There are also cases when simple plagiarism or chance similarity has been turned to advantage by shrewd people. The fact that Trouillebert’s painting greatly resembled Corot, was sufficient to give corrupt dealers the chance to pass off Trouillebert’s landscapes as works by the famous French master. This was done, of course, in spite of Trouillebert’s protests, who never thought of imitating Corot. It is curious when some work of a clever imitator or genial faker falls in the course of time into the hands of the restorer to be repaired--there are circumstances in which modern paintings may need repair. Something still more extraordinary happened to a clever restorer and imitator living in Siena who received from England one of his own paintings--one of his first imitations of Lorenzetti--obviously damaged and entrusted to him for restoration. There are other characters which will form the subject of a more particular study. These individuals belong to the shady side of the commerce and have no redeeming points whatever. They comprise fakers, forgers, smugglers, deceivers at large, and the whole clan included in the vague and broad term “the black band,” as some collectors call them. The faker is the _Deus ex machina_ in the most varied kinds of deception. Fakers are not only those who furnish spurious works of art and well-imitated articles of virtu, but also those who help in any form or manner to dispose of sham objects. Thus the parts played by masquerading aristocrats, lending their names and swearing to heirlooms, the debased patricians helping to build the reputation of an artistic product, are forms of faking, as well as others which aim at cheating or deflecting public opinion or a genuine appreciation--forms of faking that will be more clearly outlined when degenerate varieties of art sales are described. One of the most clandestine helpers of art and curio-dealing and one who is in close contact with the dark side of the commerce is the smuggler, a genuine specialist not resembling other smugglers but with characteristics of his own worth notice. Needless to say smuggling has no _raison d’être_ in such countries as have no custom laws to regulate the export of artistic goods nor put duty upon their entrance within the precinct of the State. It is also obvious that the dual form of such legislation, laws to prevent exportation, and importation dues, has produced two corresponding kinds of smuggling, the one aiming to baffle prohibitive laws on exportation, and the other trying to undervalue artistic goods generally taxed _ad valorem_.