In the cases when the documents are the original ones and the work of art is not, the artist naturally creates his work in accordance with the indications given in the documents. The occurrence is not common, but it has nevertheless taken place. We have heard of a man ordering a portrait to be painted to fit a detailed description of one of his ancestors given in an old letter. The Florentine “Prioristi” and old diaries can well be used for the purposes of such suggestion. An old family chronicle recorded a marriage with some detail, sufficient at any rate to inspire an art counterfeiter to model a small bas-relief representing the scene. When the work was suitably coated with old patina, put into a sixteenth-century frame and an old worm-eaten board fastened to the back, the authentic document was carefully pasted on as proof of genuineness. Possible combinations of this sort of scheme are endless and can be applied to almost every expression of curio-dealing. What we have styled “faking the _milieu_,” in order to enhance the value of a genuine article or to give additional effect to a falsified one, trades upon the fact that a collector prefers to buy from a private house rather than a shop. This often appeals to him as convincing proof that the article is genuine, and it also appears to confer a higher value by comparison with the surroundings in a shop. To humour this peculiar trait in the collector, environments have been faked as well as objects of art, and in the evil grand art we are illustrating they furnish to-day more often than not the proper dignity which aids highly profitable sales effected through private transaction.