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.