The studio techniques used to produce this etching were aquatint Chine colle, and intaglio. Three limited editions of four prints were published. This work is executed on two zinc plates, each measuring six inches high by nine inches wide, or 15.240cm by 22.860cm. This makes the printed image slightly larger than twelve inches high by nine inches wide, or 30.480cm by 22.860. The artist used a black colored paper made by Stonehenge and a blend of five, oil-based, French inks. The actual print on hand torn paper measures about seventeen inches high by fifteen inches wide, or 43.180cm by 38.100cm. The Italian town of Orvieto contains numerous willowy medieval alleyways. One can stroll back into time here and find the most indescribable facades. The cathedral soars seven stories into the sky and was designed by Lorenzo Maitani. Construction began in 1300 C. E., and the structure took over 100 years to complete. A dramatic contrast exists between the cathedral’s incredibly elaborate facade and its simplistic designed oblong interior. The horizontal stripes of black and white marble, combined with the windows and external niches, imply that Arnolfo di Cambio, the Florentine architect, designed the interior. The building hosts a delicately carved rose window on the facade surrounded by framed marble busts and life-sized sculptures, all in gothic niches. Painted and sculpted scenes of Genesis and the Divine Comedy decorate facade. Luca Signorelli created bone-chilling paintings throughout the cathedral. Signorelli was probably influenced by the apocalyptic sermons of zealot Savonarola, who was also burned on the stake. Some claim that Savonarola’s execution, witnessed by Signorelli, had a chilling effect on the artist’s rendering of demonic figures, fallen angels, and tortured sinners. Price includes a gold painted wood and glass frame with archival mat.