Daddy Bernardo (Florence ca.1280- 1348) – Arrival of St. Ursula in Cologne (60x63 cm) ca.1333 J. Paul Getty Museum

The composition presents a crowded scene unfolding on and around several vessels approaching a fortified city. A golden background establishes a sense of otherworldly significance, contrasting with the darker tones used for the water and the architecture. The foreground is dominated by two boats filled with numerous figures, their faces rendered with limited individualization but conveying a collective emotion of anticipation or reverence.
In the foremost boat, a central figure draped in purple cloth gestures towards the city. This gesture appears to be one of introduction or welcome. Surrounding him are other individuals, some looking directly at the city, others engaged in quiet contemplation. The presence of flags bearing heraldic symbols – a red cross on white – identifies these vessels as belonging to a specific power or entity.
The second boat, positioned slightly behind and to the right, carries a group of elaborately dressed figures wearing tall, pointed hats adorned with intricate designs. These individuals are likely intended to represent authority or nobility, their attire suggesting high status within the depicted society. They too gaze towards the city, their expressions unreadable but contributing to the overall atmosphere of solemnity.
The city itself is rendered in a simplified manner, its fortifications dominating the right side of the painting. A large arched gateway provides a focal point, hinting at an entrance or passage into the urban center. The color palette used for the city – a muted ochre and brown – creates a sense of age and permanence.
The artist’s choice to depict such a large number of figures suggests themes of pilgrimage, procession, or perhaps even conquest. The contrast between the vibrant flags and the somber expressions of many of the individuals hints at an underlying tension or complexity within the narrative. The golden background elevates the scene beyond the mundane, suggesting a divine sanction or blessing upon this arrival.
Subtly, the painting conveys a sense of power dynamics – the figures in the boats are clearly arriving as representatives of a superior force, their presence intended to impress and perhaps even intimidate the inhabitants of the city. The overall effect is one of controlled spectacle, where religious devotion and political authority intertwine.