As regards glazed Oriental ceramics, there are to be noted some good imitations of Persian work and, above all, imitations of the characteristic pottery of Rhodes. Factories for these ceramics are almost everywhere. Perhaps the best imitations come from a factory in Paris. Imitations from this factory have succeeded in deceiving more than one connoisseur. A well-known curator of a Berlin museum bought one of these samples as genuine, paying eighty pounds for it, and an antiquary of Florence, quite a specialist in ceramics, very nearly committed the same mistake, but by good luck he was warned by a friend who had been taught by hard experience that this Oriental pottery is a product of very Western origin. Curiously enough the manufacturers do not sell their produce for anything but imitations; however, through the usual frauds in which the market in antiques abounds, these pieces are evidently palmed off on unwary collectors outside France. Oriental pottery is usually so well preserved, thanks to its hard glaze, that the faker is spared all complicated processes to give the piece an appearance of age. The glazed work of Hispano-Moresque pottery presents a more or less successful field to imitators. The lustrous glaze of various hues does not seem to offer difficulties to the modern ceramist, who has learned how to use the mysterious co-operation of smoke in the so-called muffle glaze. Yet when confronted with originals, which are becoming rarer and rarer in the market every day, the best of imitations leaves room for meditation as the genuine is usually a very uncomfortable neighbour to the counterfeit. The Italian Renaissance with its various and interesting types has yielded a fine crop of imitations. In fact plagiarism was already rampant when the old factories, now extinct, were in full activity. Thus on more than one occasion Faenza has copied Cafaggiolo, and the models of Urbino, Pesaro and Casteldurante are often interchanged, while the factory of Savona seems to have blended its unmistakable individuality with the models of all the most successful factories. Cafaggiolo, Gubbio and Derutha are perhaps the types of old Italian pottery to which the faker has given preference. There are some modern imitations of Cafaggiolo made by a ceramist of Florence so well done that they have deceived the best connoisseurs of Paris and Berlin. But for the fact that we have pledged ourselves to point out the sins and not the sinners or their victims, we could enumerate a rather interesting list of illustrious victims to this clever imitator of Cafaggiolo, who is still at work in Florence and more dangerous every day by reason of the perfecting of his deceitful art.