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The fact that in his more mature religious works Vittore Carpaccio sees Giovan Battista Cima as a close and reliable point of reference, because Cima was another artist who was unwilling to keep constantly up-to-date with the latest innovations in the art language, is noticeable also in altarpieces like the St Thomas in Glory between St Mark and St Louis of Toulouse, a panel painted in 1507 for the church of San Pietro Martire in Murano and now in the Staatsgalerie in Stuttgart.
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