and his Flemish influenced figures and landscape backgrounds reflect the blend of Netherlandish and Italian styles that interested his patrons. The Brussels Guild would not allow a master painter to take more than one apprentice at a time, so it is likely that Bugatto studied as a journeyman apprentice under van der Weyden, a position which was less restricted. Initially van der Weyden and Bugatto argued frequently, causing Bugatto to leave the studio for a time until then Dauphin of France- the later King Louis XI- intervened. As an assistant Bugatto likely worked on underdrawings for commissions, designing and painting patterns, and eventually taking more responsibility for entire commissions. Bugatto was likely heavily influenced by van der Weyden's style of painting, as can be seen in later attributed works such as the ex-Treccani fragment, in which he combines Italian styles such as the profile and dark shading with Rogier-like elongation of the figure, definition of facial features, and patterning of the background. Upon his return to Milan in 1463 the Sforza noticed van der Weyden's influence on Bugatto's painting and on 7 May 1463, Duchess Bianca Maria Visconti wrote a letter of thanks to Rogier, showing interest in Northern European art styles. It has been suggested that the Duke and Duchess of the younger Duchy of Milan may have been interested in copying some of the detail and smooth styles of court portraiture from the more developed Netherlandish tradition. Bugatto is also known to have been influenced by other important artists of the time during his travels. While in France painting the commission of Bona of Savoy Bugatto may have seen and been influenced by Jean Foquet and other French artists’ works. When the ducal couple Duke Galeazzo and Bona of Savoy visited the Gonzagas in 1471 they would have seen the Camera dipinta and portraits of the Gonzagas done by Andrea Mategna, which established him as a portraitist of repute whom they would be interested in having their own portraitist study. In a letter from 26 July 1471 Duke Galeazzo sent for Zanetto Bugatto to come from Milan to Gonzaga. A week later Ludovico Gonzaga called Mantegna to Gonzaga along with two portraits and ordered him to take Bugatto to Mantua to meet and learn. Some historians think Gonzaga may have been interested in having his own portraitist Mantegna meet Bugatto because of the gold portrait medals which Bugatto