Carpaccio's earliest known solo works are a Virgin and Child (c. 1488/89) at the Museo Correr (Fondazione Musei Civici di Venezia) and the Salvator Mundi with Four Saints (c. 1489/90) owned by the Fondazione Luciano Sorlini in Carzago di Calvagese (in Brescia). The Virgin and Child reflects the influence of works from the Bellini workshop (Giovanni Bellini and Giovanni Bellini) – especially the Virgin's hands and headdress, along with the figure of the Christ Child. Carpaccio may have also been influenced by the works of Lazzaro Bastiani and Alvise Vivarini, Venetian painters of an older generation. The black backdrop of the Salvator Mundi (Savior of the World) was likely influenced by Antonello da Messina's Salvator Mundi (1475-76). Furthermore, Antonello's use of rounded forms and volumes, along with the three-quarter views of the four surrounding saints likely influenced the aspiring, although immature, style of Carpaccio. Carpaccio's Madonna and Child with Two Saints (c.1485-1510) was destroyed during World War II. It was stored in a flak tower in Berlin for safe keeping, but in May 1945, the tower was set on fire and most of the objects inside were destroyed. Principal works (1490–1520s) Carpaccio’s principal works were executed between 1490 and 1519, placing him among the early masters of Venetian painting in the Renaissance. By 1490, Carpaccio painted The Legend of Saint Ursula, a series of paintings for the Scuola di Sant’Orsola, one of the religious confraternities in Venice (see below "Narrative Cycles" for more on this series). This series elevated his prominence in early Renaissance Venice, allowing him to distinguish himself as a capable, creative painter skilled in artistic narration and lighting. Around 1501–1507, he worked with Giovanni Bellini, painting in the Sala del Gran Consiglio in the Doge's Palace. Like many other major works, the cycle was entirely lost in the fire of 1577. Shortly after the year 1502, Vittore Carpaccio's St. Augustine in His Study was painted and signed with the inscription: VICTOR / CARPATHIVS / FINGEBAT. The artist situates the saint in an idealized interior domestic space, alluding to contemporary practices to the art of collecting during the Renaissance period. This painting showcases how objects associated with collecting are meant to spill out within a space and between the rooms of a house. On the left wall of the painting, sculptures, Etruscan vases, and a Mamluk metalwork candlestick are displayed on a shelf, referencing objects that were highly