2 10 177 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource September 9: Scuole Painting Cycles Description An account of the resource Painted in 1495, Vittore Carpaccio's "Dream of Saint Ursula" is a part of his series depicting the tale of Saint Ursula, titled "Stories from the Life of Saint Ursula". "Dream of Saint Ursula" was Carpaccio's fifth painting out of a total of eight in the series, and continued his tendency to paint religious scenery. The legend of Saint Ursula from the north was very popular throughout the Middle Ages, and Carpaccio was commissioned by the Confraternity of Saint Ursula in Venice to tell her story. The legend describes Saint Ursula, a martyr who led 11,000 virgin maidens through travel, all of whom were brutally massacred by the Huns in Cologne. "The Dream of Saint Ursula" in particular depicts Saint Ursula in her bed, and is meant to show her dreaming of the angel who informs Saint Ursula of her impending death and martyrship. Carpaccio is widely praised for his close attention to detail, which he demonstrates magnificently in this painting, showing the room with beautiful ceilings, plants on the windows, a dog laying next to the bed, and the shadowy figures around the room that cast a mysterious and dreamy vibe throughout the painting. Creator An entity primarily responsible for making the resource Carpaccio, Vittore Source A related resource from which the described resource is derived Carpaccio, Vittore, 1455?-1525?. c.1495. Legend of St. Ursula: Dream of St. Ursula: det.: windows. https://library-artstor org.proxy.lib.duke.edu/asset/ARTSTOR_103_41822001712643 Wood, Allyn. "The Departure of Saint Ursula (As Painted by Carpaccio) [Poem]." College Art Journal 18, no. 3 (1959): 240. Accessed September 8, 2020. doi:10.2307/773926. Ruskin, John. Saint Ursula: I. The Story of St. Ursula. II. The Dream of St. Ursula. Duke Libraries . New York: The Devin-Adair Company, 1912. Det:https://find.library.duke.edu/catalog/DUKE008071078?utm_campaign=bento&utm_content=bento_result_link&utm_source=library.duke.edu&utm_medium=referral Wood, Allyn. "The Departure of Saint Ursula (As Painted by Carpaccio) [Poem]." College Art Journal 18, no. 3 (1959): 240. Accessed September 8, 2020. doi:10.2307/773926 Gronau, Georg. "An Unknown Work by Vittore Carpaccio." The Burlington Magazine for Connoisseurs 44, no. 251 (1924): 59-65. Accessed September 8, 2020. http://www.jstor.org/stable/862109. Publisher An entity responsible for making the resource available The University of California, San Diego Date A point or period of time associated with an event in the lifecycle of the resource 1495 Contributor An entity responsible for making contributions to the resource Ithika Senthilnathan Format The file format, physical medium, or dimensions of the resource Oil on Canvas – 273cm x 267cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Gallerie dell'Accademia di Venezia, Venice, Italy Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource St. George and the Dragon Creator An entity primarily responsible for making the resource Vittore Carpaccio Source A related resource from which the described resource is derived Image: Vittore Carpaccio. c. 1504-07. Duel of Saint George with the Dragon. painting. https://library.artstor.org/asset/SCALA_ARCHIVES_1039488938. Image Rights: (c) 2006, SCALA, Florence/ART RESOURCE, N.Y. Scholarly Article: Cook, Albert. "CARPACCIO'S ANIMALS." The Centennial Review 27, no. 4 (1983): 224-43. Accessed September 8, 2020. http://www.jstor.org/stable/23739724. Article 2: Gronau, Georg. "An Unknown Work by Vittore Carpaccio." The Burlington Magazine for Connoisseurs 44, no. 251 (1924): 59-65. Accessed September 8, 2020. http://www.jstor.org/stable/862109. Book: George, saint1998. , https://login.proxy.lib.duke.edu/login?url=https://www-proquest-com.proxy.lib.duke.edu/docview/2267107878?accountid=10598 (accessed September 8, 2020). Publisher An entity responsible for making the resource available Image and original data provided by SCALA, Florence/ART RESOURCE, N.Y. Date A point or period of time associated with an event in the lifecycle of the resource 1504 - 1507 Contributor An entity responsible for making contributions to the resource Jared Kreis Format The file format, physical medium, or dimensions of the resource Oil on Canvas 141 x 360 cm Type The nature or genre of the resource Oil Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Scuola di S. Giorgio degli Schiavoni (Venice, Italy) Description An account of the resource In this painting Carpaccio depicts a ruthless dragon and the attempt to fend it off. The threat of the creature is underscored by the grisly half-eaten torsos, one of a nude man whose genitals are mostly left, and one of a still-collared woman, barebreasted. Miscellaneous skulls and bones are strewn all along the foreground of the picture under the full horizontal group of mounted saint, transfixing lance, and dying dragon. The rescued Princess of Trebizond stands much less conspicuously in the background behind the saint. The half-eaten woman pulls the princess into a visual antithesis. In this we recognize the master of the fine and well-known pictures of St. George. The dragon is shown here over- come though still powerful, while in the others it raises itself in unfettered fury against horse and rider. Even apart from the beauty of its coloring, this monster is unique, with its clean outline and ornament and with its strange wings reminding us at once of the fantastic forms of flames and of those of seaweed. This painting truly brought out the imagination and creativity of Carpaccio. Carpaccio's cycle in the Scuola di San Giorgio, Venice, depicts the legend of George as a soldier who travelled to Libya where a dragon was terrifying the populace. The people of Libya appeased the monster's fury by offering it every day a youth or maiden selected by lot. Eventually the king's only daughter was picked, but George, mounted on his horse, armed himself with the sign of the Cross and gave the beast a grievous wound, forcing it to the ground. The maiden's girdle was then tied around the dragon's neck, and it followed her, like a dog on a leash, back to the city. The king and all the people were baptized into Christianity, and George slew the dragon. https://venice.dahvc.org/fall-2020/files/original/September_9_Scuole_Painting_Cycles/Legend_of_St._Ursula_Dream_of_St._Ursula/ARTSTOR_103_41822000556629.1.jpg 724e803f7f3aa4d197362acbe2e1d0dc Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource September 9: Scuole Painting Cycles Description An account of the resource Painted in 1495, Vittore Carpaccio's "Dream of Saint Ursula" is a part of his series depicting the tale of Saint Ursula, titled "Stories from the Life of Saint Ursula". "Dream of Saint Ursula" was Carpaccio's fifth painting out of a total of eight in the series, and continued his tendency to paint religious scenery. The legend of Saint Ursula from the north was very popular throughout the Middle Ages, and Carpaccio was commissioned by the Confraternity of Saint Ursula in Venice to tell her story. The legend describes Saint Ursula, a martyr who led 11,000 virgin maidens through travel, all of whom were brutally massacred by the Huns in Cologne. "The Dream of Saint Ursula" in particular depicts Saint Ursula in her bed, and is meant to show her dreaming of the angel who informs Saint Ursula of her impending death and martyrship. Carpaccio is widely praised for his close attention to detail, which he demonstrates magnificently in this painting, showing the room with beautiful ceilings, plants on the windows, a dog laying next to the bed, and the shadowy figures around the room that cast a mysterious and dreamy vibe throughout the painting. Creator An entity primarily responsible for making the resource Carpaccio, Vittore Source A related resource from which the described resource is derived Carpaccio, Vittore, 1455?