In this class, we mainly discussed Vittore Carpaccio’s Scenes from the Life of St. Ursula. The artist used the same outfit of characters to show that two scenes in the piece happened at different times, thus indicated the narrative of the story in the painting. Comparing this piece to Hans Memlic’s Shrine of St. Ursula, we find Carpaccio’s piece was more formal and ceremonial. The reason for such a feature had very direct relevance for the patron, as the visual narrative structure mirrored the actual ceremonial structure of the confraternity’s own ritual. A confraternity in Venice is a religious and social organization that holds ceremonies and had masses together. The notion that sacred and secular meanings were embedded in the same piece at the same time was not new. In Raphael’s Entombment, we have already seen that a significant religious scene was combined with a personal emotion of regret and care from the patron whose son died.