1 10 177 https://venice.dahvc.org/fall-2020/files/original/Dana_s_Collection/Galleon_at_Sea/Galleon-new.png 13b034331333671f49fc324d36853133 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 Dana's Collection 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 Galleon at Sea Subject The topic of the resource A galleon ship in Giovanna Garzoni's calligraphy book Description An account of the resource This calligraphic drawing was created as part of Giovanna Garzoni's "Libro de’ caratteri cancellereschi corsivi," or “Book of Chancery Cursive Letterforms.” Garzoni, an itinerant artist, was born in Ascoli Piceno to a Venetian family and is believed to have moved to Venice during her childhood. While in Venice she received training with the calligraphy instructor Giacomo Rogni. This book may be considered both an exercise book and a portfolio of her skill. Aoife Cosgrove has shown that the source of this particular image is likely Jan van de Velde the Elder's "A Messieurs de l’Admirauté à Rotterdam," a model published in a writing manual in Rotterdam in 1605. Both the subject and its source reflect Giovanni's global imagination: more than most women of her time, she traveled among international courts in Italy, France, and England where she created representations of circulating objects such as exotic fruits from the Americas and precious Ming vases exported from China. This exercise also offers insight into the early modern audience of the work. Created in a single, fluid stroke, this calligraphic drawing may have been used as a type of party trick, as proposed by Sheila Barker. At a court gathering, Garzoni may have created the drawing in front of a group of onlookers who followed her swirling lines, guessing at the subject. When her upside-down drawing was complete, Garzoni would have turned the page to reveal her elegant ship. This offered both entertainment to the members of court and proof of Garzoni's artistic skill, possibly attracting future commissions. Creator An entity primarily responsible for making the resource Giovanna Garzoni (Ascoli Piceno 1600 – Rome 1670) Source A related resource from which the described resource is derived <ul> <li>Casale, Gerardo. Giovanna Garzoni: 'Insigne Miniatrice,' 1600-1670. Milan: 1991 (120)</li> <li>Barker, Sheila. "Marvellously Gifted: Giovanna Garzoni's First Visit to the Medici Court." Burlington Magazine 160 (2018): 654-659. (657)</li> <li>Barker, Sheila. "Galleon at Sea" and "A Messieurs de l’Admirauté à Rotterdam." In "The Immensity of the Universe" in the Art of Giovanna Garzoni, exhibition catalogue edited by Sheila Barker, 120-22. Livorno: Sillabe, 2020.</li> </ul> Publisher An entity responsible for making the resource available Rome, Accademia Nazionale di San Luca, ms. 1117 Date A point or period of time associated with an event in the lifecycle of the resource circa 1617–1622 Contributor An entity responsible for making contributions to the resource Dana Hogan Rights Information about rights held in and over the resource Rome, Accademia Nazionale di San Luca Relation A related resource Modeled after "A Messieurs de l’Admirauté à Rotterdam" by Jan van de Velde the Elder (Antwerp 1568 – Haarlem 1623) (engraved by Simon Frisius, also known as Simon Wynhoutsz. de Vries) Format The file format, physical medium, or dimensions of the resource in: Giovanna Garzoni, Libro de’ caratteri cancellereschi corsivi, fol. 44r black ink on prepared paper, 29.0 x 20.5 cm (closed); 29.0 x 41.5 cm (open) Type The nature or genre of the resource Calligraphic drawing Identifier An unambiguous reference to the resource within a given context ms. 1117 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Accademia Nazionale di San Luca, Rome, Italy https://venice.dahvc.org/fall-2020/files/original/September_2_Practice_Collection/San_Carlo_alle_Quattro_Fontane/sancarloallequattrofontane.jpg 2282254e9c64f15133f528ac3d61b815 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 2: Practice Collection Creator An entity primarily responsible for making the resource Vittore Carpaccio 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 della Academia, 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 San Carlo alle Quattro Fontane Subject The topic of the resource This is a Roman Catholic Church in the Baroque style Description An account of the resource This church was constructed between 1638 and 1641 in Rome, Italy. The