CONTENTS
Riccardo Nobili
PART I
THE BIRTH AND DEVELOPMENT OF FAKING
CHAPTER
PAGE
I.
Greeks and Romans as Art Collectors
17
II.
Collectomania in Rome
24
III.
Rapacious Roman Collectors
36
IV.
Rome as an Art Emporium
44
V.
Increase of Faking in Rome
57
VI.
Decadence of Art and Consequent Changes
63
VII.
The Renaissance Period
68
VIII.
Imitation, Plagiarism, and Faking
83
IX.
Collectors of the Sixteenth Century
101
X.
Collecting in France and England
107
XI.
Mazarin as a Collector
114
XII.
Some Notable French Collectors
129
PART II
THE COLLECTOR AND THE FAKER
XIII.
Collectors and Collections
135
XIV.
The Collector’s Friends and Enemies
150
XV.
Imitators and Fakers
165
XVI.
The Artistic Qualities of Imitators
181
XVII.
Fakers, Forgers and the Law
194
XVIII.
The Faked Atmosphere and Public Sales
207
PART III
THE FAKED ARTICLE
XIX.
The Make-up of Faked Antiques
225
XX.
Faked Sculpture, Bas-reliefs and Bronzes
234
XXI.
Faked Pottery
246
XXII.
Metal Fakes
263
XXIII.
Wood Work and Musical Instruments
279
XXIV.
Velvets, Tapestries and Books
287
XXV.
Summing Up
301
Index
311
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