View allAll Photos Tagged MASON
U-BIRBIS with windmill parts for Montana splits Mason St. in downtown Fort Collins during the evening rush.
During the holidays, Fortnum & Mason in London transforms into a magical haven of festive delights. The historic department store, dating back to 1707, adorns itself with enchanting decorations, sparkling lights, and festive displays. The iconic Christmas windows beckon passersby into a world of luxury and tradition. Inside, the scent of freshly baked mince pies and the sight of opulent hampers create a sensory wonderland. From exclusive teas to decadent treats, Fortnum & Mason curates an exceptional holiday experience. The grandeur of the Piccadilly store, coupled with its legendary commitment to quality, makes it a cherished destination for those seeking refined seasonal indulgence.
Coaches seen at the Farnborough Airshow in July 2018 included Masons of Cheddington Scania K124IB4 / Van Hool Alizee C48FT W20DGE. This coach was new to Lodge of High Easter in 2000.
Male of Megachile (Chalicodoma) parietina.
Technique: It was a cool day (18C) with partly cloudy skies and intermittent light showers -perfect weather to go looking for solitary bees since they'll have a tough time keeping their metabolism up. I got lucky and found this Mason bee semi-dormant in my Lavender. I'm holding the lavender stem with my left hand, and then I rested the lens on that same hand. With everything on the same "platform" it's easier to control motion (to get a sharp image), and to place the area of acceptable focus exactly where I want it. The depth of field in this frame is only .19 millimeters. Focusing on the mandible, and then rolling the upper left hand corner toward the bee gave me a "magic angle" that made the most of the depth.
Tech Specs: Canon 80D (F11, 1/250, ISO 100) + a Canon MP-E 65mm macro lens (about 5x) + a diffused MT-24EX (both flash heads on the Canon flash mount, E-TTL metering). This is a single, uncropped, frame taken hand held. I used an artificial flower to keep the background from being black.
Spanish card by La Novela Semanal Cinematográfica, no. 167.
Shirley Mason (1901-1979) was an American actress of the silent era. She was a sister of Viola Dana. She made her film debut at the age of 10. Between 1910 and 1929, she made more than 110 films.
Shirley Mason was born Leonie Flugrath in Brooklyn, New York, to Emil and Mary (née Dubois) Flugrath. Her father was a printer. She and her two sisters Edna and Virginia became actresses at the insistence of their mother. Emil helped out with the process by building his daughters a gymnasium for them to work out and 'train' in. Mason, and her sister Virginia (Viola Dana), made their film debuts at the ages of 10 and 13, respectively, in the film A Christmas Carol (J. Searle Dawley, 1910) for Edison. The film runs 13 minutes and is one of the earliest film adaptations of Charles Dickens' famous 1843 novella. It featured Marc McDermott as Ebenezer Scrooge and Charles S. Ogle as Bob Cratchit. Shirley and Viola appeared as the daughters of Bob Cratchit in the final scene. Mason's next film was The Threshold of Life (Director unknown, 1911) with Mary Fuller. She appeared with her sister Edna in the short, Uncle Mun and the Minister (C.J. Williams, 1912), and appeared with Viola in Children Who Labor (Ashley Miller, 1912) and The Portrait in the Attic (John H. Collins, 1915). As a child actress, Mason was not in high demand. It was not until 1915 that she played the role of the young Becky Sharpe in Vanity Fair (Eugene Nowland, Charles Brabin, 1915). She acted for Edison studios in 1916, starring in The Littlest Magdalene (Burton George, 1916). In 1917, her career saw a major advance as she was cast in 13 films that year alone, and was given the title role in the film The Awakening of Ruth (Edward H. Griffith, 1917). One of her most well-known roles was as Eve Leslie in the Seven Deadly Sins series (Theodore Marston, Richard Ridgely, 1917). Jessica Keaton at Silence is Platinum: It started with Envy, then Pride, Greed, Sloth, Passion, Wrath, and finally The Seventh Sin. "The last installment should have been 'Gluttony' but the term was deemed too offensive by the producers so the title was changed. The same goes for Passion as 'Lust' was considered offensive as well." Mason continued a vibrant acting career through the 1920s, landing substantial parts in films such as Love's Harvest (Howard M. Mitchell, 1920), The Lamplighter (Howard M. Mitchell, 1921), and Very Truly Yours (Harry Beaumont, 1922). In 1929, she appeared in her final role in The Flying Marine (Albert S. Rogell, 1929), along with Ben Lyon and her sister Viola Dana.
