Not only because Natali occupies a room in Bonafedi’s studio, and appears to work under this artist’s supervision--at least it was so when we had occasion to study the work of this excellent imitator--but direct from the work in the lunette of the Baptism one feels inclined to look on this young artist as endowed with the defects and good qualities of a painter indulging in plastic work. The composition, for instance, harmonious and rich, with a happy suggestion of light and shade, lacks the directness of form peculiar to sculptors, and the modelling shows here and there--and this even considering the task the artist has imposed upon himself of imitating Quattrocento work--the flatness and dryness of a painter who models without plastic insight or preoccupation. These characteristics, these pictorial qualities which are not to be seen in Signor Natali’s modern work, are perhaps the disguise with which he sometimes veils his touch--the touch of a modern sculptor. Though admiring this excellent imitation, we must say we are surprised at the fact that it was not sooner detected as modern work. From Bonafedi, a painter possessing great facility in execution and uncommon versatility as an imitator, the mere association of ideas easily leads one to the Siena imitators who have for years held the privilege of being the strongest imitators of early Quattrocento work. Joni and others have, unwittingly, deceived more than one connoisseur. One of these Sienese products was bought by Mr. Salting for twenty thousand lire. There is no doubt that the imitation bought by Mr. Salting as work of the old Sienese school is one of the best that modern Siena has ever produced. Yet anyone already acquainted with that kind of work, and who had seen at least one specimen out of the many that have met with good success among unguarded collectors, would not have found it difficult to detect the first-rate imitation that so triumphantly entered the Salting collection. It is said that Mr. Salting got his money back, and the painting was returned to the dealer; a remarkable occurrence and a proof of good faith, as usually when the collector finds he has been duped and is not disposed to keep it quiet, the vendor is either not to be found or he has taken prudent measures and good care to be on the safe side legally. In our opinion the drawing of the Sienese imitator is too caligraphic, it reproduces too closely, namely, the forms of well-known originals, and this while the composition is not always free from plagiarisms that are too easily recognizable. Some of the later artists of Florence, and elsewhere, have broadened the technique, appearing less servile because better versed in the qualities of the old masters, and through this deeper insight their work is more convincing and synthetic.