diff options
| author | nfenwick <nfenwick@pglaf.org> | 2025-01-23 07:53:27 -0800 |
|---|---|---|
| committer | nfenwick <nfenwick@pglaf.org> | 2025-01-23 07:53:27 -0800 |
| commit | afda7d0591db2a1a8cb9376cdb94249d05b2b424 (patch) | |
| tree | e0cd1f3cc7727e1cbf835d1288101a099b7a21d4 /old/64686-h | |
| parent | fc755708787039075486dae5ba3af00754977172 (diff) | |
Diffstat (limited to 'old/64686-h')
| -rw-r--r-- | old/64686-h/64686-h.htm | 1257 | ||||
| -rw-r--r-- | old/64686-h/images/cover.jpg | bin | 45558 -> 0 bytes | |||
| -rw-r--r-- | old/64686-h/images/p02.jpg | bin | 87218 -> 0 bytes | |||
| -rw-r--r-- | old/64686-h/images/p03.jpg | bin | 137835 -> 0 bytes | |||
| -rw-r--r-- | old/64686-h/images/p03a.jpg | bin | 101984 -> 0 bytes | |||
| -rw-r--r-- | old/64686-h/images/p04a.jpg | bin | 83820 -> 0 bytes | |||
| -rw-r--r-- | old/64686-h/images/p04c.jpg | bin | 59312 -> 0 bytes | |||
| -rw-r--r-- | old/64686-h/images/p05.jpg | bin | 59486 -> 0 bytes | |||
| -rw-r--r-- | old/64686-h/images/p05a.jpg | bin | 117164 -> 0 bytes | |||
| -rw-r--r-- | old/64686-h/images/p05c.jpg | bin | 82593 -> 0 bytes | |||
| -rw-r--r-- | old/64686-h/images/p06.jpg | bin | 88915 -> 0 bytes | |||
| -rw-r--r-- | old/64686-h/images/p06a.jpg | bin | 77379 -> 0 bytes | |||
| -rw-r--r-- | old/64686-h/images/p07.jpg | bin | 101705 -> 0 bytes | |||
| -rw-r--r-- | old/64686-h/images/p07a.jpg | bin | 93359 -> 0 bytes | |||
| -rw-r--r-- | old/64686-h/images/p08.jpg | bin | 164789 -> 0 bytes | |||
| -rw-r--r-- | old/64686-h/images/p08a.jpg | bin | 146630 -> 0 bytes | |||
| -rw-r--r-- | old/64686-h/images/p09.jpg | bin | 101445 -> 0 bytes | |||
| -rw-r--r-- | old/64686-h/images/p09a.jpg | bin | 110672 -> 0 bytes | |||
| -rw-r--r-- | old/64686-h/images/p11.jpg | bin | 76474 -> 0 bytes | |||
| -rw-r--r-- | old/64686-h/images/p20.jpg | bin | 41701 -> 0 bytes | |||
| -rw-r--r-- | old/64686-h/images/spine.jpg | bin | 8119 -> 0 bytes |
21 files changed, 0 insertions, 1257 deletions
diff --git a/old/64686-h/64686-h.htm b/old/64686-h/64686-h.htm deleted file mode 100644 index 8ed99bc..0000000 --- a/old/64686-h/64686-h.htm +++ /dev/null @@ -1,1257 +0,0 @@ -<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> -<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> -<head> -<meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> -<meta http-equiv="Content-Style-Type" content="text/css" /> -<meta name="viewport" content="width=device-width, initial-scale=1.0" /> -<title>Forgers and Forgeries, by By W. G. Constable—a Project Gutenberg eBook</title> -<meta name="author" content="By W. G. Constable" /> -<meta name="pss.pubdate" content="1954" /> -<link rel="coverpage" href="images/cover.jpg" /> -<link rel="spine" href="images/spine.jpg" /> -<link rel="schema.DC" href="http://dublincore.org/documents/1998/09/dces/" /> -<meta name="DC.Title" content="Forgers and Forgeries" /> -<meta name="DC.Language" content="en" /> -<meta name="DC.Format" content="text/html" /> -<meta name="DC.Created" content="1954" /> -<meta name="DC.Creator" content="By W. G. Constable" /> -<style type="text/css"> -/* == GLOBAL MARKUP == */ -body, table.twocol tr td { margin-left:2em; margin-right:2em; } /* BODY */ -.box { border-style:double; margin-bottom:2em; max-width:30em; margin-right:auto; margin-left:auto; margin-top:2em; clear:both; } -.box div.box { border-style:solid; margin-right:auto; margin-left:auto; max-width:26em; } -.box p { margin-right:1em; margin-left:1em; } -.box dl { margin-right:1em; margin-left:1em; } -h1, h2, h5, h6, .titlepg p { text-align:center; clear:both; text-indent:0; } /* HEADINGS */ -h2 { margin-top:1.5em; margin-bottom:1em; font-size:110%; text-align:center; } -h2 .small { font-size:100%; } -h1 { margin-top:3em; } -h1 .likep { font-weight:normal; font-size:50%; } -div.box h1 { margin-top:1em; margin-left:.5em; margin-right:.5em; } -h3 { margin-top:2.5em; text-align:center; font-size: 120%; clear:both; width:100%; - color:black; background-color:blue; } -h4, h5 { font-size:100%; text-align:right; clear:right; } -h6 { font-size:100%; } -h6.var { font-size:80%; font-style:normal; } -.titlepg { margin-left:auto; margin-right:auto; border-style:double; clear:both; } -span.chaptertitle { font-style:normal; display:block; text-align:center; font-size:150%; text-indent:0; } -.tblttl { text-align:center; text-indent:0;} -.tblsttl { text-align:center; font-variant:small-caps; text-indent:0; } - -pre sub.ms { width:4em; letter-spacing:1em; } -pre { margin-top:1em; margin-bottom:1em; } -table.fmla { text-align:center; margin-top:0em; margin-bottom:0em; margin-left:0em; margin-right:0em; } -table.inline, table.symbol { display: inline-table; vertical-align: middle; } -td.cola { text-align:left; vertical-align:100%; } -td.colb { text-align:justify; } - -p, blockquote, div.p, div.bq { text-align:justify; } /* PARAGRAPHS */ -div.p, div.bq { margin-top:1em; margin-bottom:1em; } -blockquote, .bq { margin-left:1em; margin-right:0em; } -.verse { font-size:100%; } -p.indent {text-indent:2em; text-align:left; } -p.tb, p.tbcenter, verse.tb, blockquote.tb { margin-top:2em; } - -span.pb, div.pb, dt.pb, p.pb /* PAGE BREAKS */ -{ text-align:right; float:right; margin-right:0em; clear:right; } -div.pb { display:inline; } -.pb, dt.pb, dl.toc dt.pb, dl.tocl dt.pb, dl.undent dt.pb, dl.index dt.pb { text-align:right; float:right; margin-left: 1.5em; - margin-top:.5em; margin-bottom:.5em; display:inline; text-indent:0; - font-size:80%; font-style:normal; font-weight:bold; - color:gray; border:1px solid gray;padding:1px 3px; } -div.index .pb { display:block; } -.bq div.pb, .bq span.pb { font-size:90%; margin-right:2em; } - -div.img, body a img {text-align:center; margin-left:auto; margin-right:auto; margin-top:2em; margin-bottom:2em; clear:right; } -img { max-width:100%; height:auto; } - -sup, a.fn { font-size:75%; vertical-align:100%; line-height:50%; font-weight:normal; } -h3 a.fn { font-size:65%; } -a.fn { font-style:normal; } -sub { font-size:75%; } -.center, .tbcenter { text-align:center; clear:both; text-indent:0; } /* TEXTUAL MARKUP */ -span.center { display:block; } -table.center { clear:both; margin-right:auto; margin-left:auto; } -table.center tr td.l, table.center tr th.l {text-align:left; margin-left:0em; } -table.center tr td.j {text-align:justify; } -table.center tr td.ltab { text-align:left; width:1.5em; } -table.center tr td.t {text-align:left; text-indent:1em; } -table.center tr td.t2 {text-align:left; text-indent:2em; } -table.center tr td.r, table.center tr th.r {text-align:right; } -table.center tr th.rx { width:4.5em; text-align:right; } -table.center tr th {vertical-align:bottom; } -table.center tr td {vertical-align:top; } -table.inline, table.symbol { display: inline-table; vertical-align: middle; } - -p { clear:left; } -.small, .lsmall { font-size:90%; } -.smaller { font-size:80%; } -.smallest { font-size:67%; } -.larger { font-size:150%; } -.large { font-size:125%; } -.xlarge { font-size:150%; } -.xxlarge { font-size:200%; } -.gs { letter-spacing:1em; } -.gs3 { letter-spacing:2em; } -.gslarge { letter-spacing:.3em; font-size:110%; } -.sc { font-variant:small-caps; font-style:normal; } -.cur { font-family:cursive; } -.unbold { font-weight:normal; } -.xo { position:relative; left:-.3em; } -.over { text-decoration: overline; display:inline; } -hr { width:20%; margin-left:40%; } -hr.dwide { margin-top:0; margin-bottom:0; width:90%; margin-left:5%; clear:right; } -hr.double { margin-top:0; margin-bottom:0; width:100%; margin-left:0; margin-right:0; } -hr.f { margin-top:0; margin-bottom:0; width:100%; margin-left:0; } -.jl { text-align:left; } -.jr, .jri { text-align:right; min-width:2em; display:inline-block; float:right; } -.pcap .jri { font-size:80%; } -.jr1 { text-align:right; margin-right:2em; } -h1 .jr { margin-right:.5em; } -.ind1 { text-align:left; margin-left:2em; } -.u { text-decoration:underline; } -.hst { margin-left:2em; } -.hst2 { margin-left:4em; } -.rubric { color:red; } -.blue { color:blue; background-color:white; } -.green { color:green; background-color:white; } -.yellow { color:yellow; background-color:white; } -.orange { color:#ffa500; background-color:white; } -.white { color:white; background-color:black; margin-left:1em; margin-right:1em; max-width:28em; } -.cnwhite { color:white; background-color:black; min-width:2em; display:inline-block; - text-align:center; font-weight:bold; font-family:sans-serif; } -.cwhite { color:white; background-color:black; text-align:center; font-weight:bold; - font-family:sans-serif; } -ul li { text-align:justify; } -u.dbl { text-decoration:underline; } -.ss { font-family:sans-serif; font-weight:bold; } -.ssn { font-family:sans-serif; font-weight:normal; } -p.revint { margin-left:2em; text-indent:-2em; } -.box p.revint { margin-left:3em; } -p.revint2 { margin-left:5em; text-indent:-3em; } -p.revint2 .cn { min-width:2.5em; text-indent:0; text-align:left; display:inline-block; margin-right:.5em; } -i .f { font-style:normal; } -.b { font-weight:bold; } -.i { font-style:italic; } -.f { font-style:italic; font-weight:bold; } - -dd.t { text-align:left; margin-left: 5.5em; } -dl.toc { clear:both; margin-top:1em; } /* CONTENTS (.TOC) */ -dl.toc dt.center { text-align:center; clear:both; margin-top:3em; margin-bottom:1em; text-indent:0;} -.toc dt { text-align:right; clear:both; } -.toc dt.just { text-align:justify; margin-left:2em; margin-right:2em; } -.toc dd { text-align:right; clear:both; } -.toc dd.ddt { text-align:right; clear:both; margin-left:4em; } -.toc dd.ddt2 { text-align:right; clear:both; margin-left:5em; } -.toc dd.ddt3 { text-align:right; clear:both; margin-left:6em; } -.toc dd.ddt4 { text-align:right; clear:both; margin-left:7em; } -.toc dd.ddt5 { text-align:right; clear:both; margin-left:8em; } -.toc dd.note { text-align:justify; clear:both; margin-left:5em; text-indent:-1em; margin-right:3em; } -.toc dt .xxxtest {width:17em; display:block; position:relative; left:4em; } -.toc dt a, -.toc dd a, -.toc dt span.left, -.toc dt span.lsmall, -.toc dd span.left { text-align:left; clear:right; float:left; } -.toc dt a span.cn { width:4em; text-align:right; margin-right:.7em; float:left; } -.toc dt.sc { text-align:right; clear:both; } -.toc dt.scl { text-align:left; clear:both; font-variant:small-caps; } -.toc dt.sct { text-align:right; clear:both; font-variant:small-caps; margin-left:1em; } -.toc dt.jl, .toc dd.jl { text-align:left; clear:both; font-variant:normal; } -.toc dt.scc { text-align:center; clear:both; font-variant:small-caps; text-indent:0; } -.toc dt span.lj, span.lj { text-align:left; display:block; float:left; } -.toc dd.center { text-align:center; text-indent:0; } -dd.tocsummary {text-align:justify; margin-right:2em; margin-left:2em; } -dd.center .sc {display:block; text-align:center; text-indent:0; } -/* BOX CELL */ -td.top { border-top:1px solid; width:.5em; height:.8em; } -td.bot { border-bottom:1px solid; width:.5em; height:.8em; } -td.rb { border:1px solid; border-left:none; width:.5em; height:.8em; } -td.lb { border:1px solid; border-right:none; width:.5em; height:.8em; } -td span.cellt { text-indent:1em; } -td span.cellt2 { text-indent:2em; } -td span.cellt3 { text-indent:3em; } -td span.cellt4 { text-indent:4em; } - -/* INDEX (.INDEX) */ -dl.index { clear:both; } -.index dt { margin-left:2em; text-indent:-2em; text-align:left; } -.index dd { margin-left:4em; text-indent:-2em; text-align:left; } -.index dd.t { margin-left:6em; text-indent:-2em; text-align:left; } -.index dt.center {text-align:center; text-indent:0; } - dl.indexlr { clear:both; margin-left:auto; margin-right:auto; max-width:20em; } - dl.indexlr dt { clear:both; text-align:right; } - dl.indexlr dt span { text-align:left; display:block; float:left; } - dl.indexlr dt.center {text-align:center; text-indent:0; } -.ab, .ab1, .ab2 { -font-weight:bold; text-decoration:none; -border-style:solid; border-color:gray; border-width:1px; -margin-right:0px; margin-top:5px; display:inline-block; text-align:center; text-indent:0; } -.ab { width:1em; } -.ab2 { width:1.5em; } -a.gloss { background-color:#f2f2f2; border-bottom-style:dotted; text-decoration:none; border-color:#c0c0c0; color:inherit; } - /* FOOTNOTE BLOCKS */ -div.notes p { margin-left:1em; text-indent:-1em; text-align:justify; } - -dl.undent dd { margin-left:3em; text-indent:-2em; text-align:justify; } -dl.undent dt { margin-left:2em; text-indent:-2em; text-align:justify; clear:both; } -dl.undent dd.t { margin-left:4em; text-indent:-2em; text-align:justify; } - /* POETRY LINE NUMBER */ -.lnum { text-align:right; float:right; margin-left:.5em; display:inline; } - -.hymn { text-align:left; } /* HYMN AND VERSE: HTML */ -.verse { text-align:left; margin-top:1em; margin-bottom:1em; margin-left:0em; } -.versetb { text-align:left; margin-top:2em; margin-bottom:1em; margin-left:0em; } -.originc { text-align:center; text-indent:0; } -.subttl { text-align:center; font-size:80%; text-indent:0; } -.srcttl { text-align:center; font-size:80%; text-indent:0; font-weight:bold; } -p.lc { text-indent:0; text-align:center; margin-top:0; margin-bottom:0; } -p.t0, p.l { margin-left:4em; text-indent:-3em; margin-top:0; margin-bottom:0; text-align:left; } -p.lb { margin-left:4em; text-indent:-3em; margin-top:2em; margin-bottom:0; text-align:left; } -p.tw, div.tw, .tw { margin-left:1em; text-indent:-1em; margin-top:0; margin-bottom:0; text-align:left; } -p.t, div.t, .t { margin-left:5em; text-indent:-3em; margin-top:0; margin-bottom:0; text-align:left; } -p.t2, div.t2, .t2 { margin-left:6em; text-indent:-3em; margin-top:0; margin-bottom:0; text-align:left; } -p.t3, div.t3, .t3 { margin-left:7em; text-indent:-3em; margin-top:0; margin-bottom:0; text-align:left; } -p.t4, div.t4, .t4 { margin-left:8em; text-indent:-3em; margin-top:0; margin-bottom:0; text-align:left; } -p.t5, div.t5, .t5 { margin-left:9em; text-indent:-3em; margin-top:0; margin-bottom:0; text-align:left; } -p.t6, div.t6, .t6 { margin-left:10em; text-indent:-3em; margin-top:0; margin-bottom:0; text-align:left; } -p.t7, div.t7, .t7 { margin-left:11em; text-indent:-3em; margin-top:0; margin-bottom:0; text-align:left; } -p.t8, div.t8, .t8 { margin-left:12em; text-indent:-3em; margin-top:0; margin-bottom:0; text-align:left; } -p.t9, div.t9, .t9 { margin-left:13em; text-indent:-3em; margin-top:0; margin-bottom:0; text-align:left; } -p.t10, div.t10,.t10 { margin-left:14em; text-indent:-3em; margin-top:0; margin-bottom:0; text-align:left; } -p.t11, div.t11,.t11 { margin-left:15em; text-indent:-3em; margin-top:0; margin-bottom:0; text-align:left; } -p.t12, div.t12,.t12 { margin-left:16em; text-indent:-3em; margin-top:0; margin-bottom:0; text-align:left; } -p.t13, div.t13,.t13 { margin-left:17em; text-indent:-3em; margin-top:0; margin-bottom:0; text-align:left; } -p.t14, div.t14,.t14 { margin-left:18em; text-indent:-3em; margin-top:0; margin-bottom:0; text-align:left; } -p.t15, div.t15,.t15 { margin-left:19em; text-indent:-3em; margin-top:0; margin-bottom:0; text-align:left; } -p.lr, div.lr, span.lr { display:block; margin-left:0em; margin-right:1em; margin-top:0; margin-bottom:0; text-align:right; } -dt.lr { width:100%; margin-left:0em; margin-right:0em; margin-top:0; margin-bottom:0; margin-top:1em; text-align:right; } -dl dt.lr a { text-align:left; clear:left; float:left; } - -.fnblock { margin-top:2em; margin-bottom:2em; } -.fndef, p.fn { text-align:justify; margin-top:1.5em; margin-left:1.5em; text-indent:-1.5em; } -.fndef p.fncont, .fndef dl { margin-left:0em; text-indent:0em; } -.fnblock div.fncont { margin-left:1.5em; text-indent:0em; margin-top:1em; text-align:justify; } -.fnblock dl { margin-top:0; margin-left:4em; text-indent:-2em; } -.fnblock dt { text-align:justify; } -dl.catalog dd { font-style:italic; } -dl.catalog dt { margin-top:1em; } -.author { text-align:right; margin-top:0em; margin-bottom:0em; display:block; } - -dl.biblio dt { margin-top:.6em; margin-left:2em; text-indent:-2em; text-align:justify; clear:both; } -dl.biblio dt div { display:block; float:left; margin-left:-6em; width:6em; clear:both; } -dl.biblio dt.center { margin-left:0em; text-align:center; text-indent:0; } -dl.biblio dd { margin-top:.3em; margin-left:3em; text-align:justify; font-size:90%; } -p.biblio { margin-left:2em; text-indent:-2em; } -.clear { clear:both; } -p.book { margin-left:2em; text-indent:-2em; } -p.review { margin-left:2em; text-indent:-2em; font-size:80%; } -p.pcap { margin-left:1em; text-indent:0; text-align:justify; margin-top:0; font-size:90%; margin-right:0em; } -p.pcapc { margin-left:4.7em; text-indent:0em; text-align:justify; } -span.attr { font-size:80%; font-family:sans-serif; } -span.pn { display:inline-block; width:4.7em; text-align:left; margin-left:0; text-indent:0; } -</style> -</head> -<body> - -<div