescoes from the early fifteenth century by a local painter.

Theinternal the church has a Latin cross and a single aisle. It has a mezzanine and a large central altar apse is framed by a triumphal arch; under the chancel and the altar is placed the crypt. The vast nave is the result of reworking of the project vanvitelliano. Worthy of note is, in the right transept, in a small chapel built in 1952 the silver statue of San Feliciano, up from the chair with canopy and the figure of the saint copper silver and gold with some parts in sterling silver (face, hands and feet visible). Also splendid reliefs depicting the martyrdom of the saint, postergale in the chair. In 1657 the city decided to build the Silver Chair, performed in Rome, after various events, German GAAP by silversmith John Anthony (1701-1710), the existing wooden statue of the early fifteenth, recently rediscovered and exposed in Museum capitulate-diocesan; the baroque silver statue, exposed to the veneration of the faithful each year during the procession during the patronal feast (24 January), was made, instead, in 1732, when the Roman silversmiths and Philip Francis Giardona Tofani melted the statue designed by Giovan Battista Maini, transported in Foligno 1733. The statue has been robbed of the face and hands after a robbery occurred in 1982.

The current arrangement of 'apse is the result of the interventions of the twenties of the eighteenth century, designed by the architect Sebastiano Cipriani.

Late Baroque masterpiece of the intervention is, above the high altar, the baldacchino carved and gilded wood (1698) in imitation, reduced scale and with some variations, made of the bronze by Gian Lorenzo Bernini for St. Peter's Basilica in Rome, designed by the famous painter Andrea Pozzo, Jesuit Father Anthony Foligno from the slot and built by order of the Roscioli family Calcione, of which contains several parts of the coat of arms. Below this is the 'altar, below which you can see an iron gate in quatrefoils curves of a flower-shaped nails, through which you access the Chapel of the Relics, cabinets with rich carved by the same Calcione (1708) within which are preserved precious relics, including that of San Feliciano (1673).In front of the chapel a door leads to the crypt, very ancient and has undergone numerous transformations. It dates back to Roman, the first half of the eleventh century and has undergone a radical makeover since the sixteenth century, and an extension, realized in the third decade of the nineteenth, in three large arms that house the tombs of the nobles towns, with decorations dating back to early Christian neo- 1903.

Once recovered and moved to the center of the cruise you can admire the dome sixteenth, profile strongly sloping down to the lantern, made between the 1543 and 1548 by Philip Mason Ticino Julian Salvi design by Agnolo Baglioni Florence. The interior is the result of successive interventions of Vanvitelli and Piermarini. To decorate the drum four allegorical statues representing Faith by an unknown author, Hope, Charity and the Church, Twenty two statues while others occupy many niches in stucco by Piermarini took along the walls of the three arms of the Church.

The left arm opens Chapel Jacobilli, octagonal, built in the second century and frescoed by Vespasian Road with Death and Martyrdom of San Feliciano (1610-1620 as). You can admire the stucco statues Evangelists and Doctors of the Church and, the altar, finely engraved and gilded wooden urn, attributable to the seventeenth century, containing the remains of St. Peter Crisci.

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