Legend of Saint Ursula

Prompt: Describe the characteristics of the The Departure of the Ambassadors in Legend of Saint Ursula's Description.

The second painting, smaller in size, depicts, in a sumptuous interior, another court meeting, usually described as the parting of the ambassadors from the king of Brittany. A scribe in the background is writing the reply for Ursula's prince. According to a different interpretation the clothes of the figures indicate that they are pagans, and thus the characters would be part of the Brittany court, with the ambassadors leaving for their mission.

Istituto Superiore per la Conservazione e il Restauro

Category:Paintings in the Gallerie dell'Accademia

Istituto Superiore per la Conservazione ed il Restauro

Detail of the ''Meeting of Ursula and the Prince''.


Legend of Saint Ursula

Prompt: In the context of Legend of Saint Ursula, explain the The Return of the Ambassadors and the Description.

The third painting portrays the ambassadors of Brittany received in an open pavilion, with an imaginary city in the background, also resembling contemporary Venetian architecture.

Istituto Superiore per la Conservazione e il Restauro

Category:Paintings in the Gallerie dell'Accademia

Istituto Superiore per la Conservazione ed il Restauro

Detail of the ''Meeting of Ursula and the Prince''.


Legend of Saint Ursula

Prompt: Explain the The Return of the Ambassadors about the Description of this artwork, Legend of Saint Ursula.

The third painting portrays the ambassadors of Brittany received in an open pavilion, with an imaginary city in the background, also resembling contemporary Venetian architecture.

Istituto Superiore per la Conservazione e il Restauro

Category:Paintings in the Gallerie dell'Accademia

Istituto Superiore per la Conservazione ed il Restauro

Detail of the ''Meeting of Ursula and the Prince''.


Legend of Saint Ursula

Prompt: In Legend of Saint Ursula, how is the The Return of the Ambassadors of the Description explained?

The third painting portrays the ambassadors of Brittany received in an open pavilion, with an imaginary city in the background, also resembling contemporary Venetian architecture.

Istituto Superiore per la Conservazione e il Restauro

Category:Paintings in the Gallerie dell'Accademia

Istituto Superiore per la Conservazione ed il Restauro

Detail of the ''Meeting of Ursula and the Prince''.


Legend of Saint Ursula

Prompt: Describe the characteristics of the The Return of the Ambassadors in Legend of Saint Ursula's Description.

The third painting portrays the ambassadors of Brittany received in an open pavilion, with an imaginary city in the background, also resembling contemporary Venetian architecture.

Istituto Superiore per la Conservazione e il Restauro

Category:Paintings in the Gallerie dell'Accademia

Istituto Superiore per la Conservazione ed il Restauro

Detail of the ''Meeting of Ursula and the Prince''.


Legend of Saint Ursula

Prompt: In the context of Legend of Saint Ursula, explain the The Meeting of Ursula and the Prince and the Description.

The painting is divided in two by a pennant. Immediately at its left, sitting on a parapet, is Antonio Loredan, member of the Compagnia della Calza and commissioner of the work. The division allowed Carpaccio to portray two different landscapes: on the left is Brittany (England) with castles and steep cliffs, with the prince parting from his father; on the right is the meeting of the betrothed, and her separation from her father. In the background is the departure for the pilgrimage, with an imaginary Breton/British city characterized by Renaissance and Venetian edifices.

Istituto Superiore per la Conservazione e il Restauro

Category:Paintings in the Gallerie dell'Accademia

Istituto Superiore per la Conservazione ed il Restauro

Detail of the ''Meeting of Ursula and the Prince''.


Legend of Saint Ursula

Prompt: Explain the The Meeting of Ursula and the Prince about the Description of this artwork, Legend of Saint Ursula.

The painting is divided in two by a pennant. Immediately at its left, sitting on a parapet, is Antonio Loredan, member of the Compagnia della Calza and commissioner of the work. The division allowed Carpaccio to portray two different landscapes: on the left is Brittany (England) with castles and steep cliffs, with the prince parting from his father; on the right is the meeting of the betrothed, and her separation from her father. In the background is the departure for the pilgrimage, with an imaginary Breton/British city characterized by Renaissance and Venetian edifices.

Istituto Superiore per la Conservazione e il Restauro

Category:Paintings in the Gallerie dell'Accademia

Istituto Superiore per la Conservazione ed il Restauro

Detail of the ''Meeting of Ursula and the Prince''.


Legend of Saint Ursula

Prompt: In Legend of Saint Ursula, how is the The Meeting of Ursula and the Prince of the Description explained?

The painting is divided in two by a pennant. Immediately at its left, sitting on a parapet, is Antonio Loredan, member of the Compagnia della Calza and commissioner of the work. The division allowed Carpaccio to portray two different landscapes: on the left is Brittany (England) with castles and steep cliffs, with the prince parting from his father; on the right is the meeting of the betrothed, and her separation from her father. In the background is the departure for the pilgrimage, with an imaginary Breton/British city characterized by Renaissance and Venetian edifices.

Istituto Superiore per la Conservazione e il Restauro

Category:Paintings in the Gallerie dell'Accademia

Istituto Superiore per la Conservazione ed il Restauro

Detail of the ''Meeting of Ursula and the Prince''.


Legend of Saint Ursula

Prompt: Describe the characteristics of the The Meeting of Ursula and the Prince in Legend of Saint Ursula's Description.

The painting is divided in two by a pennant. Immediately at its left, sitting on a parapet, is Antonio Loredan, member of the Compagnia della Calza and commissioner of the work. The division allowed Carpaccio to portray two different landscapes: on the left is Brittany (England) with castles and steep cliffs, with the prince parting from his father; on the right is the meeting of the betrothed, and her separation from her father. In the background is the departure for the pilgrimage, with an imaginary Breton/British city characterized by Renaissance and Venetian edifices.

Istituto Superiore per la Conservazione e il Restauro

Category:Paintings in the Gallerie dell'Accademia

Istituto Superiore per la Conservazione ed il Restauro

Detail of the ''Meeting of Ursula and the Prince''.


Legend of Saint Ursula

Prompt: In the context of Legend of Saint Ursula, explain the Meeting of the Pilgrims with the Pope and the Description.

The prince respects the pact with St. Ursula, accompanying her in pilgrimage to Rome. Here, outside the city's walls, the pilgrims are welcomed by the Pope, who will baptize the pagan prince and crown the spouses.  Here too the ceremonial is reminiscent of the Venetian ones, and the didascalos is also present next to the Pope, in a red toga and with the appearance of the Renaissance humanist Ermolao Barbaro.

Istituto Superiore per la Conservazione e il Restauro

Category:Paintings in the Gallerie dell'Accademia

Istituto Superiore per la Conservazione ed il Restauro

Detail of the ''Meeting of Ursula and the Prince''.


Legend of Saint Ursula

Prompt: Explain the Meeting of the Pilgrims with the Pope about the Description of this artwork, Legend of Saint Ursula.

The prince respects the pact with St. Ursula, accompanying her in pilgrimage to Rome. Here, outside the city's walls, the pilgrims are welcomed by the Pope, who will baptize the pagan prince and crown the spouses.  Here too the ceremonial is reminiscent of the Venetian ones, and the didascalos is also present next to the Pope, in a red toga and with the appearance of the Renaissance humanist Ermolao Barbaro.

Istituto Superiore per la Conservazione e il Restauro

Category:Paintings in the Gallerie dell'Accademia

Istituto Superiore per la Conservazione ed il Restauro

Detail of the ''Meeting of Ursula and the Prince''.


Legend of Saint Ursula

Prompt: In Legend of Saint Ursula, how is the Meeting of the Pilgrims with the Pope of the Description explained?

The prince respects the pact with St. Ursula, accompanying her in pilgrimage to Rome. Here, outside the city's walls, the pilgrims are welcomed by the Pope, who will baptize the pagan prince and crown the spouses.  Here too the ceremonial is reminiscent of the Venetian ones, and the didascalos is also present next to the Pope, in a red toga and with the appearance of the Renaissance humanist Ermolao Barbaro.

Istituto Superiore per la Conservazione e il Restauro

Category:Paintings in the Gallerie dell'Accademia

Istituto Superiore per la Conservazione ed il Restauro

Detail of the ''Meeting of Ursula and the Prince''.


Legend of Saint Ursula

Prompt: Describe the characteristics of the Meeting of the Pilgrims with the Pope in Legend of Saint Ursula's Description.

The prince respects the pact with St. Ursula, accompanying her in pilgrimage to Rome. Here, outside the city's walls, the pilgrims are welcomed by the Pope, who will baptize the pagan prince and crown the spouses.  Here too the ceremonial is reminiscent of the Venetian ones, and the didascalos is also present next to the Pope, in a red toga and with the appearance of the Renaissance humanist Ermolao Barbaro.

Istituto Superiore per la Conservazione e il Restauro

Category:Paintings in the Gallerie dell'Accademia

Istituto Superiore per la Conservazione ed il Restauro

Detail of the ''Meeting of Ursula and the Prince''.


Legend of Saint Ursula

Prompt: In the context of Legend of Saint Ursula, explain the The Saint's Dream and the Description.

The canvas illustrates the saint sleeping in the nuptial bed, alone, an allusion to the impossibility of the marriage. While she is sleeping, an angel enters the room while a rose sunray illuminates it. The angel is carrying the news of her upcoming martyrdom.The interior is portrayed with notable realism, such as in the furniture and the flowers: the latter, a myrtle and a  carnation, symbolize faithfulness in the marriage. The inscription DIVA FAUSTA, located under Hercules's statue, indicates the redemptive  nature of the divine message.The angel brings purity and clears the saint's mind.

Istituto Superiore per la Conservazione e il Restauro

Category:Paintings in the Gallerie dell'Accademia

Istituto Superiore per la Conservazione ed il Restauro

Detail of the ''Meeting of Ursula and the Prince''.


Legend of Saint Ursula

Prompt: Explain the The Saint's Dream about the Description of this artwork, Legend of Saint Ursula.

The canvas illustrates the saint sleeping in the nuptial bed, alone, an allusion to the impossibility of the marriage. While she is sleeping, an angel enters the room while a rose sunray illuminates it. The angel is carrying the news of her upcoming martyrdom.The interior is portrayed with notable realism, such as in the furniture and the flowers: the latter, a myrtle and a  carnation, symbolize faithfulness in the marriage. The inscription DIVA FAUSTA, located under Hercules's statue, indicates the redemptive  nature of the divine message.The angel brings purity and clears the saint's mind.

Istituto Superiore per la Conservazione e il Restauro

Category:Paintings in the Gallerie dell'Accademia

Istituto Superiore per la Conservazione ed il Restauro

Detail of the ''Meeting of Ursula and the Prince''.


Legend of Saint Ursula

Prompt: In Legend of Saint Ursula, how is the The Saint's Dream of the Description explained?

The canvas illustrates the saint sleeping in the nuptial bed, alone, an allusion to the impossibility of the marriage. While she is sleeping, an angel enters the room while a rose sunray illuminates it. The angel is carrying the news of her upcoming martyrdom.The interior is portrayed with notable realism, such as in the furniture and the flowers: the latter, a myrtle and a  carnation, symbolize faithfulness in the marriage. The inscription DIVA FAUSTA, located under Hercules's statue, indicates the redemptive  nature of the divine message.The angel brings purity and clears the saint's mind.