architect, Francesco Borromini, is known as the Father of Baroque architecture, with the San Carlo being his first solo work. The site on which the church is built on was cramped and awkward, and Borromini used a combination of the Baroque curves and cubic elements to fit the space and create a work of art that played with movement, lights and shadows, and helped to start a new style of architecture. Creator An entity primarily responsible for making the resource Francesco Borromini https://venice.dahvc.org/fall-2020/files/original/Ponte_di_Rialto/92.jpg b30adc1a9d5bd9e72fddc9dfd8956857 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 Ponte di Rialto Description An account of the resource This bridge, one of four that traverse the Grand Canal, is an icon of Venice and offers quick passage to the city's main financial district Rialto. The bridge itself is a stone-arch with three lanes and two rows of shops. Creator An entity primarily responsible for making the resource Antonio da Ponte, Antonio Contino Source A related resource from which the described resource is derived https://www.britannica.com/topic/Rialto-Bridge Publisher An entity responsible for making the resource available The city of Venice Date A point or period of time associated with an event in the lifecycle of the resource 1591 Contributor An entity responsible for making contributions to the resource Vik Manocha Format The file format, physical medium, or dimensions of the resource 25 meters long, 20 meters wide, and 7 meters high Type The nature or genre of the resource Bridge 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, Veneto, 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 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 Scenes from the Life of Saint Ursula. Saint Ursula's Dream Description An account of the resource The Dream of St. Ursula is a single painting in Vittore Carpaccio’s series called the St. Ursula Cycle. Carpaccio was a Venetian native who most likely learned under Gentile Bellini who heavily influenced the way he created works for various scuole, which were charitable organizations that were dedicated to particular saints. He is best known for his narrative cycles that lined the meeting halls of the scuole. This entire collection, particularly, was commissioned and funded by the Scuola piccolo and chronicles the life of St. Ursula from her engagement to her martyrdom. In this particular image, Carpaccio depicts St. Ursula laying in her bed dreaming of her martyrdom as an angel visits her through the door. A few features to note are the fact that she is by herself in the scene, except for the angel, and there are numerous tight walls, shutters, and windows with no view outside. These features coalesce to make the room seem cloistered and closed off from the world. This pictorial staging echoes Carpaccio’s style of situating male activity in a public space and female activity in a private space. It is also reflective of the societal norm that respectable women confine and govern the home. The gender differences noted in this work are indicative of the gender differences that govern the urban landscape of Venice. Creator An entity primarily responsible for making the resource Vittore Carpaccio Source A related resource from which the described resource is derived <ul> <li>“Carpaccio, Vittore.” Benezit Dictionary of Artists, 2011, doi:10.1093/benz/9780199773787.article.b00032555.</li> <li>Vittore Carpaccio. 1495. Scenes from the Life of Saint Ursula. Saint Ursula's Dream. painting. Place: Gallerie dell'Accademia di Venezia. https://library.artstor.org/asset/SCALA_ARCHIVES_1039488911.</li> <li>Rodini, Elizabeth. "The Politics of Marriage in Carpaccio's St. Ursula Cycle." Early Modern Women 8 (2013): 85-117. Accessed September 6, 2020. http://www.jstor.org/stable/23617847.</li> <li>Mason, S., 2000. Carpaccio: Major Pictorial Cycles. Milano: Skira.