In introductory parts of the work is analyzed the political, social and religious context of the Zadar archdiocese area in the period of the end of 16th and the first half of 17th century. Decrees of the Council of Trent and decline in the productivity of domestic painting workshops are factors that influenced the increase in orders for paintings from masters working in the center of the Republic of Venice. This trend is discussed in more detail in the paper in the narrower area of the Zadar archdiocese, but it is a phenomenon that is characteristic of the entire eastern coast of the Adriatic. Analyzing imported paintings, it was observed a greater demand for paintings by the Venetian painter Palma the Younger and his followers. In the paper, the stylistic expression of Palma the Younger is analyzed in more detail, and his altarpieces painted for clients of Zadar are individually processed. Commissions of paintings from his followers in the area of the Zadar archdiocese were also considered, so the paper provides an overview of all the altarpieces attributed with certainty to an individual painter in Palma circle, their cataloguing, stylistic analysis and the context of the order. Also, the profiles of each follower and mutual similarities and differences in artistic expression are discussed. Ultimately, based on the available data, efforts were made to determine the orders and the circumstances of individual order of paintings.