MAITANI, Lorenzo

Maitani’s principal architectural achievement was the fa�ade of the cathedral at Orveto. The fact that he was also involved in producing sculpture there, apparently by his own hand, is attested by documents. Marble reliefs adorn the four buttresses of the fa�ade up to the full height of the jamb of the central portal.

The Gothic fa�ade 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 fa�ade in Tuscan Gothic style of the Siena Cathedral by Giovanni Pisano (1287-97) and the plan for fa�ade 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 of the Evangelists standing on the cornice above the sculptured panels on the piers. The symbols were created by Maitani and collaborators between 1325 and 1330. In 1352 Matteo di Ugolino da Bologna added the bronze Lamb of God above the central gable and the bronze statue of St 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.

Above this decoration are glittering mosaics created between 1350 and 1390 after designs by artist Cesare Nebbia. The original pieces have been replaced and redesigned in later centuries.

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. 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 centre of the rose window holds a carved head of Christ.

The three bronze doors which give access to the entrance of the cathedral were made by the Sicilian sculptor Emilio Greco (1913-1995).

Early documents state that the cathedral should be modeled on the Early Christian Basilica of Santa Maria Maggiore in Rome, which may explain the mosaics that decorate the upper part of the fa�ade. The fa�ade design and much of the sculpture is attributed to Lorenzo Maitani as head of what must have been a large workshop between 1310 and 1330.

The foundation stone of the cathedral was laid in 1290 but the fa�ade design as we see it today dates from after Maitani became capomaestro in 1309; the lower part was complete by 1330 but some of the upper areas were not completed until the mid-fifteenth century. The mosaics had been restored many times.

The new cathedral in Orvieto was founded in 1290. By 1309 the first roof-beam was up. The new building was still Romanesque in form, round-arched, and anchored in a centuries-old tradition of masonic craftsmanship, and architectural ambition was expressed in terms of scale. The vast dimensions of the plan and great height of the nave led, at the crossing, to a need for vaults and arches of unprecedented height and span. No sooner were they going up than the authorities began to fear an imminent collapse and called on the Sienese Lorenzo Maitani for advice, who became “capomaestro” in 1310.

The original design of Orvieto Cathedral must be numbered among the greatest masterpieces created anywhere in Italy during the period of transition from Late Romanesque to Gothic architecture. The existing choir was begun only in the late 1320s, the extension of the transepts to create the present cruciform plan came even later. In the original structure the transepts were contained within the basic rectangle of the plan. The choir preceded the crossing, and behind the altar a single great apse gathered up the waves of lesser apses rippling down each flank.

In the nave the omnipresent, streaming motion of striped travertine and basalt stonework gathers force in the horizontal accent of the gallery. The latter is surmounted by a planar upper wall pierced only by the lancet windows.

View the ground plan of the existing Orvieto Cathedral.

The new cathedral in Orvieto was founded in 1290. By 1309 the first roof-beam was up. The new building was still Romanesque in form, round-arched, and anchored in a centuries-old tradition of masonic craftsmanship, and architectural ambition was expressed in terms of scale. The vast dimensions of the plan and great height of the nave led, at the crossing, to a need for vaults and arches of unprecedented height and span. No sooner were they going up than the authorities began to fear an imminent collapse and called on the Sienese Lorenzo Maitani for advice, who became “capomaestro” in 1310.

The original design of Orvieto Cathedral must be numbered among the greatest masterpieces created anywhere in Italy during the period of transition from Late Romanesque to Gothic architecture. The existing choir was begun only in the late 1320s, the extension of the transepts to create the present cruciform plan came even later. In the original structure the transepts were contained within the basic rectangle of the plan. The choir preceded the crossing, and behind the altar a single great apse gathered up the waves of lesser apses rippling down each flank.

In the nave the omnipresent, streaming motion of striped travertine and basalt stonework gathers force in the horizontal accent of the gallery. The latter is surmounted by a planar upper wall pierced only by the lancet windows.