-1525?. c.1495. Legend of St. Ursula: Dream of St. Ursula: det.: windows. https://library-artstor org.proxy.lib.duke.edu/asset/ARTSTOR_103_41822001712643 Wood, Allyn. "The Departure of Saint Ursula (As Painted by Carpaccio) [Poem]." College Art Journal 18, no. 3 (1959): 240. Accessed September 8, 2020. doi:10.2307/773926. Ruskin, John. Saint Ursula: I. The Story of St. Ursula. II. The Dream of St. Ursula. Duke Libraries . New York: The Devin-Adair Company, 1912. Det:https://find.library.duke.edu/catalog/DUKE008071078?utm_campaign=bento&utm_content=bento_result_link&utm_source=library.duke.edu&utm_medium=referral Wood, Allyn. "The Departure of Saint Ursula (As Painted by Carpaccio) [Poem]." College Art Journal 18, no. 3 (1959): 240. Accessed September 8, 2020. doi:10.2307/773926 Gronau, Georg. "An Unknown Work by Vittore Carpaccio." The Burlington Magazine for Connoisseurs 44, no. 251 (1924): 59-65. Accessed September 8, 2020. http://www.jstor.org/stable/862109. Publisher An entity responsible for making the resource available The University of California, San Diego Date A point or period of time associated with an event in the lifecycle of the resource 1495 Contributor An entity responsible for making contributions to the resource Ithika Senthilnathan Format The file format, physical medium, or dimensions of the resource Oil on Canvas – 273cm x 267cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Gallerie dell'Accademia di Venezia, Venice, Italy Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Legend of St. Ursula: Dream of St. Ursula Description An account of the resource The lady sleeping in the bed is an image of Princess Usrula, the daughter of King Norus of Brittany in the 5th century AD. She was very beautiful and wise which caused her to have many suitors. The King of Anglia wanted his son to marry her, so she agreed but only after a waiting period of 3 years. She decided to go on a journey to Rome to take advantage of her final time of freedom. One night where they had stopped in Cologne, she is visited by an angel as she sleeps in a bed alone. The angle reveals her future martyrdom. She converted many men to Christianity but was slain by an arrow through her heart when she returned to Cologne. Carpaccio's representation exhibits the exalted heights of art in Venice, adding to the pious narrative of the city. Carpaccio's image was created as a part of a larger cycle of painting that illustrate St. Ursula's life and journey. Creator An entity primarily responsible for making the resource Vittore Carpaccio Source A related resource from which the described resource is derived Koepsell, Thomas D.. Detail From The Dream of Saint (n.d.): 2008. Lowell, Amy. "Dream of St. Ursula, the." Atlantic Monthly, 1911, 375, https://login.proxy.lib.duke.edu/login?url=https://www-proquest-com.proxy.lib.duke.edu/docview/1305109041?accountid=10598. Meyers, Jeffrey. "Carpaccio and D'Annunzio's Il Fuoco." Style, Summer 2013, 185+. Gale In Context: Biography (accessed September 8, 2020). https://link-gale-com.proxy.lib.duke.edu/apps/doc/A342676950/BIC?u=duke_perkins&sid=BIC&xid=7064d3ca. Ruskin, John. Saint Ursula: I. the Story of St. Ursula. II. the Dream of St. Ursula Project Gutenberg,. Vittore Carpaccio, “The Dream of Saint Ursula,” Venetian Art, accessed September 8, 2020, http://library.bc.edu/venetianart/items/show/1531. Image Source: Carpaccio, Vittore, 1455?-1525?. c.1495. Legend of St. Ursula: Dream of St. Ursula. https://library.artstor.org/asset/ARTSTOR_103_41822000556629. Date A point or period of time associated with an event in the lifecycle of the resource ca. 1495 Contributor An entity responsible for making contributions to the resource Jackson Huether Format The file format, physical medium, or dimensions of the resource Oil on canvas; 9' x 8'9" Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Galleria dell'Accademia, Venice, Italy Publisher An entity responsible for making the resource available Data from: University of California, San Diego Image Source: Carpaccio, Vittore, 1455?-1525?. c.1495. Legend of St. Ursula: Dream of St. Ursula. https://library.artstor.org/asset/ARTSTOR_103_41822000556629. Rights Information about rights held in and over the resource Image Source: Carpaccio, Vittore, 1455?-1525?. c.1495. Legend of St. Ursula: Dream of St. Ursula. https://library.artstor.org/asset/ARTSTOR_103_41822000556629. https://venice.dahvc.org/fall-2020/files/original/September_9_Scuole_Painting_Cycles/Legend_of_St._Ursula_Meeting_of_St._Ursula_and_the_Pope_in_Rome/PilgrimsMeetThePope.png 639cc20ca0682719f2fd136cfdc89cc2 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource September 9: Scuole Painting Cycles Description An account of the resource Painted in 1495, Vittore Carpaccio's "Dream of Saint Ursula" is a part of his series depicting the tale of Saint Ursula, titled "Stories from the Life of Saint Ursula". "Dream of Saint Ursula" was Carpaccio's fifth painting out of a total of eight in the series, and continued his tendency to paint religious scenery. The legend of Saint Ursula from the north was very popular throughout the Middle Ages, and Carpaccio was commissioned by the Confraternity of Saint Ursula in Venice to tell her story. The legend describes Saint Ursula, a martyr who led 11,000 virgin maidens through travel, all of whom were brutally massacred by the Huns in Cologne. "The Dream of Saint Ursula" in particular depicts Saint Ursula in her bed, and is meant to show her dreaming of the angel who informs Saint Ursula of her impending death and martyrship. Carpaccio is widely praised for his close attention to detail, which he demonstrates magnificently in this painting, showing the room with beautiful ceilings, plants on the windows, a dog laying next to the bed, and the shadowy figures around the room that cast a mysterious and dreamy vibe throughout the painting. Creator An entity primarily responsible for making the resource Carpaccio, Vittore Source A related resource from which the described resource is derived Carpaccio, Vittore, 1455?-1525?. c.1495. Legend of St. Ursula: Dream of St. Ursula: det.: windows. https://library-artstor org.proxy.lib.duke.edu/asset/ARTSTOR_103_41822001712643 Wood, Allyn. "The Departure of Saint Ursula (As Painted by Carpaccio) [Poem]." College Art Journal 18, no. 3 (1959): 240. Accessed September 8, 2020. doi:10.2307/773926. Ruskin, John. Saint Ursula: I. The Story of St. Ursula. II. The Dream of St. Ursula. Duke Libraries . New York: The Devin-Adair Company, 1912. Det:https://find.library.duke.edu/catalog/DUKE008071078?utm_campaign=bento&utm_content=bento_result_link&utm_source=library.duke.edu&utm_medium=referral Wood, Allyn. "The Departure of Saint Ursula (As Painted by Carpaccio) [Poem]." College Art Journal 18, no. 3 (1959): 240. Accessed September 8, 2020. doi:10.2307/773926 Gronau, Georg. "An Unknown Work by Vittore Carpaccio." The Burlington Magazine for Connoisseurs 44, no. 251 (1924): 59-65. Accessed September 8, 2020. http://www.jstor.org/stable/862109. Publisher An entity responsible for making the resource available The University of California, San Diego Date A point or period of time associated with an event in the lifecycle of the resource 1495 Contributor An entity