One of these characteristic workers is Professor Ezio Marzi of Florence, an imitator of the Dutch school, who has never sold his panels as antique, but whose work, it is said, through others, has penetrated into more than one collection, where it is held to be genuine and above suspicion. His Teniers, now honoured as such, are many, and if Marzi instead of being stationary in Florence like most of his compatriots who, generally speaking, never travel, should indulge in one of those erratic trips of which Americans are so fond, visiting collections here and there, he would have good cause to laugh in his sleeve. Like many of his Italian brothers of the brush, Ezio Marzi has eclectic tendencies and a most versatile workmanship. But what places him apart from his confrères who also imitate the art of the past, is the fact that when he chooses to be Ezio Marzi in his painting, that is to say to paint something of his own, giving a true expression of his own personality, he can do so without infection from reminiscences of his workmanship as an imitator. In a word, Marzi is a painter of mark, extremely original and fully temperamental--a rare thing among imitators of other people’s art. As regards his plagiaristic indulgences, he has tried the most varied and dissimilar schools of the past, successfully too. His preference, however, for Dutch or Flemish art has finally prevailed. Possibly at his first essays Marzi was the obvious sort of imitator, servile to direct suggestion of form, disguising artistic thefts from old masters by the usual well-matched mosaic, but now this inevitable preparatory period is dismissed and surpassed. When imitating Teniers this artist is really composing Dutch scenes without a scrap of suggestion in his studio. [Illustration: PORTRAIT. An imitation of Dutch School by Prof. Ezio Marzi an Italian artist, who does his work with no apparent sense of plagiarism, but who is so versatile in Dutch School that but for his honest dealing he might prove a danger to amateurs.] While Marzi affords us a good type of the imitator in painting and Bastianini and Zampini show us the best possibilities of assumed characters in sculpture, Professor Orlandini of Florence imitates Quattrocento ornamental sculpture with capital results. We can repeat here the same comment passed on Marzi’s art: his works, too, are sold as modern, but, alas, how many ornamental chimneypieces and would-be aged _lavabos_ now decorating rooms, are Orlandini’s work, although ostentatiously shown as pure productions of the Renaissance. Not so pure, though, always, for Professor Orlandini is at times forced to fall in with the customer’s ambition and thus allows himself to give full play to over-ornamentation, producing a sort of Quattrocento _usus Americanus_. Still, when left to his own artistic bent we know of no one who can turn out of the Fiesole stone an aristocratic-looking chimneypiece more closely resembling the work of Desiderio da Settignano.