The Flugrath sisters were a talented trio, and all three graced cinema with their silent films. Edna Flugrath was the eldest daughter, born in 1893, and was the only sister to maintain her original name upon entering the film business. Virginia, who later changed her name to Viola Dana, was born in 1897, followed by the youngest, Leonie, who one day became Shirley Mason. The mother of the Flugrath sisters was the one who first dreamed of their stage careers, and at a very young age had them enrolled in dance classes. The sisters spent much of their childhood touring with companies at Coney Island, Elks Clubs, and other venues. Eventually, their mother's efforts paid off; all three sisters were hired by Edison Studios. Viola met her husband, John Collins, at Edison, and the young director and actress became a successful husband-wife team. Edna also met her future husband Harold Shaw at the Edison Studios, and when he went to the UK in 1913 to direct at the London Film Company. Edna accompanied him; however, they did not marry until 1917 when they were producing films in South Africa. Shirley had appeared in several films and had met her future husband, Bernard Durning. Durning was a fellow actor and also director, and although eight years her senior, the two were married in 1917 when Mason was only 16 years old. Mason and Durning enjoyed a very happy marriage, his directing films back East, and Shirley acting in them. All was well until 1923 when Bernard Durning reportedly drank some tainted water while working on a film in Brooklyn and got typhoid fever. He died, leaving 22-year-old Shirley a widow. Mason was remarried once more in 1927 to director Sidney Lanfield. The two remained married until Lanfield died of a heart attack in 1972. In 1979, Shirley Mason died of cancer in Los Angeles. She was interred at Westwood Village Memorial Park. Like her sisters, she never had children.
Sources: Jessica Keaton (Silence is Platinum), Wikipedia and IMDb.
And, please check out our blog European Film Star Postcards.
During the holidays, Fortnum & Mason in London transforms into a magical wonderland, captivating visitors with its timeless charm and festive allure. The iconic department store, with its illustrious history dating back to 1707, becomes a beacon of festive cheer, adorned with dazzling decorations and twinkling lights. Its renowned Christmas displays showcase an exquisite array of luxury gifts, gourmet delights, and traditional treats, enticing shoppers from around the world. From beautifully packaged hampers to decadent confections, Fortnum & Mason offers an unparalleled shopping experience steeped in tradition and elegance, making it a cherished destination for holiday indulgence in the heart of London.
Taken in Mason, Ohio.
There are three butterflies on this wall which is in the back of a small parking lot and not particularly visible from the street which is a shame as the art won't be seen by as many people as it might be if located in a different place. It deserves more recognition.
I took me a while to figure out which species of wasp this was. I finally figured out that it is Euodynerus hidalgo, a type of mason wasp.
Me tardó bastante tiempo tratar de averigüar qué especie esta avispa era. Finalmente descubrà que es Euodynerus hidalgo, un tipo de avispa albañil.
My grandson's christening was a grand affair. Sian and Jim have so many friends that we had an amazing celebration. This is the start of the church ceremony.
*Explore/Interestingness*
my son mason (now in college) planted this tulip tree in our backyard when he was 8 years old.
this tree is beautiful in all seasons.
today is the first time i photographed it covered in ice.
The entertainers at the Thredbo Blues Festival last month had me smiling from ear to ear. This little event takes place in the charming alpine village for which it is named, high in Australia’s Snowy Mountains. For two and a half days, the restaurants, bars, and public spaces are bouncing with joyful sounds.
I was introduced to the wonderful Mason Rack Band: when he’s not sounding like Tom Waits growling an old blues-rock standard, Mason Rack is giggling like a mischievous child and telling stories of growing up in a family of entertainers.
