A member of the board of exportation explained to the author, how it happens, that the officials are frequently led into the penetralia of the make-up of a pseudo-masterpiece. Sometimes the work is done so well that it would deceive the very officials and experts of the export bureau. In this case the antiquary, who has sold the painting and is desirous that it should reach its destination without hindrance from the export office, pays a visit to the inspector and shows him a photograph of the supposed masterpiece, as it appeared before its coquettish restoration. After this graphic proof the office has nothing more to say and permission to export is granted. The members of the Commission do not consider themselves to be responsible to collectors. But they do demand documents as guarantees, and two photos, one taken before restoration and one after, are generally exacted and kept in the office. One of the Commission showed us some of these photographs, two in number for each object, before and after the restoration. One could hardly believe the miracles accomplished in this line. Botticini easily becomes a Botticelli after a few caresses by a clever hand, and we know cases in which a mediocre work by Ridolfo Ghirlandaio has been turned into a Raphael. These photographs are exacted by the inspectors as a protection from any possible accusation from the central department located in Rome. When the Press gives an elaborate account of some American having captured a masterpiece, giving facts and details and the reproduction of the _chef-d’œuvre_, adding that it comes from Italy, when London art magazines go into ecstasies over some newly-acquired find, and wonder how the Italian Government came to allow such a magnificent “find” to slip through its fingers and cross the frontier, the Central Office in Rome naturally becomes alarmed and demands an explanation from the local office responsible for the exportation permit. As a convincing answer the two photographs are then sent to Rome, with the consequence that the case is dismissed. The various export offices, whose chief duty it is to impede the exodus of fine works of art, do not consider themselves under any obligation to prevent sham masterpieces from leaving Italy. The imitator, a type to figure later as a help to the better understanding of the faker, occasionally becomes an involuntary or accidental accomplice in deception. His complete equipment, his excellent work, which but for his rectitude and scruples might turn him into a formidable faker, are frequently exploited by others, who, on coming into possession of some of his good imitations launch them upon the collector world, just as they might any species of faked works of art. Many of the noted bastard masterpieces in museums are the work of imitators that have been palmed off by tricky dealers without the consent or knowledge of the artist, and it has often been the latter who has helped in the discovery of the fraud.