di Santo Stefano. One of those paintings, The Ordination of Saint Stephen (1511), an oil on canvas, is located today in the Gemäldegalerie, Berlin. Carpaccio's Saint George and the Dragon (1516), an oil on canvas painting located in the Abbazia di San Giorgio Maggiore, Benedicti Claustra Onlus, (Venice), position St. George as the dragon-slayer to symbolize the triumph of Christian values over the devil (represented as a dragon). Although uncommon in the iconographic depictions of St. George, St. George Baptizing the Selenites offers a good example of the type of oriental (eastern) subjects that were popular in Venice at the time: great care and attention is given to the foreign costumes, and hats are especially significant in indicating the European construction of the exotic. In The Baptism scene, one of the recent converts has placed his elaborate red-and-white, jewel-tipped turban on the ground in order to receive the sacrament. Fortini Brown argues that this increased interest in exotic eastern subject matter is a result of worsening relations between Venice and the Ottoman Turks: "as it became more of a threat, it also became more of an obsession." In 1516, he painted a Sacra Conversatione painting in then Venetian town of Capodistria (now Koper in Slovenia), which is hanging in its Cathedral of the Assumption. Carpaccio created several more works in Capodistria, where he spent the last years of his life and also died. Narrative cycles and Altarpieces The Legend of Saint Ursula Cycle In 1490, Carpaccio began The Legend of Saint Ursula, a series of paintings executed for the Scuola di Sant'Orsola depicting the life of the confraternity's patron saint. The Sculola di Sant'Orsola was a well-established confraternity where many individuals across the social spectrum would come together and engage in civic-oriented work. This cycle has led scholars to describe him as a "master visual storyteller," since the large-scale paintings were installed in large open spaces, like a reception or audience hall, allowing spectators to take in the scenes, similar to animation storyboards. The subject of Carpaccio's paintings, which are housed in the Gallerie dell'Accademia, was drawn from the Golden Legend of Jacopo da Varagine. The legend revolves around St. Ursula and her companions in Cologne where tradition relates that in the year 385, a legion of eleven thousand virgins professing their faith to Christ, with Ursula at their head and twenty thousand Christians by their side, would be massacred