</li> <li></li> </ul> Publisher An entity responsible for making the resource available Scuola Piccola 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 Riya Mohan 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, 274 x 267 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 Italian and other European Art (Scala Archives), 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 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 Scenes from the Life of Saint Ursula: Martyrdom of the Pilgrims and the Funeral of Saint Ursula Contributor An entity responsible for making contributions to the resource Olivia Migli Creator An entity primarily responsible for making the resource Vittore Carpaccio Rights Information about rights held in and over the resource File Name scala_0098604g_post.fpx SSID 14493013 Format The file format, physical medium, or dimensions of the resource oil on canvas 271 x 561 cm Date A point or period of time associated with an event in the lifecycle of the resource 1493 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 Saint Ursula Cycle, Gallerie dell'Accademia, Venice Description An account of the resource This painting is eight of nine paintings of Carpaccio's St. Ursula collection that depicts scenes from St. Ursula's life. Carpaccio, most likely a student of Gentile Bellini, formed his own unique style of story telling through narrative paintings. This particular piece portrays both the martyrdom and funeral of St. Ursula. Notably, on the left half of the painting St. Ursula kneels as she faces her executioner, the chief of the Huns who asked for her hand in marriage and she rejected, with the mass of virgins behind her. He is pointing an arrow at her as she kneels with her hands together in prayer. The painting is balanced with a more solemn composition to the right, opposing the violent scene to the left. Her funeral parade marches out of town in a dignified manner. The two scenes create a complex, but balanced whole. The Venetian background keeps the painting flowing as one. Source A related resource from which the described resource is derived Rodini, Elizabeth. "The Politics of Marriage in Carpaccio's St. Ursula Cycle." Early Modern Women 8 (2013): 85-117. Accessed September 7, 2020. http://www.jstor.org/stable/23617847. “Vittore Carpaccio (Italian, about 1460 - 1526) (Getty Museum).” The J. Paul Getty in Los Angeles. Getty Conservation Research Foundation. Accessed September 4, 2020. http://www.getty.edu/art/collection/artists/790/vittore-carpaccio-italian-about-1460-1526/. Vittore Carpaccio. 1493. Scenes from the Life of Saint Ursula: Martyrdom of the Pilgrims and the Funeral of Saint Ursula. paintings. Place: Gallerie dell'Accademia di Venezia, Venice, Italy, Cat. no. 580. https://library.artstor.org/asset/SCALA_ARCHIVES_1039614872. Publisher An entity responsible for making the resource available Scuola di Sant'Orsola https://venice.dahvc.org/fall-2020/files/original/September_9_Scuole_Painting_Cycles/Meeting_of_the_Betrothed_Couple_amp_Departure_of_the_Pilgrims/40betrot.jpg 69d757dca14aabbf423dbe749a8808ae 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 Meeting of the Betrothed Couple & Departure of the Pilgrims Description An account of the resource The Meeting of the Betrothed Couple and the Departure of the Pilgrims is a painting in Vittore Carpaccio's St. Ursula Cycle. Vittore Carpaccio, born in Venice in a family of sea men, learned under Gentile Bellini. He morphed into his own style, portraying and narrating religious scene through paintings. The collection focused on the life and legacy of St. Ursula through all stages, but set in Venice. It was funded by the scuola piccola of Sant' Orsola, which included a diverse membership from all of Venice, including artisans and merchants. According to Elizabeth Rodini, the cycle of St. Ursula dives into the role and complexities of the institution of marriage during this time in Italy [1]. Carpaccio critiques the nature of marriage and how it overly defined the citizens of Venice. Carpaccio depicts in the Meeting of the Betrothed Couple & Departure of the Pilgrims a scene of traditional Venetian betrothal practices. The hair maintanence along with the traveling in gondolas is synonomous with Venice’s wedding practices. The image contains a variety of stories of St. Ursula’s relationship to Prince Etherius, as they are betrothed to one another, then get married, then bid her father goodbye as they embark on their journey. This story, yet set in England, is depicted in the marine city of Venice, Carpaccio’s homeland. This is due to his devotion to the city, which he incorperates into his artworks. Carpaccio utilizes the narrative of St. Ursula to depict the power matrimony has, as marriages impact social status. [1] Elizabeth Rodini, "The Politics of Marriage in Carpaccio's St. Ursula Cycle," Early Modern Women 8 (2013): 86 Creator An entity primarily responsible for making