Istituto Superiore per la Conservazione e il Restauro

Category:Paintings in the Gallerie dell'Accademia

Istituto Superiore per la Conservazione ed il Restauro

Detail of the ''Meeting of Ursula and the Prince''.


Legend of Saint Ursula

Prompt: Describe the characteristics of the The Saint's Dream in Legend of Saint Ursula's Description.

The canvas illustrates the saint sleeping in the nuptial bed, alone, an allusion to the impossibility of the marriage. While she is sleeping, an angel enters the room while a rose sunray illuminates it. The angel is carrying the news of her upcoming martyrdom.The interior is portrayed with notable realism, such as in the furniture and the flowers: the latter, a myrtle and a  carnation, symbolize faithfulness in the marriage. The inscription DIVA FAUSTA, located under Hercules's statue, indicates the redemptive  nature of the divine message.The angel brings purity and clears the saint's mind.

Istituto Superiore per la Conservazione e il Restauro

Category:Paintings in the Gallerie dell'Accademia

Istituto Superiore per la Conservazione ed il Restauro

Detail of the ''Meeting of Ursula and the Prince''.


Legend of Saint Ursula

Prompt: In the context of Legend of Saint Ursula, explain the Arrival of the Pilgrims in Cologne and the Description.

This painting is dated 1490, and is the first executed by Carpaccio for the cycle. It describes the arrival of the pilgrims, accompanied by the Pope, at Cologne, then under siege by the Huns. The banners over the tower, red-white with three golden crowns, are those of the Ottoman sultan Mehmet II, the main Venetian enemy during Carpaccio's life. The three crowns allude to the lands under his rule: Asia, Trabzon and  Greece.

Istituto Superiore per la Conservazione e il Restauro

Category:Paintings in the Gallerie dell'Accademia

Istituto Superiore per la Conservazione ed il Restauro

Detail of the ''Meeting of Ursula and the Prince''.


Legend of Saint Ursula

Prompt: Explain the Arrival of the Pilgrims in Cologne about the Description of this artwork, Legend of Saint Ursula.

This painting is dated 1490, and is the first executed by Carpaccio for the cycle. It describes the arrival of the pilgrims, accompanied by the Pope, at Cologne, then under siege by the Huns. The banners over the tower, red-white with three golden crowns, are those of the Ottoman sultan Mehmet II, the main Venetian enemy during Carpaccio's life. The three crowns allude to the lands under his rule: Asia, Trabzon and  Greece.

Istituto Superiore per la Conservazione e il Restauro

Category:Paintings in the Gallerie dell'Accademia

Istituto Superiore per la Conservazione ed il Restauro

Detail of the ''Meeting of Ursula and the Prince''.


Legend of Saint Ursula

Prompt: In Legend of Saint Ursula, how is the Arrival of the Pilgrims in Cologne of the Description explained?

This painting is dated 1490, and is the first executed by Carpaccio for the cycle. It describes the arrival of the pilgrims, accompanied by the Pope, at Cologne, then under siege by the Huns. The banners over the tower, red-white with three golden crowns, are those of the Ottoman sultan Mehmet II, the main Venetian enemy during Carpaccio's life. The three crowns allude to the lands under his rule: Asia, Trabzon and  Greece.

Istituto Superiore per la Conservazione e il Restauro

Category:Paintings in the Gallerie dell'Accademia

Istituto Superiore per la Conservazione ed il Restauro

Detail of the ''Meeting of Ursula and the Prince''.


Legend of Saint Ursula

Prompt: Describe the characteristics of the Arrival of the Pilgrims in Cologne in Legend of Saint Ursula's Description.

This painting is dated 1490, and is the first executed by Carpaccio for the cycle. It describes the arrival of the pilgrims, accompanied by the Pope, at Cologne, then under siege by the Huns. The banners over the tower, red-white with three golden crowns, are those of the Ottoman sultan Mehmet II, the main Venetian enemy during Carpaccio's life. The three crowns allude to the lands under his rule: Asia, Trabzon and  Greece.

Istituto Superiore per la Conservazione e il Restauro

Category:Paintings in the Gallerie dell'Accademia

Istituto Superiore per la Conservazione ed il Restauro

Detail of the ''Meeting of Ursula and the Prince''.


Legend of Saint Ursula

Prompt: In the context of Legend of Saint Ursula, explain the The Martyrdom and the Funeral of St. Ursula and the Description.

A column in the middle of the painting, bearing the Loredan family's coat of arms, divides it into two scenes: on the left is the martyrdom of St. Ursula and her following of 11,000 virgins; on the right, her funeral. As in the previous painting, Mehmet II and his troops are depicted as Huns, with the exception of a Moorish soldier in the middle of the left scene.

Istituto Superiore per la Conservazione e il Restauro

Category:Paintings in the Gallerie dell'Accademia

Istituto Superiore per la Conservazione ed il Restauro

Detail of the ''Meeting of Ursula and the Prince''.


Legend of Saint Ursula

Prompt: Explain the The Martyrdom and the Funeral of St. Ursula about the Description of this artwork, Legend of Saint Ursula.

A column in the middle of the painting, bearing the Loredan family's coat of arms, divides it into two scenes: on the left is the martyrdom of St. Ursula and her following of 11,000 virgins; on the right, her funeral. As in the previous painting, Mehmet II and his troops are depicted as Huns, with the exception of a Moorish soldier in the middle of the left scene.

Istituto Superiore per la Conservazione e il Restauro

Category:Paintings in the Gallerie dell'Accademia

Istituto Superiore per la Conservazione ed il Restauro

Detail of the ''Meeting of Ursula and the Prince''.


Legend of Saint Ursula

Prompt: In Legend of Saint Ursula, how is the The Martyrdom and the Funeral of St. Ursula of the Description explained?

A column in the middle of the painting, bearing the Loredan family's coat of arms, divides it into two scenes: on the left is the martyrdom of St. Ursula and her following of 11,000 virgins; on the right, her funeral. As in the previous painting, Mehmet II and his troops are depicted as Huns, with the exception of a Moorish soldier in the middle of the left scene.

Istituto Superiore per la Conservazione e il Restauro

Category:Paintings in the Gallerie dell'Accademia

Istituto Superiore per la Conservazione ed il Restauro

Detail of the ''Meeting of Ursula and the Prince''.


Legend of Saint Ursula

Prompt: Describe the characteristics of the The Martyrdom and the Funeral of St. Ursula in Legend of Saint Ursula's Description.

A column in the middle of the painting, bearing the Loredan family's coat of arms, divides it into two scenes: on the left is the martyrdom of St. Ursula and her following of 11,000 virgins; on the right, her funeral. As in the previous painting, Mehmet II and his troops are depicted as Huns, with the exception of a Moorish soldier in the middle of the left scene.

Istituto Superiore per la Conservazione e il Restauro

Category:Paintings in the Gallerie dell'Accademia

Istituto Superiore per la Conservazione ed il Restauro

Detail of the ''Meeting of Ursula and the Prince''.


Legend of Saint Ursula

Prompt: In the context of Legend of Saint Ursula, explain the Glory of St. Ursula and the Description.

This canvas was originally located in the Scuola's chapel, concluding the narration in the cycle. Ursula is depicted in the presence of God, over a bundle of palms (symbol of martyrdom), surrounded by her companions. Six seraphims are surrounding her with crowns. On the left are three male characters, most likely Antonio Loredan's three sons. Loredan had defended Shkodër in Albania against the Turks; his deed is recalled by the castle in the background.

Istituto Superiore per la Conservazione e il Restauro

Category:Paintings in the Gallerie dell'Accademia

Istituto Superiore per la Conservazione ed il Restauro

Detail of the ''Meeting of Ursula and the Prince''.


Legend of Saint Ursula

Prompt: Explain the Glory of St. Ursula about the Description of this artwork, Legend of Saint Ursula.

This canvas was originally located in the Scuola's chapel, concluding the narration in the cycle. Ursula is depicted in the presence of God, over a bundle of palms (symbol of martyrdom), surrounded by her companions. Six seraphims are surrounding her with crowns. On the left are three male characters, most likely Antonio Loredan's three sons. Loredan had defended Shkodër in Albania against the Turks; his deed is recalled by the castle in the background.

Istituto Superiore per la Conservazione e il Restauro

Category:Paintings in the Gallerie dell'Accademia

Istituto Superiore per la Conservazione ed il Restauro

Detail of the ''Meeting of Ursula and the Prince''.


Legend of Saint Ursula

Prompt: In Legend of Saint Ursula, how is the Glory of St. Ursula of the Description explained?

This canvas was originally located in the Scuola's chapel, concluding the narration in the cycle. Ursula is depicted in the presence of God, over a bundle of palms (symbol of martyrdom), surrounded by her companions. Six seraphims are surrounding her with crowns. On the left are three male characters, most likely Antonio Loredan's three sons. Loredan had defended Shkodër in Albania against the Turks; his deed is recalled by the castle in the background.

Istituto Superiore per la Conservazione e il Restauro

Category:Paintings in the Gallerie dell'Accademia

Istituto Superiore per la Conservazione ed il Restauro

Detail of the ''Meeting of Ursula and the Prince''.


Legend of Saint Ursula

Prompt: Describe the characteristics of the Glory of St. Ursula in Legend of Saint Ursula's Description.

This canvas was originally located in the Scuola's chapel, concluding the narration in the cycle. Ursula is depicted in the presence of God, over a bundle of palms (symbol of martyrdom), surrounded by her companions. Six seraphims are surrounding her with crowns. On the left are three male characters, most likely Antonio Loredan's three sons. Loredan had defended Shkodër in Albania against the Turks; his deed is recalled by the castle in the background.

Istituto Superiore per la Conservazione e il Restauro

Category:Paintings in the Gallerie dell'Accademia

Istituto Superiore per la Conservazione ed il Restauro

Detail of the ''Meeting of Ursula and the Prince''.


Legend of Saint Ursula

Prompt: Focus on Legend of Saint Ursula and explain the Conservation.

The cycle has undergone numerous restoration treatments, the first one during Carpaccio's own lifetime and then continuing with one or two treatments each subsequent century. These (sometimes partial) restorations contributed to an uneven surface of the paintings and compromised the unity of the cycle. The nine canvases were covered with old varnish, glues, and retouching oil that had given the paintings a yellow-green hue. Over the years, several canvases had also suffered water damage while on the north wall of the Scuola. In 2010, the organization Save Venice Inc. launched a conservation campaign for the St. Ursula cycle. First preliminary research and diagnostic analysis was undertaken by the Istituto Superiore per la Conservazione e il Restauro and the Laboratorio Scientifico delle Gallerie. A pilot restoration on The Arrival of the Pilgrims in Cologne began in 2013, followed by the closing of the Saint Ursula room in the Accademia in August of 2016 to continue work on the rest of the paintings. In total, conservators treated more than 87 square meters of painted canvas and averaged 250 hours of work per each square meter. The reinstallation of the restored paintings was celebrated in June 2019.

Category:Paintings in the Gallerie dell'Accademia

Istituto Superiore per la Conservazione ed il Restauro

Detail of the ''Meeting of Ursula and the Prince''.


