As for sculpture, we may close this study by quoting what Vasari writes in the life of Vellano. “So great is the power of counterfeiting with love and care any object, that, more often than not, if the style of one of these arts of ours be well imitated by those who delight in the work of whoever it be, the thing that imitates so closely resembles the thing imitated, that no difference can be detected, except by the most experienced eye.” Of Ghiberti, a collector and versatile sculptor, Vasari tells that “he took much pleasure in imitating the dies of ancient coins and medals.” Which comment amply justifies the observation that the learned Milanesi adds to the life of Valerio Belli, who at times, according to Vasari, forgot to add his signature, and was extremely clever in counterfeiting antiques, from which ability “he derived very great benefit.” “Antique medals,” says Milanesi, “were very much in demand about this time, consequently forgers and imitators abounded; they had in fact multiplied to great numbers and fostered the art of counterfeiting to its highest perfection.” CHAPTER IX COLLECTORS OF THE SIXTEENTH CENTURY Collectors of the sixteenth century--Character of the time and the artist’s attitude towards the antique--Cellini restores antique statues--New Roman masterpiece discovered in Rome--Decadence of art--A protest of Raphael against daily destructions of Roman relics--First laws prohibiting exportation of Roman finds --Barbaric attitude of a Barberini--First law against the exportation of painting masterpieces. As we have already observed, centuries in art cannot be separated like horses in stable-boxes. There are periods between one change and another, transitional times that make it impossible to fix any date whatsoever. Thus we may say, without stating a date, that the sixteenth century not only felt the benefit of the Quattrocento for a certain time, but was itself actually Quattrocento for a score of years or more. The men of the past had not vanished; Riccio, for instance, one of the most active imitators of the antique, died in 1533. But when the sixteenth century began to outline its own character, the cult of art, art patronage and the passion for collecting fine things are seen to have taken another turn. The Cinquecento has of course magnificent patrons of art, and almost every prince collects something or other. Life is still imbued with partiality for the antique.