This paper considers the emergence of French academic classicism in architecture alongside several legally sanctioned building practices in late 17th-century Paris, including newly regulated methods of funding, construction, and speculation. As a result, archaisms and medieval legacy seem to confirm the workshop culture in which Bastiani’s painting arose. This paper deals with a reexamination of the artist’s career from the seventh to the ninth decade of the fifteenth century, specifying some new aspects regarding style and chronology and discussing the relationship between some autographs pieces and bottega works, with particular attention to the reuse practice of the same cartoons for different oeuvres. Nevertheless, scholarly focused on rival artistic families, such as those of Vivarini and Bellini, academics have not sufficiently stressed the importance of Bastiani’s course for the development of Venetian painting in the second half of the Quattrocento. Noted in San Lio since 1456, where he seems to have settled with his workshop, Lazzaro enjoyed widespread appreciation among his contemporaries, as demonstrated by the importance of commissions and documentary evidence. Lazzaro Bastiani distinguishes himself as one of the most interesting yet less considered fifteenth-century Venetian painters.
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