Hans Memling, (circa 1433 –1494) Blue pencil.svg wikidata:Q106851
St. Ursula Shrine, c. 1489
Oil on panel
37.5 × 35.5 cm (14.7 × 13.9 in)
St. John's Hospital, Bruges.
Hans Memling (c. 1430 – 11 August 1494) was a German painter who moved to Flanders and worked in the tradition of Early Netherlandish painting. He spent some time in the Brussels workshop of Rogier van der Weyden, and after van der Weyden's death in 1464, Memling was made a citizen of Bruges, where he became one of the leading artists, painting both portraits and diptychs for personal devotion and several large religious works, continuing the style he learned in his youth. More on Hans Memling
Roman Emperor Maximian, having conquered Brittany, sent 100,000 colonists there from Great Britain together with 30,000 soldiers. He placed the territory under the government of the Breton prince Conanus Meriadocus. Lacking adequate females, Conanus decided to bring young women from Great Britain to marry his subjects. He appealed to King Dionotus of Cornwall.
Claude Lorrain, (1604/1605–1682)
Seaport with the Embarkation of Saint Ursula, c. 1641
Oil on canvas
Height: 113 cm (44.4 in); Width: 149 cm (58.6 in)
National Gallery
Claude Lorrain, (1604/1605–1682)
Detail: Seaport with the Embarkation of Saint Ursula, c. 1641
Oil on canvas
Height: 113 cm (44.4 in); Width: 149 cm (58.6 in)
National Gallery
Claude Lorrain (1600 – 23 November 1682) was a French painter, draughtsman and etcher of the Baroque era. He spent most of his life in Italy, and is one of the earliest important artists, apart from his contemporaries in Dutch Golden Age painting, to concentrate on landscape painting. His landscapes are usually turned into the more prestigious genre of history paintings by the addition of a few small figures, typically representing a scene from the Bible or classical mythology.
By the end of the 1630s he was established as the leading landscapist in Italy, and enjoyed large fees for his work. His landscapes gradually became larger, but with fewer figures, more carefully painted, and produced at a lower rate. He was not generally an innovator in landscape painting, except in introducing the Sun into many paintings, which had been rare before. He is now thought of as a French painter, but was born in the independent Duchy of Lorraine, and almost all his painting was done in Italy; before the late 19th century he was regarded as a painter of the "Roman School". His patrons were also mostly Italian, but after his death he became very popular with English collectors, and the UK retains a high proportion of his works. More on Claude Lorrain
Saint Ursula was a legendary Romano-British princess, the daughter of a Christian king, King Dionotus of Dumnonia in south-west Britain. She was betrothed in marriage to prince Conanus Meriadocus. Desiring to remain a virgin, she obtained a delay. At her request she was given as companions ten young women of noble birth. She and each of the ten were accompanied by a thousand other virgins, and the whole company, embarking in 11 ships.
Vittore Carpaccio, (1465–1526)
Meeting of Saint Ursula with Pope Ciriac, circa 1492
Tempera on canvas
Height: 281 cm (110.6 in); Width: 307 cm (10 ft)
Gallerie dell'Accademia
Vittore Carpaccio (1465 – 1525/1526) was a Venetian painter of the Venetian school, who studied under Gentile Bellini. He is best known for a cycle of nine paintings, The Legend of Saint Ursula. His style was somewhat conservative, showing little influence from the Humanist trends that transformed Italian Renaissance painting during his lifetime. He was influenced by the style of Antonello da Messina and Early Netherlandish art. For this reason, and also because so much of his best work remains in Venice, his art has been rather neglected by comparison with other Venetian contemporaries, such as Giovanni Bellini or Giorgione. More on Vittore Carpaccio
They sailed for three years. When the appointed time was come and Ursula's betrothed was about to claim her, a gale carried her and the 11,000 virgins first by water to Cologne and then to Basel, then to Rome. There, their piety and the purity of their faith moved Pope Cyriacus to join them on a pilgrimage.
Contrary winds arose, which drove them all to the shores of Germany. It is believed that they went up the Rhine, and landed in the neighborhood of Cologne. At that period, the wild Huns happened to be there.
German School, 16th Century
The Martyrdom of Saint Ursula and the Eleven Thousand Virgins, c. 1460
Media on panel
132 x 110.5 cm
Private collection
South German School, early 16th century. The changes experienced in the fifteenth and early sixteenth centuries were nowhere more strongly felt than in German-speaking lands. There the revolutions of printing and the Protestant Reformation were first unleashed. And it was a German artist, Albrecht Dürer, who introduced the art of Renaissance Italy to northern Europe. As France, England, and Spain coalesced around strong dynasties into powerful nations, Germany remained a political mosaic of small, independent states under the aegis of the Holy Roman Emperor. Yet it sustained a strong sense of national identity, and this was reflected in the distinctive character of German art.
