Another form of restoration of a most questionable character, as the decorative nature of the object cannot be claimed as an excuse, is that, by which a painting is transformed or embellished by repainting large missing portions more or less fantastically, or by supplying the artistic quality that is wanting. Such work is either done by totally repainting the missing parts, or by veiling and repainting here and there, so as to give the work the attractiveness of a masterpiece. Naturally in the vast field covered by the questionable genius of this deceptive art, limits are set by the greater or lesser capacity of the restorer, just as the quality of the restoration determines whether he is to be called a professional repairer of paintings or a faker. It is incredible what an amount of work is executed nowadays intended to give a coquettish character to a daub, or to enhance the value of a fairly good painting. Even many masterpieces sold in recent times have been to our knowledge decorated with fantastic backgrounds of castles and quaint landscapes, and mottoes and coats-of-arms have been added to portraits. A barrel of alcohol--spirit, it is known, dissolves fresh varnish and modern retouching--would accomplish wonders with famous masterpieces of recent acquisition and cause many a disillusionment to the curators of museums. As regards the juggling of poor or deficient works of what is generally called a school, into a _trompe-l’œil_, making one believe it to be a painting by the master of the said school, should Italian export officials be inclined to make public what is intended to remain private, many an astonishing _coup de théâtre_ would reveal the true nature of supposed masterpieces bought by unwary collectors as genuine _chefs-d’œuvre_.