style='text-align:center; font-size:1.2em; font-weight:bold'>The Project Gutenberg eBook of Forgers and Forgeries, by William George Constable</div> - -<div style='display:block; margin:1em 0'> -This eBook is for the use of anyone anywhere in the United States and -most other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms -of the Project Gutenberg License included with this eBook or online -at <a href="https://www.gutenberg.org">www.gutenberg.org</a>. If you -are not located in the United States, you will have to check the laws of the -country where you are located before using this eBook. -</div> - -<div style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Title: Forgers and Forgeries</div> - -<div style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Author: William George Constable</div> - -<div style='display:block; margin:1em 0'>Release Date: March 04, 2021 [eBook #64686]</div> - -<div style='display:block; margin:1em 0'>Language: English</div> - -<div style='display:block; margin:1em 0'>Character set encoding: UTF-8</div> - -<div style='display:block; margin-left:2em; text-indent:-2em'>Produced by: Stephen Hutcheson and the Online Distributed Proofreading Team at https://www.pgdp.net</div> - -<div style='margin-top:2em; margin-bottom:4em'>*** START OF THE PROJECT GUTENBERG EBOOK FORGERS AND FORGERIES ***</div> -<div id="cover" class="img"> -<img id="coverpage" src="images/cover.jpg" alt="Forgers and Forgeries" width="500" height="724" /> -</div> -<blockquote> -<p><span class="smaller">ON THE COVER PAGES</span> -<br />A forgery of a Greek bronze statuette (<a href="#fig12"><span class="smaller">BACK COVER</span></a>), and -a genuine example (<a href="#cover"><span class="smaller">FRONT COVER</span></a>). Such “type” forgeries -are exceptionally difficult to detect. Probably made for -the tourist trade.</p> -</blockquote> -<div class="box"> -<p><span class="smallest">Retail Price $1.00</span></p> -<h1>FORGERS -<br /><i>and</i> -<br />FORGERIES</h1> -<p class="tbcenter"><i><span class="small">BY</span> <span class="large">W. G. Constable</span></i> -<br /><span class="smallest">CURATOR OF PAINTINGS -<br />MUSEUM OF FINE ARTS, BOSTON</span></p> -<p class="tbcenter"><i class="small">ART TREASURES OF THE WORLD</i> -<br /><span class="smallest">NEW YORK AND TORONTO</span></p> -</div> -<div class="verse"> -<p class="t0"><i>ART TREASURES OF THE WORLD</i></p> -<p class="t2"><span class="smallest">100 SIXTH AVENUE, NEW YORK 13, N. Y.</span></p> -<p class="t2"><span class="smallest">IN CANADA: 1184 CASTLEFIELD AVENUE</span></p> -<p class="t2"><span class="smallest">TORONTO 10, ONTARIO</span></p> -</div> -<div class="verse"> -<p class="t2"><span class="smallest">Printed in U. S. A.</span> <span class="hst"><span class="smallest">AT14 W</span></span></p> -</div> -<p><i>Copyright 1954 by Harry N. Abrams, Incorporated. Copyright in the United States and foreign -countries under International Copyright Convention. All rights reserved under Pan-American -Convention. No part of the contents of this book may be reproduced without the written permission -of Harry N. Abrams, Incorporated. Printed in U.S.A.</i></p> -<div class="pb" id="Page_5">5</div> -<p class="tb"><span class="xxlarge">T</span>he usual idea of a forgery is of something deliberately fabricated to -appear to be what it is not; something conceived in sin, and carrying -the taint of illegitimacy throughout its existence. In fact, however, -many things made for quite innocent and even laudable purposes have been -used to deceive and to defraud, by means of misrepresentation or subsequent -manipulation. So the essential element in forgery lies in the way an object is -presented, rather than in the purpose that inspired its making.</p> -<p>Still, it is objects made to deceive which have always held the center of the -stage. Without doubt, the main motive for their manufacture is to make -money. But often there is an element of drama, even of romance, in the way -they come into existence. A famous example is a <i>Sleeping Cupid</i> which the -young Michelangelo is supposed have carved in imitation of the work of classical -antiquity and which, after being buried in the ground, was bought by a -dealer and sold as an antique, being rated as such until its true origin was revealed. -Though the element of deceit was present from the beginning, the -primary purpose of the work was a challenge to the past; and it is significant -that Michelangelo’s early biographers counted the success of the imposition to -<span class="pb" id="Page_6">6</span> -his credit, since it proved that he could successfully rival the sculptors of Greece -and Rome.</p> -<p>Such challenges to the past have undoubtedly inspired men who were or -ultimately became professional forgers. This seems to have been the case with -Giovanni Bastianini (1830-1868), the Italian sculptor. His admiration for -early Renaissance Italian sculpture bred in him a spirit of rivalry which issued -in the production of remarkable imitations to be exploited as originals -through collaboration with a dealer. Alceo Dossena (1878-1937) also seems to -have wanted to prove himself the equal of earlier sculptors, though later he -knowingly embarked on the making of forgeries of medieval and Renaissance -Italian sculpture, skillful enough to be purchased as originals by various museums. -The case for conscious rivalry with the past is clearer with Rouchomovski, -the nineteenth-century goldsmith, whose abilities, though sufficient -to give him a reputation in his own right, led him to make the famous tiara -of Saitaphernes, which was purchased by the Louvre as Greco-Scythian work -of the third century <span class="sc">B.C.</span></p> -<p>With other forgers, however, desire to confound connoisseurs and the learned -world has been uppermost, generally bred by neglect or adverse criticism. So -it seems to have been with Thomas Chatterton and his eighteenth-century -imitations of medieval poems; perhaps it operated in the case of T. J. Wise -and his forgeries of nineteenth-century pamphlets; and apparently I. F. Ioni, -the Sienese painter and restorer, well-known for his forgeries of Italian primitive -paintings, derived at least as much satisfaction from trying to take in eminent -authorities as from the money he made. Certainly such motives inspired -H. A. Van Meegeren, the most famous forger of our time. Van Meegeren, a -dexterous painter, skillful in imitating others, did not receive the recognition -to which he felt his gifts entitled him, and turned his talents to forging the -great Dutch masters of the seventeenth century. In 1937 he achieved spectacular -success with his sale to the Rotterdam museum for $200,000 of his -<i>Disciples at Emmaus</i>, as an early work by Jan Vermeer. A vivid light is thrown -on his motives by a remark he made in 1947 after his arrest and trial: “The -<i>Disciples</i> represented the master-stroke in my plan for vengeance.” Later, the -desire to fill his pockets seems to have become paramount. A similar case may -be that of the Piltdown skull, once thought to be the earliest surviving relic of -prehistoric man. Recent intensive examination has proved that though the -<span class="pb" id="Page_7">7</span> -cranium is of respectable antiquity, the lower jaw is that of a chimpanzee -doctored to appear ancient; and there is some reason to think that it was made -and planted near where the cranium was found, by a disgruntled museum technician -who wished to prove that he could fool the learned world.</p> -<div class="img" id="fig1"> -<img src="images/p02.jpg" alt="" width="800" height="500" /> -<p class="pcap"><span class="smaller">LEFT</span>: A forgery by Giovanni Bastianini, part copy and part style -imitation. <span class="smaller">RIGHT</span>: A fragment of an original relief by Desiderio da -Settignano on which the forgery was based.