Legend of Saint Ursula

Prompt: Explain the Conservation of this artwork, Legend of Saint Ursula.

The cycle has undergone numerous restoration treatments, the first one during Carpaccio's own lifetime and then continuing with one or two treatments each subsequent century. These (sometimes partial) restorations contributed to an uneven surface of the paintings and compromised the unity of the cycle. The nine canvases were covered with old varnish, glues, and retouching oil that had given the paintings a yellow-green hue. Over the years, several canvases had also suffered water damage while on the north wall of the Scuola. In 2010, the organization Save Venice Inc. launched a conservation campaign for the St. Ursula cycle. First preliminary research and diagnostic analysis was undertaken by the Istituto Superiore per la Conservazione e il Restauro and the Laboratorio Scientifico delle Gallerie. A pilot restoration on The Arrival of the Pilgrims in Cologne began in 2013, followed by the closing of the Saint Ursula room in the Accademia in August of 2016 to continue work on the rest of the paintings. In total, conservators treated more than 87 square meters of painted canvas and averaged 250 hours of work per each square meter. The reinstallation of the restored paintings was celebrated in June 2019.

Category:Paintings in the Gallerie dell'Accademia

Istituto Superiore per la Conservazione ed il Restauro

Detail of the ''Meeting of Ursula and the Prince''.


Legend of Saint Ursula

Prompt: How does Legend of Saint Ursula explain its Conservation?

The cycle has undergone numerous restoration treatments, the first one during Carpaccio's own lifetime and then continuing with one or two treatments each subsequent century. These (sometimes partial) restorations contributed to an uneven surface of the paintings and compromised the unity of the cycle. The nine canvases were covered with old varnish, glues, and retouching oil that had given the paintings a yellow-green hue. Over the years, several canvases had also suffered water damage while on the north wall of the Scuola. In 2010, the organization Save Venice Inc. launched a conservation campaign for the St. Ursula cycle. First preliminary research and diagnostic analysis was undertaken by the Istituto Superiore per la Conservazione e il Restauro and the Laboratorio Scientifico delle Gallerie. A pilot restoration on The Arrival of the Pilgrims in Cologne began in 2013, followed by the closing of the Saint Ursula room in the Accademia in August of 2016 to continue work on the rest of the paintings. In total, conservators treated more than 87 square meters of painted canvas and averaged 250 hours of work per each square meter. The reinstallation of the restored paintings was celebrated in June 2019.

Category:Paintings in the Gallerie dell'Accademia

Istituto Superiore per la Conservazione ed il Restauro

Detail of the ''Meeting of Ursula and the Prince''.


Legend of Saint Ursula

Prompt: In Legend of Saint Ursula, how is the Conservation discussed?

The cycle has undergone numerous restoration treatments, the first one during Carpaccio's own lifetime and then continuing with one or two treatments each subsequent century. These (sometimes partial) restorations contributed to an uneven surface of the paintings and compromised the unity of the cycle. The nine canvases were covered with old varnish, glues, and retouching oil that had given the paintings a yellow-green hue. Over the years, several canvases had also suffered water damage while on the north wall of the Scuola. In 2010, the organization Save Venice Inc. launched a conservation campaign for the St. Ursula cycle. First preliminary research and diagnostic analysis was undertaken by the Istituto Superiore per la Conservazione e il Restauro and the Laboratorio Scientifico delle Gallerie. A pilot restoration on The Arrival of the Pilgrims in Cologne began in 2013, followed by the closing of the Saint Ursula room in the Accademia in August of 2016 to continue work on the rest of the paintings. In total, conservators treated more than 87 square meters of painted canvas and averaged 250 hours of work per each square meter. The reinstallation of the restored paintings was celebrated in June 2019.

Category:Paintings in the Gallerie dell'Accademia

Istituto Superiore per la Conservazione ed il Restauro

Detail of the ''Meeting of Ursula and the Prince''.


Tenjukoku Shūchō Mandala

Prompt: Focus on Tenjukoku Shūchō Mandala and explain the abstract.

The Tenjukoku Shūchō Mandala (天寿国繍帳) is a Japanese work of textile art. It is the oldest known example of embroidery in Japan, dating back to 622 CE. It was created in honour of Prince Shōtoku, one of the earliest proponents of Japanese Buddhism.

List of National Treasures of Japan (crafts: others)


Tenjukoku Shūchō Mandala

Prompt: Explain the abstract of this artwork, Tenjukoku Shūchō Mandala.

The Tenjukoku Shūchō Mandala (天寿国繍帳) is a Japanese work of textile art. It is the oldest known example of embroidery in Japan, dating back to 622 CE. It was created in honour of Prince Shōtoku, one of the earliest proponents of Japanese Buddhism.

List of National Treasures of Japan (crafts: others)


Tenjukoku Shūchō Mandala

Prompt: How does Tenjukoku Shūchō Mandala explain its abstract?

The Tenjukoku Shūchō Mandala (天寿国繍帳) is a Japanese work of textile art. It is the oldest known example of embroidery in Japan, dating back to 622 CE. It was created in honour of Prince Shōtoku, one of the earliest proponents of Japanese Buddhism.

List of National Treasures of Japan (crafts: others)


Tenjukoku Shūchō Mandala

Prompt: In Tenjukoku Shūchō Mandala, how is the abstract discussed?

The Tenjukoku Shūchō Mandala (天寿国繍帳) is a Japanese work of textile art. It is the oldest known example of embroidery in Japan, dating back to 622 CE. It was created in honour of Prince Shōtoku, one of the earliest proponents of Japanese Buddhism.

List of National Treasures of Japan (crafts: others)


Tenjukoku Shūchō Mandala

Prompt: Focus on Tenjukoku Shūchō Mandala and explain the Creation.

In the Jōgū Shōtoku Hōō Teisetsu, it is recorded that Tachibana no Ōiratsume, one of the widows of Prince Shōtoku, commissioned the mandala after her husband's death, to represent the heavenly realm to which he had departed so that she could envision his afterlife. The artwork was created by maidservants of the Imperial Court, with the permission of the Empress Suiko. The original was stitched in silk on a series of large square curtains, approximately 5 metres (16 ft) across, but only a small portion of this, measuring approximately 89 centimetres (35 in) by 83 centimetres (33 in), still survives.

List of National Treasures of Japan (crafts: others)


Tenjukoku Shūchō Mandala

Prompt: Explain the Creation of this artwork, Tenjukoku Shūchō Mandala.

In the Jōgū Shōtoku Hōō Teisetsu, it is recorded that Tachibana no Ōiratsume, one of the widows of Prince Shōtoku, commissioned the mandala after her husband's death, to represent the heavenly realm to which he had departed so that she could envision his afterlife. The artwork was created by maidservants of the Imperial Court, with the permission of the Empress Suiko. The original was stitched in silk on a series of large square curtains, approximately 5 metres (16 ft) across, but only a small portion of this, measuring approximately 89 centimetres (35 in) by 83 centimetres (33 in), still survives.

List of National Treasures of Japan (crafts: others)


Tenjukoku Shūchō Mandala

Prompt: How does Tenjukoku Shūchō Mandala explain its Creation?

In the Jōgū Shōtoku Hōō Teisetsu, it is recorded that Tachibana no Ōiratsume, one of the widows of Prince Shōtoku, commissioned the mandala after her husband's death, to represent the heavenly realm to which he had departed so that she could envision his afterlife. The artwork was created by maidservants of the Imperial Court, with the permission of the Empress Suiko. The original was stitched in silk on a series of large square curtains, approximately 5 metres (16 ft) across, but only a small portion of this, measuring approximately 89 centimetres (35 in) by 83 centimetres (33 in), still survives.

List of National Treasures of Japan (crafts: others)


Tenjukoku Shūchō Mandala

Prompt: In Tenjukoku Shūchō Mandala, how is the Creation discussed?

In the Jōgū Shōtoku Hōō Teisetsu, it is recorded that Tachibana no Ōiratsume, one of the widows of Prince Shōtoku, commissioned the mandala after her husband's death, to represent the heavenly realm to which he had departed so that she could envision his afterlife. The artwork was created by maidservants of the Imperial Court, with the permission of the Empress Suiko. The original was stitched in silk on a series of large square curtains, approximately 5 metres (16 ft) across, but only a small portion of this, measuring approximately 89 centimetres (35 in) by 83 centimetres (33 in), still survives.

List of National Treasures of Japan (crafts: others)


Tenjukoku Shūchō Mandala

Prompt: Focus on Tenjukoku Shūchō Mandala and explain the Replica and current version.

The mandala is held at the Nara National Museum, but remains the property of the Chūgū-ji temple in Nara Prefecture. The extant version was created in the Edo period by combining remnants of the original embroidery with a replica made in the late 13th century.Its association with the temple and its reconstruction are due to the work of the Buddhist nun Shinnyo, who recovered the original mandala from its storage at Hōryū-ji in 1273. According to the narratives of Shinnyo's life, she had a dream in which she learned that the mandala contained the death date of the Princess Anahobe no Hashihito (穴穂部間人皇女, Anahobe no Hashihito no Himemiko), consort of Emperor Jomei and mother of Shōtoku (Shinnyo was researching Hashihito, the patroness of Chūgū-ji, as part of her work to restore the temple). The mandala was locked away at Hōryū-ji, but a break-in at the Hōryū-ji treasury allowed Shinnyo to access their stores under the pretext of checking for damages. There, she found the mandala, severely damaged, and was given permission to remove it to Chūgū-ji. She subsequently took it on a fund-raising tour to Kyoto, and received enough donations to fund the creation of a replica.Both the replica and the original were damaged by fires at Chūgū-ji in the early fourteenth century, but the damaged pieces were preserved and in the nineteenth century were combined to create the current version. The colour fastness of the original material was superior to that of the later replica; in the extant version of the artwork, the brighter sections are all derived from the original.

List of National Treasures of Japan (crafts: others)


Tenjukoku Shūchō Mandala

Prompt: Explain the Replica and current version of this artwork, Tenjukoku Shūchō Mandala.

The mandala is held at the Nara National Museum, but remains the property of the Chūgū-ji temple in Nara Prefecture. The extant version was created in the Edo period by combining remnants of the original embroidery with a replica made in the late 13th century.Its association with the temple and its reconstruction are due to the work of the Buddhist nun Shinnyo, who recovered the original mandala from its storage at Hōryū-ji in 1273. According to the narratives of Shinnyo's life, she had a dream in which she learned that the mandala contained the death date of the Princess Anahobe no Hashihito (穴穂部間人皇女, Anahobe no Hashihito no Himemiko), consort of Emperor Jomei and mother of Shōtoku (Shinnyo was researching Hashihito, the patroness of Chūgū-ji, as part of her work to restore the temple). The mandala was locked away at Hōryū-ji, but a break-in at the Hōryū-ji treasury allowed Shinnyo to access their stores under the pretext of checking for damages. There, she found the mandala, severely damaged, and was given permission to remove it to Chūgū-ji. She subsequently took it on a fund-raising tour to Kyoto, and received enough donations to fund the creation of a replica.Both the replica and the original were damaged by fires at Chūgū-ji in the early fourteenth century, but the damaged pieces were preserved and in the nineteenth century were combined to create the current version. The colour fastness of the original material was superior to that of the later replica; in the extant version of the artwork, the brighter sections are all derived from the original.

