It is difficult to tell when a man ceases to be an expert and becomes invested with the part of _courtier_, because in keeping with the general character of the various functions of the curio world, there is no definite and plain delineation between the one capacity and the other. The _courtier_ is naturally supposed to know all about the trade, to possess the necessary elements for appreciation of artistic value and to make others appreciate it. His chief mission, however, is to smooth over business difficulties that might arise between the seller and the buyer. As may be logically expected, the metamorphoses of this personage are infinite and may be useful or not to the collector according to circumstances. In conclusion, the go-between is not only often a necessary complement but may at times be used to great advantage. The difficulty lies in knowing how to choose the right sort. CHAPTER XV IMITATORS AND FAKERS The dealer’s silent partners--The important and interesting guild of restorers--The imitator an unwilling accomplice--On the shady side of silent activity--Again the faker--The patrician who supplies the pedigrees--The smuggler and his ways--The “black band”--Wise tactics. We now enter the department of the curio dealer’s silent helpers, the manifold activities assembled under the broad if not indefinite name of restorer. A brief glimpse into this part of the trade will lead us to another artistic division, that of the imitator, and these two last classes of an unquestionable character will serve admirably to herald and usher into that deeper, darker stratum of the commerce in which the faker represents the principal character. That the restorer should be called the curio dealer’s silent partner is quite correct as a true definition. The day one of these mute confidants should feel inclined to boast, he would find no mercy from the dealer and no gratitude from the duped or disappointed collector whose eyes he had opened by revealing the truth. This was fully exemplified by a clever restorer of paintings, employed by an Italian antiquary at forty francs a day--no mean pay--on account of his unusual ability in the imitation and restoration of works by Botticelli more especially, as well as for other _pastiches_. Thinking to start a profitable business of his own as an art restorer and that his merits would be valued _per se_, he disclosed the secret of the made-up Botticellis to a rich collector and let out that he himself to all practical purposes had painted the gem of the gallery. He was promptly discharged by his employer and the collector to whom he had told the truth became his worst enemy.