Legend of Saint Ursula
The nine-part Ursula cycle by Vittore Carpaccio ( 1490/95 ) was created for the Scuola Orsola in Venice. He represents individual stages of Legender of Saint Ursula of Cologne, from the marriage proposal of the English prince to its apotheosis.
This Schola, one of the typical brotherhoods (Venice), was supported by members of the noble Loredan family, which gave the then-unknown painter commissioned to the altarpiece ( pala ) and the eight accompanying canvas paintings ( Teleri ). Today, the cycle in the Galleria dell'Accademia (Venice) can be viewed in a separate room.
The altarpiece
The paintings of the high altar shows the Apotheosis of St. Ursula on a pedestal made of palm leaves surrounded by her maidens.
The eight canvas painting
Response dictated the messenger
Return of the English ambassador
Meeting of the Betrothed Couple and the Departure Pilgrimage ( 1495 ) B
Meeting of St. Ursula and her fiance in Rome with Pope Ciriacus
The Dream of Saint Ursula ( 1495 )
Arrival of the Pilgrims in Cologne ( 1490 ) The Martyrdom of Saint Ursula ( 1403 )
The Martyrdom of Saint Ursula ( 1403 )
The painting as a mirror of Venetian society
The framework of the presentation is based on a Homologationsformel: The pagan England and the Christian Brittany are transferred to the Turkish Byzantium and the Renaissance Venice.
Geographical reference of the paintings
The Ursula history is divided into two groups that were originally attached to south or north wall. The fourth painting hung on the west side of the altar paintings. At the north side of the Scuola is the Church of Santi Giovanni e Paolo, while the south side pointing towards the Doge's Palace.
The three paintings of the south wall (1st - 3rd ) depict scenes from the world of diplomacy, while on the north side ( 5-8), the martyrdom of the saint is shown. The fourth painting above the entrance shows the crossing of the English prince in Brittany and thus symbolizes the mediation between secular and spiritual side.
Architectural terms of the paintings
In the first picture of the decorated arch of the altar apse of the original space is recorded and displayed as a colonnade. In the last image ( 8 ) Ursula is carried on its bier up some stairs toward the altar - as if Ursula would be taken out of the picture out into the real space for their altar, where a relic of her was. Both the first and the last frame of the cycle is so attached to both the altar and to the architecture of the room. Another reference to the space can be found in the first image, where a piece was left out of the door.