Of all the workmen of that fertile period running between the fifteenth and sixteenth centuries, Moderno was the most active and versatile. There is hardly a mythological subject that has not been treated by him. His imitation of the antique is at times quite convincing, more especially that belonging to the early period of his career. Later on when he enters into what might be styled his matured sixteenth-century temperament, he seems to suffer from the same trouble as the imitators of the first third of the said century, namely, over-polish and mannerism, which must in fact have been considered an improvement in imitation. Valerio Belli, a sculptor and famous cutter of precious stones and rock crystal, was quite justified in reproducing the subject of his own carving in the small bronze bas-reliefs that now play such an important part in modern collections of _plaquettes_, and which in times gone by must have been the delight also of past collectors. They often bore his signature, which speaks eloquently for the fact that there was no intention to dupe anyone. There were also other artists who evidently had a hand in faking antiques. They belong more or less to various schools, but chiefly to those of Padua and Venice. The Paduan school is in this respect fortified by the names of Vittore Camelio, Cavino, Bassiano. Almost every bronze founder is associated with an imitator of the antique, either a maker of statuettes, inkstands, perfume vases, or _plaquettes_ of various sizes and use. Thus for a second time Italy became a gorgeous market of imitation, very often in itself such good art as to be worthier than the art counterfeited. One of the last of these imitators was Tiziano Aspetti, to whom, rightly or wrongly, small bronzes of private collections are attributed. From the Anonimo Morelliano one gathers that there was a period in which a gentleman could hardly afford to do without a little collection of antiques. “The bronze figurines are modern by various masters and are derived from the antique,” remarks this Anonimo of Morelli, as though explaining that there were some collectors perfectly satisfied with this and perhaps the silent accomplices of a fine piece of faking. The Anonimo tells us that there were many such pieces in the collections of either ignorant or accommodating collectors and art lovers, in the house of Marco Bonavido of Padua, and that of a rich merchant of the same city, the sculptor Alviso; in Venice, in the collections of Odoni and Zuanno Ram. They are often mingled with genuine antiques, which fact causes the Anonimo, who evidently thinks himself either a connoisseur or a well-informed chronicler, to say here and there, “the many bronze figurines are modern,” or “the many medals are of modern bronze,” or “the medals are most of them antique.” Precious confessions, as one can see.