</p> -</div> -<p>But whatever mixture of motives may go into making a forgery, the predominant -one is almost always financial gain. It follows that what the forger makes -is mainly determined by the market for his goods, which in turn depends on -current activity among collectors and in the learned world. In the Middle Ages, -fantastic curiosities and saintly relics were much in demand, and forgers saw -to it that the supply was kept up. Later, the growth of scientific knowledge and -religious skepticism spoiled this market; while recognition of the artist as an individual -and the development of art collections stimulated production of forgeries -imitating the work of particular artists or of particular epochs. These -have since been the staple of the forger’s trade, reflecting the tastes of the day. -The eighteenth-century collectors’ passion for classical antiquity helped to sustain -in Rome a flourishing industry for the supply of classical statues and gems, -with Thomas Jenkins, painter, art agent, and banker as one of its leading figures; -English Regency taste produced a fine crop of imitations of Sèvres and -Meissen porcelain, made both in England and elsewhere; the Gothic revival, -bringing in its train a new enthusiasm for Italian primitives, created hitherto -neglected opportunities for the forger, who maintained an active sideline in -keeping up the supply of Palissy ware and Italian majolica, until the taste of the -aesthetic period turned his attention to Delft ware; and in our own time we -have seen the forger swing from fabricating Famille Rose and Famille Verte -to meeting twentieth-century demands for the art of the T’ang, Sung, and earlier -Chinese dynasties.</p> -<div class="pb" id="Page_8">8</div> -<div class="img" id="fig2"> -<img src="images/p03.jpg" alt="" width="800" height="845" /> -<p class="pcap"><span class="smaller">ABOVE</span>: An example of a flourishing nineteenth-century industry: a -forgery of a fourteenth-century Italian diptych, with (<span class="smaller">BELOW</span>) a -genuine example for comparison. The crackle and facial types indicate -the forgery.</p> -</div> -<div class="pb" id="Page_9">9</div> -<div class="img"> -<img src="images/p03a.jpg" alt="(genuine example)" width="535" height="800" /> -</div> -<div class="pb" id="Page_10">10</div> -<p>Just as he responds to changes in taste or in learned activity, so the forger follows -in the footsteps of the tourist, for whom he has provided flint implements -to be discovered in prehistoric sites; Greek and Roman coins, gems, and statuettes -at appropriate places in Italy, Greece, and Asia Minor; scarabs and small -sculpture in Egypt; and today, pottery and figurines in Central and South -America.</p> -<p>Nor does the forger confine his attentions to the art of the past, but extends -them to contemporary work. Constable and Corot were imitated while they -were still living; forgeries of Renoir, Degas, Picasso, Matisse, and others are -common today; while, among Americans, Winslow Homer and Ryder fabrications -circulate freely. Artists are apt to be forgetful as to what they have produced, -especially in the case of sketches, and have been known to deny authorship -of perfectly genuine work; so that risks of confrontation are not too great. -With a contemporary artist recently dead, his work not yet fully known or catalogued, -a vogue for collecting him fanned by a skillful entrepreneur, prices not -so high as to provoke critical examination, and with not too many genuine examples -accessible for comparison, the forger is in velvet.</p> -<p>The two main methods of making forgeries, manufacture and misrepresentation, -are in practice often combined; but it is convenient to discuss them separately. -The simplest type of manufactured forgery is the straight copy, although -this has considerable disadvantages. In addition to the necessity of choosing the -right materials, imitating the right technique, and giving a proper appearance -of age, the risks of confrontation with the original are great in these days of systematic -combing of collections, aided by swift and easy travel, by photography -and widespread publication. Sometimes, the forger attempts to meet this risk of -confrontation by introducing variations into a design, so that the forgery may -pass as a version of the original. But even so, comparison of the two is almost -inevitable, with the almost equally inevitable exposure of any defects in the -copy. It is this risk that makes forgers prefer to copy objects that are types rather -than those stamped with the individuality of some particular master. The -strictly controlled design and iconography of much Byzantine painting, and its -<span class="pb" id="Page_11">11</span> -standardized technique, encourages modern repetition; and the putting of one -more copy on the market is not in itself likely to arouse suspicion. Similarly, the -fact that eighteenth-century Chinese potters paid homage to those of earlier -dynasties by making most admirable copies of their work, confuses the situation -in favor of the forger. Another advantage (to the forger) of such objects is that -many of them can be reproduced by casting. With some knowledge of the materials -used for the originals and some skill in giving an appearance of age, such -things as Chinese grave figures, Greek or Near Eastern bronzes, and coins can -be produced in quantity. Sometimes, indeed, variation in the material of the -cast is an aid to deception; as in the case of Renaissance bas-reliefs, when a cast -in wax or stucco may, after some manipulation, be passed off as a sketch for a -marble original.</p> -<div class="img" id="fig3"> -<img src="images/p04a.jpg" alt="" width="574" height="696" /> -<p class="pcap"><span class="smaller">ABOVE</span>: A forgery of Vermeer by Van Meegeren, purporting to be an -early work of the artist, purchased as an original, compared with -(<span class="smaller">BELOW</span>) the earliest known painting signed by Vermeer.</p> -</div> -<div class="img"> -<img src="images/p04c.jpg" alt="(genuine example)" width="621" height="700" /> -</div> -<p>More common than straight copies of particular objects, however, are imitations -of the style of some period or master. This avoids the risk of comparison -with a more or less identical original, and helps in passing off the forgery as an -unknown example of the style it imitates. It was on this basis that Bastianini, -Rouchomovski, and Dossena worked, as did the German painter Roerich in his -<span class="pb" id="Page_12">12</span> -imitations of Cranach and other early German masters. Usually such imitations -of a style do not embody a new conception or an original idea; for the most part -they consist of borrowings from original works, pieced together to make a more -or less consistent whole. Often, these borrowings are secondhand, being taken -from photographs, engravings, or reproductions in books. A specific case was -the use of Weisser’s <i>Bilderatlas zur Weltgeschichte</i> (1882) by Rouchomovski for the -reliefs on the tiara of Saitapharnes. The use of such models is, however, the -Achilles’ heel of the forger. Once their source is tracked down, detection of the -imposture is almost certain.</p> -<div class="img" id="fig4"> -<img src="images/p05.jpg" alt="" width="349" height="795" /> -<p class="pcap">A forgery of fourteenth-century Italian wood sculpture by -Dossena.</p> -</div> -<div class="img" id="fig5"> -<img src="images/p05a.jpg" alt="" width="591" height="779" /> -<p class="pcap">An X-ray revealed modern nails in the interior.</p> -</div> -<p>That, perhaps, is why forgers have on occasion virtually abandoned the use -of models, either wholly or in part, and produced objects different from anything -that is known, but which could fit into some particular historical or cultural -background. Here, they are exploiting not only ignorant enthusiasm but -<span class="pb" id="Page_13">13</span> -the desire among the learned to extend knowledge of little-known epochs of -human history, or to find material that will justify theories about them. Comparatively -crude examples are the so-called Baphomets, stone figures said to -have been worshipped by the Knights Templar; and the “medieval” pilgrim’s -badges made in nineteenth-century London by William Smith and Charles -Eaton, now widely known as “Billies and Charlies.” The appeal of the unknown -was more skillfully utilized by Rouchomovski and Van Meegeren. In the tiara -of Saitapharnes, existing models had been used, through reproductions, for the -reliefs and inscriptions; but as a whole, the tiara was something of a kind unknown, -yet eagerly sought for, and so was more readily accepted when it came -into the market. Similarly, unknown early works of Vermeer had long been a -matter of speculation among art historians, and in certain quarters a hypothetical -character for them had been built up; so that when <i>The Disciples at Emmaus</i> -appeared and more or less fitted the bill, it was all the more easy to believe in it.