The new cathedral in Orvieto was founded in 1290. By 1309 the first roof-beam was up. The new building was still Romanesque in form, round-arched, and anchored in a centuries-old tradition of masonic craftsmanship, and architectural ambition was expressed in terms of scale. The vast dimensions of the plan and great height of the nave led, at the crossing, to a need for vaults and arches of unprecedented height and span. No sooner were they going up than the authorities began to fear an imminent collapse and called on the Sienese Lorenzo Maitani for advice, who became “capomaestro” in 1310.

The original design of Orvieto Cathedral must be numbered among the greatest masterpieces created anywhere in Italy during the period of transition from Late Romanesque to Gothic architecture. The existing choir was begun only in the late 1320s, the extension of the transepts to create the present cruciform plan came even later. In the original structure the transepts were contained within the basic rectangle of the plan. The choir preceded the crossing, and behind the altar a single great apse gathered up the waves of lesser apses rippling down each flank.

In the nave the omnipresent, streaming motion of striped travertine and basalt stonework gathers force in the horizontal accent of the gallery. The latter is surmounted by a planar upper wall pierced only by the lancet windows.

View the ground plan of the existing Orvieto Cathedral.

The new cathedral in Orvieto was founded in 1290. By 1309 the first roof-beam was up. The new building was still Romanesque in form, round-arched, and anchored in a centuries-old tradition of masonic craftsmanship, and architectural ambition was expressed in terms of scale. The vast dimensions of the plan and great height of the nave led, at the crossing, to a need for vaults and arches of unprecedented height and span. No sooner were they going up than the authorities began to fear an imminent collapse and called on the Sienese Lorenzo Maitani for advice, who became “capomaestro” in 1310.

The original design of Orvieto Cathedral must be numbered among the greatest masterpieces created anywhere in Italy during the period of transition from Late Romanesque to Gothic architecture. The existing choir was begun only in the late 1320s, the extension of the transepts to create the present cruciform plan came even later. In the original structure the transepts were contained within the basic rectangle of the plan. The choir preceded the crossing, and behind the altar a single great apse gathered up the waves of lesser apses rippling down each flank.

In the nave the omnipresent, streaming motion of striped travertine and basalt stonework gathers force in the horizontal accent of the gallery. The latter is surmounted by a planar upper wall pierced only by the lancet windows.

View the ground plan of the existing Orvieto Cathedral.

The Gothic fa�ade of the Orvieto Cathedral is one of the great masterpieces of the Late Middle Ages. 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.

The first pier contains 13 scenes from the Book of Genesis. They depict from bottom left to top right:

• Scene 1: Creation of the water, plants and birds.
• Scene 2: Creation of the animals.
• Scene 3: Creation of Adam.
• Scene 4: God infuses life into Adam and God takes a rib from Adam as he sleeps.
• Scene 5: Creation of Eve.
• Scene 6: God gives instructions on the Tree of Life.
• Scene 7: The Original Sin.
• Scene 8: Expulsion from Paradise.
• Scene 9: Work of the ancestors.
• Scene 10: Cain and Abel making offerings to God.
• Scene 11: Killing of Abel.
• Scene 12: Naomi teaches to read, Jubal discover music.
• Scene 13: A son of Adam with compass.

The four piers on the fa�ade of the Orvieto Cathedral are covered with delicate and fine low-reliefs, made by artists, whose identity �s not absolutely certain. The best reliefs are usually attributed to Maitani. During the course of the 14th century the French influence strengthens in Italian sculpture. The closest approach in the Latin areas to Northern Gothic sculpture is probably provided by Lorenzo Maitani’s reliefs decorating the fa�ade of Orvieto Cathedral.

The picture shows the reliefs on the first pier representing in 13 scenes the events concerning the creation of the world and mankind, according to the book of Genesis. The creation of the animals, the murder of Abel and the representation of the first human activities. A branch of ivy, rising in the centre; keeps together and frames the stories divided into six panels one above the other.

1st panel (from below, from left to right):

In the first scene the artist probably has intended to summarize the works done by God during the five days of creation. A dove - the spirit of God - flies on the waters; upon it the hand of the Eternal God, from whom come out three rays symbolizing the separation of light from darkness. God creates plants, birds, fish, quadrupeds and lastly Man.

2nd panel:

On ten plates - one different from the other, but all symmetricaliy composed and united with meticulous care - three scenes are represented: God blows life into man, God takes a rib from Adam, and the creation of Eve.