responsible for making contributions to the resource Ithika Senthilnathan Format The file format, physical medium, or dimensions of the resource Oil on Canvas – 273cm x 267cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Gallerie dell'Accademia di Venezia, Venice, Italy Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Legend of St. Ursula: Meeting of St. Ursula and the Pope in Rome Description An account of the resource This canvas is a part of Carpaccio's St. Ursula series, coming directly after the Dream of St. Ursula and prior to her arrival in Cologne. St. Ursula, wearing a blue dress near the center of the painting, kneels next to her fiance, looking up at the Pope. To the left of them comes a long line of the virgins who traveled with the group, while to the right are bishops and dignitaries. Behind them rises the city of Rome. It is unlikely that this event truly occurred, but instead is included in a solely ecclesial way. It is interesting that in nearly every canvas, though Ursula is included she is not the largest or most central figure. She is quite centered in this canvas, but kneels in reverence to the pope. This lack of focus on the title character of the works is a very interesting detail. Creator An entity primarily responsible for making the resource Vittore Carpaccio Source A related resource from which the described resource is derived Carpaccio, Vittore, 1455?-1525?. c.1495. Legend of St. Ursula: Meeting of St. Ursula and Pope in Rome. https://library.artstor.org/asset/ARTSTOR_103_41822000556611. Rodini, Elizabeth. "The Politics of Marriage in Carpaccio's St. Ursula Cycle." Early Modern Women 8 (2013): 85-117. Accessed September 9, 2020. http://www.jstor.org/stable/23617847. Aidan Nichols. All Great Art Is Praise. Washington, D.C.: Catholic University of America Press, 2016. https://search.ebscohost.com/login.aspx?direct=true&db=nlebk&AN=1429295&site=ehost-live. Publisher An entity responsible for making the resource available Data from: University of California, San Diego Date A point or period of time associated with an event in the lifecycle of the resource 1495 Contributor An entity responsible for making contributions to the resource Jacey Curd Format The file format, physical medium, or dimensions of the resource 281 x 301 cm Type The nature or genre of the resource Oil on Canvas Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Galleria dell'Accademia, Venice, Italy https://venice.dahvc.org/fall-2020/files/original/September_9_Scuole_Painting_Cycles/Triumph_of_Saint_George_[Saint_George_Kills_the_Dragon_at_Selene]/SCALA_ARCHIVES_1039488937.jpg 2dfb38f0e21707d76f831160365244dd Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource September 9: Scuole Painting Cycles Description An account of the resource Painted in 1495, Vittore Carpaccio's "Dream of Saint Ursula" is a part of his series depicting the tale of Saint Ursula, titled "Stories from the Life of Saint Ursula". "Dream of Saint Ursula" was Carpaccio's fifth painting out of a total of eight in the series, and continued his tendency to paint religious scenery. The legend of Saint Ursula from the north was very popular throughout the Middle Ages, and Carpaccio was commissioned by the Confraternity of Saint Ursula in Venice to tell her story. The legend describes Saint Ursula, a martyr who led 11,000 virgin maidens through travel, all of whom were brutally massacred by the Huns in Cologne. "The Dream of Saint Ursula" in particular depicts Saint Ursula in her bed, and is meant to show her dreaming of the angel who informs Saint Ursula of her impending death and martyrship. Carpaccio is widely praised for his close attention to detail, which he demonstrates magnificently in this painting, showing the room with beautiful ceilings, plants on the windows, a dog laying next to the bed, and the shadowy figures around the room that cast a mysterious and dreamy vibe throughout the painting. Creator An entity primarily responsible for making the resource Carpaccio, Vittore Source A related resource from which the described resource is derived Carpaccio, Vittore, 1455?-1525?. c.1495. Legend of St. Ursula: Dream of St. Ursula: det.: windows. https://library-artstor org.proxy.lib.duke.edu/asset/ARTSTOR_103_41822001712643 Wood, Allyn. "The Departure of Saint Ursula (As Painted by Carpaccio) [Poem]." College Art Journal 18, no. 3 (1959): 240. Accessed September 8, 2020. doi:10.2307/773926. Ruskin, John. Saint Ursula: I. The Story of St. Ursula. II. The Dream of St. Ursula. Duke Libraries . New York: The Devin-Adair Company, 1912. Det:https://find.library.duke.edu/catalog/DUKE008071078?utm_campaign=bento&utm_content=bento_result_link&utm_source=library.duke.edu&utm_medium=referral Wood, Allyn. "The Departure of Saint Ursula (As Painted by Carpaccio) [Poem]." College Art Journal 18, no. 3 (1959): 240. Accessed September 8, 2020. doi:10.2307/773926 Gronau, Georg. "An Unknown Work by Vittore Carpaccio." The Burlington Magazine for Connoisseurs 44, no. 251 (1924): 59-65. Accessed September 8, 2020. http://www.jstor.org/stable/862109. Publisher An entity responsible for making the resource available The University of California, San Diego Date A point or period of time associated with an event in the lifecycle of the resource 1495 Contributor An entity responsible for making contributions to the resource Ithika Senthilnathan Format The file format, physical medium, or dimensions of the resource Oil on Canvas – 273cm x 267cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Gallerie dell'Accademia di Venezia, Venice, Italy Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Triumph of Saint George (Saint George Kills the Dragon at Selene) Subject The topic of the resource Triumph of Saint George by Vittore Carpaccio depicts the legendary tale of Saint George and the Dragon. A dragon was terrorizing the city Selene and it was taking children as sacrifices. One day the King's daughter was chosen and had to be given to the dragon. St. George was traveling by and ended up piercing the dragon in the head with a spear. He then took the dragon back to the town and beheaded the dragon in front of many inhabitants of Selene.[1] Description An account of the resource The painting Triumph of Saint George by Vittore Carpaccio is the fifth of seven paintings in a collection known as Episodes from the Life of Sts Jerome, George and Triphun that depict three stories of Christian saints. This specific painting depicts a scene right before St.George beheads the dragon, his sword is raised in the air ready to come down on the beast's neck. City-folk surround the two main characters: some on horses, some on foot, some playing instruments, and all watching in gratitude. The warm vibrant colors and faces of the people radiate the joy of the image. The dragon lies in the focal point of the painting with St.George at his side. The dragon seems much smaller in this painting than in Carpaccio's depiction of the slaying.[2] He is being dragged by his tongue and is pierced in the head by St.George's lance, awaiting his demise. The city lies in the background as a backdrop for the main event. One thing to note in the painting is the absence of children in the painting since they were used as sacrifices. [3] [1] Morabito, Pasquale Maria. "Saint George and the Dragon: Cult, Culture, and Foundation of the City." Contagion: Journal of Violence, Mimesis, and Culture 18 (2011): 135-153. [2] Cohen, Simona. 