List of National Treasures of Japan (crafts: others)


Tenjukoku Shūchō Mandala

Prompt: How does Tenjukoku Shūchō Mandala explain its Replica and current version?

The mandala is held at the Nara National Museum, but remains the property of the Chūgū-ji temple in Nara Prefecture. The extant version was created in the Edo period by combining remnants of the original embroidery with a replica made in the late 13th century.Its association with the temple and its reconstruction are due to the work of the Buddhist nun Shinnyo, who recovered the original mandala from its storage at Hōryū-ji in 1273. According to the narratives of Shinnyo's life, she had a dream in which she learned that the mandala contained the death date of the Princess Anahobe no Hashihito (穴穂部間人皇女, Anahobe no Hashihito no Himemiko), consort of Emperor Jomei and mother of Shōtoku (Shinnyo was researching Hashihito, the patroness of Chūgū-ji, as part of her work to restore the temple). The mandala was locked away at Hōryū-ji, but a break-in at the Hōryū-ji treasury allowed Shinnyo to access their stores under the pretext of checking for damages. There, she found the mandala, severely damaged, and was given permission to remove it to Chūgū-ji. She subsequently took it on a fund-raising tour to Kyoto, and received enough donations to fund the creation of a replica.Both the replica and the original were damaged by fires at Chūgū-ji in the early fourteenth century, but the damaged pieces were preserved and in the nineteenth century were combined to create the current version. The colour fastness of the original material was superior to that of the later replica; in the extant version of the artwork, the brighter sections are all derived from the original.

List of National Treasures of Japan (crafts: others)


Tenjukoku Shūchō Mandala

Prompt: In Tenjukoku Shūchō Mandala, how is the Replica and current version discussed?

The mandala is held at the Nara National Museum, but remains the property of the Chūgū-ji temple in Nara Prefecture. The extant version was created in the Edo period by combining remnants of the original embroidery with a replica made in the late 13th century.Its association with the temple and its reconstruction are due to the work of the Buddhist nun Shinnyo, who recovered the original mandala from its storage at Hōryū-ji in 1273. According to the narratives of Shinnyo's life, she had a dream in which she learned that the mandala contained the death date of the Princess Anahobe no Hashihito (穴穂部間人皇女, Anahobe no Hashihito no Himemiko), consort of Emperor Jomei and mother of Shōtoku (Shinnyo was researching Hashihito, the patroness of Chūgū-ji, as part of her work to restore the temple). The mandala was locked away at Hōryū-ji, but a break-in at the Hōryū-ji treasury allowed Shinnyo to access their stores under the pretext of checking for damages. There, she found the mandala, severely damaged, and was given permission to remove it to Chūgū-ji. She subsequently took it on a fund-raising tour to Kyoto, and received enough donations to fund the creation of a replica.Both the replica and the original were damaged by fires at Chūgū-ji in the early fourteenth century, but the damaged pieces were preserved and in the nineteenth century were combined to create the current version. The colour fastness of the original material was superior to that of the later replica; in the extant version of the artwork, the brighter sections are all derived from the original.

List of National Treasures of Japan (crafts: others)


Tenjukoku Shūchō Mandala

Prompt: Focus on Tenjukoku Shūchō Mandala and explain the Content.

The mandala depicts the Buddhist realm of Tenjukoku (天寿国), or the "Land of Infinite Life", and presents a number of different elements representing various Buddhist concepts. The building in the bottom right is assumed by most scholars to represent the heavenly palace of Zenpōdō from the Maitreya Sutra. The main pattern of tortoises contains characters spelling the names of Shōtoku, Hashihito and Ōiratsume, arranged as a Buddhist triad, and represents Shōtoku's genealogy; other tortoises contain further characters recorded in the Jōgū Shōtoku Hōō Teisetsu, including the death dates of Shōtoku and his mother, and the story of the mandala's creation. The original version of the work contained 100 such tortoises. An inscription, purportedly a statement by Shōtoku, was originally appended: "The world is folly. Only the Buddha is real."The original base fabric on which the images are embroidered is a woven purple gauze, which may have been imported; the later replica sections are stitched onto purple twill or plain white silk. The embroidery threads of the original are z-twisted (right laid) and are sewn exclusively in backstitch while the replica uses looser s-twisted yarn and a variety of different stitches. The looser twist of the yarn may be one of the reasons that the replica sections are less well-preserved.Some researchers argue that the similarity of the mandala's iconography to Chinese and Korean funeral monuments, together with the gauze fabric on which it was originally stitched, indicate that it is not in fact a Buddhist artefact. This theory suggests that the artwork does not represent Tenjukoku, but rather constitutes a record of the memorial rites performed for Shōtoku, and that the association with Buddhism was a later development.

List of National Treasures of Japan (crafts: others)


Tenjukoku Shūchō Mandala

Prompt: Explain the Content of this artwork, Tenjukoku Shūchō Mandala.

The mandala depicts the Buddhist realm of Tenjukoku (天寿国), or the "Land of Infinite Life", and presents a number of different elements representing various Buddhist concepts. The building in the bottom right is assumed by most scholars to represent the heavenly palace of Zenpōdō from the Maitreya Sutra. The main pattern of tortoises contains characters spelling the names of Shōtoku, Hashihito and Ōiratsume, arranged as a Buddhist triad, and represents Shōtoku's genealogy; other tortoises contain further characters recorded in the Jōgū Shōtoku Hōō Teisetsu, including the death dates of Shōtoku and his mother, and the story of the mandala's creation. The original version of the work contained 100 such tortoises. An inscription, purportedly a statement by Shōtoku, was originally appended: "The world is folly. Only the Buddha is real."The original base fabric on which the images are embroidered is a woven purple gauze, which may have been imported; the later replica sections are stitched onto purple twill or plain white silk. The embroidery threads of the original are z-twisted (right laid) and are sewn exclusively in backstitch while the replica uses looser s-twisted yarn and a variety of different stitches. The looser twist of the yarn may be one of the reasons that the replica sections are less well-preserved.Some researchers argue that the similarity of the mandala's iconography to Chinese and Korean funeral monuments, together with the gauze fabric on which it was originally stitched, indicate that it is not in fact a Buddhist artefact. This theory suggests that the artwork does not represent Tenjukoku, but rather constitutes a record of the memorial rites performed for Shōtoku, and that the association with Buddhism was a later development.

List of National Treasures of Japan (crafts: others)


Tenjukoku Shūchō Mandala

Prompt: How does Tenjukoku Shūchō Mandala explain its Content?

The mandala depicts the Buddhist realm of Tenjukoku (天寿国), or the "Land of Infinite Life", and presents a number of different elements representing various Buddhist concepts. The building in the bottom right is assumed by most scholars to represent the heavenly palace of Zenpōdō from the Maitreya Sutra. The main pattern of tortoises contains characters spelling the names of Shōtoku, Hashihito and Ōiratsume, arranged as a Buddhist triad, and represents Shōtoku's genealogy; other tortoises contain further characters recorded in the Jōgū Shōtoku Hōō Teisetsu, including the death dates of Shōtoku and his mother, and the story of the mandala's creation. The original version of the work contained 100 such tortoises. An inscription, purportedly a statement by Shōtoku, was originally appended: "The world is folly. Only the Buddha is real."The original base fabric on which the images are embroidered is a woven purple gauze, which may have been imported; the later replica sections are stitched onto purple twill or plain white silk. The embroidery threads of the original are z-twisted (right laid) and are sewn exclusively in backstitch while the replica uses looser s-twisted yarn and a variety of different stitches. The looser twist of the yarn may be one of the reasons that the replica sections are less well-preserved.Some researchers argue that the similarity of the mandala's iconography to Chinese and Korean funeral monuments, together with the gauze fabric on which it was originally stitched, indicate that it is not in fact a Buddhist artefact. This theory suggests that the artwork does not represent Tenjukoku, but rather constitutes a record of the memorial rites performed for Shōtoku, and that the association with Buddhism was a later development.

List of National Treasures of Japan (crafts: others)


Tenjukoku Shūchō Mandala

Prompt: In Tenjukoku Shūchō Mandala, how is the Content discussed?

The mandala depicts the Buddhist realm of Tenjukoku (天寿国), or the "Land of Infinite Life", and presents a number of different elements representing various Buddhist concepts. The building in the bottom right is assumed by most scholars to represent the heavenly palace of Zenpōdō from the Maitreya Sutra. The main pattern of tortoises contains characters spelling the names of Shōtoku, Hashihito and Ōiratsume, arranged as a Buddhist triad, and represents Shōtoku's genealogy; other tortoises contain further characters recorded in the Jōgū Shōtoku Hōō Teisetsu, including the death dates of Shōtoku and his mother, and the story of the mandala's creation. The original version of the work contained 100 such tortoises. An inscription, purportedly a statement by Shōtoku, was originally appended: "The world is folly. Only the Buddha is real."The original base fabric on which the images are embroidered is a woven purple gauze, which may have been imported; the later replica sections are stitched onto purple twill or plain white silk. The embroidery threads of the original are z-twisted (right laid) and are sewn exclusively in backstitch while the replica uses looser s-twisted yarn and a variety of different stitches. The looser twist of the yarn may be one of the reasons that the replica sections are less well-preserved.Some researchers argue that the similarity of the mandala's iconography to Chinese and Korean funeral monuments, together with the gauze fabric on which it was originally stitched, indicate that it is not in fact a Buddhist artefact. This theory suggests that the artwork does not represent Tenjukoku, but rather constitutes a record of the memorial rites performed for Shōtoku, and that the association with Buddhism was a later development.

List of National Treasures of Japan (crafts: others)


Statue of Edward VI (Scheemakers)

Prompt: Focus on Statue of Edward VI (Scheemakers) and explain the abstract.

The statue of Edward VI by Peter Scheemakers at St Thomas' Hospital, Lambeth, London is one of two statues of the king at the hospital. Both commemorate Edward's re-founding of the hospital in 1551. It was moved to its current location inside the North Wing of the hospital in the 20th century. The sculpture was designated a Grade II* listed structure in 1979.

Category:Grade II* listed buildings in the London Borough of Lambeth

Category:Monuments and memorials in London

Category:Grade II* listed monuments and memorials

Category:Royal monuments in the United Kingdom

Category:Buildings and structures completed in 1737


Statue of Edward VI (Scheemakers)

Prompt: Explain the abstract of this artwork, Statue of Edward VI (Scheemakers).

The statue of Edward VI by Peter Scheemakers at St Thomas' Hospital, Lambeth, London is one of two statues of the king at the hospital. Both commemorate Edward's re-founding of the hospital in 1551. It was moved to its current location inside the North Wing of the hospital in the 20th century. The sculpture was designated a Grade II* listed structure in 1979.

Category:Grade II* listed buildings in the London Borough of Lambeth

Category:Monuments and memorials in London

Category:Grade II* listed monuments and memorials

Category:Royal monuments in the United Kingdom

Category:Buildings and structures completed in 1737


Statue of Edward VI (Scheemakers)

Prompt: How does Statue of Edward VI (Scheemakers) explain its abstract?

