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began in 2013, followed by the closing of the Saint Ursula room in the
Accademia in August of 2016 to continue work on the rest of the paintings. In total, conservators treated more than 87 square meters of painted canvas and averaged 250 hours of work per each square meter. The reinstallation of the
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The second painting, smaller in size, depicts, in a sumptuous interior, another court meeting, usually described as the parting of the ambassadors from the king of
Brittany. A scribe in the background is writing the reply for Ursula's prince. According to a different interpretation the clothes of the
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A column in the middle of the painting, bearing the
Loredan family's coat of arms, divides it into two scenes: on the left is the martyrdom of St. Ursula and her following of 11,000 virgins; on the right, her funeral. As in the previous painting, Mehmet II and his troops are depicted as Huns, with
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The cycle has undergone numerous restoration treatments, the first one during
Carpaccio's own lifetime and then continuing with one or two treatments each subsequent century. These (sometimes partial) restorations contributed to an uneven surface of the paintings and compromised the unity of the
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and commissioner of the work. The division allowed
Carpaccio to portray two different landscapes: on the left is Brittany (England) with castles and steep cliffs, with the prince parting from his father; on the right is the meeting of the betrothed, and her separation from her father. In the
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The prince respects the pact with St. Ursula, accompanying her in pilgrimage to Rome. Here, outside the city's walls, the pilgrims are welcomed by the Pope, who will baptize the pagan prince and crown the spouses. Here too the ceremonial is reminiscent of the
Venetian ones, and the
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The canvas illustrates the saint sleeping in the nuptial bed, alone, an allusion to the impossibility of the marriage. While she is sleeping, an angel enters the room while a rose sunray illuminates it. The angel is carrying the news of her upcoming martyrdom.
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of the period, where all the characters sat on the stage and stood up when they had to take part in the play. On the right Ursula and her father are portrayed talking; sitting on the first step of a staircase leading to the interior is her nurse.
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The central scene portrays the meeting between the king and the ambassadors. In the background is a centrally planned temple and other imaginary buildings, resembling those of contemporary Venice. On the left, in the foreground under a
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cycle. The nine canvases were covered with old varnish, glues, and retouching oil that had given the paintings a yellow-green hue. Over the years, several canvases had also suffered water damage while on the north wall of the Scuola.
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This canvas was originally located in the Scuola's chapel, concluding the narration in the cycle. Ursula is depicted in the presence of God, over a bundle of palms (symbol of martyrdom), surrounded by her companions. Six
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The third painting portrays the ambassadors of
Brittany received in an open pavilion, with an imaginary city in the background, also resembling contemporary Venetian architecture.
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This painting is dated 1490, and is the first executed by
Carpaccio for the cycle. It describes the arrival of the pilgrims, accompanied by the Pope, at
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figures indicate that they are pagans, and thus the characters would be part of the
Brittany court, with the ambassadors leaving for their mission.
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The first painting is set in an open pavilion, and its scene, divided into three parts, is read from right to left. The scene is reminiscent of the
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family, who had the Scuola of St. Ursula under their patronage and who had been distinguished for their military deeds against the "infidel"
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background is the departure for the pilgrimage, with an imaginary Breton/British city characterized by
Renaissance and Venetian edifices.
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are surrounding her with crowns. On the left are three male characters, most likely Antonio Loredan's three sons. Loredan had defended
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launched a conservation campaign for the St. Ursula cycle. First preliminary research and diagnostic analysis was undertaken by the
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The first two paintings, despite depicting the first events of the cycle, were the last to be painted, in 1497–1498.
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The interior is portrayed with notable realism, such as in the furniture and the flowers: the latter, a
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The painting is divided in two by a pennant. Immediately at its left, sitting on a parapet, is
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is also present next to the Pope, in a red toga and with the appearance of the
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1043:"Save Venice Inc. | Dedicated to preserving the artistic heritage of Venice"
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268 cm × 520 cm (106 in × 200 in)
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279 cm × 254 cm (110 in × 100 in)
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273 cm × 267 cm (107 in × 105 in)
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279 cm × 305 cm (110 in × 120 in)
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279 cm × 610 cm (110 in × 240 in)
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297 cm × 527 cm (117 in × 207 in)
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378 cm × 589 cm (149 in × 232 in)
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Save Venice Inc. | Dedicated to preserving the artistic heritage of Venice
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281 cm × 252 cm (111 in × 99 in)
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against the Turks; his deed is recalled by the castle in the background.
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and originally created for the Scuola di Sant'Orsola (Ursula) in
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Miracle of the Relic of the Cross at the Ponte di Rialto
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Istituto Superiore per la Conservazione e il Restauro
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The angel brings purity and clears the saint's mind.
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Le storie di Carpaccio. Venezia, i Turchi, gli Ebrei
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1090:Carpaccio e la rappresentazione di Sant'Orsola
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792:which organized events and spectacles during
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946:The Martyrdom and the Funeral of St. Ursula
546:The Martyrdom and the Funeral of St. Ursula
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956:soldier in the middle of the left scene.
