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 <em>The Vision of St. Augustine</em> 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.