</p> -<div class="img" id="fig6"> -<img src="images/p05c.jpg" alt="" width="800" height="577" /> -<p class="pcap">A forgery of Egyptian limestone sculpture (<span class="smaller">RIGHT</span>) compared with a -genuine example of the type (<span class="smaller">LEFT</span>). The forgery was proved so by -analyzing the binding material of the color.</p> -</div> -<div class="pb" id="Page_14">14</div> -<p>So far, the forgeries discussed have been substantially new constructions. This -is to be expected when the motives of challenge to the past or self-vindication -are at work; usually, however, the forger prefers to use a genuine piece, wholly -or in part, as a starting point for his operations. This has none of the disadvantages -of a copy; it avoids some of the difficulties of finding suitable materials; -and it provides a pattern for such things as color, texture, and surface condition, -in any changes or additions that the forger may make.</p> -<p>One possibility is to construct a forgery with the aid of genuine fragments, or -on the basis of a damaged original. Joseph Nollekens, the eighteenth-century -English sculptor, who worked with Thomas Jenkins in Rome, himself tells of -making extensive additions to pieces of Roman sculpture found as the result of -excavation, which in due course went into famous collections in England. Similarly, -Dossena sometimes used fragments of genuine <i>quattrocento</i> work in his -forgeries. This, too, was the method favored by Ioni for making his early Italian -paintings. One great convenience of such procedures (for the forger) is that if -suspicion is aroused and investigation made, it can always be alleged that the -added work is merely honest restoration. Indeed, the line between restoration -and forgery sometimes becomes blurred. Occasionally there appears in the art -market a graft of a piece of one original onto another; its sellers would be consumed -with indignation were it suggested that they had handled a forgery.</p> -<p>The exploitation of genuine work, however, often takes much simpler forms -than that described above. The signature of a master may be added to a school -piece, or to anything that bears some superficial resemblances to his work; -sometimes, indeed, the addition is to a work by the master himself, to convince -the doubting and to increase its sale value. Not infrequently, however, there is -present an inconvenient signature of the real author, which has to be obliterated -or manipulated into something more attractive. A special form of manipulation -is to put on some anonymous portrait a name which more or less fits the dress -and character of the sitter, and so increases its sale value. Shakespeare and Milton -are often so honored; and many mediocre portraits picked up in England -have been adorned with the names of Colonial worthies, and thus found a ready -market in the United States.</p> -<p>All the examples of forgery so far mentioned are of the manufactured type, -however little work may have been expended on them. In this they differ entirely -from the forgeries which depend wholly on misrepresentation, a genuine -<span class="pb" id="Page_15">15</span> -article of one kind being passed off as of another, without any physical change. -It is not usual to brand such things as forgeries, and legally they are not so regarded; -but morally, in that something is made to appear what it is not, they -seem to be truly forgeries.</p> -<div class="img" id="fig7"> -<img src="images/p06.jpg" alt="" width="548" height="700" /> -<p class="pcap"><span class="smaller">ABOVE</span>: A forgery (partly cleaned for examination) of a fifteenth-century -Florentine portrait, compared with a genuine example (<span class="smaller">BELOW</span>). -The forgery is on an old panel, but was finally proved false by the -presence of titanium white, a twentieth-century pigment.</p> -</div> -<div class="img"> -<img src="images/p06a.jpg" alt="(genuine example)" width="437" height="695" /> -</div> -<p>A simple and widespread means of falsifying in this way is a certificate of -authorship and genuineness. Sometimes, the writers of these are of the highest -competence and probity. These two qualities are not always combined, however; -and the certificate then becomes either intentionally or innocently misleading. -Unfortunately, most certificates are written for a fee, and there is -always temptation for the writer to err on the side of pleasing his employer; -while there is no question that sometimes certificates have been given deliberately -to defraud. Moreover, forged certificates bearing reputable names are not -unknown, a special variety being the stringing together of words from a genuine -letter, with all qualifying or negative phrases omitted. There is, however, a -<span class="pb" id="Page_16">16</span> -more insidious method of giving a certificate, that of publication of an object -in a reliable journal. Editors are generally careful enough; but they are -defenseless in the face of a plausible case put forward by a name of some reputation, -especially when the passage relating to the object is included in a -more general context. This kind of certification is particularly difficult to cope -with, since such articles will continue to be cited in later publications, perhaps -mainly to controvert them but nevertheless renewing their availability for dishonest -purposes.</p> -<p>Construction of false pedigrees is another means of misrepresentation, much -used in the case of copies or versions. Sometimes, a pedigree is completely false, -naming imaginary former owners whose existence cannot be proved but equally -cannot be disproved. Sometimes, such history as the object may have is grafted -onto that of another and accepted version, so that the two may become confused. -A special case of this is the planting out of objects in houses whose owners -are ready, for a consideration, to describe them as having descended in the family, -or even as having been bought from the maker by an ancestor.</p> -<p>The skill, ingenuity, and knowledge of the forger and of those who exploit his -work, are opposed to the skill, ingenuity, and knowledge of the collector and the -learned world. The unaided human eye, if it has a trained and well-informed -mind behind it, can go a long way in detecting forgeries. It is surprising how forgetful, -careless, or ignorant a forger can be. He may employ materials whose -inconsistency with the period to which his work claims to belong can be seen -even by the unaided eye. More common is the introduction of such things as -types and details of costume, or the use of coats of arms, that are later than the -alleged date of the work. All such evidence, however, needs scrutiny, since it -may simply be a case of later additions to a genuine object. More useful, therefore, -may be tracking down the source of a forger’s borrowings. If, for example, -these at first sight seem to come from an original work, but follow much more -closely the variations from that original in a later copy or engraving, the conclusion -is obvious. Again, investigation of pedigrees, checking of literary references, -searching through exhibition records, may all reveal suspicious or occasionally -damning evidence of falsified history.</p> -<div class="pb" id="Page_17">17</div> -<div class="img" id="fig8"> -<img src="images/p07.jpg" alt="" width="600" height="713" /> -<p class="pcap"><span class="smaller">ABOVE</span>: A forgery of a portrait by Cranach, and (<span class="smaller">BELOW</span>) a genuine -example. A style forgery, skillful, but coarser than an original.