For the story, please visit: www.ursulasweeklywanders.com/uncategorized/rocking-the-bl...
midnight burrito from the mason kitchen: chorizo, refried lentils, green cilantro rice, goat cheese, queso fresco, and watercress salsa verde.
recipe here: www.ifc.com/dinner-with-the-band/midnight-burritos-at-the...
It's been a bit chillier in the garden today. Yesterday, all the male Osmia mason bees were swarming around my garden bee-hotels waiting for females to emerge. Today was a day for "chilling out" so a lot of time was spent indoors. Bees often "roost" in empty holes during the night or when it's cooler. They will keep coming to the front door to check on conditions!
The facial hairs on this individual are a little darker than seen in the Red Mason bee (Osmia bicornis). I suspect that it's either Osmia caerulescens or Osmia leaiana. Both have nested in my bee-hotels before.
Three images at F11, blended in PSE.
My latest project; a DSP&P 2-6-6T Mason Bogie!
These engines were some of the earliest power on the South Park line; able to handle bad track and tight curves, but small and ultimately too weak to cope with the harsh mountain grades. By 1894, all of them had been replaced by heartier 2-6-0s and 2-8-0s.
This model features the functionality of the original engines, with the drive wheels mounted to a separate frame that rotates beneath the boiler like later articulated engines. This made the Bogies very flexible, but maintenance intensive and fragile... Here's hoping if I ever build this one, it won't suffer from the same flaws :P
Actually the owner is a mason... quite disturbing.
I'm very happy to see a car like this one in Bordeaux... I think I won't see Aventadors here until 2 or 3 years, only if I'm lucky :D
I spotted this female mason wasp, Symmorphus canadensis, hunting a leaf-mining caterpillar. She was ultimately successful. Weston Bend State Park, Missouri, USA, October 9, 2021.
18 April 2018
Masons, Cheddington YJ09 CUU
Van Hool T916 Astron
ex BM Coaches, Hayes
Elder Gate, Milton Keynes
Mason has taken over the bathroom sink. He sleeps there most of the day and night. If he is in there, we just go in the kitchen to use the sink. He looks so comfy, we haven't the heart to make him move. He isn't spoiled or anything!
M40 SOU (ex 95-KK-2397, M40 SOU)
Volvo B10M (B9M)/Van Hool Alizee C38F
Masons Coaches, Cheddington
Buckingham, December 2002
New to Southern, Barrhead
A newcomer appeared on the Buckingham school bus scene following the sudden demise of Robinson as Masons stepped in to take over their 928 contract. The regular vehicle was their biggest at the time, with a registration that almost but not quite spells the operator's name.
The frame is a wire planter that I turned upside down and attached the chains at the bottom. I used wire to attach the mason jars and insulator. The lea lights are citronella, so they help keep the mosquitoes away!
I was inspired by these:
www.sunset.com/home/outdoor-living/outodoor-garden-lanter...
www.sunset.com/home/outdoor-living/outodoor-garden-lanter...
Taken at the Calendonia abandonment. The story behind this house is the owner is in a mental hospital and the family, from Hamilton, do not want to get rid of the property for some reason. Sad in a way because this gigantic house is being reclaimed by nature. It is like walking back in time with some of the "things" that are left behind. The magazine below was dated 1962. This house won't be safe for much longer and fellow photographers, it is guarded by the lumber yard beside the house.
One of my favorite spots to stop for a while, and listen to the water. Unfortunately, the highway on the other side interferes with any reverie.
No Correction
4x6 Crop (99% of Image)
Il Duomo di Orvieto è la cattedrale di Orvieto, capolavoro dell'architettura gotica del Centro Italia.
La costruzione della chiesa, avviata nel 1290 per volontà di Papa Niccolò IV allo scopo di dare degna collocazione al Corporale del miracolo di Bolsena, si protrasse per circa un secolo. Disegnato in stile romanico da Arnolfo di Cambio, in principio la direzione dei lavori fu affidata a fra Bevignate da Perugia.
