An imitation of the work of Bellano, a bas-relief in clay, was in custody at the Export Office and afterwards allowed to pass, being recognized as modern. This was quite enough to advertise the work as excellent, so excellent that it was held up at the Italian Export Office. The bas-relief is now shown in the collection of a New York amateur, and the romantic tale of the refused permit adds flavour and draws particular attention to the masterpiece, and yet----! This is more or less the dark side of the traffic in curios and the various questionable forces that many collectors call “the black band.” As will be shown later, the “black band” is a Parisian expression, denoting a more restricted field of activity. How is the beginner to cope with such odds? To become acquainted with the peculiar _milieu_ to be avoided in the commerce of antiques requires time, to learn to detect restorations and repairs, we mean undue repairs, is an art in itself that demands considerable experience. To sum up, while striving daily to become more efficient, relying as little as possible on the help of others, or knowing how to choose the right sort of aid, it is most important to be circumspect, to assume in principle that the beginner is likely to be duped at the start, and to believe that there is more wisdom than people are ready to think in the advice of Paul Eudel, _Soyez athées en objets d’art_ (Be sceptical in art objects!). CHAPTER XVI THE ARTISTIC QUALITIES OF IMITATORS Sculptors--A few notable examples--Bastianini’s art and the adventures of his Girolamo Benivieni--A modern imitation of Renaissance art entered at a Munich museum as a genuine antique --The sculptor’s art and method--The Verrocchio, Robbia and Co., Ltd.--Signor Natali’s art and Signor Bonafedi’s patina-- Various methods of would-be makers of old masters--Painting --The Sienese imitative school--Mr. Salting’s experience-- Professor Ezio Marzi’s imitation of the Flemish school--Stone and ornamental work--Professor Orlandini’s art--Iron work-- Weapons, etc. From the point of view of art, the creator of “finds,” the imitator of masterpieces, and faker of sham “_chefs-d’œuvre_” are not attractive personalities. The value of their art--if it deserves so noble a title--is likely to vanish as soon as the scheme is detected and to leave us with something of the disillusionment experienced when viewing a set of stage scenery by broad daylight.