2008. Animals as Disguised Symbols in Renaissance Art. Boston: BRILL. [3] Brooke, Caroline. "Vittore Carpaccio's Method of Composition in His Drawings for the Scuola Di S. Giorgio Teleri." Master Drawings 42, no. 4 (2004): 303-14. Creator An entity primarily responsible for making the resource Vittore Carpaccio Source A related resource from which the described resource is derived Brooke, Caroline. "Vittore Carpaccio's Method of Composition in His Drawings for the Scuola Di S. Giorgio Teleri." Master Drawings 42, no. 4 (2004): 303-14. Accessed September 8, 2020. http://www.jstor.org/stable/1554668. Morabito, Pasquale Maria. "Saint George and the Dragon: Cult, Culture, and Foundation of the City." Contagion: Journal of Violence, Mimesis, and Culture 18 (2011): 135-153. doi:10.1353/ctn.2011.0007. Cohen, Simona. 2008. Animals as Disguised Symbols in Renaissance Art. Boston: BRILL. Accessed September 8, 2020. ProQuest Ebook Central. Vittore Carpaccio. c. 1504-07. Triumph of Saint George (Saint George Kills the Dragon at Selene). painting.https://library.artstor.org/asset/SCALA_ARCHIVES_1039488937. Publisher An entity responsible for making the resource available Image and original data provided by SCALA, Florence/ART RESOURCE, N.Y. Date A point or period of time associated with an event in the lifecycle of the resource 1504-07 Contributor An entity responsible for making contributions to the resource Darien Sansosti Rights Information about rights held in and over the resource (c) 2006, SCALA, Florence/ART RESOURCE, N.Y. Format The file format, physical medium, or dimensions of the resource 141 x 360 cm Type The nature or genre of the resource Oil painting on canvas Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Scuola di S. Giorgio degli Schiavoni (Venice, Italy) https://venice.dahvc.org/fall-2020/files/original/Pilgrims_Meet_the_Pope/pilgrim.jpg a4e55f12bfe9401d5f4c53a9b14512ab Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Pilgrims Meet the Pope Date A point or period of time associated with an event in the lifecycle of the resource 1492 Contributor An entity responsible for making contributions to the resource Ryan Smith Creator An entity primarily responsible for making the resource Vittore Carpaccio Format The file format, physical medium, or dimensions of the resource 281 x 307 cm Type The nature or genre of the resource oil on canvas Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Gallerie dell'Accademia, Venice, Italy Description An account of the resource The "Pilgrims Meet the Pope", is the 6th canvas in the series of the "Stories from the Line of St Ursula". In this scene you can see the retinue of virgins approaching on a long pathway. The English Prince and Ursula are kneeling in front of Pope Cyriacus. This scene shows an enormous stage that catches every little detail like, the time of day, the shadows, and the weather. In the canvas, you see this event is taking place in the afternoon. The dating of this canvas is argued upon many scholars because they don't agree. Source A related resource from which the described resource is derived “Legend of Saint Ursula.” Wikipedia. Wikimedia Foundation, June 9, 2020. https://en.wikipedia.org/wiki/Legend_of_Saint_Ursula. Artstor. “Artstor.” Accessed September 9, 2020. https://library.artstor.org/. The Pilgrims Meet the Pope by CARPACCIO, Vittore. Accessed September 9, 2020. https://www.wga.hu/html_m/c/carpacci/1ursula/2/60meetin.html. Web Gallery of Art - Image Viewer. Accessed September 9, 2020. https://www.wga.hu/support/viewer_m/z.html. Publisher An entity responsible for making the resource available Web Gallery of Art - Image Viewer. Accessed September 9, 2020. https://www.wga.hu/support/viewer_m/z.html. Artstor. “Artstor.” Accessed September 9, 2020. https://library.artstor.org/. Rights Information about rights held in and over the resource Contact information: Allison Tuzo, Online Editor, ARAS, 28 East 39th Street, New York NY 10016; Tel No: 646-536-2632; Fax No: 212-682-2024; email: info@aras.org If this image is under copyright, you may need to contact copyright owners for uses not permitted under the Artstor Digital Library Terms or applicable law. Artstor cannot guarantee that contact information for rights holders is accurate or that there are no additional rights holders. Determining whether additional permissions are necessary for your particular use, and obtaining such permissions, is your sole responsibility. https://venice.dahvc.org/fall-2020/files/original/September_9_Scuole_Painting_Cycles/Triumph_of_Saint_George_detail_showing_St._George_and_the_defeated_dragon/Triumph_of_St._George.jpg ee5bd56f84f2044a17a2871ed77dd052 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource September 9: Scuole Painting Cycles Description An account of the resource Painted in 1495, Vittore Carpaccio's "Dream of Saint Ursula" is a part of his series depicting the tale of Saint Ursula, titled "Stories from the Life of Saint Ursula". "Dream of Saint Ursula" was Carpaccio's fifth painting out of a total of eight in the series, and continued his tendency to paint religious scenery. The legend of Saint Ursula from the north was very popular throughout the Middle Ages, and Carpaccio was commissioned by the Confraternity of Saint Ursula in Venice to tell her story. The legend describes Saint Ursula, a martyr who led 11,000 virgin maidens through travel, all of whom were brutally massacred by the Huns in Cologne. "The Dream of Saint Ursula" in particular depicts Saint Ursula in her bed, and is meant to show her dreaming of the angel who informs Saint Ursula of her impending death and martyrship. Carpaccio is widely praised for his close attention to detail, which he demonstrates magnificently in this painting, showing the room with beautiful ceilings, plants on the windows, a dog laying next to the bed, and the shadowy figures around the room that cast a mysterious and dreamy vibe throughout the painting. Creator An entity primarily responsible for making the resource Carpaccio, Vittore Source A related resource from which the described resource is derived Carpaccio, Vittore, 1455?-1525?. c.1495. Legend of St. Ursula: Dream of St. Ursula: det.: windows. https://library-artstor org.proxy.lib.duke.edu/asset/ARTSTOR_103_41822001712643 Wood, Allyn. "The Departure of Saint Ursula (As Painted by Carpaccio) [Poem]." College Art Journal 18, no. 3 (1959): 240. Accessed September 8, 2020. doi:10.2307/773926. Ruskin, John. Saint Ursula: I. The Story of St. Ursula. II. The Dream of St. Ursula. Duke Libraries . New York: The Devin-Adair Company, 1912. Det:https://find.library.duke.edu/catalog/DUKE008071078?utm_campaign=bento&utm_content=bento_result_link&utm_source=library.duke.edu&utm_medium=referral Wood, Allyn. "The Departure of Saint Ursula (As Painted by Carpaccio) [Poem]." College Art Journal 18, no. 3 (1959): 240. Accessed September 8, 2020. doi:10.2307/773926 Gronau, Georg. "An Unknown Work by Vittore Carpaccio." The Burlington Magazine for Connoisseurs 44, no. 251 (1924): 59-65. Accessed September 8, 2020. http://www.jstor.org/stable/862109. Publisher An entity responsible for making the resource available The University of California, San Diego Date A point or period of time associated with an event in the lifecycle of the resource 1495 Contributor An entity responsible for making contributions to the resource Ithika Senthilnathan Format The file format, physical medium, or dimensions of the resource Oil on Canvas – 273cm x 267cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Gallerie dell'Accademia di Venezia, Venice, Italy Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Triumph of Saint George, detail showing St. George and the defeated dragon Description An account of the