3rd panel:

The Tree of the Knowledge o Good and Evil. God, escorted by Angels, forbids Adam and Eve to eat the forbidden fruit. The three, around which the tempting snake coils itself, is near a spring, from which, according to some, the four rivers of the Genesis - Phison, Ghenon, Tigris and Euphrates - originated. Eve has plucked the forbidden fruit; she keeps one for herself and offers another to her companion. God, above, from the clouds, looks down at the disobedient couple in a threatening manner. The two hide themselves in a bush shielding themselves with their hands.

4th panel:

Two scenes are here represented: Adam and Eve driven out of Eden and the first activities of our fore-fathers. The earthly paradise is surrounded by fire to prevent man from entering it. An angel drives Adam and Eve out with his sword. Adam and Eve devote themselves to domestic works.

5th panel:

The sacrifice of Cain and Abel and the murder of Abel. Abel sacrifices a lamb to God, while Cain offers a bunch of spikes. Cain kills Abel.

6th panel:

The first activities of man. Life is completely devoted to agriculture and sheep-breeding. According to some, the activities of some descendants of Cain have been represented here.

The first pier of the fa�ade contains 13 scenes from the Book of Genesis. The picture shows Scene 1: Creation of the water, plants and birds.

The picture shows a detail of the scene depicting the Creation of the water, plants and birds.

The first pier of the fa�ade contains 13 scenes from the Book of Genesis. The picture shows Scene 10: Cain and Abel making offerings to God.

The picture shows the left part of the scene depicting the Offerings of Cain and Abel.

The first pier of the fa�ade contains 13 scenes from the Book of Genesis. The picture shows Scene 11: Killing of Abel.

The first pier of the fa�ade contains 13 scenes from the Book of Genesis. The picture shows Scene 12: Naomi teaches to read, Jubal discover music.

The picture shows the centre part of the scene depicting Naomi teaches to read, Jubal discover music.

The first pier of the fa�ade contains 13 scenes from the Book of Genesis. The picture shows Scene 13: A son of Adam with compass.

The first pier of the fa�ade contains 13 scenes from the Book of Genesis. The picture shows Scene 2: Creation of the animals.

The first pier of the fa�ade contains 13 scenes from the Book of Genesis. The picture shows Scene 3: Creation of Adam.

The picture shows a detail of the scene depicting the Creation of Adam.

The first pier of the fa�ade contains 13 scenes from the Book of Genesis. The picture shows Scene 4: God infuses life into Adam and God takes a rib from Adam as he sleeps.

The first pier of the fa�ade contains 13 scenes from the Book of Genesis. The picture shows Scene 5: Creation of Eve.

The picture shows the left part of the scene depicting the Creation of Eve.

The first pier of the fa�ade contains 13 scenes from the Book of Genesis. The picture shows Scene 6: God gives instructions on the Tree of Life.

The first pier of the fa�ade contains 13 scenes from the Book of Genesis. The picture shows Scene 7: The Original Sin.

The picture shows the left part of the scene depicting The Original Sin.

The first pier of the fa�ade contains 13 scenes from the Book of Genesis. The picture shows Scene 8: Expulsion from Paradise.

The picture shows the right part of the scene depicting the Expulsion from Paradise.

The first pier of the fa�ade contains 13 scenes from the Book of Genesis. The picture shows Scene 9: Work of the ancestors.

The Gothic fa�ade of the Orvieto Cathedral is one of the great masterpieces of the Late Middle Ages. 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.

The contract of 1310 did allow Maitani to retain some assistants for the sculptural work on the fa�ade, but it seems likely that these craftsmen had already begun the work under the supervision of an earlier master. The reliefs on pier 2 and pier 3 are by these craftsmen.

The reliefs on pier 2 depict the Tree of Jesse with scenes from the Old Testament (Messianic Prophesies). In the centre, below, there is Abraham sleeping. An acanthus (Tree of Jesse), growing vertically, draws with its branches a series of circles, in which David, Salomon, Roboan, Abiah, Asah, Josaphat, the Virgin Mary and the Redeemer are represented.