Nel 1310 venne chiamato a dirigere il cantiere il senese Lorenzo Maitani: per la fastosa facciata, egli innovò arditamente e , traendo spunto dal Duomo di Siena, realizzò una sorta di trittico gotico, impreziosito da mosaici e sculture. Al centro si apre un magnifico rosone, opera di Andrea di Cione detto l'Orcagna. I rilievi scolpiti, sono attribuiti al Maitani stesso (o in alternativa ad un non identificato Maestro Sottile) e a vari artisti minori del XIV secolo: uno degli esempi più mirabili di scultura gotica in Italia. I mosaici, tra cui quello della cuspide con l'Incoronazione della Vergine, sono stati nei secoli pesantemente restaurati e rifatti: tra quelli più antichi, spicca la scena del Battesimo di Cristo (su disegno di Cesare Nebbia). Notevole è il portale centrale moderno , inquadrato -come i due laterali- da un profondo strombo, e rivestito con lastre bronzee dello scultore Emilio Greco, che narrano opere di misericordia.
L’interno è a pianta basilicale e suddiviso da pilastri circolari in tre navate, di cui la centrale, coperta da capriate lignee, deriva l'elegante omogeneità stilistica dall'alternanza delle fasce orizzontali bianche e nere, di matrice senese.
Spicca tra le numerose opere d'arte conservate nel Duomo il preziosissimo Reliquiario del Corporale, realizzato, tra il 1337 e 1338, dall'orafo senese Ugolino di Vieri. Il Reliquiario è destinato a raccogliere il Corporale utlizzato nella miracolosa Messa di Bolsena (1264), macchiatosi di sangue sprizzante dall'Ostia al momento della celebrazione eucaristica. L'opera riproduce la sagoma tripartita della facciata del Duomo con raffinate scene della Vita di Cristo e scene del miracolo di Bolsena realizzate in smalto traslucido. Capolavoro dell'arte Gotica, si trova nella splendida cappella affrescata da tre pittori orvietani, tra i quali ruolo preminente ebbe Ugolino di Prete Ilario. La decorazione pittorica della Capella si colloca tra il sesto e il settimo decennio del XIV secolo.
Coerentemente alla destinazione della Cappella, il programma iconografico del ciclo ha ad oggetto non solo gli episodi della Messa di Bolsena ma in generale il mistero della Transustanziazione. Infatti, oltre al miracolo di Bolsena, sono raffigurati diversi altri prodigi - per lo più si tratta di episodi tratti da exempla messi a punto con scopo didascalico - che dimostrerebbero la reale presenza del corpo di Cristo nella Particola consacrata. Completano la decorazione scene della Passione e in particolare la raffigurazione dell’Ultima Cena, appunto l’istituzione dell’Eucarestia.
Nella stessa Cappella del Corporale è ospitata anche la Madonna dei Raccomandati (o della Misericordia) realiazzata dal senese Lippo Memmi. Notevole poi l'affresco raffigurante Due angeli reggenti lo stemma dell'Opera del Duomo. Ugualmente interessante è il Fonte Battesimale sormontato da una statua di San Giovanni Battista.
Lo stesso Ugolino di Prete Ilario affrescò, con molti aiuti, la tribuna del Cappella Maggiore con un esteso ciclo mariano. Si tratta di uno di più grandi cicli trecenteschi superstiti in Italia ed è di qualche anno successivo a quello della Capella del Corporale. Nella tribuna si apre una grande finestra quadrifora caratterizzata da una notevole vetrata istoriata opera di Giovanni di Bonino. In pandant con la decorazione ad affresco la vetrata è dedicata alle storie di Maria e di Cristo.
Caposaldo della pittura rinascimentale italiana è infine la Cappella di San Brizio: la decorazione pittorica, avviata, nel 1447, dal Beato Angelico con l'aiuto di Benozzo Gozzoli, cui si deve la decorazione di due vele di una delle due crociere, e conclusa, nel 1504, da Luca Signorelli con grandiose scene apocalittiche dedicate alla Venuta dell'Anticristo, alla Fine del mondo, alla Resurrezione della carne e al Giudizio universale. Nelle volte della Cappella sono raffigurati il Cristo Giudice (dell'Angelico) e le schiere paradisiache. La zoccolatura delle pareti contiene un complesso programma iconografico dedicato ai grandi poeti dell'antichità (cui è aggiunto Dante): a ognuno di essi è dedicato un ritratto, contornato da tondi che riproducono in monocromo episodi tratti dalla sua opera. In una scarsella Signorelli ha raffigurato anche un Compianto che, secondo la tradizione tramandata da Vasari, celerebbe nel volto di Cristo un ritratto del figlio del Maestro cortonese morto pochi anni prima di peste.