At the beginning of the fifteenth century, German artists, like those all across Europe, created delicate courtly art in what is now known as the International Style. This was marked by long graceful figures, richly patterned surfaces, gold decoration, and a preference for abstract ornamentation over realism. By about 1450, influenced by painting in the Netherlands, German artists adopted a more naturalistic style. In general, however, their work remained more expressive than their neighbor's. German painters tended to emphasize line and pattern over three-dimensional form. They juxtaposed strong contrasts of color and continued to use gold backgrounds long after they became old fashioned elsewhere. German altarpieces often included painted and gilded sculpture, increasing the theatricality of the sacred scenes. All these qualities pitched art to a high emotional key, one well suited to the German religious experience, which had been heavily influenced by the mysticism of such preachers as Meister Eckehart beginning in the 1300s. More South German School, early 16th century
Master of the Legend of Saint Barbara
St Ursula Protecting the Eleven Thousand Virgins with Her Cloak, c. 1470-1500
Oil on panel
38 x 27 cm
Private collection
Sold for 3,050,500 USD in January 2013
Master of the legend of St. Barbara (active 1470 – 1500), was an Early Netherlandish painter.
He was active in Brussels, but has been considered to possibly be the same person as Aert van den Bossche because he signed into the Bruges Guild of St. Luke as 'Harnoult van den Boske' in 1505.
Max J. Friedländer identified several works by this master, not all of which have been reattributed to Aert van den Bossche. More on Master of the legend of St. Barbara
Ursula, however, the Christian heroine, exhorted all, rather to suffer the most bitter death than consent to evil. All followed her admonition, and courageously resisted the savages, who, in their furious rage, killed the defenseless virgins with swords, arrows and clubs. The Huns' leader fatally shot Ursula with an arrow in about 383 AD
Master of the St. Ursula Legend
The Martyrdom of St. Ursula and the 11,000 Virgins, ca. 1492
Oil on canvas
Victoria and Albert Museum, London
In the picture, the leader of the Huns on the right is willing to stop the massacre if Ursula would consent to marry him, but she refuses and is martyred together with her companions, while the angels carry their souls to heaven. The Huns are depicted here in fanciful Turkish costume, as when this picture was painted, the Ottoman Turks were perceived to be the modern equivalent of Huns, the major enemy of Christendom. A thousand years before, Attila and his Huns had invaded Europe and ruled a large area of central Europe and Italy from 434, including Rome, until his death in 453. More on this work
The Master of the Legend of St. Ursula (1436–1505) was a Flemish painter active in the fifteenth century. His name is derived from a polyptych depicting scenes from the life of Saint Ursula painted for the convent of the Black Sisters of Bruges. The city appears in the background of a number of the paintings.
The artist’s style combines influences of Rogier van der Weyden and Hans Memling, of whom the latter was his contemporary, while for many years some of his works were attributed to Hugo van der Goes. More on The Master of the Legend of St. Ursula
Only one of the maidens, Cordula, had escaped and concealed herself during the massacre; but repenting of her timidity, she revealed herself on the following day, and last of all, she received the crown of martyrdom.
They finally returned to Cologne, where they were slain by the pagan Huns in hatred of their Christian faith and feared its spread in their lands. More on Saint Ursula
Jean Bourdichon
The Huns' leader fatally shot Ursula with an arrow in about 383 AD
14.9 x 24.1 cm | 5.9 x 9.5 inches
Book of hours, Anne of Brittany, Queen of France
Bibliothèque nationale de France
Jean Bourdichon (1457 or 1459 – 1521) was a French miniature painter and manuscript illuminator at the court of France between the end of the 15th century and the start of the 16th century, in the reigns of Louis XI of France, Charles VIII of France, Louis XII of France and Francis I of France. He was probably born in Tours, and was a pupil of Jean Fouquet.[2] He died in Tours.
Two of Bourdichon's most famous works are the Hours of Louis XII (now dispersed, begun 1498) and the Grandes Heures of Anne of Brittany for Louis's queen. More on Jean Bourdichon
Emilian School, 17th Century
Saint Ursula
Oil on canvas
69.7 x 62.3 cm.; 27⅜ x 24½ in.
Private collection
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