the resource Vittore Carpaccio (Venice, Italy 1460-1526) Source A related resource from which the described resource is derived Brody, Michael J. "Religious Subjects on Sixteenth-Century Deruta Piatti Da Pompa." In Domestic Devotions in Early Modern Italy, edited by Corry Maya, Faini Marco, and Meneghin Alessia, 187-219. LEIDEN; BOSTON: Brill, 2019. Rodini, Elizabeth. "The Politics of Marriage in Carpaccio's St. Ursula Cycle." Early Modern Women 8 (2013): 85-117. “Vittore Carpaccio (Italian, about 1460 - 1526) (Getty Museum).” The J. Paul Getty in Los Angeles. Getty Conservation Research Foundation. Accessed September 4, 2020. http://www.getty.edu/art/collection/artists/790/vittore-carpaccio-italian-about-1460-1526/. Image Source: Vittore Carpaccio. 1495. Scenes from the Life of Saint Ursula. Meeting of the Betrothed Couple and the Departure of the Pilgrims. painting. Place: Gallerie dell'Accademia di Venezia. https://library.artstor.org/asset/SCALA_ARCHIVES_1039488910. Publisher An entity responsible for making the resource available Scuola di Sant’Orsola Image Source: Vittore Carpaccio. 1495. Scenes from the Life of Saint Ursula. Meeting of the Betrothed Couple and the Departure of the Pilgrims. painting. Place: Gallerie dell'Accademia di Venezia. https://library.artstor.org/asset/SCALA_ARCHIVES_1039488910. 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 Carmel Falek Format The file format, physical medium, or dimensions of the resource Oil on canvas, 280.0 cm x 611.0 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 Gallerie dell'Accademia, Venice, Italy Rights Information about rights held in and over the resource (c) 2006, SCALA, Florence/ART RESOURCE, N.Y. https://venice.dahvc.org/fall-2020/files/original/September_9_Scuole_Painting_Cycles/Legend_of_St._Ursula_Dream_of_St._Ursula/ARTSTOR_103_41822000556629.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 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. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data oil painting on canvas Physical Dimensions The actual physical size of the original image 9'x8'9" 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 Subject The topic of the resource Ursula, Saint Dreams Narrative cycles Painting--Italy--15th C. A.D Saints--Legends 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: Dream of St. Ursula. https://library.artstor.org/asset/ARTSTOR_103_41822000556629. Rodini, Elizabeth. "The Politics of Marriage in Carpaccio's St. Ursula Cycle." Early Modern Women 8 (2013): 85-117. Accessed September 7, 2020. http://www.jstor.org/stable/23617847. Brown, P., 1988. Venetian Narrative Painting In The Age Of Carpaccio. New Haven: Yale University Press, pp.56-69. Kren, E. and Marx, D., 2020. The Dream Of St Ursula By CARPACCIO, Vittore. [online] Wga.hu. Available at: <https://www.wga.hu/html_m/c/carpacci/1ursula/2/50dream.html> [Accessed 7 September 2020]. Publisher An entity responsible for making the resource available Scuola di Sant'Orsola 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 1495 Contributor An entity responsible for making contributions to the resource Rhea Niyyar 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, 9'x8'9" 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 Hall XXI, Gallerie dell'Accademia, Venice, Italy Description An account of the resource This oil painting is the fifth in Vittore Carpaccio’s "Stories from the Life of St Ursula," commissioned by a scuola piccola called the Sculoa di San’Orsola to be displayed in their meeting house where prayer and devotion often occurred. A relatively young painter at the time, Carpaccio proved himself with these eight paintings, telling the story of a virgin Saint Ursula and her eleven thousand companions and depicting an early version the Venetian eyewitness style of painting cycles. In the “Dream of Saint Ursula” painting specifically, Carpaccio shows off his expert attention to detail. He depicts an angel visiting Ursula in her dream to inform her about her death in the future as she sleeps in her canopied bed. Most of the light comes from behind the angel, indicating that he is coming from the heavens. However, the angel casts quite a dark shadow, which is symbolic of the heavy news he brings to Ursula, which contrasts heavily with her cushy lifestyle and the vibrant colors in her bedroom. Carpaccio also uses soft shadows quite well to highlight the luxury of