Sulla parete della navata sinistra, nella prima campata, vi è poi un affresco di Gentile da Fabriano raffigurante la Madonna con Bambino eseguita nel 1425.
Nel transetto, si può ammirare una Pietà , mentre sul lato sinistro si trova la Cappella della Maddalena, restaurata nel XVIII secolo dai marchesi Gualterio per la sepoltura di alcuni membri della famiglia: i cardinali Carlo e Filippo Antonio, e gli arcivescovi Ludovico Anselmo e Giannotto. Ai piedi della cappella si legge infine un'iscrizione dedicata a Giovanni Battista Gualterio, marchese di Corgnolo, duca di Cumia e conte di Dundee.
_________________________________________________
A Catedral de Orvieto é um grande edifÃcio religioso da cidade de Orvieto, na Itália, dedicado à Virgem Maria.
Sua construção foi ordenada pelo papa Urbano IV para receber uma relÃquia, o Corporal de Bolsena. A pedra fundamental foi lançada em 13 de novembro de 1290, e as obras se prolongaram por três séculos, com um estilo que mostra a evolução do românico para o gótico. O projeto original se deve ao frei Bevignate de Perugia, que adaptou um desenho de Arnolfo di Cambio. Em 1309 Lorenzo Maitani foi chamado para assumir as obras e resolver sérios problemas estruturais, e a ele se deve o desenho geral da fachada até o nÃvel das primeiras arcadas. Com sua morte, foi sucedido por Andrea Pisano e depois por Orcagna, a quem se atribui a decoração em mosaicos e a rosácea. Os arquitetos seguintes deram todos eles alguma contribuição importante para a obra - Antonio Federighi, Michele Sanmicheli, Antonio da Sangallo e Ippolito Scalza - mas o resultado final é muito unificado, compondo uma das grandes obras arquiteturais da Baixa Idade Média.
As partes mais interessantes da fachada são a sua decoração em mosaico de ouro, os grandes baixos-relevos e as estátuas com os sÃmbolos dos Evangelistas, criados por Maitani e colaboradores entre 1325 e 1330. Em 1352 Matteo di Ugolino da Bologna acrescentou o bronze Cordeiro de Deus acima da empena central e a estátua de bronze de São Miguel no topo do frontão da entrada esquerda. Os baixos-relevos nas bases das pilastras retratam histórias do Antigo e do Novo Testamento. Eles estão entre os melhores exemplares de escultura arquitetural do século XIV. Os mosaicos foram realizados seguindo um projeto de Cesare Nebbia. Suas peças originais foram substituÃdas ao longo dos séculos, e representam cenas da vida da Virgem Maria. No centro da fachada está a grande rosácea construÃda por Orcagna entre 1354 e 1380. Nos nichos acima estão os doze apóstolos, enquanto em nichos de ambos os lados estão representados profetas do Antigo Testamento. A moldura possui 52 cabeças esculpidas, enquanto o centro da rosácea tem uma cabeça do Cristo. A parte mais nova da decoração são as três portas de bronze, concluÃdas em 1970 por Emilio Greco, mostrando cenas da vida de Cristo. A porta central é encimada por uma escultura da Virgem com o Menino criada por Andrea Pisano em 1347.
Seu interior tem três naves e uma planta cruciforme, possuindo muitas obras de arte de mestres como Gentile da Fabriano, Ippolito Scalza, Giovanni Ammannati, Ugolino di Prete Ilario, Giovanni di Buccio Leonardelli, Orcagna, Lippo Memmi, Fra Angelico, Benozzo Gozzoli, Luca Signorelli e vários outros. O interior, como o exterior, está decorado com linhas alternadas de basalto escuro e mármore branco, mas apenas atá uma altura de cerca de 1,5 m. As linhas escuras acima delas foram pintadas em imitação de pedra no final do século XIX.