</p> -</div> -<div class="img"> -<img src="images/p07a.jpg" alt="(genuine example)" width="592" height="799" /> -</div> -<div class="pb" id="Page_18">18</div> -<p>To tests based on observation and historical verification, we must add those -mainly dependent on feeling. For the sensitive and trained observer, a number -of indefinable characteristics will “add up” to a definite conviction of genuine -or false. Qualities of surface and handling, subtleties in color and in the definition -of form, the degree of unity in conception and treatment, and the emotional -character of the work are among the things which influence such decisions. -Thus, a copy, however exact, may reveal itself as lacking the coherence and the -feeling which inspired the original; and the most skillful imitation of some older -work may be recognized as a creation of its own time. Nobody can completely -divorce himself from the prevailing thoughts, opinions, assumptions, feelings, -and standards of his own period; and inevitably these will color whatever he -produces, whether he be a forger or an original artist.</p> -<p>Scorn is often poured on judgments of the type described, and the expert who -produces them in a court of law is the delight of the skillful cross-examiner. -True, the only merit of snap opinions based on defective sensibility and inadequate -experience is that they have a fifty-fifty chance of being right; but with -sensibility backed by knowledge, an almost supra-rational instinct develops as -to what is genuine or false. The so-called impression or hunch is, in such circumstances, -more accurately described as a synthesis of many experiences. It is often -forgotten that such almost instinctive judgments are not confined to art and -archaeology. They play an important part in the sciences (where they are called -hypotheses), in politics, in war, in business, and many other fields. Their value -varies with the men who make them; but this does not lessen their potential -value, and their occasional indispensability. In the detection of two particular -types of forgery they are especially useful. Imitations of contemporary work can -be very baffling, since the forger works with materials which were or might have -been used in genuine work, does not have to give an appearance of age, and -works against the same general background as does the artist he imitates. Similarly, -a school piece which is misrepresented as the work of an old master, was -produced in a similar physical and emotional environment. In such cases, a -final verdict often has to be based on nothing but imponderable elements of -style, realizable only through feeling based on knowledge.</p> -<div class="pb" id="Page_19">19</div> -<div class="img" id="fig9"> -<img src="images/p08.jpg" alt="" width="800" height="635" /> -<p class="pcap"><span class="smaller">ABOVE</span>: An imitation of the work of John Constable, distinguished -from an original (<span class="smaller">BELOW</span>) by its coarse handling and mistakes in -topography.</p> -</div> -<div class="img"> -<img src="images/p08a.jpg" alt="(genuine example)" width="800" height="619" /> -</div> -<div class="pb" id="Page_20">20</div> -<p>The methods so far described of detecting forgeries may well be as old as the -practice of forgery itself. Certainly, they form the basis of all investigations of -which we have records, as well as of those made today. Their efficiency, however, -has been immensely increased by the development of scientific methods of -investigation. The first great step forward came with the use of photography, -which permitted comparison of suspicious objects with genuine examples in a -way hitherto impossible. Next came the application of various scientific techniques -to the analysis of the physical constitution of an object. So spectacular -have been the results in some cases as to create a blind faith in such methods of -investigation, almost as though a piece of scientific apparatus were an oracle -which when consulted would answer “Yes” or “No” to the question of whether -an object is genuine. The limits of scientific investigation are, however, clearly -marked. This method is solely concerned with the physical make-up of an object, -and is completely indifferent as to who made it, when and where it was -made, and why it was made. All that it does is to make possible the discovery of -physical facts bearing upon these matters, which have to be observed and interpreted -by human minds and used as the basis for human judgments.</p> -<div class="img" id="fig10"> -<img src="images/p09.jpg" alt="" width="800" height="598" /> -<p class="pcap"><span class="smaller">ABOVE</span>: A forgery of a painting by Utrillo adapted from a -genuine example, compared with another genuine picture (<span class="smaller">BELOW</span>). -Note the clumsy handling of paint and drawing in the forgery.</p> -</div> -<div class="pb" id="Page_21">21</div> -<div class="img"> -<img src="images/p09a.jpg" alt="(genuine example)" width="800" height="650" /> -</div> -<p>The scientific procedures with which we are concerned here fall into two -main groups. Of these, one includes various techniques for extending the range -of human vision. The simplest is examination by microscope, which enables -characteristics of a surface to be seen that would otherwise be invisible, so that, -for example, painted cracks or cracks artificially induced can be distinguished -from crackle due to age. With the microscope, too, evidence of removals and -additions can be obtained, such as the manipulation of signatures and inscriptions, -or the presence of repaint or artificial patina; while the structure of pigments, -stone, etc., can be ascertained, as a step toward their identification. More -elaborate is examination under various rays of the spectrum, to which the human -eye is not sensitive but whose results can be recorded. The best known of -these is X-ray, which penetrates certain substances but is held up in different -degrees by others, especially metals, so that a photographic film behind an -object will record a map of such substances in an object, thus revealing much -<span class="pb" id="Page_22">22</span> -that is below the surface. On the other hand, ultra-violet rays falling on a surface -cause fluorescence, which varies according to substance and texture, so that -additions to the surface may be revealed. Infra-red rays, in contrast, penetrate -the surface, and are reflected back from the layers beneath, so that a photograph -taken by infra-red light may reveal something concealed from the eye, -which X-ray may not pick up.</p> -<p>The second group of investigatory methods includes various means of analyzing -the materials present in an object. The most familiar is chemical analysis; -but this is being supplemented and to some extent displaced by spectrographic -analysis, with its recent extension in the use of X-ray diffraction. By -these means, it is possible to detect even minute traces of substances whose presence -or absence may be decisive in settling the date or provenance of a material. -Some recent applications of quantitative analysis have proved helpful in ascertaining -the date of objects. One of these techniques, determination of the extent -of fluorination, was used to prove that the jawbone of the Piltdown skull was a -modern forgery; while another, based on the amount of radio-active carbon -present, which is known to decay at a certain rate, is still in course of development, -but promises to be most useful.</p> -<p>Thus, a formidable group of weapons are available against the forger. To be -effective, however, the significance of the facts they bring to light must be understood. -Decisive proof that an object is not of the period or by the hand to which -it is attributed comes only through the discovery of facts which are not only -inconsistent with the attribution but cannot be explained except by assuming -that the attribution is wrong. For instance, the body of a work may contain a -substance unknown at its ostensible date. Modern nails inside a piece of wood -sculpture said to be of the fourteenth century; cobalt, unknown as a pigment -until the early nineteenth century, in a painting attributed to Velázquez; and -titanium white, a twentieth-century invention, in a portrait labelled fifteenth-century -Florentine—these are all good evidence that the object is not what it is -held out to be.