Ursula’s bedroom, bathing her slippers, crown, and the rest of the contents of her room in a light glow. The attention to detail is also illustrated by the objects that he places in Ursula’s room, such as the carnations and myrtle, which symbolize earthly and heavenly love, and the holy image, both of which demonstrate her commitment to religion. This painting also offers insight into the perception of marriage in early modern Venice. The staging of the painting pulls the focus onto Ursula and her bedroom by making the space feel enclosed through the lack of views out. The depiction of her dream in an enclosed setting with the focus on her supports the ideology that women should only be viewed and perceived in more intimate spaces. It gives credence to the idea that women and their doings should be protected from the outside world rather than out and in the open like how men conduct themselves, which is also represented in the architectural landscape of Venice. However, Elizabeth Rodini also notes that in the dream scene, Ursula is tightly confined in her bed, a matrimonial one at that, with only her head able to be seen clearly, which seems to indicate that even in situations where the focus is on her, Ursula is still relatively powerless and confined. https://venice.dahvc.org/fall-2020/files/original/September_9_Scuole_Painting_Cycles/The_Dream_of_St._Ursula/SCALA_ARCHIVES_1039488911.jpg 677c8c4c87cbbf047a48cf7a12518275 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 <a href="https://library.artstor.org/#/asset/SCALA_ARCHIVES_1039488911;prevRouteTS=1599341543425">The Dream of St. Ursula</a> Description An account of the resource The Dream of Ursula was created by Vittore Carpaccio in 1495 and is currently placed in the Gallerie dell'Accademia in Venice, Italy. This painting is the fifth canvas out of the nine large paintings in the series "Stories from the Life of St Ursula". Vittore Carpaccio was born in circa 1460 in Venice, Italy and is known as the greatest early Renaissance narrative painter of the Venetian school. The genre scene of the Dream of St. Ursula has been especially praised for its wealth of naturalistic detail [1]. According to the ninth‐century legend, St. Ursula left Britain, where her father was king, to avoid a dynastic marriage to a pagan [2].The context of this image is that Vittore Carpaccio reveals St. Ursula, sleeping in her bed on the left side of the bedroom, encountering a dream by an angel on the right side of the bedroom. Ursula’s eyes are closed and her head is leaning on her right hand, which is by her cheek. The angel, Gabriel, is wearing a blue and black outfit with a bow and arrow in his hands. Gabriel tells her about an imminent martyrdom. There is a heavenly glow behind the angel bringing intense light around the bed frame and into the room next door, but the light is not completely illuminating the room. The patron of this picture is indeed the angel informing St. Ursula of an imminent martyrdom. The room is decorated very well, with various plants on display as well as statues of Hercules and other figures [2]. The walls are green on the bottom and there is a connector that goes all across the walls, separating the lower green walls from the upper cream walls. My walls were like this when I was younger, so I’m happy to see that this design has come a long way. [1] “Vittore Carpaccio.” Encyclopædia Britannica. Encyclopædia Britannica, inc., 2019. https://www.britannica.com/biography/Vittore-Carpaccio. [2] Meyers, Jeffrey. "Carpaccio and D'Annunzio's Il Fuoco." Style 47, no. 2 (2013) [3] Sherman, Deena. “Carpaccio's Dream of St. Ursula.” Sleep and Health Journal Chicago, January 2, 2007. https://www.sleepandhealth.com/carpaccios-dream-st-ursula/. Creator An entity primarily responsible for making the resource Vittore Carpaccio Source A related resource from which the described resource is derived Krén, Emil, and Daniel Marx. “The Dream of St Ursula.” The Dream of St Ursula by CARPACCIO, Vittore, 1996. <a href="Kr%C3%A9n,%20Emil,%20and%20Daniel%20Marx.%20%E2%80%9CThe%20Dream%20of%20St%20Ursula.%E2%80%9D%20The%20Dream%20of%20St%20Ursula%20by%20CARPACCIO,%20Vittore,%201996.%20https%3A//www.wga.hu/html_m/c/carpacci/1ursula/2/50dream.html.">https://www.wga.hu/html_m/c/carpacci/1ursula/2/50dream.html.</a> Krén, Emil, and Daniel Marx. The Stories from the Life of St Ursula (1490-96), 1996. <a href="https://www.wga.hu/html_m/c/carpacci/1ursula/index.html">https://www.wga.hu/html_m/c/carpacci/1ursula/index.html.