1st panel:

Abraham is sleeping: at his side there are the judges of Israel having in their hands the sheets on which the prophecies are written.

2nd panel:

The skeleton of Abraham in a sarcophagus and some judges of Israel.

3rd panel:

The unction of David. Samuel, having left Saul, who had broken the Lord’s orders, is sent to Bethlehem to consecrate one of Jesse’s sons as king of Israel. David, the youngest one of his eight sons, was elected. Samuel pours on the head of the child the oil contained in a horn. Behind him there are Jesse and the other seven sons, two of which bears the cloths for the rite - a clear analogy with the baptism of Christ. Gideon is wringing the fleece wet with dew. The fleece is the symbol of the Virgin, who would have accepted the will of God, symbolized by the dew. The prophecy on Balaam. Balaam thrashes an ass; an angel stops him with his sword.

4th panel:

God, standing, speaks to Moses, kneeling. Illustration of the Messiah’s coming. This scene was erroneously interpreted as Moses saved from the waters.

5th panel:

The waters of Redemption. The scene here represented probably has been taken from one of the visions of Ezekiel, who in the symbolical town, saw the waters flowing under the threshold of the Temple. The waters probably mean the baptismal lavacre spreading all over the world. After this scene; there is Nebuchadnezzar’s dream. This king saw in a dream a giant with his head of gold and breast of silver; his legs and feet of iron and clay. The giant is killed by a stone fallen down from a mountain. According to some, the stone symbolized the Redeemer.

6th panel:

The vision of Ezekiel. He saw in heaven a ‘group’ formed by an Angel, a lion, a winged bull and an eagle. The ‘group’ (the symbols of the four Evangelists) is completed by two Cherubs standing around the image of Jesus, while the Prophet is lying on the ground in deep meditation. The cycle of prophecies goes on with that of Isaiah. According to the prophet, after the coming of the Messiah live would have changed; peace would have reigned and all, including the animals, (here represented while watering at the same spring), would have lived in perfect harmony. The panel is completed by the prophecy of the Virgin and Emmanuel (Behold, a virgin shall conceive and bear a son).

7th panel:

The Corner Stone. The New Church is born out of a squared stone (symbol of Christ). In this representation, the Redeemer is standing on the stone supported by four figures (some think that they are the believers come from all over the world). Then there is the vision of Zachariah: the prophet saw in a dream a man on horseback, followed by other horses. Some think that the man on horse-back symbolizes the God of the armies, sent by the Father to convert all the people of the earth; the other horses would represent the Apostles.

8th panel:

The prophecy of Micah. The repudiation of Jerusalem and the exaltation of Bethlehem. God curses a woman symbolizing Jerusalem. The balance, which the hand of God holds up; symbolizes Justice, while the torch, which a sitting man holds up, represents Truth.

9th panel:

Moses on Mt. Sinai. This scene has been variously interpreted. Some think that Moses did not talk with God the Father, but with His Son; who had taken the form of an angel. Others think that it is the Annunciation to Zachariah. Prophecies of the Crucifixion: On the two sides of the Cross, as it has been described by Joel, the sun and the moon get dark.

1Oth panel:

The angel flies towards the Madonna. The Virgin is represented on a throne, on the tree of Jesse.

The Gothic fa�ade of the Orvieto Cathedral is one of the great masterpieces of the Late Middle Ages. 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.

The contract of 1310 did allow Maitani to retain some assistants for the sculptural work on the fa�ade, but it seems likely that these craftsmen had already begun the work under the supervision of an earlier master. The reliefs on pier 2 and pier 3 are by these craftsmen.

The reliefs on pier 3 depict scenes from the New Testament (episodes from the lives of Jesus and Mary). The scenes, described in ten panels, are divided by an acanthus.

1st panel (from below upwards and from left to right):

The sleeping Abraham is surrounded by eleven personages, probably prophets.

2nd panel:

Other personages, perhaps prophets with scroll ornaments.

3rd panel:

Annunciation of the Virgin and visit to St. Elizabeth.

4th panel:

Birth of Jesus and adoration of the Magi.

5th panel:

Presentation in the Temple and flight into Egypt.

6th panel:

The slaughter of the innocents and Jesus among the Doctors.

