We do not intend to confound fakers with honest restorers of works of art, but in Roman times, as is often the case in our own, faking learned no small lesson from the deft hand of the restorer. The same may be said for imitators and copyists who even in ancient Rome followed their trade openly with no intention of cheating. Copyists in particular were very active and their work was certainly appreciated by a certain class of citizens. The fact is proved by the numerous copies of Greek masterpieces that have been unearthed in Rome and elsewhere. When an original was not to be had, a copy was often ordered. Lucullus sent an artist expressly to Athens to make a copy for him of a work by Pausias, the portrait of Glycera, the artist’s lady love. Restorers of works of art were, in Rome as elsewhere, the nearest relatives of fakers; their ability to imitate antiquity must have proved a great temptation, and the enormous sums paid for certain objects, and the gross ignorance of some of the buyers, must have paved the way to more than one passage from honesty to dishonesty. There were many restorers’ workshops in Rome, and one has been discovered near the Forum, where apparently new limbs and heads were provided for damaged statues. Many an antique statue has come down to us already repaired. Evander Aulanius, says Pliny (XXXVI, 5), restored the head of Diana, in the temple of Apollo, on the Palatine. Like modern restorers, their forefathers of Rome had not always the delicate hand needed for such operations. When the Prætor Julius ordered the cleaning of the paintings in the temple of Apollo it was done in such a rough manner that all the charm of the works disappeared. A fact that may have induced some good connoisseur to advise leaving untouched the Venus Anadyomene of Apelles, the masterpiece placed by Cæsar in the temple of that goddess, and to let it be damaged by age rather than allow the sacrilegious hand of a restorer to maim the divine painting of the Greek artist.