</a> Meyers, Jeffrey. "Carpaccio and D'Annunzio's Il Fuoco." Style 47, no. 2 (2013): 185-92. Popham, A. E. "Drawing by Vittore Carpaccio." The British Museum Quarterly 9, no. 3 (1935): 83-84. Rodini, Elizabeth. "The Politics of Marriage in Carpaccio's St. Ursula Cycle." Early Modern Women 8 (2013): 85-117. Sherman, Deena. “Carpaccio's Dream of St. Ursula.” Sleep and Health Journal Chicago, 2007. <a href="https://www.sleepandhealth.com/carpaccios-dream-st-ursula/.">https://www.sleepandhealth.com/carpaccios-dream-st-ursula/.</a> Vittore Carpaccio. 1495. Scenes from the Life of Saint Ursula. Saint Ursula's Dream. painting. Place: Gallerie dell'Accademia di Venezia. <a href="https://library.artstor.org/#/asset/SCALA_ARCHIVES_1039488911;prevRouteTS=1599341543425">https://library.artstor.org/#/asset/SCALA_ARCHIVES_1039488911;prevRouteTS=1599341543425</a> “Vittore Carpaccio.” Encyclopædia Britannica. Encyclopædia Britannica, inc., 2019. <a href="https://www.britannica.com/biography/Vittore-Carpaccio.%C2%A0">https://www.britannica.com/biography/Vittore-Carpaccio. </a> Publisher An entity responsible for making the resource available <div></div> <div> <div class="value">University of California, San Diego Image Rights: Carpaccio, Vittore, 1455?-1525?. c.1495. Legend of St. Ursula: Dream of St. Ursula. <a href="https://library.artstor.org/asset/ARTSTOR_103_41822000556629">https://library.artstor.org/asset/ARTSTOR_103_41822000556629</a>.</div> </div> 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 Seamus Harding Rights Information about rights held in and over the resource (c) 2006, SCALA, Florence/ART RESOURCE, N.Y. Carpaccio, Vittore, 1455?-1525?. c.1495. Image Rights: Legend of St. Ursula: Dream of St. Ursula. <a href="https://library.artstor.org/asset/ARTSTOR_103_41822000556629.">https://library.artstor.org/asset/ARTSTOR_103_41822000556629</a>. Format The file format, physical medium, or dimensions of the resource Oil on Canvas; 274 x 267 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 Gallerie dell'Accademia, Venice, Italy https://venice.dahvc.org/fall-2020/files/original/September_9_Scuole_Painting_Cycles/Legend_of_St._Ursula_Dream_of_St._Ursula/st_ursula_dream.jpg c872e65fc99730b7afbb8a65a0f2e623 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 Legend of St. Ursula: Dream of St. Ursula Description An account of the resource Dream of St. Ursula is the fifth painting of the series in the nine large paintings collection “Stories from the Life of St. Ursula” created by Vittore Carpaccio. Carpaccio has been praised for grasping each detail while still preserving the unity of the scene and its symbolic value. The painting is telling a story of St. Ursula’s dream. The angel entering St. Ursula’s dream is going to tell her the imminent martyrdom. The painting was created in a time-stopping sense with immersive details, the light shines behind the angel, a little dog laying beside her bed, the book still open where she stopped reading before falling asleep, pots by the window with carnation and plants growing in them. All those details painted the heavenly love holy atmosphere within the frame. The painting also highlights the interior classical Italian Renaissance ornaments such as the rod with red water-drop shape drapery over the bed, spherical shaped window, and all the wooden details that were used to decorate the room. Creator An entity primarily responsible for making the resource Carpaccio, Vittore Source A related resource from which the described resource is derived 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 Silberberg-Peirce, Susan, Mario D’Onofrio, Lynda Stephens, John Varriano, Peter Boutourline Young, John Musgrove, Eugene Dwyer, Mark R. Petersen, David G. Wilkins, Jessica Harness, Charles McCorquodale, Lia Bernini, Matthew Gale, Maria Antonella Pelizzari, Luca Leoncini, Michael A. Kissane, Charles Avery, Robert Enggass, Enrico Colle, Daniela Di Castro Moscati, Angela Griseri, Luciana Arbace, Clare Le Corbeiller, Paola d’Alconzo, Angela Catello, Anna Maria Massinelli, Fernanda Capobianco, Stefano Aluffi-Pentini, Santina M. Levey, Patricia Wardle, Candace J. Adelson, B. Kempers, Jaynie Anderson, Alessandro Conti, Rossella Todros, Yael Even, and Stella von Boch. "Italy." Grove Art Online. 