The Duomo's High Renaissance barrel-vaulted interior from the 16th century contains many mediocre 17th-century works and decorations alongside good pieces. You'll see Raffaello Vanni's Transfiguration, with a rather effeminate Christ (second altar on the right), and local boy Lorenzo Berrettini's Death of St. Joseph (fourth altar), a touching scene where a frightened, dying Joseph turns to Jesus and grasps his son's hand for reassurance. Behind the high altar, in the choir, is a collection of 16th- and early-17th-century paintings. In the middle of the right wall is Andrea Commodi's richly detailed Consecration of the Basilica of San Salvatore (1607). The back wall has a thematic link from right to left, starting with Luca Signorelli's badly deteriorated Crucifixion, then Francesco Signorelli's Incredulity of St. Thomas, who pokes his finger suspiciously into the risen Christ's wound. Thomas doubts again in Alessandro Allori's Madonna of the Holy Girdle. The only work of note on the choir's left wall is Andrea del Sarto's Assumption. As you leave the church, pause at the third altar on your right to see local Baroque master Pietro (Berrettini) da Cortona's Adoration of the Shepherds (1663).