7th panel:

The Baptism of Jesus and temptation in the desert.

8th panel:

Jesus enters Jerusalem. Jesus is arrested in the garden of Gethsemane.

9th panel:

The Scourging of Jesus; the Crucifixion.

10th panel:

The pious women at the Sepulchre. The Angel, sitting on the sarcophagus, announces the resurrection of Jesus.

The Gothic fa�ade of the Orvieto Cathedral is one of the great masterpieces of the Late Middle Ages. 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.

The contract of 1310 did allow Maitani to retain some assistants for the sculptural work on the fa�ade, but it seems likely that these craftsmen had already begun the work under the supervision of an earlier master. The reliefs on pier 2 and pier 3 are by these craftsmen.

The reliefs on pier 3 depict scenes from the New Testament (episodes from the lives of Jesus and Mary). The scenes, described in ten panels, are divided by an acanthus.

1st panel (from below upwards and from left to right):

The sleeping Abraham is surrounded by eleven personages, probably prophets.

2nd panel:

Other personages, perhaps prophets with scroll ornaments.

3rd panel:

Annunciation of the Virgin and visit to St. Elizabeth.

4th panel:

Birth of Jesus and adoration of the Magi.

5th panel:

Presentation in the Temple and flight into Egypt.

6th panel:

The slaughter of the innocents and Jesus among the Doctors.

7th panel:

The Baptism of Jesus and temptation in the desert.

8th panel:

Jesus enters Jerusalem. Jesus is arrested in the garden of Gethsemane.

9th panel:

The Scourging of Jesus; the Crucifixion.

10th panel:

The pious women at the Sepulchre. The Angel, sitting on the sarcophagus, announces the resurrection of Jesus.

The Gothic fa�ade of the Orvieto Cathedral is one of the great masterpieces of the Late Middle Ages. 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.

Pier 4 contains 9 scenes showing the Last Judgment (Book of Revelation). They depict from bottom left to top right:

• Scene 1: Uncovered tombs.
• Scene 2: Damned and Hell.
• Scene 3: People awaiting judgment.
• Scene 4: People awaiting judgment.
• Scene 5: Elected.
• Scene 6: Elected.
• Scene 7: Apostles.
• Scene 8: Christ the Judge.
• Scene 9: Apostles.

Suggested listening (streaming mp3, 8 minutes):

Wolfgang Amadeus Mozart: Requiem K 626: Dies irae

The four piers on the fa�ade of the Orvieto Cathedral are covered with delicate and fine low-reliefs, made by artists, whose identity is not absolutely certain. The best reliefs are usually attributed to Maitani.

The picture shows the reliefs on the fourth pier. On five orders are sculptured the scenes of the Resurrection of the bodies, the Last Judgment, Paradise and Hell. The branches of a vine divide the various stories.

1st and 2d panels:

The Resurrection of the bodies. Hell. An angel drives the damned away with his sword; Satan in the centre, with his head crowned with snakes and hands tied by the tails of two dragons treads upon the damned. Above, there is sculptured the descent of the souls to hell.

3d panel:

Angels lead the chosen people to Paradise.

4th panel:

The Saints.

5th panel:

Christ the Judge.

Suggested listening (streaming mp3, 8 minutes):

Wolfgang Amadeus Mozart: Requiem K 626: Dies irae

The fourth pier of the fa�ade contains 9 scenes of the Last Judgment from the Book of Revelation. The picture shows Scene 1: Uncovered tombs.

The fourth pier of the fa�ade contains 9 scenes of the Last Judgment from the Book of Revelation. The picture shows Scene 1: Uncovered tombs.

The fourth pier of the fa�ade contains 9 scenes of the Last Judgment from the Book of Revelation. The picture shows the upper part of Scene 1.

The fourth pier of the fa�ade contains 9 scenes of the Last Judgment from the Book of Revelation. The picture shows Scene 2: Damned and Hell.

The fourth pier of the fa�ade contains 9 scenes of the Last Judgment from the Book of Revelation. The picture shows the upper part of Scene 2.

The reliefs on the fourth pier contains reliefs of the highest sculptural quality. In the scenes depicting the Damned and Hell anatomical details of the naked human body are shown that until then had scarcely been seen in post-classical European sculpture.