The statue of Edward VI by Peter Scheemakers at St Thomas' Hospital, Lambeth, London is one of two statues of the king at the hospital. Both commemorate Edward's re-founding of the hospital in 1551. It was moved to its current location inside the North Wing of the hospital in the 20th century. The sculpture was designated a Grade II* listed structure in 1979.

Category:Grade II* listed buildings in the London Borough of Lambeth

Category:Monuments and memorials in London

Category:Grade II* listed monuments and memorials

Category:Royal monuments in the United Kingdom

Category:Buildings and structures completed in 1737


Statue of Edward VI (Scheemakers)

Prompt: In Statue of Edward VI (Scheemakers), how is the abstract discussed?

The statue of Edward VI by Peter Scheemakers at St Thomas' Hospital, Lambeth, London is one of two statues of the king at the hospital. Both commemorate Edward's re-founding of the hospital in 1551. It was moved to its current location inside the North Wing of the hospital in the 20th century. The sculpture was designated a Grade II* listed structure in 1979.

Category:Grade II* listed buildings in the London Borough of Lambeth

Category:Monuments and memorials in London

Category:Grade II* listed monuments and memorials

Category:Royal monuments in the United Kingdom

Category:Buildings and structures completed in 1737


Statue of Edward VI (Scheemakers)

Prompt: In the context of Statue of Edward VI (Scheemakers), explain the Edward VI and the History.

Edward VI was the son of Henry VIII and his third queen, Jane Seymour. Born on 12 October 1537, he succeed his father at the age of nine in 1547 but never attained his majority, dying aged 15 in 1553. During the Reformation St Thomas', as a religious foundation, was deprived of its revenues and estates and was closed in 1540. In 1551, Edward granted a charter for the hospital's refounding.

Category:Grade II* listed buildings in the London Borough of Lambeth

Category:Monuments and memorials in London

Category:Grade II* listed monuments and memorials

Category:Royal monuments in the United Kingdom

Category:Buildings and structures completed in 1737


Statue of Edward VI (Scheemakers)

Prompt: Explain the Edward VI about the History of this artwork, Statue of Edward VI (Scheemakers).

Edward VI was the son of Henry VIII and his third queen, Jane Seymour. Born on 12 October 1537, he succeed his father at the age of nine in 1547 but never attained his majority, dying aged 15 in 1553. During the Reformation St Thomas', as a religious foundation, was deprived of its revenues and estates and was closed in 1540. In 1551, Edward granted a charter for the hospital's refounding.

Category:Grade II* listed buildings in the London Borough of Lambeth

Category:Monuments and memorials in London

Category:Grade II* listed monuments and memorials

Category:Royal monuments in the United Kingdom

Category:Buildings and structures completed in 1737


Statue of Edward VI (Scheemakers)

Prompt: In Statue of Edward VI (Scheemakers), how is the Edward VI of the History explained?

Edward VI was the son of Henry VIII and his third queen, Jane Seymour. Born on 12 October 1537, he succeed his father at the age of nine in 1547 but never attained his majority, dying aged 15 in 1553. During the Reformation St Thomas', as a religious foundation, was deprived of its revenues and estates and was closed in 1540. In 1551, Edward granted a charter for the hospital's refounding.

Category:Grade II* listed buildings in the London Borough of Lambeth

Category:Monuments and memorials in London

Category:Grade II* listed monuments and memorials

Category:Royal monuments in the United Kingdom

Category:Buildings and structures completed in 1737


Statue of Edward VI (Scheemakers)

Prompt: Describe the characteristics of the Edward VI in Statue of Edward VI (Scheemakers)'s History.

Edward VI was the son of Henry VIII and his third queen, Jane Seymour. Born on 12 October 1537, he succeed his father at the age of nine in 1547 but never attained his majority, dying aged 15 in 1553. During the Reformation St Thomas', as a religious foundation, was deprived of its revenues and estates and was closed in 1540. In 1551, Edward granted a charter for the hospital's refounding.

Category:Grade II* listed buildings in the London Borough of Lambeth

Category:Monuments and memorials in London

Category:Grade II* listed monuments and memorials

Category:Royal monuments in the United Kingdom

Category:Buildings and structures completed in 1737


Statue of Edward VI (Scheemakers)

Prompt: In the context of Statue of Edward VI (Scheemakers), explain the St Thomas' Hospital and the History.

The origin of St Thomas' Hospital was the sick house attached to the Church of St Mary Overie in Southwark, founded in the 12th century. By the late 17th century, the hospital was in a dilapidated state and Sir Robert Clayton, the hospital's President, employed the architect, and St Thomas' governor, Thomas Cartwright to undertake complete rebuilding. The new buildings, of red brick and in a classical style were completed just after Clayton's death, in 1709. The statue of Edward was erected in a courtyard of the rebuilt complex in 1739. In 1872, following the complete reconstruction of the hospital on a site further up the River Thames at Lambeth, the statue was moved to the new site and has been repositioned subsequently.

Category:Grade II* listed buildings in the London Borough of Lambeth

Category:Monuments and memorials in London

Category:Grade II* listed monuments and memorials

Category:Royal monuments in the United Kingdom

Category:Buildings and structures completed in 1737


Statue of Edward VI (Scheemakers)

Prompt: Explain the St Thomas' Hospital about the History of this artwork, Statue of Edward VI (Scheemakers).

The origin of St Thomas' Hospital was the sick house attached to the Church of St Mary Overie in Southwark, founded in the 12th century. By the late 17th century, the hospital was in a dilapidated state and Sir Robert Clayton, the hospital's President, employed the architect, and St Thomas' governor, Thomas Cartwright to undertake complete rebuilding. The new buildings, of red brick and in a classical style were completed just after Clayton's death, in 1709. The statue of Edward was erected in a courtyard of the rebuilt complex in 1739. In 1872, following the complete reconstruction of the hospital on a site further up the River Thames at Lambeth, the statue was moved to the new site and has been repositioned subsequently.

Category:Grade II* listed buildings in the London Borough of Lambeth

Category:Monuments and memorials in London

Category:Grade II* listed monuments and memorials

Category:Royal monuments in the United Kingdom

Category:Buildings and structures completed in 1737


Statue of Edward VI (Scheemakers)

Prompt: In Statue of Edward VI (Scheemakers), how is the St Thomas' Hospital of the History explained?

The origin of St Thomas' Hospital was the sick house attached to the Church of St Mary Overie in Southwark, founded in the 12th century. By the late 17th century, the hospital was in a dilapidated state and Sir Robert Clayton, the hospital's President, employed the architect, and St Thomas' governor, Thomas Cartwright to undertake complete rebuilding. The new buildings, of red brick and in a classical style were completed just after Clayton's death, in 1709. The statue of Edward was erected in a courtyard of the rebuilt complex in 1739. In 1872, following the complete reconstruction of the hospital on a site further up the River Thames at Lambeth, the statue was moved to the new site and has been repositioned subsequently.

Category:Grade II* listed buildings in the London Borough of Lambeth

Category:Monuments and memorials in London

Category:Grade II* listed monuments and memorials

Category:Royal monuments in the United Kingdom

Category:Buildings and structures completed in 1737


Statue of Edward VI (Scheemakers)

Prompt: Describe the characteristics of the St Thomas' Hospital in Statue of Edward VI (Scheemakers)'s History.

The origin of St Thomas' Hospital was the sick house attached to the Church of St Mary Overie in Southwark, founded in the 12th century. By the late 17th century, the hospital was in a dilapidated state and Sir Robert Clayton, the hospital's President, employed the architect, and St Thomas' governor, Thomas Cartwright to undertake complete rebuilding. The new buildings, of red brick and in a classical style were completed just after Clayton's death, in 1709. The statue of Edward was erected in a courtyard of the rebuilt complex in 1739. In 1872, following the complete reconstruction of the hospital on a site further up the River Thames at Lambeth, the statue was moved to the new site and has been repositioned subsequently.

Category:Grade II* listed buildings in the London Borough of Lambeth

Category:Monuments and memorials in London

Category:Grade II* listed monuments and memorials

Category:Royal monuments in the United Kingdom

Category:Buildings and structures completed in 1737


Statue of Edward VI (Scheemakers)

Prompt: Focus on Statue of Edward VI (Scheemakers) and explain the Description.

The sculptor Peter Scheemakers came from a family of sculptors. Of Flemish origin, both his father and his two sons worked in the profession. He came to London some time before 1720 and made his reputation with the bust of William Shakespeare in Westminster Abbey in 1740. His statue of Edward VI predates that work. In bronze, the effigy shows the king in period dress. The inscription on the plinth records that the cost of the sculpture was met by Charles Toye Esq., Treasurer of the hospital. The sculpture was designated a Grade II* listed structure in 1979.

Category:Grade II* listed buildings in the London Borough of Lambeth

Category:Monuments and memorials in London

Category:Grade II* listed monuments and memorials

Category:Royal monuments in the United Kingdom

Category:Buildings and structures completed in 1737


Statue of Edward VI (Scheemakers)

Prompt: Explain the Description of this artwork, Statue of Edward VI (Scheemakers).

The sculptor Peter Scheemakers came from a family of sculptors. Of Flemish origin, both his father and his two sons worked in the profession. He came to London some time before 1720 and made his reputation with the bust of William Shakespeare in Westminster Abbey in 1740. His statue of Edward VI predates that work. In bronze, the effigy shows the king in period dress. The inscription on the plinth records that the cost of the sculpture was met by Charles Toye Esq., Treasurer of the hospital. The sculpture was designated a Grade II* listed structure in 1979.

Category:Grade II* listed buildings in the London Borough of Lambeth

Category:Monuments and memorials in London

Category:Grade II* listed monuments and memorials

Category:Royal monuments in the United Kingdom

Category:Buildings and structures completed in 1737


Statue of Edward VI (Scheemakers)

Prompt: How does Statue of Edward VI (Scheemakers) explain its Description?

The sculptor Peter Scheemakers came from a family of sculptors. Of Flemish origin, both his father and his two sons worked in the profession. He came to London some time before 1720 and made his reputation with the bust of William Shakespeare in Westminster Abbey in 1740. His statue of Edward VI predates that work. In bronze, the effigy shows the king in period dress. The inscription on the plinth records that the cost of the sculpture was met by Charles Toye Esq., Treasurer of the hospital. The sculpture was designated a Grade II* listed structure in 1979.

Category:Grade II* listed buildings in the London Borough of Lambeth

Category:Monuments and memorials in London

Category:Grade II* listed monuments and memorials

Category:Royal monuments in the United Kingdom

Category:Buildings and structures completed in 1737


Statue of Edward VI (Scheemakers)

Prompt: In Statue of Edward VI (Scheemakers), how is the Description discussed?

The sculptor Peter Scheemakers came from a family of sculptors. Of Flemish origin, both his father and his two sons worked in the profession. He came to London some time before 1720 and made his reputation with the bust of William Shakespeare in Westminster Abbey in 1740. His statue of Edward VI predates that work. In bronze, the effigy shows the king in period dress. The inscription on the plinth records that the cost of the sculpture was met by Charles Toye Esq., Treasurer of the hospital. The sculpture was designated a Grade II* listed structure in 1979.

