We may remark by the way that the art of colouring marble was already well understood in the days of ancient Greece, and it is a fact that more than one statue of that period shows signs of colouring wonderfully preserved through the ages. In Italy, where marble dyeing is still a flourishing art, it is done with very few colours: verdigris, gamboge, dragon’s-blood, cochineal, redwood and logwood. Nearly all vegetable dyes are suitable, and many coal-tar colours, if properly used, give a very fast and beautiful colour to marble. It is essential for the solution of all dyes to be made with alcohol or ether, and only such anilines may be employed as are soluble in fat. Some solutions may be applied direct to the marble, whatever its temperature; others require the heating of the marble, to increase its permeability and consequent faculty of imbibing the colouring solution. The quality and condition of the marble must also be taken into consideration. If the marble has not been polished properly, or has been touched with greasy hands, a patchy effect or stains will result. Rubbing with flannel and the moderate use of encaustic, give the finishing touches, when the character of the patina requires the shiny effect so often seen in old marbles. Objects sculptured in wood represent no change of technique for the forger of antiques as far as the carving is concerned. The forger’s ability to imitate the work of an old master is purely artistic, and cannot, of course, be achieved by any special method; but the art of giving the object a convincing appearance of age is fairly mechanical, depending upon the use of alkali, permanganate of potash and other substances. The process being somewhat complex and common, as a matter of fact, to all kinds of wood carving, it will be given in detail when imitation antique furniture and the methods of producing it are described; faked furniture being, perhaps, one of the most productive branches of the obscure trade of counterfeit antiques. Sometimes artistic figures or bas-reliefs in wood are either coloured or gilded. In the case of polychromatic work, the wood is generally coated with a plaster preparation to receive the colour, and the technique for ageing or giving a patina is that already described for stucco or clay work; in the case of gilding, the appearance of age is given to the new gold by colour veiling, also liquorice juice and burnt paper are used with advantage applied to the gold with a soft brush.