The picture shows a detail of the depiction of Hell on the fourth pier. The rib cage, for example arches up over a belly, here presented as a fully integrated part of the body. And the ribs themselves, standing out sufficiently to be counted, form anatomically correct components of the body. Legs are fully articulated, the knees are reproduced with anatomical precision, and sinews hold together limbs that arteries supply with blood and muscles move.

The picture shows the lower part of the scene depicting the Damned and Hell.

This detail represents a damned in Hell from the Last Judgment.

The fourth pier of the fa�ade contains 9 scenes of the Last Judgment from the Book of Revelation. The picture shows Scene 3: People awaiting judgment.

The fourth pier of the fa�ade contains 9 scenes of the Last Judgment from the Book of Revelation. The picture shows Scene 4: People awaiting judgment.

The fourth pier of the fa�ade contains 9 scenes of the Last Judgment from the Book of Revelation. The picture shows Scene 5: Elected.

The fourth pier of the fa�ade contains 9 scenes of the Last Judgment from the Book of Revelation. The picture shows Scene 6: Elected.

The fourth pier of the fa�ade contains 9 scenes of the Last Judgment from the Book of Revelation. The picture shows Scene 7: Apostles.

The fourth pier of the fa�ade contains 9 scenes of the Last Judgment from the Book of Revelation. The picture shows Scene 8: Christ the Judge.

The fourth pier of the fa�ade contains 9 scenes of the Last Judgment from the Book of Revelation. The picture shows Scene 9: Apostles.

The Gothic fa�ade of the Orvieto Cathedral is one of the great masterpieces of the Late Middle Ages. 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 contract of 1310 did allow Maitani to retain some assistants for the sculptural work on the fa�ade, but it seems likely that these craftsmen had already begun the work under the supervision of an earlier master. The reliefs on the second and third piers are by these craftsmen.

The installation of these marbles on the piers began in 1331. They depict from left to right:

• Pier 1: Stories of the Old Testament (Book of Genesis).
• Pier 2: Tree of Jesse with Old Testament scenes (messianic prophesies of Redemption).
• Pier 3: Scenes from the New Testament (episodes from the lives of Jesus and Mary).
• Pier 4: Last Judgment (Book of Revelation).

The picture shows the symbols of St John (the Eagle) and St Luke (the Winged Bull) on the fa�ade of Orvieto Cathedral.

On a finely worked cornice which runs along the whole fa�ade of the Orvieto Cathedral, come out some corbels supporting the symbols of the four Evangelists: the Angel (St Matthew), the Lion (St Mark), the Eagle (St John) and the Winged Bull (St Luke). Among these works, the Angel and the Eagle are usually attributed to Lorenzo Maitani, while the Lion and the Winged Bull are by collaborators.

On a finely worked cornice which runs along the whole fa�ade of the Orvieto Cathedral, come out some corbels supporting the symbols of the four Evangelists: the Angel (St Matthew), the Lion (St Mark), the Eagle (St John) and the Winged Bull (St Luke). Among these works, the Angel and the Eagle are usually attributed to Lorenzo Maitani, while the Lion and the Winged Bull are by collaborators.

On a finely worked cornice which runs along the whole fa�ade of the Orvieto Cathedral, come out some corbels supporting the symbols of the four Evangelists: the Angel (St Matthew), the Lion (St Mark), the Eagle (St John) and the Winged Bull (St Luke). Among these works, the Angel and the Eagle are usually attributed to Lorenzo Maitani, while the Lion and the Winged Bull are by collaborators.

On a finely worked cornice which runs along the whole fa�ade of the Orvieto Cathedral, come out some corbels supporting the symbols of the four Evangelists: the Angel (St Matthew), the Lion (St Mark), the Eagle (St John) and the Winged Bull (St Luke). Among these works, the Angel and the Eagle are usually attributed to Lorenzo Maitani, while the Lion and the Winged Bull are by collaborators.