Category:Grade II* listed buildings in the London Borough of Lambeth

Category:Monuments and memorials in London

Category:Grade II* listed monuments and memorials

Category:Royal monuments in the United Kingdom

Category:Buildings and structures completed in 1737


Solly Madonna

Prompt: Focus on Solly Madonna and explain the abstract.

The Solly Madonna by the Italian Renaissance artist Raphael was painted sometime between 1500 and 1504.An early work, it clearly shows the influence of Raphael's teacher Perugino. Two motifs in this work would recur in later Madonnas by Raphael. The virgin Mary is reading a book, as in the Madonna and Child in the Norton Simon Museum, the Conestabile Madonna, the Madonna Colonna and the Madonna del cardellino. As in that last painting a small bird, a goldfinch, is part of the scene.The painting is located in the Gemäldegalerie, Berlin. It is called the Solly Madonna because it was owned by the British banker and art collector Edward Solly (1776–1848).

Category:Paintings in the Gemäldegalerie, Berlin

Category:Paintings of the Madonna and Child by Raphael


Solly Madonna

Prompt: Explain the abstract of this artwork, Solly Madonna.

The Solly Madonna by the Italian Renaissance artist Raphael was painted sometime between 1500 and 1504.An early work, it clearly shows the influence of Raphael's teacher Perugino. Two motifs in this work would recur in later Madonnas by Raphael. The virgin Mary is reading a book, as in the Madonna and Child in the Norton Simon Museum, the Conestabile Madonna, the Madonna Colonna and the Madonna del cardellino. As in that last painting a small bird, a goldfinch, is part of the scene.The painting is located in the Gemäldegalerie, Berlin. It is called the Solly Madonna because it was owned by the British banker and art collector Edward Solly (1776–1848).

Category:Paintings in the Gemäldegalerie, Berlin

Category:Paintings of the Madonna and Child by Raphael


Solly Madonna

Prompt: How does Solly Madonna explain its abstract?

The Solly Madonna by the Italian Renaissance artist Raphael was painted sometime between 1500 and 1504.An early work, it clearly shows the influence of Raphael's teacher Perugino. Two motifs in this work would recur in later Madonnas by Raphael. The virgin Mary is reading a book, as in the Madonna and Child in the Norton Simon Museum, the Conestabile Madonna, the Madonna Colonna and the Madonna del cardellino. As in that last painting a small bird, a goldfinch, is part of the scene.The painting is located in the Gemäldegalerie, Berlin. It is called the Solly Madonna because it was owned by the British banker and art collector Edward Solly (1776–1848).

Category:Paintings in the Gemäldegalerie, Berlin

Category:Paintings of the Madonna and Child by Raphael


Solly Madonna

Prompt: In Solly Madonna, how is the abstract discussed?

The Solly Madonna by the Italian Renaissance artist Raphael was painted sometime between 1500 and 1504.An early work, it clearly shows the influence of Raphael's teacher Perugino. Two motifs in this work would recur in later Madonnas by Raphael. The virgin Mary is reading a book, as in the Madonna and Child in the Norton Simon Museum, the Conestabile Madonna, the Madonna Colonna and the Madonna del cardellino. As in that last painting a small bird, a goldfinch, is part of the scene.The painting is located in the Gemäldegalerie, Berlin. It is called the Solly Madonna because it was owned by the British banker and art collector Edward Solly (1776–1848).

Category:Paintings in the Gemäldegalerie, Berlin

Category:Paintings of the Madonna and Child by Raphael


Nightmare Elk

Prompt: Focus on Nightmare Elk and explain the abstract.

The "Nightmare Elk" was a metal sculpture of an elk, temporarily installed in Portland, Oregon.

Category:George Floyd protests in Portland, Oregon

Black Lives Matter art in Portland, Oregon

File:Portland, Oregon, August 11, 2020 - 08.jpg

Category:Outdoor sculptures in Southwest Portland, Oregon

List of symbols designated by the Anti-Defamation League as hate symbols

Category:2020 disestablishments in Oregon


Nightmare Elk

Prompt: Explain the abstract of this artwork, Nightmare Elk.

The "Nightmare Elk" was a metal sculpture of an elk, temporarily installed in Portland, Oregon.

Category:George Floyd protests in Portland, Oregon

Black Lives Matter art in Portland, Oregon

File:Portland, Oregon, August 11, 2020 - 08.jpg

Category:Outdoor sculptures in Southwest Portland, Oregon

List of symbols designated by the Anti-Defamation League as hate symbols

Category:2020 disestablishments in Oregon


Nightmare Elk

Prompt: How does Nightmare Elk explain its abstract?

The "Nightmare Elk" was a metal sculpture of an elk, temporarily installed in Portland, Oregon.

Category:George Floyd protests in Portland, Oregon

Black Lives Matter art in Portland, Oregon

File:Portland, Oregon, August 11, 2020 - 08.jpg

Category:Outdoor sculptures in Southwest Portland, Oregon

List of symbols designated by the Anti-Defamation League as hate symbols

Category:2020 disestablishments in Oregon


Nightmare Elk

Prompt: In Nightmare Elk, how is the abstract discussed?

The "Nightmare Elk" was a metal sculpture of an elk, temporarily installed in Portland, Oregon.

Category:George Floyd protests in Portland, Oregon

Black Lives Matter art in Portland, Oregon

File:Portland, Oregon, August 11, 2020 - 08.jpg

Category:Outdoor sculptures in Southwest Portland, Oregon

List of symbols designated by the Anti-Defamation League as hate symbols

Category:2020 disestablishments in Oregon


Nightmare Elk

Prompt: Focus on Nightmare Elk and explain the Description.

The statue which became known as the "nightmare elk" was crafted in metal by an unknown artist. Andrew D. Jankowski and Safiyah Maurice of Oregon ArtsWatch said the sculpture had "a Louise Bourgeois death metal aesthetic".

Category:George Floyd protests in Portland, Oregon

Black Lives Matter art in Portland, Oregon

File:Portland, Oregon, August 11, 2020 - 08.jpg

Category:Outdoor sculptures in Southwest Portland, Oregon

List of symbols designated by the Anti-Defamation League as hate symbols

Category:2020 disestablishments in Oregon


Nightmare Elk

Prompt: Explain the Description of this artwork, Nightmare Elk.

The statue which became known as the "nightmare elk" was crafted in metal by an unknown artist. Andrew D. Jankowski and Safiyah Maurice of Oregon ArtsWatch said the sculpture had "a Louise Bourgeois death metal aesthetic".

Category:George Floyd protests in Portland, Oregon

Black Lives Matter art in Portland, Oregon

File:Portland, Oregon, August 11, 2020 - 08.jpg

Category:Outdoor sculptures in Southwest Portland, Oregon

List of symbols designated by the Anti-Defamation League as hate symbols

Category:2020 disestablishments in Oregon


Nightmare Elk

Prompt: How does Nightmare Elk explain its Description?

The statue which became known as the "nightmare elk" was crafted in metal by an unknown artist. Andrew D. Jankowski and Safiyah Maurice of Oregon ArtsWatch said the sculpture had "a Louise Bourgeois death metal aesthetic".

Category:George Floyd protests in Portland, Oregon

Black Lives Matter art in Portland, Oregon

File:Portland, Oregon, August 11, 2020 - 08.jpg

Category:Outdoor sculptures in Southwest Portland, Oregon

List of symbols designated by the Anti-Defamation League as hate symbols

Category:2020 disestablishments in Oregon


Nightmare Elk

Prompt: In Nightmare Elk, how is the Description discussed?

The statue which became known as the "nightmare elk" was crafted in metal by an unknown artist. Andrew D. Jankowski and Safiyah Maurice of Oregon ArtsWatch said the sculpture had "a Louise Bourgeois death metal aesthetic".

Category:George Floyd protests in Portland, Oregon

Black Lives Matter art in Portland, Oregon

File:Portland, Oregon, August 11, 2020 - 08.jpg

Category:Outdoor sculptures in Southwest Portland, Oregon

List of symbols designated by the Anti-Defamation League as hate symbols

Category:2020 disestablishments in Oregon


Nightmare Elk

Prompt: Focus on Nightmare Elk and explain the History.

The makeshift sculpture was erected in downtown Portland by demonstrators in July 2020, during the George Floyd protests. The statue replaced the Thompson Elk Fountain, a 1900 bronze sculpture and fountain by Roland Hinton Perry which became a target of graffiti and fires during the protests.

Category:George Floyd protests in Portland, Oregon

Black Lives Matter art in Portland, Oregon

File:Portland, Oregon, August 11, 2020 - 08.jpg

Category:Outdoor sculptures in Southwest Portland, Oregon

List of symbols designated by the Anti-Defamation League as hate symbols

Category:2020 disestablishments in Oregon


Nightmare Elk

Prompt: Explain the History of this artwork, Nightmare Elk.

The makeshift sculpture was erected in downtown Portland by demonstrators in July 2020, during the George Floyd protests. The statue replaced the Thompson Elk Fountain, a 1900 bronze sculpture and fountain by Roland Hinton Perry which became a target of graffiti and fires during the protests.

Category:George Floyd protests in Portland, Oregon

Black Lives Matter art in Portland, Oregon

File:Portland, Oregon, August 11, 2020 - 08.jpg

Category:Outdoor sculptures in Southwest Portland, Oregon

List of symbols designated by the Anti-Defamation League as hate symbols

Category:2020 disestablishments in Oregon


Nightmare Elk

Prompt: How does Nightmare Elk explain its History?

The makeshift sculpture was erected in downtown Portland by demonstrators in July 2020, during the George Floyd protests. The statue replaced the Thompson Elk Fountain, a 1900 bronze sculpture and fountain by Roland Hinton Perry which became a target of graffiti and fires during the protests.

Category:George Floyd protests in Portland, Oregon

Black Lives Matter art in Portland, Oregon

File:Portland, Oregon, August 11, 2020 - 08.jpg

Category:Outdoor sculptures in Southwest Portland, Oregon

List of symbols designated by the Anti-Defamation League as hate symbols

Category:2020 disestablishments in Oregon


Nightmare Elk

Prompt: In Nightmare Elk, how is the History discussed?

The makeshift sculpture was erected in downtown Portland by demonstrators in July 2020, during the George Floyd protests. The statue replaced the Thompson Elk Fountain, a 1900 bronze sculpture and fountain by Roland Hinton Perry which became a target of graffiti and fires during the protests.

Category:George Floyd protests in Portland, Oregon

Black Lives Matter art in Portland, Oregon

File:Portland, Oregon, August 11, 2020 - 08.jpg

Category:Outdoor sculptures in Southwest Portland, Oregon

List of symbols designated by the Anti-Defamation League as hate symbols

Category:2020 disestablishments in Oregon


Nightmare Elk

Prompt: In the context of Nightmare Elk, explain the Removal and reactions and the History.

