Room XVI. contains Carpaccio’s St Ursula series, painted 1490-95, for the Guild of St Ursula. The legend, familiar to those who have studied the paintings of Carpaccio’s contemporary, Memling, on the shrine of St Ursula at Bruges, may be briefly summarised. Maurus, the Christian king of Brittany, had a daughter named Ursula (Little Bear), because she came into the world wrapt in a hairy mantle. The pagan king of England, Agrippinus, hearing of her wisdom, virtue and beauty, sent ambassadors to ask the maiden’s hand for his son Conon. King Maurus, knowing his daughter’s vow of perpetual chastity and yet fearing to anger a powerful neighbour by refusal, was in great distress. Just before dawn[101] of the next day, while Ursula lay in her chamber, the angel of the Lord appeared to her in a dream and bade her go to her father, and wisdom would be given her to counsel him aright. When day was fully come she went to his chamber and enumerated to the anxious king the conditions on which the suit would be accepted: For companions she required ten virgins of noblest blood, each with one thousand virgin attendants, herself another thousand virgins; they must be allowed to make a pilgrimage to Rome; the prince and his court to be baptised. The envoys returned to England bearing such reports of the princess’s beauty that Conon was fired with a desire to marry her, and the conditions were granted. Ursula and her maidens, Conon and his suite, set sail in eleven ships for Rome. Being arrived, the Pope and his clergy came forth to bless them. When they had performed their vows the pilgrims returned accompanied by the Pope and reach Cologne, then besieged by the Huns, who straightway massacred the pilgrims, the Pope and his clergy--all except Ursula, whose beauty destined her to be the bride of the king of the Huns. But she, defying his power, aroused his fury; he ordered her to be put to death. The artist has illustrated this story in his most charming and dramatic manner, though, as the dates prove, no consistent plan of the series was drawn up. The most popular of the paintings is No. 578. Ursula is sleeping in her chamber and an angel, bearing in his right hand a palm-branch, the sign of martyrdom, appears to her in a vision. The early light of dawn streams through the open door. On the tassel of her pillow is inscribed, _Infantia_. Every detail in this virgin sanctuary, the little crown at the foot of the bed, the clogs placed side by side, the tidy over her head, the shrine and receptacle for holy water against the wall, betokens maidenly care and piety. The charm of these pictures is perennial. Zanetti[102] used to conceal himself in the hall where they were placed to watch the effect they produced on the ordinary spectator.