between 1525 and 1526. Style Carpaccio was one of the first artists to include a cartellino into his paintings; he inserted it into select pieces in a way that made it appear as if the artist had left it there without thought. In comparison to his mentor Giovanni Bellini, Carpaccio's works are overall less defined. Considered untraditional at the time, Carpaccio painted his altarpieces on canvas rather than on wood panel. In addition, he carried out thin priming, which resulted in a bolder look. Carpaccio was observed to have played with the vanishing point in his works. For example, in St. Jerome In His Study, the vanishing point is to the right of the center. While he did still employ the traditional use of having the vanishing point be in the center, at times Carpaccio added a second vanishing point. In The Death of St. Jerome (1502), a second vanishing point was included below the primary one on the body of the saint. The effect was that the primary vanishing point broadcast imagery away from the observer, while the vanishing point below brought the imagery towards the observer. Carpaccio paid special attention to architecture, depicting buildings precisely and accurately to ensure that his paintings reflected the new architectural elements in Venice. Legacy and influence Carpaccio transformed from being a member of a small furrier merchant family to being a prominent artist in Italy, with some scholars comparing his stature to Gentile Bellini. Unlike Bellini, Carpaccio worked mostly in what has been described as a more conservative-style of painting, a contrast to the growing Humanist tendencies that were a prominent influence on other painters in Italy during his lifetime. His depiction of Venetian architecture and everyday life has greatly contributed to modern historians’ conception of fifteenth-century Venetian culture. Most of Carpaccio’s works have been relocated and are now displayed in the Galleria dell’Accademia in Venice. Only one complete collection of paintings remains intact, which can be found along the walls of the Scuola di San Giorgio degli Schiavoni. Later artists produced various works in the aftermath of Carpaccio’s death and were inspired by his oeuvre. For instance, Paris Bordone's The Presentation of the Ring (1534), an oil painting, echoed Carpaccio’s broad compositions, accurate representation of textiles and fabrics, and representation of a gathering of a confraternity. Carpaccio also influenced the glassware industry of sixteenth-century Murano. For instance, collections of milk-glass tumblers,