More appropriately, the Bastianini case ought rather to be viewed as the clashing of two diametrically opposed visions of art. On the one hand the traditional Italian, where stylistic epochs like Antiquity, late Gothic, Renaissance, and the Baroque in reality doesn’t mean very much, but can be re-actualized or developed, like a photographic print, at any time, and even blended in any pro­por­tion with any other stylistic feature. What really mattered was the technical skill or artistic repre­sentation of the subject-matter.