Moreover, several of the scenes deal directly with cross-cultural issues, such as translation and conversion. The painting cycle of Life of the Virgin for Scuola degli Albanesi dates to 1504–1508 and was largely executed by Carpaccio's assistants. The images are now divided among the Accademia Carrara of Bergamo, the Pinacoteca di Brera in Milan, and the Ca' d'Oro in Venice. Altarpieces In 1491, Carpaccio completed the Glory of St. Ursula altarpiece, a large scale detachable wall-painting painted for the hall of one of the Venetian scuole, which were charitable and social confraternities. Three years later he took part in the decoration of the Scuola Grande di San Giovanni Evangelista, painting the Miracle of the Relic of the Cross at the Ponte di Rialto (1496). Other altarpieces that Carpaccio created, like St. Thomas Aquinas Enthroned (1507), Presentation of Christ in the Temple (1510), and Martyrdom of the Ten Thousand (1515), were commissioned by Venice churches. The church-patron of St. Thomas Aquinas Enthroned (1507) remains unknown, however, Presentation of Christ in the Temple (1510) was commissioned by the church of San Giobbe, and Martyrdom of the Ten Thousand (1515) by the church of San Giorgio Maggiore. After 1510, he painted for patrons in his province, sending his altarpieces to patrons in cities across the country. It has been argued that his altarpieces were not his best works, as they appeared unnatural and lacked fluidity when compared to the most influential altarpieces of the time. Artistic decline and death (1520s) Towards the end of his life, the quality of his art began to decline, specifically following his Schiavoni pieces. The change in quality was remarked upon by the artistic community then and now. By contrast, the Italian Renaissance painter Giorgione made innovations in the field that Carpaccio was simply unable to match. The expectations and artistic demands had changed, resulting in Carpaccio's style seeming outmoded in comparison. He never altered his style to keep up with these new innovations. Carpaccio increasingly turned to the assistance of his sons Pietro and Benedetto, his principal pupils. However, he independently completed his final work, which consisted of decorating organ shutters for the Duomo at Capodistria in 1523. Carpaccio's late works were mostly done in the Venetian mainland territories, and in collaboration with his sons Benedetto and Piero. One of his pupils was Marco Marziale. He spent his final years in this Slovenian town, where he died