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 I

NOTES ON FORGERIES OF ARMOUR AND WEAPONS

There have always existed skilled craftsmen who have worked to produce imitations of works of art of periods long past. Some of such craftsmen have loved the work and have exercised their art in this imitative manner partly because they lacked original talent in design, and partly because in some human natures there is a keen pleasure in being able to produce a work of art which will deceive the collector; others have worked to earn a living in this way to the orders of their patrons, and again others have produced works of art in imitation of the old for the purpose of decoration, of fancy dress, or for the theatre. But no craftsman can produce a work of art, original in design, but in the style of a past period, which can permanently deceive. There is something in the spirit of the time which inspires the contemporary artist, and he alone can interpret, be it in paint, metal, or stone. He must be truthful, not only in design but in style. A false note the expert detects.

We shall not attempt to describe the processes by which the modern workman produces the imitations of old armour, but confine ourselves to giving a series of illustrations with as little letterpress as possible, to show types of forgeries which are most often met with.

Before we give these illustrations, let us say a word about the countries which have been responsible for these fabrications, and about those in which they have found the most ready market. We think that Italy must take the credit or discredit of first producing false armour and arms to meet the requirements of the collector. Early in the XIXth century when every wealthy and would-be cultured English gentleman, following the example set him by his ancestors of the XVIIIth century, made the grand tour to widen his knowledge and outlook, he was expected to visit Italy and to get an insight into the works of the then popular old masters. We use the words