We recall the case of an inspector who felt uncertain as to the artistic value of a painting and finally resorted to the experience of his immediate superior, the curator of a museum and a well-known art writer. On examining the work the latter pronounced it to be a good specimen of the Ferrara school, and declared that permission could not be granted. The owner and would-be exporter, an antiquary in great favour, called on the curator, who had had the painting transferred to his own private room with a view to making a careful examination. He directed the curator’s attention to the repainted and repaired condition of the work. Persuaded finally that the painting was nothing but a shocking piece of modern restoration the curator granted permission. A friend who was present and noticed the dealer’s satisfied smile, asked him afterwards whether the work was really so bad as he had represented to the curator. “Not a single retouch,” was the answer, “most genuine.” “But you convinced him. You pointed out the restored parts.” “Yes, suggestion is one of our most formidable weapons,” assented the antiquary, doubling his crafty smile. “Yes. Suggestion is one of our best accomplices.” Although recognizing that many of the employés of the Export Office are quite unfitted for their difficult task, through their particular form of education, we are ready to admit that to decide almost at sight, what may safely leave the country and what must be retained, is no easy affair. Imitations at times are so perfect that even the most experienced eye, without mature and well-pondered examination of the object, is apt to be duped. Some years ago one of the sons of Professor Costantini, a well-informed antiquary of Florence, made a copy of an Antonello de Messina that was in his father’s collection. The copy was undertaken to oblige an English friend, and being painted on an old worm-eaten panel of wood, so cleverly imitated the original as to be mistaken for it. When the work was to be exported the official refused his permission on the ground that it was by a great master and must consequently remain in Italy. However, as the young artist insisted in his declaration that it was a copy made by himself, appeal was made to the curator of the Uffizi Gallery of Florence, Professor Ridolfi. The latter confirmed the inspector’s verdict, reiterating the prohibiting injunction, and a sort of consultation was held, with the aid of Professor Supino, curator of the National Museum, Professor Elia Volpi, a highly esteemed antiquary of Florence, and a German artist, acting restorer of paintings at the Uffizi Gallery. They unanimously declared the work to be old. Some attributed it to Antonello himself, others to his school, there was no suspicion of modernism. The whole affair was afterwards settled as it should have been from the first. Professor Costantini invited Professor Ridolfi and the others to see the original painting at his house.