"St. Ursula and her 11,000 Virgins."

There are many versions of this extravagant but interesting legend; interesting because of its antiquity and the deep hold it had upon the minds of the people during the Middle Ages, and because as late as 1837 there was a celebration of the sixteenth century of their martyrdom. According to the Cologne version, Ursula was a Princess of Brittany, celebrated for her great beauty, her wisdom, her learning, and her piety. Her hand was sought in marriage by the Prince of England, Conon, who was equally celebrated for manly beauty and physical strength. The King of Brittany was greatly perplexed when the Ambassadors arrived, knowing that his daughter had already dedicated herself to Christ, and yet feared to offend the great King of England by a refusal. But Ursula asked permission to reply to the Ambassadors, and courteously accepted the Prince on three conditions: That he would allow her ten virgins of noble blood as her companions, and to each of them 1000 attendants, and to herself 1000; that he would allow her three years in which to visit the shrines of the saints; and, thirdly, that the Prince and all his court would receive baptism. The Prince, to her surprise, granted the conditions. So the 11,000 virgins started on their pilgrimage, but all were martyred at Cologne.

Visitors to Cologne are still shown cases of skulls and human bones, beneath glass, said to be the 11,000 virgins martyred for their faith in Christ, October 21, 237 A. D. The numbers have now been reduced from 11,000 to 2000 by reading the inscription upon which the legend is founded, "Ursula et Undecimilea." By translating the name of her companion they made it read 11,000 virgins. But why destroy a time-honored legend and a beautiful field of art!

The most important work of Vittoria Carpaccio is a circle of nine pictures from the legend of St. Ursula, painted, 1490 to 1495, for the Scuola of Ursula; they were removed with great care to the Academy. They are greatly admired for the architectural backgrounds, the admirable spacing of such a large number of people, and the fine Oriental costumes; atmospheric effects are carefully observed, and the perspective is accurate. The most crowded groups are made distinct by his masterly management of light and shade. Carpaccio (born 1450) is called "the narrative painter." He ranks next to Bellini in the early Venetian School.