History of the Cathedral

In ¹²⁶³⁄₄ a Bohemian priest - a certain Peter of Prague - who did not believe in the transubstantiation of the Body and Blood of Christ in the Host and Wine, went on a pilgrimage to Rome to ask on St. Peter’s tomb that his faith might be strenghtened. On his way back from Rome, he stopped in Bolsena, where, while he was saying Mass in the Crypt of St. Christine, he saw blood come out of the Host, so much so that the Corporal got completely wet. Pope Urban IV, who was in Orvieto at that time, struck by such an extraordinary event, ordered the Sacred Cloth to be brought there. The clergy and the people thought that the Relic should have a decorous seat. On November 13, 1290 pope Nicholas IV laid solemnly the first stone of the new Church (in correspondence with the 4th pillar of the fa�ade, on which Hell is sculptured). The place chosen for this building was that where the church of St. Constance and that dedicated to S. Prisca or of St. Britius once existed.

The works for the construction of the Cathedral lasted about three centuries. The first architect was probably Arnolfo di Cambio. The project of the monocusped fa�ade, kept in the Museum of the Works Department of the Cathedral, has been attributed to him. It seems, however, that the first builder was Fra’ Bevignate of Perugia, who built the nave and the two aisles. The works were carried on by a local builder, a certain Giovanni Uguccione, who followed the Gothic style in the transept and apse. The main structures of the Cathedral, however, were so unstable that it was necessary to ask for the advice of an expert, namely the Sienese architect and sculptor Lorenzo Maitani. He strengtened the building by means of rampant arches.

Trained in Siena where he worked on the city’s Cathedral until 1308, the sculptor/architect Lorenzo Maitani became the “universalis caput magister” of the Cathedral at Orvieto in 1310. He retained the post until his death. Later he also supervised the sculpture of the lower facade, although he is recorded as executing only one of the four large bronze symbols of the Evangelists, the eagle of John. The four massive piers of the facade, richly decorated in low relief, are also believed to have been executed under his supervision.

Under the direction of Nino di Andrea Pisano, who, as it seems, was at that time the head of the Works Department of the Cathedral, the works began on the northern side of the Cathedral in connection with the rampant arches made by Maitani to strenghten the main structures of the Church. During the period from 1355 to 1356 the Chapel was covered with cross-vaults, later modified.

View the ground plan of the existing Orvieto Cathedral.

The fa�ade

The fa�ade consists of four polygonal towers, two lower and broader ones on its sides (42,80 metres), and two higher ones (51,30 metres) in the centre. They divide the surface into the three corresponding inside naves.

The four pillars at its base have a marble covering with delicate and fine low-reliefs, made by artists, whose identity is not absolutely certain. Some think that the low-reliefs of the inside pillars are older than the others. The best reliefs are usually attributed to Maitani. They represent the origin of man, the mistery of Redemption and his final destiny. The low-reliefs occupy 112 square metres of the whole area.

The unusual placement of the reliefs relates to a local tradition, but lurking in the background is the source for their continuous narrative - Roman columns like those of Trajan and Marcus Aurelius. The piers narrate from left to right: scenes from the Genesis; the Tree of Jesse and Prophecies of Redemption; prophets and Life of Christ; and the Last Judgment and Paradise.

The lunette above the central doorway of Orvieto Cathedral was filled with a a Maestà or Virgin and Child beneath a bronze canopy with three pigmented bronze angels on either side. The Virgin and Child were made of marble and very likely predate the bronze elements. These elements are attributed to Lorenzo Maitani, the most important architect of the Duomo of Orvieto. The Maestà stood above the main entrance of the cathedral, but was moved to the museum in 1982.

The sculpture is on the central west portal of the Orvieto Cathedral. It is clear from it that Maitani moved away from the heritage of the Pisani. Here is poise and grace, a delicacy and refinement which at this time could only have been imitated from France. The style of the Madonna seems to reflect the influence not of contemporary work but of the most elegant and reticent sculpture of the period 1230-1240.

The lunette above the central doorway of Orvieto Cathedral was filled with a a Maestà or Virgin and Child beneath a bronze canopy with three pigmented bronze angels on either side. The Virgin and Child were made of marble and very likely predate the bronze elements. These elements are attributed to Lorenzo Maitani, the most important architect of the Duomo of Orvieto. The Maestà stood above the main entrance of the cathedral, but was moved to the museum in 1982.