2003; Accessed 5 Sep. 2020. https://www-oxfordartonline-com.proxy.lib.duke.edu/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000042658. Popham, A. E. "Drawing by Vittore Carpaccio." The British Museum Quarterly 9, no. 3 (1935): 83-84. Accessed September 6, 2020. doi:10.2307/4421713. 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. Publisher An entity responsible for making the resource available Vittore Carpaccio, “The Dream of Saint Ursula,” Venetian Art, accessed September 8, 2020, http://library.bc.edu/venetianart/items/show/1531. 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 Emily Song Format The file format, physical medium, or dimensions of the resource 273cm x 267cm 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 Rights Information about rights held in and over the resource This is a faithful photographic reproduction of a two-dimensional, public domain work of art. Based on recent judicial decisions, we consider faithful reproductions of two-dimensional public domain works of art to be themselves in the public domain. https://venice.dahvc.org/fall-2020/files/original/September_9_Scuole_Painting_Cycles/St._Jerome_and_the_Lion/Jerome-The_Goldren_Legend_by_Jacobus_de_Voragine1275AD.jpg 82035c92887cbfa0bc82f3b83e618904 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. Jerome and the Lion Creator An entity primarily responsible for making the resource Vittore Carpaccio Source A related resource from which the described resource is derived Vittore Carpaccio. c. 1502. Saint Jerome and the Lion. painting. https://library.artstor.org/asset/SCALA_ARCHIVES_1039488113. Callaghan, Thomas. "Saint Jerome and the Lion." University Review 3, no. 2 (1963): 36-37. Accessed September 8, 2020. http://www.jstor.org/stable/25504559. Kren, Emil. “Saint Jerome and the Lion.” Accessed September 8, 2020. https://www.wga.hu/html_m/c/carpacci/3schiavo/1/2jerome.html. Ring, Grete. "St. Jerome Extracting the Thorn from the Lion's Foot." The Art Bulletin 27, no. 3 (1945): 188-94. Accessed September 8, 2020. doi:10.2307/3047012. Publisher An entity responsible for making the resource available Image and original data provided by SCALA, Florence/ART RESOURCE, N.Y. http://www.artres.com/c/htm/Home.aspx http://www.scalarchives.com https://library.artstor.org/#/asset/SCALA_ARCHIVES_1039488113;prevRouteTS=1599591185158 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 Rafael Salazar-Paranhos 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 141 X 121 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 S. Giorgio degli Schiavoni (Venice, Italy) Description An account of the resource The context of this image is that Vittore Carpaccio reveals Saint Jerome next to a lion while others around him are scared and running away from him. The image is the second of seven total paintings that depict Saint Jerome and is part of the collection listed below. In the previous image, Saint Jerome encounters the lion and sees that there is a thorn in him. He helps take care of him, and as a result the lion understands he is a good man. Now, in the second image, Vittore Carpaccio has many specific details about where they are and emphasizes on the reactions of others when they see the lion. The painting shows a lot of chaos around St. Jerome, while he still is calm and collected next to the lion. At the sight of the creature, the people run away in desparation and into hiding due to their fears. St. Jerome tries to show them he is a friendly lion, yet it seems like no one is willing to listen. The incorporation of darker colors around Jerome and lighter around other people and buildings also make him stand out even further. It is a significant painting for it shows a good side of St. Jerome, and his kindness when related to the lion. While everyone around him runs away, he knows the creature means good and now trusts him. This makes St. Jerome look very unique and different from the others, and in addition makes him stand out the most in the portrait. Carpaccio was know for being one of the earliest artistis to depict Venice, and these series of paintings of St. Jerome do exactly that. They are essential for depicting the city during the early 1500s and displaying how the architecture was structured and more specifically how the San Giorgio degli Schiavoni looked. Collection of a few of St. Jerome paintings: <a href="https://library.artstor.org/#/search/saint%20jerome%20carpaccio;page=1;size=48">St. Jerome and the Lion</a>