On the morning of October 10, 2020, a crew led by Patriot Prayer supporter Chandler Pappas removed the statue at approximately 9am. Pappas approved and began planning the removal a few days prior. There was little resistance from others during the act; only one man who had been sleeping nearby shouted and watched as the group of 8–10 people easily lifted the sculpture, which was not anchored.Following the statue's removal, Patriot Prayer posted two messages to Twitter. The first had a photograph of supporters posing with the elk in a trailer bed and said, "He is registered to vote and will now be voting for Trump". Some of the group members were shown flashing the OK gesture, in reference to the debunked belief that it was a symbol of white nationalism. The second Twitter post showed a voter registration sheet for "elk Nightmare" and said, "The evil elk is now registered to vote". Pappas insisted the voter registration was not actually submitted for election purposes. He said Patriot Prayer was "having fun" and called the statue removal "a little push back to antifa".Believing antifa supporters erected the sculpture after setting fire to the Thompson Elk, Pappas said, "There can't be a double standard. We toed the line. That elk is just trash so all I really did was clean up trash." He also said the makeshift elk was removed "as a political statement" and the hand gestures were meant "to antagonize" people "who don't know any better". Pappas said the message was directed at Kate Brown and Ted Wheeler, the governor of Oregon and mayor of Portland, respectively, as well as other city officials. According to The Oregonian's Maxine Bernstein, "Social media lit up with fans and critics of the elk escapade." PDX Frontline Alerts, a Twitter account used to provide updates on the protests, called the statue a "memorial for Black victims of police violence" and accused Patriot Prayer of "bragging" about the removal. Pappas told The Oregonian, "That's not the last you'll see of the elk."

Category:George Floyd protests in Portland, Oregon

Black Lives Matter art in Portland, Oregon

File:Portland, Oregon, August 11, 2020 - 08.jpg

Category:Outdoor sculptures in Southwest Portland, Oregon

List of symbols designated by the Anti-Defamation League as hate symbols

Category:2020 disestablishments in Oregon


Nightmare Elk

Prompt: Explain the Removal and reactions about the History of this artwork, Nightmare Elk.

On the morning of October 10, 2020, a crew led by Patriot Prayer supporter Chandler Pappas removed the statue at approximately 9am. Pappas approved and began planning the removal a few days prior. There was little resistance from others during the act; only one man who had been sleeping nearby shouted and watched as the group of 8–10 people easily lifted the sculpture, which was not anchored.Following the statue's removal, Patriot Prayer posted two messages to Twitter. The first had a photograph of supporters posing with the elk in a trailer bed and said, "He is registered to vote and will now be voting for Trump". Some of the group members were shown flashing the OK gesture, in reference to the debunked belief that it was a symbol of white nationalism. The second Twitter post showed a voter registration sheet for "elk Nightmare" and said, "The evil elk is now registered to vote". Pappas insisted the voter registration was not actually submitted for election purposes. He said Patriot Prayer was "having fun" and called the statue removal "a little push back to antifa".Believing antifa supporters erected the sculpture after setting fire to the Thompson Elk, Pappas said, "There can't be a double standard. We toed the line. That elk is just trash so all I really did was clean up trash." He also said the makeshift elk was removed "as a political statement" and the hand gestures were meant "to antagonize" people "who don't know any better". Pappas said the message was directed at Kate Brown and Ted Wheeler, the governor of Oregon and mayor of Portland, respectively, as well as other city officials. According to The Oregonian's Maxine Bernstein, "Social media lit up with fans and critics of the elk escapade." PDX Frontline Alerts, a Twitter account used to provide updates on the protests, called the statue a "memorial for Black victims of police violence" and accused Patriot Prayer of "bragging" about the removal. Pappas told The Oregonian, "That's not the last you'll see of the elk."

Category:George Floyd protests in Portland, Oregon

Black Lives Matter art in Portland, Oregon

File:Portland, Oregon, August 11, 2020 - 08.jpg

Category:Outdoor sculptures in Southwest Portland, Oregon

List of symbols designated by the Anti-Defamation League as hate symbols

Category:2020 disestablishments in Oregon


Nightmare Elk

Prompt: In Nightmare Elk, how is the Removal and reactions of the History explained?

On the morning of October 10, 2020, a crew led by Patriot Prayer supporter Chandler Pappas removed the statue at approximately 9am. Pappas approved and began planning the removal a few days prior. There was little resistance from others during the act; only one man who had been sleeping nearby shouted and watched as the group of 8–10 people easily lifted the sculpture, which was not anchored.Following the statue's removal, Patriot Prayer posted two messages to Twitter. The first had a photograph of supporters posing with the elk in a trailer bed and said, "He is registered to vote and will now be voting for Trump". Some of the group members were shown flashing the OK gesture, in reference to the debunked belief that it was a symbol of white nationalism. The second Twitter post showed a voter registration sheet for "elk Nightmare" and said, "The evil elk is now registered to vote". Pappas insisted the voter registration was not actually submitted for election purposes. He said Patriot Prayer was "having fun" and called the statue removal "a little push back to antifa".Believing antifa supporters erected the sculpture after setting fire to the Thompson Elk, Pappas said, "There can't be a double standard. We toed the line. That elk is just trash so all I really did was clean up trash." He also said the makeshift elk was removed "as a political statement" and the hand gestures were meant "to antagonize" people "who don't know any better". Pappas said the message was directed at Kate Brown and Ted Wheeler, the governor of Oregon and mayor of Portland, respectively, as well as other city officials. According to The Oregonian's Maxine Bernstein, "Social media lit up with fans and critics of the elk escapade." PDX Frontline Alerts, a Twitter account used to provide updates on the protests, called the statue a "memorial for Black victims of police violence" and accused Patriot Prayer of "bragging" about the removal. Pappas told The Oregonian, "That's not the last you'll see of the elk."

Category:George Floyd protests in Portland, Oregon

Black Lives Matter art in Portland, Oregon

File:Portland, Oregon, August 11, 2020 - 08.jpg

Category:Outdoor sculptures in Southwest Portland, Oregon

List of symbols designated by the Anti-Defamation League as hate symbols

Category:2020 disestablishments in Oregon


Nightmare Elk

Prompt: Describe the characteristics of the Removal and reactions in Nightmare Elk's History.

On the morning of October 10, 2020, a crew led by Patriot Prayer supporter Chandler Pappas removed the statue at approximately 9am. Pappas approved and began planning the removal a few days prior. There was little resistance from others during the act; only one man who had been sleeping nearby shouted and watched as the group of 8–10 people easily lifted the sculpture, which was not anchored.Following the statue's removal, Patriot Prayer posted two messages to Twitter. The first had a photograph of supporters posing with the elk in a trailer bed and said, "He is registered to vote and will now be voting for Trump". Some of the group members were shown flashing the OK gesture, in reference to the debunked belief that it was a symbol of white nationalism. The second Twitter post showed a voter registration sheet for "elk Nightmare" and said, "The evil elk is now registered to vote". Pappas insisted the voter registration was not actually submitted for election purposes. He said Patriot Prayer was "having fun" and called the statue removal "a little push back to antifa".Believing antifa supporters erected the sculpture after setting fire to the Thompson Elk, Pappas said, "There can't be a double standard. We toed the line. That elk is just trash so all I really did was clean up trash." He also said the makeshift elk was removed "as a political statement" and the hand gestures were meant "to antagonize" people "who don't know any better". Pappas said the message was directed at Kate Brown and Ted Wheeler, the governor of Oregon and mayor of Portland, respectively, as well as other city officials. According to The Oregonian's Maxine Bernstein, "Social media lit up with fans and critics of the elk escapade." PDX Frontline Alerts, a Twitter account used to provide updates on the protests, called the statue a "memorial for Black victims of police violence" and accused Patriot Prayer of "bragging" about the removal. Pappas told The Oregonian, "That's not the last you'll see of the elk."

Category:George Floyd protests in Portland, Oregon

Black Lives Matter art in Portland, Oregon

File:Portland, Oregon, August 11, 2020 - 08.jpg

Category:Outdoor sculptures in Southwest Portland, Oregon

List of symbols designated by the Anti-Defamation League as hate symbols

Category:2020 disestablishments in Oregon


Nightmare Elk

Prompt: In the context of Nightmare Elk, explain the Replacement and subsequent appearance and the History.

The metal elk statue was replaced with another sculpture of an elk made of branches, duct tape, and wood pallets.In November 2020, the "nightmare elk" appeared at a rally in support of Donald Trump in Salem, Oregon.

Category:George Floyd protests in Portland, Oregon

Black Lives Matter art in Portland, Oregon

File:Portland, Oregon, August 11, 2020 - 08.jpg

Category:Outdoor sculptures in Southwest Portland, Oregon

List of symbols designated by the Anti-Defamation League as hate symbols

Category:2020 disestablishments in Oregon


Nightmare Elk

Prompt: Explain the Replacement and subsequent appearance about the History of this artwork, Nightmare Elk.

The metal elk statue was replaced with another sculpture of an elk made of branches, duct tape, and wood pallets.In November 2020, the "nightmare elk" appeared at a rally in support of Donald Trump in Salem, Oregon.

Category:George Floyd protests in Portland, Oregon

Black Lives Matter art in Portland, Oregon

File:Portland, Oregon, August 11, 2020 - 08.jpg

Category:Outdoor sculptures in Southwest Portland, Oregon

List of symbols designated by the Anti-Defamation League as hate symbols

Category:2020 disestablishments in Oregon


Nightmare Elk

Prompt: In Nightmare Elk, how is the Replacement and subsequent appearance of the History explained?

The metal elk statue was replaced with another sculpture of an elk made of branches, duct tape, and wood pallets.In November 2020, the "nightmare elk" appeared at a rally in support of Donald Trump in Salem, Oregon.

Category:George Floyd protests in Portland, Oregon

Black Lives Matter art in Portland, Oregon

File:Portland, Oregon, August 11, 2020 - 08.jpg

Category:Outdoor sculptures in Southwest Portland, Oregon

List of symbols designated by the Anti-Defamation League as hate symbols

Category:2020 disestablishments in Oregon


Nightmare Elk

Prompt: Describe the characteristics of the Replacement and subsequent appearance in Nightmare Elk's History.

The metal elk statue was replaced with another sculpture of an elk made of branches, duct tape, and wood pallets.In November 2020, the "nightmare elk" appeared at a rally in support of Donald Trump in Salem, Oregon.

Category:George Floyd protests in Portland, Oregon

Black Lives Matter art in Portland, Oregon

File:Portland, Oregon, August 11, 2020 - 08.jpg

Category:Outdoor sculptures in Southwest Portland, Oregon

List of symbols designated by the Anti-Defamation League as hate symbols

Category:2020 disestablishments in Oregon


Moses Breaking the Tablets of the Law

Prompt: Focus on Moses Breaking the Tablets of the Law and explain the abstract.

Moses Breaking the Tablets of the Law is a 1659 oil-on-canvas painting of the prophet Moses by the Dutch artist Rembrandt. It depicts Moses about to break the original two stone tablets inscribed with the Ten Commandments. It is now in the Gemäldegalerie, Berlin.

Category:Paintings in the Gemäldegalerie, Berlin


Moses Breaking the Tablets of the Law

Prompt: Explain the abstract of this artwork, Moses Breaking the Tablets of the Law.

Moses Breaking the Tablets of the Law is a 1659 oil-on-canvas painting of the prophet Moses by the Dutch artist Rembrandt. It depicts Moses about to break the original two stone tablets inscribed with the Ten Commandments. It is now in the Gemäldegalerie, Berlin.

