Pasticcio is a term that was first introduced into art theory in the 17th century as an antonym for eclecticism and to the benefit of connoisseurship. This was particularly the case in France, where Roger de Piles adopted the term to describe the differences between the original and a copy. During the 18th century, the Pasticcio technique was favourably regarded, particularly in Venice. This will be illustrated by examining three case studies from the art of painting: firstly, the reception of Veronese (Ricci, Tiepolo); secondly, the architectural fantasy of veduta painting (Marieschi, Canaletto, Algarotti); thirdly, the division of labour used in the paintings of “British worthies” commissioned by Owen McSwiny. It will be shown that the term Pasticcio stood for a modus operandi for a creatively elective eclecticism in the 18th century.