resource Depicted here is the “Triumph of Saint George”, a painting created by Vittore Carpaccio. In order to understand the context of the painting, one must first understand the historical story. St. George, a traveling Christian Roman soldier, stumbles upon a city in which a dragon spreads chaos and fear. In order to keep the dragon satisfied, the villagers must offer up a woman. When the daughter of the king of the city is selected for sacrifice by the dragon, St. George offers to kill the dragon. Eventually, he succeeds, thus saving the princess in the face of certain death. Going back to the painting, St. George is depicted as a strong, young man holding the body of the dragon. While this is the main event occurring, St. George and the dragon are found in the bottom left corner of the painting. The viewer’s eyes are drawn to that corner through various lines throughout the composition. For one, the landscape in the background has diagonal lines, leading to the architectural structure. Following the lines created by the flagpoles, as well as the patterns of the structure, the eyes are led to St. George. From the right side of the image, there is a natural diagonal line that follows the bodies and the heads of the horses, leading to St. George and the dragon. Although the dragon has been killed, there is a sense of animation/movement about the scene: the heads of the horses in conjunction with the flags establish fluidity within the image. As for direct connection to Venice, one is not clearly established. There is no direct reference to any structures in Venice, nor any reference to specific figures. However, a connection to Venice can be deduced based on history and style. Although the commissioner for the painting is not known, the project was most likely initiated by the donation of a relic of St. George by Paolo Valaresso near the time of St. George’s festival. This history could provide a secondary explanation for the presence of the band behind the saint in the painting. Renaissance style, or rather aspects of it, are also seen. Rather than having the main subject in the center of the painting, Carpaccio places the saint in the corner, thus playing with the space of the painting--something that is characteristic of renaissance art. Creator An entity primarily responsible for making the resource Vittore Carpaccio Source A related resource from which the described resource is derived Brooke, Caroline. "Vittore Carpaccio's Method of Composition in His Drawings for the Scuola Di S. Giorgio Teleri." Master Drawings 42, no. 4 (2004): 303-14. Accessed September 9, 2020. <a href="http://www.jstor.org/stable/1554668" target="_blank" rel="noreferrer noopener">http://www.jstor.org/stable/1554668</a>. Cohen, Simona. Animals as Disguised Symbols in Renaissance Art, BRILL, 2008. ProQuest Ebook Central, <a href="https://search.proquest.com/legacydocview/EBC/467997?accountid=10598" target="_blank" rel="noreferrer noopener">https://search.proquest.com/legacydocview/EBC/467997?accountid=10598</a>. RUSSELL, FRANCIS. RSA Journal 136, no. 5388 (1988): 920-21. Accessed September 9, 2020. <a href="http://www.jstor.org/stable/41374766" target="_blank" rel="noreferrer noopener">http://www.jstor.org/stable/41374766</a>. Vittore Carpaccio. c. 1504-1507. Triumph of Saint George, detail showing St. George and the defeated dragon. paintings. Place: Scuola di S. Giorgio degli Schiavoni, Venice, Italy. <a href="https://library.artstor.org/asset/SCALA_ARCHIVES_1039614912" target="_blank" rel="noreferrer noopener">https://library.artstor.org/asset/SCALA_ARCHIVES_1039614912</a>. Publisher An entity responsible for making the resource available Image and original data provided by SCALA, Florence/ART RESOURCE, N.Y. Date A point or period of time associated with an event in the lifecycle of the resource c. 1504 - 1507 Contributor An entity responsible for making contributions to the resource Muhib Methani Rights Information about rights held in and over the resource (c) 2006, SCALA, Florence/ART RESOURCE, N.Y. Please note that if this image is under copyright, you may need to contact one or more copyright owners for any use that is not permitted under the ARTstor Terms and Conditions of Use or not otherwise permitted by law. While ARTstor tries to update contact information, it cannot guarantee that such information is always accurate. Determining whether those permissions are necessary, and obtaining such permissions, is your sole responsibility. Format The file format, physical medium, or dimensions of the resource Oil on canvas 141 x 360 cm Type The nature or genre of the resource Paintings Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Scuola di S. Giorgio degli Schiavoni, Venice, Italy https://venice.dahvc.org/fall-2020/files/original/September_9_Scuole_Painting_Cycles/The_Vision_of_St._Augustine/41822000556751.jpg bdd1ac166e01f4e44e16867e278ae607 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource September 9: Scuole Painting Cycles Description An account of the resource Painted in 1495, Vittore Carpaccio's "Dream of Saint Ursula" is a part of his series depicting the tale of Saint Ursula, titled "Stories from the Life of Saint Ursula". "Dream of Saint Ursula" was Carpaccio's fifth painting out of a total of eight in the series, and continued his tendency to paint religious scenery. The legend of Saint Ursula from the north was very popular throughout the Middle Ages, and Carpaccio was commissioned by the Confraternity of Saint Ursula in Venice to tell her story. The legend describes Saint Ursula, a martyr who led 11,000 virgin maidens through travel, all of whom were brutally massacred by the Huns in Cologne. "The Dream of Saint Ursula" in particular depicts Saint Ursula in her bed, and is meant to show her dreaming of the angel who informs Saint Ursula of her impending death and martyrship. Carpaccio is widely praised for his close attention to detail, which he demonstrates magnificently in this painting, showing the room with beautiful ceilings, plants on the windows, a dog laying next to the bed, and the shadowy figures around the room that cast a mysterious and dreamy vibe throughout the painting. Creator An entity primarily responsible for making the resource Carpaccio, Vittore Source A related resource from which the described resource is derived Carpaccio, Vittore, 1455?-1525?. c.1495. Legend of St. Ursula: Dream of St. Ursula: det.: windows. https://library-artstor org.proxy.lib.duke.edu/asset/ARTSTOR_103_41822001712643 Wood, Allyn. "The Departure of Saint Ursula (As Painted by Carpaccio) [Poem]." College Art Journal 18, no. 3 (1959): 240. Accessed September 8, 2020. doi:10.2307/773926. Ruskin, John. Saint Ursula: I. The Story of St. Ursula. II. The Dream of St. Ursula. Duke Libraries . New York: The Devin-Adair Company, 1912. Det:https://find.library.duke.edu/catalog/DUKE008071078?utm_campaign=bento&utm_content=bento_result_link&utm_source=library.duke.edu&utm_medium=referral Wood, Allyn. "The Departure of Saint Ursula (As Painted by Carpaccio) [Poem]." College Art Journal 18, no. 3 (1959): 240. Accessed September 8, 2020. doi:10.2307/773926 Gronau, Georg. "An Unknown Work by Vittore Carpaccio." The Burlington Magazine for Connoisseurs 44, no. 251 (1924): 59-65. Accessed September 8, 2020. http://www.jstor.org/stable/862109. Publisher An entity responsible for making the resource available The University of California, San Diego Date A point or period of time associated with an event in the lifecycle of the resource 1495 Contributor An entity responsible for making contributions to the