lii INTRODUCTION

from the King of Brittany.-This is No. 574 in the Academy; Plate XLIX. here. It is fully described by Ruskin in the Guide (below, pp. 176-179), and it is the subject also of Appendix VII. (below, p. 445). He emphasises the historical interest of the picture: “the Venice of 1480-1500 is here living before you.” The remark is true down to the smallest details, as may be seen from the interesting particulars collected by Signor Molmenti.¹ One instance may here be given; it will be noticed that on the building in the centre of the picture, two bas-reliefs are represented. One of these is a version of an actual sculpture still preserved in the museum of the Ducal Palace. Of the master of the ceremonies in this picture, there is a study by Mr. Fairfax Murray in the Ruskin Museum at Sheffield.

5. Prince Conon takes leave of his father; meeting of the betrothed couple; leave-taking from Ursula’s parents, and the embarkation.-This is No. 575 in the Academy (signed and dated 1495); Plate L. here. For Ruskin’s notes on it, see the Guide (below, pp. 168-176). It is pointed out in the official catalogue of the Academy (1904) that the fantastic landscape (noticed by Ruskin) resembles that of Rhodes and Crete, as engraved in a book published in 1486 entitled Peregrinatio in Terram Sanctam. A design for this portion of the picture is in the Print Room of the British Museum. In the case of this picture, again, Signor Molmenti finds many details of historical and archæological interest.² The standing figure in the centre of the picture, bearing a scroll, is Niccolò Loredan, another benefactor of the school. The departure of St. Ursula was again painted by Carpaccio in a small picture in the possession of Lady Layard at Venice. A study, by Mr. Fairfax Murray, of St. Ursula receiving the Prince is in the Ruskin Museum at Sheffield.

6. St. Ursula and the Prince, voyaging on pilgrimage with the eleven thousand maidens, are received by the Pope at Rome.-This is No. 577 in the Academy; part of the picture is shown on Plate LXVIII. here. For Ruskin’s notes on it, see the Guide (p. 167), and St. Mark’s Rest, §§ 204, 205. Ruskin says in the latter place that “the bishops and cardinals are evidently portraits,” matters of offence being here and there thrown aside. Signor Molmenti’s subsequent researches have illustrated this remark. The Pope is Alexander VI. (Borgia), though the sensual features of the face have been modified by Carpaccio into a severe asceticism. The Castle of St. Angelo at Rome corresponds with its appearance on a medal struck by that Pope. For the rest,

¹ Vittore Carpaccio et la Confrérie de Sainte Ursule à Venise, by Pompeo Molmenti and Gustave Ludwig, 1903, pp. 62 seq.

² Ibid., pp. 72 seq.

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