Category:Paintings in the Gemäldegalerie, Berlin


Moses Breaking the Tablets of the Law

Prompt: How does Moses Breaking the Tablets of the Law explain its abstract?

Moses Breaking the Tablets of the Law is a 1659 oil-on-canvas painting of the prophet Moses by the Dutch artist Rembrandt. It depicts Moses about to break the original two stone tablets inscribed with the Ten Commandments. It is now in the Gemäldegalerie, Berlin.

Category:Paintings in the Gemäldegalerie, Berlin


Moses Breaking the Tablets of the Law

Prompt: In Moses Breaking the Tablets of the Law, how is the abstract discussed?

Moses Breaking the Tablets of the Law is a 1659 oil-on-canvas painting of the prophet Moses by the Dutch artist Rembrandt. It depicts Moses about to break the original two stone tablets inscribed with the Ten Commandments. It is now in the Gemäldegalerie, Berlin.

Category:Paintings in the Gemäldegalerie, Berlin


Dr Barnardo's Memorial

Prompt: Focus on Dr Barnardo's Memorial and explain the abstract.

The Memorial to Dr Barnardo by George Frampton, at Barkingside in the London Borough of Redbridge, commemorates the founder of the Barnardo's children's charity. Born in Dublin into a Sephardic Jewish family, Thomas John Barnardo moved to the East End of London in 1866 where he established a chain of orphanages that developed into the Barnardo's charity. He died in 1905 and, in a move unusual for the time, was cremated; his ashes were interred in front of Cairn's House, the original building of his Barkingside children's village. In 1908, a memorial was raised on the site, the sculpture being undertaken by George Frampton, who worked without a fee. The memorial was designated a Grade II listed structure in 1979 and upgraded to II* in 2010.

Princess Victoria Adelaide of Schleswig-Holstein

Category:Monuments and memorials in London

Category:Buildings and structures completed in 1908

Category:Grade II* listed monuments and memorials

Category:Grade II* listed buildings in the London Borough of Redbridge


Dr Barnardo's Memorial

Prompt: Explain the abstract of this artwork, Dr Barnardo's Memorial.

The Memorial to Dr Barnardo by George Frampton, at Barkingside in the London Borough of Redbridge, commemorates the founder of the Barnardo's children's charity. Born in Dublin into a Sephardic Jewish family, Thomas John Barnardo moved to the East End of London in 1866 where he established a chain of orphanages that developed into the Barnardo's charity. He died in 1905 and, in a move unusual for the time, was cremated; his ashes were interred in front of Cairn's House, the original building of his Barkingside children's village. In 1908, a memorial was raised on the site, the sculpture being undertaken by George Frampton, who worked without a fee. The memorial was designated a Grade II listed structure in 1979 and upgraded to II* in 2010.

Princess Victoria Adelaide of Schleswig-Holstein

Category:Monuments and memorials in London

Category:Buildings and structures completed in 1908

Category:Grade II* listed monuments and memorials

Category:Grade II* listed buildings in the London Borough of Redbridge


Dr Barnardo's Memorial

Prompt: How does Dr Barnardo's Memorial explain its abstract?

The Memorial to Dr Barnardo by George Frampton, at Barkingside in the London Borough of Redbridge, commemorates the founder of the Barnardo's children's charity. Born in Dublin into a Sephardic Jewish family, Thomas John Barnardo moved to the East End of London in 1866 where he established a chain of orphanages that developed into the Barnardo's charity. He died in 1905 and, in a move unusual for the time, was cremated; his ashes were interred in front of Cairn's House, the original building of his Barkingside children's village. In 1908, a memorial was raised on the site, the sculpture being undertaken by George Frampton, who worked without a fee. The memorial was designated a Grade II listed structure in 1979 and upgraded to II* in 2010.

Princess Victoria Adelaide of Schleswig-Holstein

Category:Monuments and memorials in London

Category:Buildings and structures completed in 1908

Category:Grade II* listed monuments and memorials

Category:Grade II* listed buildings in the London Borough of Redbridge


Dr Barnardo's Memorial

Prompt: In Dr Barnardo's Memorial, how is the abstract discussed?

The Memorial to Dr Barnardo by George Frampton, at Barkingside in the London Borough of Redbridge, commemorates the founder of the Barnardo's children's charity. Born in Dublin into a Sephardic Jewish family, Thomas John Barnardo moved to the East End of London in 1866 where he established a chain of orphanages that developed into the Barnardo's charity. He died in 1905 and, in a move unusual for the time, was cremated; his ashes were interred in front of Cairn's House, the original building of his Barkingside children's village. In 1908, a memorial was raised on the site, the sculpture being undertaken by George Frampton, who worked without a fee. The memorial was designated a Grade II listed structure in 1979 and upgraded to II* in 2010.

Princess Victoria Adelaide of Schleswig-Holstein

Category:Monuments and memorials in London

Category:Buildings and structures completed in 1908

Category:Grade II* listed monuments and memorials

Category:Grade II* listed buildings in the London Borough of Redbridge


Dr Barnardo's Memorial

Prompt: Focus on Dr Barnardo's Memorial and explain the Dr Barnado.

Thomas John Barnado was born in Dublin in 1845. Moving to London in 1866 to train as a doctor, he was profoundly affected by the child poverty he witnessed in the East End of London and, in 1867, opened his first ragged school. By the late 1870s, Barnado, working with his wife Syrie, had established over 50 orphanages and schools for poor children in London, including his Girls' Village at Barkingside, in what is now the London Borough of Redbridge. The Barkingside development followed the concept of a 'village' environment, rather than an institutional approach, first established at children's homes at Farningham, Kent, in 1865, and at Princess Mary's Village Home for Little Girls at Addlestone, Surrey, in 1870. The Barkingside village was also originally the Barnados' home, which they received as a wedding present. Barnado died in 1905 at his home in Surbiton and, following a funeral attended by very large crowds and a subsequent cremation, his ashes were interred at Barkingside.

Princess Victoria Adelaide of Schleswig-Holstein

Category:Monuments and memorials in London

Category:Buildings and structures completed in 1908

Category:Grade II* listed monuments and memorials

Category:Grade II* listed buildings in the London Borough of Redbridge


Dr Barnardo's Memorial

Prompt: Explain the Dr Barnado of this artwork, Dr Barnardo's Memorial.

Thomas John Barnado was born in Dublin in 1845. Moving to London in 1866 to train as a doctor, he was profoundly affected by the child poverty he witnessed in the East End of London and, in 1867, opened his first ragged school. By the late 1870s, Barnado, working with his wife Syrie, had established over 50 orphanages and schools for poor children in London, including his Girls' Village at Barkingside, in what is now the London Borough of Redbridge. The Barkingside development followed the concept of a 'village' environment, rather than an institutional approach, first established at children's homes at Farningham, Kent, in 1865, and at Princess Mary's Village Home for Little Girls at Addlestone, Surrey, in 1870. The Barkingside village was also originally the Barnados' home, which they received as a wedding present. Barnado died in 1905 at his home in Surbiton and, following a funeral attended by very large crowds and a subsequent cremation, his ashes were interred at Barkingside.

Princess Victoria Adelaide of Schleswig-Holstein

Category:Monuments and memorials in London

Category:Buildings and structures completed in 1908

Category:Grade II* listed monuments and memorials

Category:Grade II* listed buildings in the London Borough of Redbridge


Dr Barnardo's Memorial

Prompt: How does Dr Barnardo's Memorial explain its Dr Barnado?

Thomas John Barnado was born in Dublin in 1845. Moving to London in 1866 to train as a doctor, he was profoundly affected by the child poverty he witnessed in the East End of London and, in 1867, opened his first ragged school. By the late 1870s, Barnado, working with his wife Syrie, had established over 50 orphanages and schools for poor children in London, including his Girls' Village at Barkingside, in what is now the London Borough of Redbridge. The Barkingside development followed the concept of a 'village' environment, rather than an institutional approach, first established at children's homes at Farningham, Kent, in 1865, and at Princess Mary's Village Home for Little Girls at Addlestone, Surrey, in 1870. The Barkingside village was also originally the Barnados' home, which they received as a wedding present. Barnado died in 1905 at his home in Surbiton and, following a funeral attended by very large crowds and a subsequent cremation, his ashes were interred at Barkingside.

Princess Victoria Adelaide of Schleswig-Holstein

Category:Monuments and memorials in London

Category:Buildings and structures completed in 1908

Category:Grade II* listed monuments and memorials

Category:Grade II* listed buildings in the London Borough of Redbridge


Dr Barnardo's Memorial

Prompt: In Dr Barnardo's Memorial, how is the Dr Barnado discussed?

Thomas John Barnado was born in Dublin in 1845. Moving to London in 1866 to train as a doctor, he was profoundly affected by the child poverty he witnessed in the East End of London and, in 1867, opened his first ragged school. By the late 1870s, Barnado, working with his wife Syrie, had established over 50 orphanages and schools for poor children in London, including his Girls' Village at Barkingside, in what is now the London Borough of Redbridge. The Barkingside development followed the concept of a 'village' environment, rather than an institutional approach, first established at children's homes at Farningham, Kent, in 1865, and at Princess Mary's Village Home for Little Girls at Addlestone, Surrey, in 1870. The Barkingside village was also originally the Barnados' home, which they received as a wedding present. Barnado died in 1905 at his home in Surbiton and, following a funeral attended by very large crowds and a subsequent cremation, his ashes were interred at Barkingside.

Princess Victoria Adelaide of Schleswig-Holstein

Category:Monuments and memorials in London

Category:Buildings and structures completed in 1908

Category:Grade II* listed monuments and memorials

Category:Grade II* listed buildings in the London Borough of Redbridge


Dr Barnardo's Memorial

Prompt: Focus on Dr Barnardo's Memorial and explain the Architecture and description.

The sculpture was undertaken by George Frampton, later famous for his statue of Peter Pan in Kensington Gardens and his memorial to W. S. Gilbert on the Victoria Embankment. Frampton donated his design without charge. The memorial forms an exedra, with a large, semi-circular, stone seat flanking the central plinth. The base has figures in bronze of three children, with a bust of Barnado above that, and culminates in a figure of a woman, representing Charity, embracing two further children. The base is inscribed with a quotation from Barnado's will: 'I HOPE TO DIE AS I HAVE LIVED/ IN THE HUMBLE BUT ASSURED FAITH OF/ JESUS CHRIST/ AS/ MY SAVIOUR, MY MASTER AND MY KING'. The walls that form the seat are also inscribed, to the left: 'SUFFER LITTLE CHILDREN TO COME UNTO ME/ FOR OF SUCH IS THE KINGDOM OF HEAVEN'; and to the right: 'IN AS MUCH AS YE DID IT UNTO ONE OF THE LEAST/ OF THESE MY BRETHREN YE DID IT UNTO ME'. A small memorial set into the base commemorates Syrie Barnado, who died in 1944.The memorial, described in Pevsner as "outstanding", was unveiled in 1908 by the Duchess of Albany. It was listed at Grade II in 1979, and upgraded to Grade II* in 2010.

Princess Victoria Adelaide of Schleswig-Holstein

Category:Monuments and memorials in London

Category:Buildings and structures completed in 1908

Category:Grade II* listed monuments and memorials

Category:Grade II* listed buildings in the London Borough of Redbridge