resource Ithika Senthilnathan Format The file format, physical medium, or dimensions of the resource Oil on Canvas – 273cm x 267cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Gallerie dell'Accademia di Venezia, Venice, Italy Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Vision of St. Augustine Creator An entity primarily responsible for making the resource Vittore Carpaccio Date A point or period of time associated with an event in the lifecycle of the resource c. 1502 Contributor An entity responsible for making contributions to the resource Vik Manocha Format The file format, physical medium, or dimensions of the resource Tempera on panel, 141 cm x 210 cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Scuola di San Giorgio degli Schiavoni, Venice, Italy Publisher An entity responsible for making the resource available Commissioned by Scuola Schiavoni Data from: University of California, San Diego Source A related resource from which the described resource is derived Brooke, Caroline. "Vittore Carpaccio's Method of Composition in His Drawings for the Scuola Di S. Giorgio Teleri." Master Drawings 42, no. 4 (2004): 303-14. Accessed September 9, 2020. http://www.jstor.org/stable/1554668. Cook, Albert. "CARPACCIO'S ANIMALS." The Centennial Review 27, no. 4 (1983): 224-43. Accessed September 9, 2020. http://www.jstor.org/stable/23739724. Galey, Alan. "The Human Presence in Digital Artefacts." In Text and Genre in Reconstruction: Effects of Digitalization on Ideas, Behaviours, Products and Institutions, edited by McCarty Willard, 93-118. Cambridge: Open Book Publishers, 2010. Accessed September 9, 2020. http://www.jstor.org/stable/j.ctt5vjtd9.8. Carpaccio, Vittore, 1455?-1525?. c.1502. St. Augustine in his Study. https://library.artstor.org/asset/ARTSTOR_103_41822000556751. Description An account of the resource Carpaccio’s "The Vision of St. Augustine" depicts St. Augustine in his cell writing a letter to St. Jerome to try to quantify the exact amount of joy that a person feels in the presence of God. In the moment that is painted, a bright light with the voice of St. Jerome appears in the window to announce his death before he departs for Heaven––also answering the question posed to him in the letter. He argues against Augustine and says that it is impossible to enumerate and describe concretely the content of human souls. Augustine is startled, and the fluttering pages and heightened alert of the dog in the foreground capture the precise moment that he receives the message. It is a slice of divine revelation, outside of the scope of human communication. The background contains detailed manuscripts and an altar, both of which are clear of clutter. This contrasts with the foreground, which contains open space and a luxurious white dog, as well as a desk filled with papers and other objects at the breast of St. Augustine. It is part of his collection on the life of St. Jerome, which includes two other paintings: St. Jerome and the Lion and The Obsequies of St. Jerome. This series combines fantastical religious scenes with realism in fine details, which relates to the combination of myth and reality in his contemporary Venice. https://venice.dahvc.org/fall-2020/files/original/September_9_Scuole_Painting_Cycles/St._George_and_the_Dragon/Vittore_carpaccio_san_giorgio_e_il_drago_01.jpg 6594c4e02ac70f5963d6529cd69e289b Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource September 9: Scuole Painting Cycles Description An account of the resource Painted in 1495, Vittore Carpaccio's "Dream of Saint Ursula" is a part of his series depicting the tale of Saint Ursula, titled "Stories from the Life of Saint Ursula". "Dream of Saint Ursula" was Carpaccio's fifth painting out of a total of eight in the series, and continued his tendency to paint religious scenery. The legend of Saint Ursula from the north was very popular throughout the Middle Ages, and Carpaccio was commissioned by the Confraternity of Saint Ursula in Venice to tell her story. The legend describes Saint Ursula, a martyr who led 11,000 virgin maidens through travel, all of whom were brutally massacred by the Huns in Cologne. "The Dream of Saint Ursula" in particular depicts Saint Ursula in her bed, and is meant to show her dreaming of the angel who informs Saint Ursula of her impending death and martyrship. Carpaccio is widely praised for his close attention to detail, which he demonstrates magnificently in this painting, showing the room with beautiful ceilings, plants on the windows, a dog laying next to the bed, and the shadowy figures around the room that cast a mysterious and dreamy vibe throughout the painting. Creator An entity primarily responsible for making the resource Carpaccio, Vittore Source A related resource from which the described resource is derived Carpaccio, Vittore, 1455?-1525?. c.1495. Legend of St. Ursula: Dream of St. Ursula: det.: windows. https://library-artstor org.proxy.lib.duke.edu/asset/ARTSTOR_103_41822001712643 Wood, Allyn. "The Departure of Saint Ursula (As Painted by Carpaccio) [Poem]." College Art Journal 18, no. 3 (1959): 240. Accessed September 8, 2020. doi:10.2307/773926. Ruskin, John. Saint Ursula: I. The Story of St. Ursula. II. The Dream of St. Ursula. Duke Libraries . New York: The Devin-Adair Company, 1912. Det:https://find.library.duke.edu/catalog/DUKE008071078?utm_campaign=bento&utm_content=bento_result_link&utm_source=library.duke.edu&utm_medium=referral Wood, Allyn. "The Departure of Saint Ursula (As Painted by Carpaccio) [Poem]." College Art Journal 18, no. 3 (1959): 240. Accessed September 8, 2020. doi:10.2307/773926 Gronau, Georg. "An Unknown Work by Vittore Carpaccio." The Burlington Magazine for Connoisseurs 44, no. 251 (1924): 59-65. Accessed September 8, 2020. http://www.jstor.org/stable/862109. Publisher An entity responsible for making the resource available The University of California, San Diego Date A point or period of time associated with an event in the lifecycle of the resource 1495 Contributor An entity responsible for making contributions to the resource Ithika Senthilnathan Format The file format, physical medium, or dimensions of the resource Oil on Canvas – 273cm x 267cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Gallerie dell'Accademia di Venezia, Venice, Italy Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource St. George and the Dragon Description An account of the resource The painting shows the first of the three episodes dedicated to St. George's life: the other two are the Triumph of St. George and the Baptism of the Selenites. The works date to Carpaccio's mature period when he was commissioned by the "Scuola" (guild or corporation) of the Schiavoni (Dalmatians) to execute a cycle of nine paintings narrating the stories of their patron saints (George, Jerome, Augustine, and Tryphon). Vittore Carpaccio was one of Venice's leading narrative painters of the late 15th and early 16th centuries, whose richly detailed canvases relating the lives of saints once adorned the city's "scuole," or lay confraternities' meeting places. The story of George is directly inspired by the medieval hagiographical texts of the martyrs, especially by the Passions. The epic of the Holy Martyr on horseback in the act of defeating the dragon and saving the maiden, with the fortified town standing in the background, has been a recurring iconographic theme since ancient times. St. George is portrayed while riding a horse above a wide background, his lance piercing the dragon's head. On the right is a praying princess. A diagonal line connects the princess