sought after during that time and valued in Renaissance art collecting. Carpaccio completed additional narrative cycles and expanded his oeuvre. Between 1502 and 1504, he portrayed episodes from the lives of Saint Jerome and the Virgin Mary. The legend of St. George is referenced in his painting, St. George Baptizing the Selenites (1507). According to the Golden Legend, George, a Christian knight, rescues a Libyan princess who has been offered in sacrifice to a dragon. Horrified that her pagan family would do such a thing, George brings the dragon back to her town and compels them into being baptized. The legend of St. George was enormously popular during the Renaissance, and the confrontation between the knight and the dragon was painted later by numerous artists, such as Albrecht Altdorfer's St. George and the Dragon (1510). From 1507 to 1508, Carpaccio executed the work, St. Tryphonius Exorcizing the Demon. In 1508, he joined a committee established to assess the frescoes painted by Giorgione, which had been commissioned by the Fondaco de’ Tedeschi, a trading post for German merchants. Carpaccio appears to have been influenced by Cima da Conegliano, as evidenced in the Death of the Virgin from 1508, at Ferrara. In 1510, Carpaccio executed the panels of Lamentation on the Dead Christ and The Meditation on the Passion, where the sense of sorrow found in such works by Mantegna is backed by extensive use of symbolism. The theme of death is evident in The Meditation on the Passion, as Christ's body sits on a throne with pseudo-Hebrew inscriptions. In the background sit leafless trees, crumbling buildings, and a dry, desert ground—all alluding to the theme of death. During the same year, 1510, Carpaccio paintedYoung Knight in a Landscape, now located in the Thyssen-Bornemisza Collection of Madrid. In the early 1510s, Carpaccio began to experiment with other formats, particularly altarpieces and other devotional works on a smaller scale. However, he experienced less success upon the rise of younger artists, such as Titian, Giorgione, and Lorenzo Lotto, whose innovative styles challenged his conservative values. Nonetheless, he designed various altarpieces for Venetian churches, including St. Thomas Aquinas Enthroned (1507), Presentation of Christ in the Temple (1510), and Martyrdom of the Ten Thousand (1515), while he also continued to paint for a more modest community of provincial patrons. Between 1511 and 1520 he finished five pictures on the Life of St. Stephen for the Scuola