348:The Meeting of the Pilgrims with the Pope
69:Learn how and when to remove this message
1315:Paintings in the Gallerie dell'Accademia
32:This article includes a list of general
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693:The paintings were commissioned by the
853:Meeting of the Pilgrims with the Pope
822:The Meeting of Ursula and the Prince
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282:The Meeting of Ursula and the Prince
16:Painting series by Vittore Carpaccio
1007:Arrival of the Pilgrims in Cologne
908:Arrival of the Pilgrims in Cologne
796:and other religious celebrations.
480:Arrival of the Pilgrims at Cologne
38:it lacks sufficient corresponding
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1179:Portrait of Doge Leonardo Loredan
845:Meeting of Ursula and the Prince
801:The Departure of the Ambassadors
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1310:Paintings by Vittore Carpaccio
768:, is a marine panorama with a
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812:The Return of the Ambassadors
1031:. Florence: Art Dossier 111.
150:Departure of the Ambassadors
1211:Young Knight in a Landscape
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1187:St. Augustine in His Study
1163:Christ between Four Angels
991:In 2010, the organization
917:, then under siege by the
747:Arrival of the Ambassadors
84:Arrival of the Ambassadors
1345:Paintings of Saint Ursula
1219:The Sermon of St. Stephen
1195:St. George and the Dragon
1079:Gentili, Augusto (1996).
1070:Gentili, Augusto (1996).
1027:Gentili, Augusto (1996).
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216:Return of the Ambassadors
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1088:Zorzi, Ludovico (1998).
1002:A pilot restoration on
776:is a man wearing a red
703:Scuole Grandi of Venice
678:Gallerie dell'Accademia
640:Gallerie dell'Accademia
598:Gallerie dell'Accademia
532:Gallerie dell'Accademia
466:Gallerie dell'Accademia
400:Gallerie dell'Accademia
334:Gallerie dell'Accademia
268:Gallerie dell'Accademia
202:Gallerie dell'Accademia
136:Gallerie dell'Accademia
53:more precise citations.
1246:Legend of Saint Ursula
1203:Holy Family and Donors
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734:, she was martyred by
668:, commissioned by the
654:Legend of Saint Ursula
873:
842:
833:Compagnia della Calza
786:Compagnia della Calza
662:Storie di sant'Orsola
865:Renaissance humanist
1320:Religious paintings
1143:Two Venetian Ladies
1083:. Venice: Marsilio.
1074:. Florence: Giunti.
961:Glory of St. Ursula
952:the exception of a
714:Jacobus de Voragine
612:Glory of St. Ursula
1330:Maritime paintings
1254:Life of the Virgin
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1292:
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1128:Vittore Carpaccio
1092:. Turin: Einaudi.
875:The Saint's Dream
780:, a hint at the
666:Vittore Carpaccio
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630:Vittore Carpaccio
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564:Vittore Carpaccio
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119:Tempera on canvas
102:Vittore Carpaccio
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1325:Dogs in art
1257:(1504–1508)
1156:attribution
894:DIVA FAUSTA
684:Description
680:in Venice.
51:introducing
1299:Categories
1064:References
1052:2020-06-09
861:didascalos
782:didascalos
774:proscenium
689:Background
586:Dimensions
520:Dimensions
454:Dimensions
388:Dimensions
322:Dimensions
256:Dimensions
190:Dimensions
124:Dimensions
59:April 2021
34:references
1283:Carpaccio
1174:(c. 1496)
1146:(c. 1490)
1135:Paintings
1072:Carpaccio
1029:Carpaccio
969:seraphims
927:Mehmet II
890:carnation
573:1497–1498
441:1497–1498
375:1497–1498
309:1497–1498
243:1497–1498
177:1497–1498
111:1497–1498
1274:(master)
898:Hercules
794:Carnival
728:Brittany
699:Ottomans
659:Italian:
636:Location
594:Location
528:Location
462:Location
396:Location
330:Location
264:Location
198:Location
132:Location
1265:Related
1249:(1490s)
977:Albania
973:Shkodër
954:Moorish
935:Trabzon
925:sultan
923:Ottoman
915:Cologne
888:and a
770:galleon
732:Cologne
695:Loredan
47:improve
1285:(food)
1222:(1514)
1214:(1510)
1206:(1505)
1198:(1502)
1190:(1502)
1166:(1496)
939:Greece
886:myrtle
766:loggia
736:Attila
674:Venice
644:Venice
626:Artist
602:Venice
578:Medium
560:Artist
536:Venice
512:Medium
494:Artist
470:Venice
446:Medium
428:Artist
404:Venice
380:Medium
362:Artist
338:Venice
314:Medium
296:Artist
272:Venice
248:Medium
230:Artist
206:Venice
182:Medium
164:Artist
140:Venice
116:Medium
98:Artist
36:, but
1014:Notes
937:and
931:Asia
919:Huns
778:toga
740:Huns
651:The
570:Year
507:1490
504:Year
438:Year
372:Year
306:Year
240:Year
174:Year
108:Year
1004:The
975:in
716:'s
1301::
1045:.
941:.
933:,
870:.
722:,
709:.
642:,
600:,
534:,
468:,
402:,
336:,
270:,
204:,
138:,
1158:)
1120:e
1113:t
1106:v
1055:.
847:.
657:(
72:)
66:(
61:)
57:(
43:.
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