Os painéis de alabastro na parte inferior das janelas foram complementados com vitrais neogóticos nas partes superiores, desenhados por Francesco Moretti. O telhado de madeira foi decorado na década de 1320 por Pietro di Lello e Vanuzzo di Mastro Pierno, e foi muito restaurado em 1890 por Paolo Zampi e Paolo Coccheri. Perto da entrada esquerda está a pia batismal em mármore com leões e relevos. Foi construÃda entre 1390-1407 por Luca di Giovanni, Pietro di Giovanni e Sano di Matteo. Acima está um afresco da Madonna entronizada pintado por Gentile da Fabriano em 1425. Este é o único afresco que sobreviveu quando foram adicionados altares à s paredes da nave no final do século XVI. Esses altares por sua vez foram desmantelados no século XIX e apenas fragmentos dos outros afrescos dos séculos XIV e XV ainda subsistem. Alguns deles são atribuÃdos a Pietro di Puccio. No inÃcio da nave está uma pia de água benta, esculpida por Antonio Federighi entre 1451 e 1456. Acima da entrada da Capela do Corporal fica o grande órgão, com 5.585 tubos e originalmente concebido por Ippolito Scalza e Bernardino Benvenuti no século XV, antes de ser redesenhado em 1913 e 1975. Outra contribuição importante de Scalza para a igreja é a grande Pietà esculpida em 1579. Os grandes vitrais na abside foram obra de Giovanni di Bonino entre 1328 e 1334. O desenho foi feito provavelmente por Maitani. Acima do altar está pendurado um grande crucifixo em madeira policromada atribuÃdo a Maitani. A construção do coro gótico em madeira foi iniciada em 1329 por Giovanni Ammannati e sua equipe. Ele estava originalmente no centro da nave, mas foi transferido para a abside por volta de 1540. Atrás do altar há uma série de afrescos góticos parcialmente arruinados, dedicados à vida da Virgem Maria, ocupando todas as paredes da capela-mor. Foram criados em 1370 pelo artista local Ugolino di Prete Ilario e alguns colaboradores, como Pietro di Puccino, Cola Petruccioli e Andrea di Giovanni. Esta série de afrescos foi a maior da Itália em seu tempo. Duas cenas, a Anunciação e a Visitação, foram refeitas por Antonio del Massaro no final do século XV.
___________________________________________
The Duomo di Orvieto is a large 14th century Roman Catholic cathedral situated in the town of Orvieto in Umbria, central Italy. The building was constructed under the orders of Pope Urban IV to commemorate and provide a suitable home for the Corporal of Bolsena, a miracle which is said to have occurred in 1263 in the nearby town of Bolsena, when a traveling priest who had doubts about the truth of transubstantiation found that his Host was bleeding so much that it stained the altar cloth. The cloth is now stored in the Chapel of the Corporal inside the cathedral.
Situated in a position dominating the town of Orvieto which sits perched on a volcanic plug, the cathedral’s façade is a classic piece of religious construction, containing elements of design from the 14th to the 20th century, with a large rose window, golden mosaics and three huge bronze doors, while inside resides two frescoed chapels decorated by some of the best Italian painters of the period with images of Judgement Day.
The construction of the cathedral, dedicated to the Assumption of Mary (Santa Maria Assunta), lasted almost three centuries with the design and style evolving from Romanesque to Gothic as construction progressed. The flagstone of the cathedral was laid on 13 November 1290 by Pope Nicholas IV, and construction was entrusted to chief-mason (capomastro) Fra Bevignate di Perugia (also called Fra Bevignate da Gubbio) using a design by Arnolfo di Cambio (the architect of the cathedral of Florence). The cathedral was initially designed as a Romanesque basilica with a nave and two side aisles. But when Giovanni di Uguccione succeeded Fra Bevignate, the design was transformed into Italian Gothic forms.
