inheritor. According to Venetian customs, this would have indicated that he was at least 15 at this time, suggesting a birth year before 1457. However, a closer examination of Venetian law by scholars led to the discovery that children could be regarded as future heirs, thus Carpaccio’s birth year range was thus raised to circa 1460 to 1465. Another document revealed that Carpaccio continued to live with his father through 1486, signifying late adolescence by this time and confirming this later range of birth years. Peter Humfrey presents the various bits of evidence that scholars have used in order to determine Carpaccio's birth years, as well as when his first earliest works date, and in turn in which workshop he trained in Venice. Ulitmately, the most recent research argues for a birth date between 1460 and 1465; he died around 1525 or 1525. Carpaccio (or Scarpaza, Scarpazza or Scarpanza or Scarpanzo, as the name was variously recorded in the Venetian dialect) came from a family originally from Mazzorbo, an island in the diocese of Torcello. Archival documents trace the family back to at least the thirteenth century, and its members were diffused and established throughout Venice. Carpaccio signed two early works with the Venetian form of his last name: first as VETOR[E] SCHARPACO in his Virgin and Child (c. 1488/89) at the Museo Correr (Fondazione Musei Civici di Venezia) and then as VETOR SCARPAZO on the parapet in his Salvator Mundi with Four Saints (c. 1489/90) owned by the Fondazione Luciano Sorlini in Carzago di Calvagese (in Brescia). By 1490, with the painting Arrival in Cologne (part of the Life of Saint Ursula cycle; see below), he began to use variants of the Latin Carpatius and Carpathius. It was not until a 1648 publication that one of his biographers, Carlo Ridolifu, referred to the artist as "Carpaccio" the name for which he is known today. Early twentieth-century scholars Molmento and Ludwig argued that Carpaccio's first teacher Lazzaro Bastiani, who, like the Bellini brothers and Vivarini, was the head of a large atelier in Venice. In the end, scarce details remain about his early life, leaving scholars to piece together his early artistic training and formation. In the 2022 catalogue raisonné, Humfrey presents the different arguments for why Carpaccio possibly apprenticed in the Venetian studio of the Bellini family, developing his artistry under the guidance of Gentile Bellini and/or Giovanni Bellini.