A full account of faked china would probably fill a bulky volume. It may be taken for granted that every kind of artistic china worth imitating has tempted the faker, with disastrous results to the unwary collector. We have mentioned some of the most noted forgeries of faience, merely to show what a happy hunting-ground ceramics have been to the faker of all times, and with china this is doubly the case. From the early attempts of Bottger, those rare specimens of rare china, down to almost modern samples of Sèvres there has been a long succession of types that have kept generations of fakers and imitators incessantly busy. * * * * * Curiously enough and with no intention of cheating, as far as china is concerned, noted factories have themselves greatly added to the confusion between originals and copies by becoming their own plagiarists, as it were, by imitating old kinds. Thus the Meissen factory now puts upon the market types of old Dresden very satisfactory to people not intimately familiar with the fine old models of the factory. The same has been done at Sèvres, Doccia and other factories. Then, too, in some cases the plagiarism is furnished with distinguishing marks that have increased the confusion--for the neophyte collector, be it understood. It is well known, for instance, that before closing its doors towards the end of the eighteenth century, the Capodimonte factory sold all the models of the factory to Ginori’s noted china works at Doccia, and together with the models the right to use the N surmounted by a crown which was the Capodimonte factory mark. Ginori’s factory has ever since reproduced imitation Capodimonte with the mark of the Royal Neapolitan factory. Of course the pieces may be sold by the firm as Ginori ware and not as Capodimonte, but once on the market they are sure to come into the possession of some unscrupulous dealer who will palm them off as Capodimonte. A good connoisseur, however, can tell, almost at sight, the real Capodimonte from the ones Ginori’s factory has been turning out for more than a century. The latter are not so fine in form or colour, and although made from the same mould are not so well finished and retouched as the real Capodimonte. Apart from this, a large contribution to imitations of highly reputed china is made by smaller factories that find it convenient and profitable to copy pieces of celebrated marks. Some of these factories even go so far as to imitate the mark, rendering the deception perfect.