head, passing through the lance, to the twisted tail of the dragon. The canvases of St. George and St. Tryphon are elongated as if to emphasize the character of the epic story. St. George and the Dragon comes from the island of San Giorgio Maggiore while providing a vigorous image of the knight killing the monster, is also dense with references specific to the Benedictine monastery for which it was made. Creator An entity primarily responsible for making the resource Vittore Carpaccio Source A related resource from which the described resource is derived Morabito, Pasquale Maria. "Saint George and the Dragon: Cult, Culture, and Foundation of the City." Contagion: Journal of Violence, Mimesis, and Culture 18 (2011): 135-153. doi:10.1353/ctn.2011.0007. St George and Dragon by Vittore Carpaccio (1465-1525, or ca 1526), tempera on wood, 141x360 cm,San Giorgio degli Schiavoni School, Venice, 1502." In Bridgeman Images: DeAgostini Library, edited by Bridgeman Images. Bridgeman, 2014. http://proxy.lib.duke.edu/login?url=https://search.credoreference.com/content/entry/bridgemandeag/st_george_and_dragon_by_vittore_carpaccio_1465_1525_or_ca_1526_tempera_on_wood_141x360_cm_san_giorgio_degli_schiavoni_school_venice_1502/0?institutionId=2558 Valcanover, Francesco (2007). "Vittore Carpaccio". Pittori del Rinascimento. Florence: Scala. ISBN 88-8117-099-X. Warnke, Martin. ‘Carpaccio, Vittore’. In Religion Past and Present. Accessed September 9, 2020. doi:http://dx.doi.org/10.1163/1877-5888_rpp_SIM_02768. Publisher An entity responsible for making the resource available Sts. George, Jerome, and Tryphon, joined by St. Matthew Date A point or period of time associated with an event in the lifecycle of the resource 1502 Contributor An entity responsible for making contributions to the resource Liuren Yin Rights Information about rights held in and over the resource Use of this image is in accordance with the Artstor Terms & Conditions Format The file format, physical medium, or dimensions of the resource Oil on canvas, 141 x 360 cm Language A language of the resource English Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Venice, Scuola Grande Di San Rocco, Italy https://venice.dahvc.org/fall-2020/files/original/September_16_Visual_Analysis_of_work_from_Correr_and_Ducal_Palace_/Paradise/SCALA_ARCHIVES_10310195577.jpg c14883bc07d012d93ad0988caa514ea8 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource September 16: Visual Analysis of work from Correr and Ducal Palace Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Paradise Creator An entity primarily responsible for making the resource Jacopo Tintoretto (1518-1594) and Domenico Tintoretto (1560-1635) Publisher An entity responsible for making the resource available Signoria of Venice Image Source: Jacopo Tintoretto. After 1588. Paradise. painting. Place: Palazzo ducale (Venice, Italy). https://library.artstor.org/asset/SCALA_ARCHIVES_10310195577. Date A point or period of time associated with an event in the lifecycle of the resource 1588-1592 Contributor An entity responsible for making contributions to the resource Carmel Falek Rights Information about rights held in and over the resource (c) 2006, SCALA, Florence / ART RESOURCE, N.Y. Format The file format, physical medium, or dimensions of the resource Oil on canvas, 700.0 cm x 2200.0 cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Palazzo Ducale, Venice, Italy Description An account of the resource The Venetian government, the Signoria, created a contest to see who would create a painting modeled after Dante’s Paradise on the wall of the Great Council Hall after the destruction of the fire of 1577. At first, Veronese was chosen to create the new artwork, but as a result of his death, Tintoretto was placed in charge of the commission. Tintoretto, a Venice native, was born into a family of textile workers. It is unclear who he trained under, however, it is noted that his techniques draw inspiration from Michelangelo and Titian [1]. While creating Paradise, Tintoretto suddenly died from a fever, leading to his son Domenico to continue the painting his father started along with the rest of the workshop. As mentioned previously, Paradise was modeled after Dante’s work and depicts over 800 figures, including the Four Evangelists, Archangels Michael and Gabriel, the Four Doctors of the Church, Old Testament figures, Saints, and Jesus and the Virgin Mary on top. Tintoretto and his son composed the piece to draw the viewer’s attention to Mary and Christ at the top. The painting curves with the center focusing on the two figures. As Kinga Lipinska points out, Tintoretto designed Paradise in a linear fashion, with rows of biblical figures forming an arc [2]. The characters are painted as if they are floating in midair, like they are in heaven. The painting is composed to be chaotic with free space only existing around Mary and Christ in order to focus on them. The father and son utilized a dark and subdued color palette for the painting in order to draw the viewer’s attention to the source of light at the top radiating from the two figures’ heads. Tintoretto and his son aimed to depict the ideal state of heaven, or in other words, paradise. They utilize light, an arc structure, and a busy composition to create the feeling as if one is in heaven. He creates this painting with the idea of inviting the viewer to this ideal state. As Tom Nichols puts it, Paradise fuses the concepts of government and heaven to create the sense that the Venetian Senate was created under divine forces [3]. Venice, in the eyes of Tintoretto, is a result of God and heaven above. [1] "Cavallini to Veronese - Italian Renaissance Art", Accessed September 10, 2020, https://cavallinitoveronese.co.uk/general/view_artist/79. [2] Kinga Lipinska, “Tintoretto's Vision of Paradise,” Liturgical Arts Journal, June 11, 2019, https://www.liturgicalartsjournal.com/2019/06/tintorettos-vision-of-paradise.html [3] Tom Nichols, "Tintoretto: Tradition and Identity," London: Reaktion Books, 1999 Source A related resource from which the described resource is derived Lipinska, Kinga. “Tintoretto's Vision of Paradise.” Liturgical Arts Journal, June 11, 2019. https://www.liturgicalartsjournal.com/2019/06/tintorettos-vision-of-paradise.html. Nichols, Tom. Tintoretto: Tradition and Identity. London: Reaktion Books, 1999. "Tintoretto.” Cavallini to Veronese - Italian Renaissance Art. Accessed September 10, 2020. https://cavallinitoveronese.co.uk/general/view_artist/79. Tietze, Hans. "The Tintoretto Exhibition at Venice." The Burlington Magazine for Connoisseurs 71, no. 414 (1937): 133-35. Image Source: Jacopo Tintoretto. After 1588. Paradise. painting. Place: Palazzo Ducale (Venice, Italy). https://library.artstor.org/asset/SCALA_ARCHIVES_10310195577. https://venice.dahvc.org/fall-2020/files/original/Minerva_Sending_Away_Mars_from_Peace_and_Prosperity/Minerva_Sending_Away_Mars_from_Peace_and_Prosperity/min_mars.jpg 80afb82095cb64ab8fcf6d358ba5a57f Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Minerva Sending Away Mars from Peace and Prosperity Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Room dell'Anticollegio, Ducale Palace, Venice, Italy Description An account of the resource Painted by Jacopo Tintoretto for Doge Priuli, "Minerva Sending Away Mars from Peace and Prosperity" was created in 1576 and is located in the Room dell'Anticollegio. This painting is part of four paintings in a series by Tintoretto that additionally includes "Bacchus, Venus, and Ariadne", "Vulcan's Forge", and "Mercury and the Graces", and is meant to celebrate and draw