and changes of time upon them. How
interesting in this respect is the Sienese Gallery! Here the restorer
has been stayed, and we find the pictures genuine as time itself,
and more precious by far to the student than the most glaring and
"refreshed" surfaces of those works in other galleries which are the
wonder and admiration of superficial observers.

The greatest difficulty of the restorer is to harmonize _permanently_
the new vehicles with the old; for the fresh tints are always liable
to assume a different tone from the original, which have already been
chemically acted upon by time.

It may be said that the skill which can escape detection in restoration
is adequate to successful counterfeiting. This is true only in part;
for _mending_ is very different from _creating._ Instances, however, do
occur of such attempts; but they seldom long escape detection, and never
impose upon those who have experience in the arts of the restorer.
Some years ago a Roman artist for a while successfully passed off his
imitations of Claude, Salvator Rosa, and their schools, as originals,
at large prices, with the usual guaranties of authenticity. To disarm
suspicion, he was accustomed to allow himself to be seen at work only
upon cheap, vulgar pictures, pretending he was competent to nothing
better. Having sold one of his Claudes for four thousand dollars, the
trick being detected, he was threatened with a public prosecution, the
fear of which brought on his death.

The favorite field of the early masters was fresco-painting. Unlike
painting in oils, it has no resources of transparency, brilliancy, and
richness of coloring, but depends for its nobility of effect upon the
hardier virtues of art and the more robust genius of the artist. His
success lies in strong and eloquent design and composition, with but
feeble aid from color. Fresco and tempera paintings were chiefly
intended for the interiors of churches or public buildings, whose dim
light harmonized their more or less crude and positive tones. It was,
however, only through the breadth and freedom of wall-painting that the
ambition of the early masters was fully aroused and their powers
found ample scope. Out of it they created a world of art unknown
and unappreciable by those who cannot view it as it exists in the
consecrated localities and amid the solemn associations whence it
originated. All over Italy, by the road-side and in the sanctuary, there
exists untold treasure of