Vittor Carpaccio, Venetian painter, who was born in the 1460s and died in the 1520s, was described by Vasari as the first of the followers of the Bellinis ( Vasari, Le Vite, Testo III.622). In Modern Painters I Ruskin appears to have in mind Carpaccio's The Healing of The Possessed Man from the cycle of the Miracles of the Relic of the True Cross.
Ruskin 's attention was first seriously drawn to Carpaccio by Burne-Jones long after the completion of Modern Painters. Ruskin's letter to Burne-Jones of 13 May 1869 is quoted in a footnote at Works, 4.356. In 1876 Ruskin describes Carpaccio's work as 'the sweetest, because the truest, of all that Venice was born to utter: the painted syllabling of it is nearly the last word and work of hers in true life' ( Works, 28.732). To justify this comment on the truth of Carpaccio, Ruskin draws attention to the cycles of paintings in Venice for which Carpaccio is best known, the Life of St. Ursula (which was to develop particular personal significance for Ruskin), and the series painted for the Scuola di S. Giorgio Schiavone of the patron saints of the school, St. George, St. Tryphone, and St. Jerome. Ruskin was also impressed by Carpaccio's painting Two Venetian Ladies, which he calls The Courtesans.
There is a detailed essay with the title Ruskin and Carpaccio starting at Works, 24.xlviii, which brings together Ruskin 's references to Carpaccio.