In the next picture, reproduced opposite page 120, Ursula, in her nice great bed, in what is perhaps the best-known bedroom in the world, dreams of her martyrdom and sees an angel bringing her the rewards of fortitude. The picture has pretty thoughts but poor colour. Where the room is meant to be, I am not sure; but it is a very charming one. Note her little library of big books, her writing desk and hour-glass, her pen and ink. Carpaccio of course gives her a dog. Her slippers are beside the bed and her little feet make a tiny hillock in the bedclothes: Carpaccio was the man to think of that! The windows are open and she has no mosquito net. Her princess's crown is at the foot of the bed, or is it perchance her crown of glory? We next see the shipload of bishops and virgins arriving at Cologne. There are fewer Carpaccio touches here, but he has characteristically put a mischievous youth at the end of a boom. There is also a dog on the landing-stage and a bird in the tree. A comely tower is behind with flags bearing three crowns. The next picture shows us, on the left, the horrid massacre of all these nice young women by a brutal German soldiery. Ursula herself is being shot by Julian, who is not more than six feet distant; but she meets her fate with a composure as perfect as if instead of the impending arrow it was a benediction. On the right is her bier, under a very pretty canopy. Wild flowers spring from the earth. Now should come the apotheosis. Carpaccio was not exactly a great painter, but he was human and ingratiating beyond any other that Venice can show, and his pictures here and at S. Giorgio degli Schiavoni make the city a sweeter and more lovable place, Vasari is very brief with Vittore Scarpaccia, as he calls him, and there are few known facts. Research has placed his birth at Capo d'Istria about 1450. His earliest picture is dated 1490: his last 1521 or 1522. Gentile Bellini was his master.