ed rare, even in the
public galleries, in which, outside of the picture itself, there is any
trustworthy historical testimony as to its genealogy.

Counterfeits of the old masters of the later Italian schools, supported
by false evidence, have at various times deceived good judges and
obtained posts of honor in the galleries of Europe. Even when detected,
their owners do not always repudiate their spurious treasures. They give
their collections the benefit of doubts or of public ignorance. The most
noted imitator of this class was Micheli of Florence. In view of his
success and the use for a time made of his works, he must rank as
a forger, though they are now in esteem solely for their intrinsic
cleverness. Some still linger in remote galleries, with the savor of
authenticity about them. A Raphael of his make long graced the Imperial
Gallery of Russia. He did not confine himself to literal repetitions,
but concocted new "originals" by combining parts of several pictures
in worm-eaten panels or time-stained canvases, with such variations of
motive or design as their supposed authors would naturally have made
in repeating their ideas in fresher combinations,--sometimes leaving
portions unfinished, ingeniously dirtying their surfaces, and giving to
them that cracked-porcelain appearance common to the old masters.
One thus prepared was bought at his studio for one hundred dollars,
consigned to a priest in the country, in due time _discovered_, and the
rumor of a great master in an exceedingly dirty and somewhat dilapidated
state, but believed to be intact beneath the varnishes and grime of
centuries, brought to the ears of a Russian, who after a delicate and
wearisome negotiation obtained it for eight hundred dollars, and perhaps
paid half as much more to the manufacturer for cleaning and restoring
it.

Another sort of deception is the alteration of pictures by artists
less-known or of inferior reputations to suit more fashionable and
profitable names. In this way many works of much local interest, and
often indeed of equal merit to those they are made to represent, are
exterminated, to the serious detriment of the history of art, Lombardy,
Umbria, and the Legations especially have suffered in this way.

Though no deception be intended, if pedigrees are lost, criticism is
often sorely perplexed to decide upon authorship. Out of the multitudes
of pictures in the European galleries, which are so decidedly baptized
in cata