Construction continued slowly until in 1309 the Sienese sculpture and architect Lorenzo Maitani (universalis caput magister) was commissioned to work on the church and solve several issues concerning the load-bearing capabilities of the building, especially of the choir. He substantially changed the design and construction of the building. He strengthened the external walls with flying buttresses, which proved later to be useless. These buttresses were eventually included in the walls of the newly built transept chapels. He rebuilt the apse into a rectangular shape and added a large stained-glass quadrifore window. Starting in 1310 he created the current façade up to the level of the bronze statues of the symbols of the Evangelists.. He also added much of the interior. He died in 1330, shortly before the completion of the duomo, succeeded by his sons. In 1347 Andrea Pisano, the former Master of the Works of the Florence Cathedral, was appointed the new Master of the Works. He was followed in 1359 by Andrea di Cione, better known as Orcagna.The beautiful mosaic decoration and the rose window are attributed to him. The Sienese architect Antonio Federighi continued the decoration of the facade between 1451 and 1456, adding some Renaissance modules.In 1503 Michele Sanmicheli finished the central gable and added the right spire, which was finished by Antonio da Sangallo junior in 1534. Final touches to the façade were made by Ippolito Scalza by adding the right pinnacle in 1590 and the left in 1605-1607. All in all, the succeeding architects kept a stylistic unity to the façade.
The Gothic façade of the Orvieto Cathedral is one of the great masterpieces of the Late Middle Ages. The three-gable design is attributed to Maitani, who had clearly undergone some influence by the design scheme for the façade in Tuscan Gothic style of the Siena Cathedral by Giovanni Pisano (1287-1297) and the plan for façade of the Florence Cathedral by Arnolfo di Cambio (1294-1302).
The most exciting and eye-catching part is its golden frontage, which is decorated by large bas-reliefs and statues with the symbols (Angel, Ox, Lion, Eagle) of the Evangelists created by Maitani and collaborators (between 1325 and 1330) standing on the cornice above the sculptured panels on the piers. In 1352 Matteo di Ugolino da Bologna added the bronze Lamb of God above the central gable and the bronze statue of Saint Michael on top of the gable of the left entrance.
The bas-reliefs on the piers depict biblical stories from the Old and New Testament. They are considered among the most famous of all 14th century sculpture. These marbles from the fourteenth and fifteenth century are the collective and anonymous work of at least three or four masters with assistance of their workshops, It is assumed that Maitani must have worked on the reliefs on the first pier from the left, as work on the reliefs began before 1310. The installation of these marbles on the piers began in 1331. They depict from left to right:
stories of the Old Testament : Book of Genesis
the Tree of Jesse with scenes from the Old Testament with messianic prophesies of Redemption.
scenes from the New Testament with below Abraham sleeping : episodes from the lives of Jesus and Mary
Last Judgment : Book of Revelation
Above this decoration are glittering mosaics created between 1350 and 1390 after designs by artist Cesare Nebbia. These original pieces have been replaced and redesigned in the centuries since, particularly in 1484, 1713 and 1842. Most of these mosaic represent major scenes from the life of the Virgin Mary, from the "Nativity of Mary" in the lower right gable to the "Coronation of the Virgin Mary" in the topmost gable. One of these glassmakers is recorded as Fra Giovanni Leonardelli.
Central to the mosaics is the large rose window built by the sculptor and architect Orcagna between 1354 and 1380. In the niches above the rose window stand the twelve apostles, while in niches on both sides twelve Old Testament prophets are represented in pairs. Statues in niches is typical for French Gothic cathedrals. It is therefore likely that the sculptors have undergone some influence. Eight statues have been attributed in the records to Nicola de Nuto. The spandrels around the rose window are decorated with mosaics representing the four Doctors of the Church. The frame of the rose window holds 52 carved heads, while the center of the rose window holds a carved head of the Christ.
The newest part of the decoration are the three bronze doors which give access to the entrance of the cathedral. These were finished in 1970 by the Sicilian sculptor Emilio Greco (1913-1995) depicting mercies from the life of Christ and are surmounted by a sculpture of the Madonna and Child created by Andrea Pisano in 1347.
The cathedral's side walls, in contrast to the façade, are more simply furnished with alternating layers of local white travertine and blue-grey basalt stone.