attention to the prestigious government of Doge Gerolamo Priuli. Jacopo Tintoretto's art is known for its dramatic lighting and animation between characters interacting. Influenced by Titian's use of color, Tintoretto uses bright and dark colors to contrast moods, personalities, and more. In this painting, Minerva can be seen shielding Peace and Prosperity from Mars. Minerva is portrayed in light hues, with a halo-like aura around her, contrasted severely against Mars, who is dressed in dark armor and appears agitated. This painting signifies Minerva, the Virgin, as the protector of Venice and the serenity of the city, sending Mars, who signifies battle, far away from her guarded nation. In the left of the image, Peace can be seen holding Minerva's arm, while Prosperity's head pokes out in the corner. Both Peace and Prosperity are surrounded by the white glowing hue, and appear healthy and well, signifying Venice's thriving nature under Doge Priuli's rule. Tintoretto's original four canvases in this collection were created for Atrio Quadrato of the Doge's Palace, and meant to accompany Tintoretto's portrait of Doge Priuli. In Atrio Quadrato, the paintings would have been met with reverence from all foreign leaders and ambassadors who came to the palace. These paintings were eventually moved to the Sala dell'Anticollegio, where they hang today. Creator An entity primarily responsible for making the resource Jacopo Tintoretto Source A related resource from which the described resource is derived Tintoretto, Jacopo (Venetian painter, 1519-1594). Work: 1576 - 1577, Era: CE, Image: 1967. Minerva Sending Away Mars from Peace and Prosperity, Peace, Harmony and Minerva banishing Mars, general view. painting (visual works). Accessed September 13, 2020. https://library.artstor.org/asset/SS7730878_7730878_10448088 “Save Venice Inc.: Dedicated to Preserving the Artistic Heritage of Venice.” Accessed September 13, 2020. https://www.savevenice.org/project/mercury-and-the-three-graces-the-forge-of-vulcan-minerva-mars-and-peace-bacchus-ariadne-and-venus. “Venezia - Palazzo Ducale - Tintoretto - Gelatina/ Vetro.” n.d. Www.Archiviodellacomunicazione.It. Accessed September 13, 2020. http://www.archiviodellacomunicazione.it/sicap/Fotografie/91324/?WEB=MuseiVE. Minerva Sending Away Mars from Peace and Prosperity by TINTORETTO. Accessed September 14, 2020. https://www.wga.hu/html_m/t/tintoret/4a/1antico2.html. Publisher An entity responsible for making the resource available Doge Girolamo Priuli Date A point or period of time associated with an event in the lifecycle of the resource 1576-1577 Contributor An entity responsible for making contributions to the resource Ithika Senthilnathan Format The file format, physical medium, or dimensions of the resource Oil on Canvas, 148cm x 168cm Type The nature or genre of the resource Oil Painting Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Minerva Sending Away Mars from Peace and Prosperity Description An account of the resource Minerva Sending Away Mars from Peace and Prosperity is a single painting in a cycle of four paintings that include, Three Graces and Mercury, Bacchus, Ariadne and Venus, Minerva Rejecting Mars and the Forge of Vulcan. [1] These pieces were created from 1576 to 1577 by Jacopo Tintoretto for a commission by one of his patrician patrons, Doge Girolamo Priuli (reg. 1559-67). [1] This work was originally created for the Atrio Quadrato but was later moved to the Sala dell’Anticollegio in the Ducal Palace. [1] The pieces of this cycle, including Minerva Sending Away Mars from Peace and Prosperity, are political allegories that highlight two vital factors of Venice’s government and culture. It illuminates the serene and peaceful nature of the Venetian republic as well as utilizes Renaissance classical revival to convey that Venice is protected by the gods. Specifically, it depicts Venice’s protection from the pagan goddess Minerva by showing the story of Minerva, the goddess of wisdom, protecting the female depictions of Peace and Prosperity, from the approaching god of War, Mars. The subject matter and manner of style of this painting are directly related to the purpose this piece played in the two rooms it was housed in. Both the Atrio Quadrato and the Sala dell’Anticollegio were intended to be lavishly decorated rooms that would give the space a sense of richness as well as convey Venice’s importance and impress the foreign dignitaries that would visit the Doge’s residence. The use of various richly pigmented blues and numerous hues of white, cream, yellows, and browns draw the viewers’ eyes into the painting and adds a level of depth and detail to this piece. Furthermore, this piece was complemented by the ornately decorated relief-like frames that held it. [1] By combining both factors, this piece appeared highly grandiose to viewers and inspires a sense of awe and wonder. This, in turn, impressed the foreign dignitaries who visited the palace and reminded them of the wealth and power that the republic of Venice possessed. Furthermore, Tintoretto uses heavy forms set in a forward plane in order to control the spatial recession of this piece. This detail helped dramatize the story being conveyed in this piece. This emphasis works in conjunction with Tintoretto’s manipulation of light. Specifically, he casts the figures of Minerva acting as a divine protector with bright, vibrant light and colors as well as the figures of Peace and Prosperity but depicts Mars with shadows and darkness. Tintoretto’s drama through the piece's spatial organization as well as his interplay of light shows viewers, both modern and of the time, the values that the Venetian republic holds dear and the protection given to the city. Tintoretto combines various stylistic elements to fulfill two main roles in order to influence the viewers of this piece. The first was to impress the viewers of this piece by conveying Venice’s wealth through the grandeur of the piece. The second role was to illuminate the values of the Venetian republic, which were peace and prosperity over the idea of war, as well as remind viewers of Venice’s continual divine protection. [1] Thomas Nichols, “Tintoretto Family [Robusti],” Grove Art Online, (July 2012): 2-3. Creator An entity primarily responsible for making the resource Jacopo Tintoretto (1519-1594) Source A related resource from which the described resource is derived <ul> <li>Nichols, Thomas. "Tintoretto family [Robusti]." Grove Art Online, (July 2012): 2-3. <a href="https://doi.org/10.1093/gao/9781884446054.article.T085169">https://doi.org/10.1093/gao/9781884446054.article.T085169</a>.</li> <li>Goy, Richard, et al. "Venice." Grove Art Online, (2003). https://doi.org/10.1093/gao/9781884446054.article.T088612.</li> <li>Palazzo Ducale. “Venezia - Palazzo Ducale - Tintoretto - Gelatina/ Vetro.” accessed September 12, 2020. http://www.archiviodellacomunicazione.it/sicap/Fotografie/91324/?WEB=MuseiVE.</li> </ul> Publisher An entity responsible for making the resource available Doge Girolamo Priuli Date A point or period of time associated with an event in the lifecycle of the resource circa 1576 - 1577 Contributor An entity responsible for making contributions to the resource Riya Mohan Rights Information about rights held in and over the resource © Rector and Visitors, University of Virginia Format The file format, physical medium, or dimensions of the resource Oil on canvas, 148 x 168 cm Type The nature or genre of the resource Painting Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Room dell'Anticollegio, Palazzo Ducale, Venice, Italy