most successful patinas are obtained not only by duly working at the colouring and oxidation of the metal, but by composing the alloy in such a way as to favour the production of a convincing patina later on. Naturally, the differences of the patina of old bronzes depend not only upon the various conditions to which the work may have been exposed through age, but also upon the colouring or kind of artificial oxidation that may have been given it upon leaving the foundry. [Illustration: _Photo_ _Alinari_ AN IMITATION OF ROMAN WORK. Latest part of XIVth Century] [Illustration: _Photo_ _Alinari_ AN IMITATION OF 16TH CENTURY WORK.] Thus whilst an antique bronze brought up from the bottom of the sea may have the peculiar patina of age acquired under these special conditions and another statue exposed only to atmospheric oxidation may show the different hue belonging to the effect of air, there are bronzes which have been coloured upon leaving the foundry, and even when age has given brilliance to the patina they bear the characteristics differentiating the school or artist. The most difficult to imitate are the excavated Greek, Roman or Etruscan bronzes, especially when the humidity of the soil or some peculiar condition has produced a kind of patina possessing the appearance of enamel. Among the artificial hues of Renaissance bronze, the brownish tint of the Paduan school is characteristic, and worthy of note are some of the blackish specimens of Venetian bronze, as well as the whole emporium of samples of the versatile Florentine school. Some of these patinæ are reproduced fairly well, and now that Gianbologna and his school are beginning to be appreciated, we would state that faking is successfully studied to produce the reddish patina of some of the not always exquisite but yet invariably interesting little bronzes of Tacca Susini Francavilla and others. It was once believed by some collectors that gilded bronze could not be imitated, that the galvanoplastic method was as recognizable as any false and badly made coin. We doubt this, for we fail to see why the old system of gilding with mercury could not be applied to imitations. It is somewhat slower and more expensive, but the profit, as usual, makes it worth while in the eyes of the faker. Gilding is certainly imitated to perfection on modern pieces purporting to be the work of French artists of the eighteenth century and some of the counterfeits of Gutierrez’ and Caffieri’s work have even the varnish that was at one time considered inimitable. The great progress made in imitating patina, has rendered the collecting of bronzes one of the most dangerous branches the collector can choose.