</p> -<p>Moreover, the facts discovered always have to be controlled by reference to -established standards. Structure revealed by microscopic examination must be -compared with that of known substances; chemical and spectrographic analysis -has to be checked by reference to a codified series of earlier tests; crackle on a -surface can only be labelled as false if the nature of genuine crackle is known; -<span class="pb" id="Page_23">23</span> -and the reading of whatever is discovered by X-ray, ultra-violet, or infra-red -rays calls for comparison with verified results of previous examinations. The -facts yielded by one method of investigation may by themselves not be sufficient -evidence of forgery; if, however, they can be joined with the results of other -methods, all pointing in the same direction, a strong case can be built up. As -in a court of law, this, rather than production of a single dramatic and decisive -piece of evidence, is what usually happens.</p> -<p>It might be thought that the combination of expert and scientist would leave -the forger with his occupation gone. On the contrary, he continues to flourish. -In the face of the expert, he discards the clumsy copy and the inept certificate, -utilizing the improved methods of photography and reproduction and the increasing -flood of learned works, to help save him from anachronisms and inherent -contradictions in his work. The scientist he meets either by concentrating in -fields where scientific methods of inquiry are relatively helpless, or by himself -going to school with the scientist. The results of recent scientific work have put -at his disposal much knowledge of what to do, what to avoid, and how to baffle -certain types of investigation. Moreover, he has even taken over certain procedures -worked out by scientists, such as those for hastening the effect of time, -and has applied them to his own problems; cases are known of forgeries having -been submitted, through innocent hands, for scientific investigation, to find out -whether they will survive the ordeal, and if not, what are the mistakes to be -avoided in the future.</p> -<p class="center"><span class="gs">* * * * * * * *</span></p> -<p>One question is often asked in connection with forgeries: Why should a once-admired -object be disregarded or condemned on being proved a forgery, seeing -that it is still the same object? One reason is human snobbery; another, and -more important, is that when an object is proved to be a forgery, it is to us no -longer the same object that it was. After the discovery, human knowledge about -the positive and negative qualities of the object has increased, and a new judgment -has to be made upon it. Exactly the same thing happens with a genuine -work. As familiarity with it grows, it becomes another thing to the spectator’s -eyes and mind, and so it may rise or fall in his esteem. Conceivably, the characteristics -which proclaim something to be a forgery might, when discovered, -cause it to be more highly regarded; but that kind of forgery is not yet known, -though it may perhaps exist.</p> -<hr class="dwide" /> -<div class="img" id="fig11"> -<img src="images/p11.jpg" alt="" width="481" height="601" /> -<p class="pcap"><i>W. G. CONSTABLE</i></p> -</div> -<p>William George Constable was born in -Derby, England, in 1887 and educated at -Cambridge University and the Slade -School of the University of London. He -was formerly Assistant Director of the -National Gallery, London; Director of the -Courtauld Institute (University of London); -and Slade Professor of Fine Art at -Cambridge University. Since 1938, he -has been Curator of Paintings at the Museum -of Fine Arts, Boston.</p> -<p>The author of numerous books and -magazine articles, Mr. Constable has devoted -himself particularly to the study of -English and Italian paintings and drawings. -This is reflected in his more recent -publications: <i>Venetian Painting</i> (1950); a -monograph on the English artist Richard -Wilson (1953); and <i>The Painter’s Workshop</i> -(1954).</p> -<div class="img" id="fig12"> -<img src="images/p20.jpg" alt="" width="500" height="626" /> -<p class="pcap"><span class="smaller">BACK COVER</span>: A forgery of a Greek bronze statuette.</p> -</div> -<h2>Transcriber’s Notes</h2> -<ul> -<li>Silently corrected a few typos.</li> -<li>Retained publication information from the printed edition: this eBook is public-domain in the country of publication.</li> -<li>In the text versions only, text in italics is delimited by _underscores_.</li> -</ul> -<div style='display:block; margin-top:4em'>*** END OF THE PROJECT GUTENBERG EBOOK FORGERS AND FORGERIES ***</div> -<div style='text-align:left'> - -<div style='display:block; margin:1em 0'> -Updated editions will replace the previous one—the old editions will -be renamed. -</div> - -<div style='display:block; margin:1em 0'> -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. Special rules, set forth in the General Terms of Use part -of this license, apply to copying and distributing Project -Gutenberg™ electronic works to protect the PROJECT GUTENBERG™ -concept and trademark. Project Gutenberg is a registered trademark, -and may not be used if you charge for an eBook, except by following -the terms of the trademark license, including paying royalties for use -of the Project Gutenberg trademark. If you do not charge anything for -copies of this eBook, complying with the trademark license is very -easy. You may use this eBook for nearly any purpose such as creation -of derivative works, reports, performances and research. Project -Gutenberg eBooks may be modified and printed and given away--you may -do practically ANYTHING in the United States with eBooks not protected -by U.S. copyright law. Redistribution is subject to the trademark -license, especially commercial redistribution. -</div> - -<div style='margin:0.83em 0; font-size:1.1em; text-align:center'>START: FULL LICENSE<br /> -<span style='font-size:smaller'>THE FULL PROJECT GUTENBERG LICENSE<br /> -PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK</span> -</div> - -<div style='display:block; margin:1em 0'> -To protect the Project Gutenberg™ mission of promoting the free -distribution of electronic works, by using or distributing this work -(or any other work associated in any way with the phrase “Project -Gutenberg”), you agree to comply with all the terms of the Full -Project Gutenberg™ License available with this file or online at -www.gutenberg.org/license. -</div> - -<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'> -Section 1. General Terms of Use and Redistributing Project Gutenberg™ electronic works -</div> - -<div style='display:block; margin:1em 0'> -1.A. By reading or using any part of this Project Gutenberg™ -electronic work, you indicate that you have read, understand, agree to -and accept all the terms of this license and intellectual property -(trademark/copyright) agreement. If you do not agree to abide by all -the terms of this agreement, you must cease using and return or -destroy all copies of Project Gutenberg™ electronic works in your -possession. If you paid a fee for obtaining a copy of or access to a -Project Gutenberg™ electronic work and you do not agree to be bound -by the terms of this agreement, you may obtain a refund from the person -or entity to whom you paid the fee as set forth in paragraph 1.E.8. -</div> - -<div style='display:block; margin:1em 0'> -1.B. “Project Gutenberg” is a registered trademark. It may only be -used on or associated in any way with an electronic work by people who -agree to be bound by the terms of this agreement. There are a few -things that you can do with most Project Gutenberg™ electronic works -even without complying with the full terms of this agreement. See -paragraph 1.C below. There are a lot of things you can do with Project -Gutenberg™ electronic works if you follow the terms of this -agreement and help preserve free future access to Project Gutenberg™ -electronic works. See paragraph 1.E below. -</div> - -<div style='display:block; margin:1em 0'> -1.C. The Project Gutenberg Literary Archive Foundation (“the -Foundation” or PGLAF), owns a compilation copyright in the collection -of Project Gutenberg™ electronic works. Nearly all the individual -works in the collection are in the public domain in the United -States. If an individual work is unprotected by copyright law in the -United States and you are located in the United States, we do not -claim a right to prevent you from copying, distributing, performing, -displaying or creating derivative works based on the work as long as -all references to Project Gutenberg are removed. Of course, we hope -that you will support the Project Gutenberg™ mission of promoting -free access to electronic