Curiously enough from one point of view, the imitation of this early art generally flourishes on the very spot where the originals are excavated, and still more odd is it that on more than one occasion those duped were the very ones supposed to be good connoisseurs and who took direct interest in the excavations. Thus it is that there is an abundance of faked Samos, Rhodes and other specimens, in collections now housed in museums. A superficial inspection of the Cesnola collection in the Metropolitan Museum of New York, ought to be sufficient to prove that even connoisseurs as good as Cesnola, are not quite safe in this speciality against the trickery of modern imitators. With Greek, Campanian or Etruscan pottery that bears a peculiar polish or glazing the nature of which is still a mystery to ceramists the case is somewhat different; good imitations are rare. Naturally there cannot be included among convincing imitations those upon which a lead glaze has been used, as such imitations are covered with a thick layer of shining glaze and are only intended for veriest neophytes who have presumably never seen an original. Successful imitations are either finished with a very thin and non-shining glaze or an encaustic polish. To ascertain whether encaustic has been used, one has only to rub the piece with a cloth soaked in benzine, which will soon turn it opaque. In the pottery museum of Sèvres there is an interesting series of faked Greek and Etruscan vases, urns, etc. It comprises some good specimens of the work of Touchard, an imitator flourishing about the year 1835, other pieces by the Giustiniani of Naples, and some of the most successful fakes of this particular kind of pottery, the pieces by Krieg from the Rheinzabern factory. These pieces were sold to the Sèvres Museum as genuine, by a Bavarian, in the year 1837. We are told that a good method in imitating Etruscan pottery is to work with _engobe_, adding a well-ground _frit_ to the _barbotine_ that contains the elements of a glaze. To our knowledge all imitations of this kind are wanting in appearance and it is safe to assert that they could hardly receive serious consideration from a true connoisseur.