A curious fact to be noticed is that of these two portraits Aristotle’s must have caught public fancy more than that of his philosophical companion. Not only because of the numerous reproductions of the one original but because it must have been popular already in the time of Louis XII, being reproduced in clay in a medallion of the castle of Alluye at Blois. In this race for popularity in a foreign country and from a spurious origin, Plato seems to have lost nearly half a century, as we find a reproduction in the castle of Ecouen about the middle of the sixteenth century, which landed finally in the Museum of French Monuments, where Baltard renamed it as the portrait of Jean Bullant. No strange transition when one considers that a cast of the original Plato was, for quite a long time, shown in the Louvre as the portrait of Philibert Delorme. The Louvre has a queer marble medallion, a work of the beginning of the sixteenth century, of a Roman _Imperator Caldusius_, and a medallion of Cato is now in the Museum of Beauvais. When Vespasiano da Bisticci tells us that Niccoli “had in his house an infinite number of medals in bronze and silver and gold, and many antique brass figures, and many marble heads, and other valuable things,” we can believe that they were genuine, but when it is a question of a later collection of old marble heads, bas-reliefs and medals, we wonder how many an Emperor Caldusius it contained. This curious trade in and mania for _pastiche_ was assisted, it must be added, by the tremendous skill that the artists of all periods of the Renaissance seem to have possessed in moulding, recasting, and composing one piece from two or three originals. We know that Verrocchio used to make plaster casts of living people, and the custom of making bust portraits and medallions from death masks was quite common in the Quattrocento and later. Such post-mortem reproductions were often ably disguised by the modelling stick, while at other times they showed only too plainly their ghastly origin.