As it was the latter concept of art which won, Bastia­nini’s fame declined correspondingly, for soon to disappear com­ple­tely from any discussion of art outside the shameful annals of art forgery. With one exception. The South Kensington Museum bought as early as 1869 a female marble bust, the “Lucrezia Donati,” who had earlier been attributed to Mino da Fiesole, from Alessandro Foresi as a work by Giovanni Bastianini, but for a price equivalent to that commanded by genuine pieces from the Renais­sance.8