works by freely sharing Project Gutenberg™ -works in compliance with the terms of this agreement for keeping the -Project Gutenberg™ name associated with the work. You can easily -comply with the terms of this agreement by keeping this work in the -same format with its attached full Project Gutenberg™ License when -you share it without charge with others. -</div> - -<div style='display:block; margin:1em 0'> -1.D. The copyright laws of the place where you are located also govern -what you can do with this work. Copyright laws in most countries are -in a constant state of change. If you are outside the United States, -check the laws of your country in addition to the terms of this -agreement before downloading, copying, displaying, performing, -distributing or creating derivative works based on this work or any -other Project Gutenberg™ work. The Foundation makes no -representations concerning the copyright status of any work in any -country other than the United States. -</div> - -<div style='display:block; margin:1em 0'> -1.E. Unless you have removed all references to Project Gutenberg: -</div> - -<div style='display:block; margin:1em 0'> -1.E.1. The following sentence, with active links to, or other -immediate access to, the full Project Gutenberg™ License must appear -prominently whenever any copy of a Project Gutenberg™ work (any work -on which the phrase “Project Gutenberg” appears, or with which the -phrase “Project Gutenberg” is associated) is accessed, displayed, -performed, viewed, copied or distributed: -</div> - -<blockquote> - <div style='display:block; margin:1em 0'> - This eBook is for the use of anyone anywhere in the United States and most - other parts of the world at no cost and with almost no restrictions - whatsoever. You may copy it, give it away or re-use it under the terms - of the Project Gutenberg License included with this eBook or online - at <a href="https://www.gutenberg.org">www.gutenberg.org</a>. If you - are not located in the United States, you will have to check the laws - of the country where you are located before using this eBook. - </div> -</blockquote> - -<div style='display:block; margin:1em 0'> -1.E.2. If an individual Project Gutenberg™ electronic work is -derived from texts not protected by U.S. copyright law (does not -contain a notice indicating that it is posted with permission of the -copyright holder), the work can be copied and distributed to anyone in -the United States without paying any fees or charges. If you are -redistributing or providing access to a work with the phrase “Project -Gutenberg” associated with or appearing on the work, you must comply -either with the requirements of paragraphs 1.E.1 through 1.E.7 or -obtain permission for the use of the work and the Project Gutenberg™ -trademark as set forth in paragraphs 1.E.8 or 1.E.9. -</div> - -<div style='display:block; margin:1em 0'> -1.E.3. If an individual Project Gutenberg™ electronic work is posted -with the permission of the copyright holder, your use and distribution -must comply with both paragraphs 1.E.1 through 1.E.7 and any -additional terms imposed by the copyright holder. Additional terms -will be linked to the Project Gutenberg™ License for all works -posted with the permission of the copyright holder found at the -beginning of this work. -</div> - -<div style='display:block; margin:1em 0'> -1.E.4. Do not unlink or detach or remove the full Project Gutenberg™ -License terms from this work, or any files containing a part of this -work or any other work associated with Project Gutenberg™. -</div> - -<div style='display:block; margin:1em 0'> -1.E.5. Do not copy, display, perform, distribute or redistribute this -electronic work, or any part of this electronic work, without -prominently displaying the sentence set forth in paragraph 1.E.1 with -active links or immediate access to the full terms of the Project -Gutenberg™ License. -</div> - -<div style='display:block; margin:1em 0'> -1.E.6. You may convert to and distribute this work in any binary, -compressed, marked up, nonproprietary or proprietary form, including -any word processing or hypertext form. However, if you provide access -to or distribute copies of a Project Gutenberg™ work in a format -other than “Plain Vanilla ASCII” or other format used in the official -version posted on the official Project Gutenberg™ website -(www.gutenberg.org), you must, at no additional cost, fee or expense -to the user, provide a copy, a means of exporting a copy, or a means -of obtaining a copy upon request, of the work in its original “Plain -Vanilla ASCII” or other form. Any alternate format must include the -full Project Gutenberg™ License as specified in paragraph 1.E.1. -</div> - -<div style='display:block; margin:1em 0'> -1.E.7. Do not charge a fee for access to, viewing, displaying, -performing, copying or distributing any Project Gutenberg™ works -unless you comply with paragraph 1.E.8 or 1.E.9. -</div> - -<div style='display:block; margin:1em 0'> -1.E.8. You may charge a reasonable fee for copies of or providing -access to or distributing Project Gutenberg™ electronic works -provided that: -</div> - -<div style='margin-left:0.7em;'> - <div style='text-indent:-0.7em'> - • You pay a royalty fee of 20% of the gross profits you derive from - the use of Project Gutenberg™ works calculated using the method - you already use to calculate your applicable taxes. The fee is owed - to the owner of the Project Gutenberg™ trademark, but he has - agreed to donate royalties under this paragraph to the Project - Gutenberg Literary Archive Foundation. Royalty payments must be paid - within 60 days following each date on which you prepare (or are - legally required to prepare) your periodic tax returns. Royalty - payments should be clearly marked as such and sent to the Project - Gutenberg Literary Archive Foundation at the address specified in - Section 4, “Information about donations to the Project Gutenberg - Literary Archive Foundation.” - </div> - - <div style='text-indent:-0.7em'> - • You provide a full refund of any money paid by a user who notifies - you in writing (or by e-mail) within 30 days of receipt that s/he - does not agree to the terms of the full Project Gutenberg™ - License. You must require such a user to return or destroy all - copies of the works possessed in a physical medium and discontinue - all use of and all access to other copies of Project Gutenberg™ - works. - </div> - - <div style='text-indent:-0.7em'> - • You provide, in accordance with paragraph 1.F.3, a full refund of - any money paid for a work or a replacement copy, if a defect in the - electronic work is discovered and reported to you within 90 days of - receipt of the work. - </div> - - <div style='text-indent:-0.7em'> - • You comply with all other terms of this agreement for free - distribution of Project Gutenberg™ works. - </div> -</div> - -<div style='display:block; margin:1em 0'> -1.E.9. If you wish to charge a fee or distribute a Project -Gutenberg™ electronic work or group of works on different terms than -are set forth in this agreement, you must obtain permission in writing -from the Project Gutenberg Literary Archive Foundation, the manager of -the Project Gutenberg™ trademark. Contact the Foundation as set -forth in Section 3 below. -</div> - -<div style='display:block; margin:1em 0'> -1.F. -</div> - -<div style='display:block; margin:1em 0'> -1.F.1. Project Gutenberg volunteers and employees expend considerable -effort to identify, do copyright research on, transcribe and proofread -works not protected by U.S. copyright law in creating the Project -Gutenberg™ collection. Despite these efforts, Project Gutenberg™ -electronic works, and the medium on which they may be stored, may -contain “Defects,” such as, but not limited to, incomplete, inaccurate -or corrupt data, transcription errors, a copyright or other -intellectual property infringement, a defective or damaged disk or -other medium, a computer virus, or computer codes that damage or -cannot be read by your equipment. -</div> - -<div style='display:block; margin:1em 0'> -1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right -of Replacement or Refund” described in paragraph 1.F.3, the Project -Gutenberg Literary Archive Foundation, the owner of the Project -Gutenberg™ trademark, and any other party distributing a Project -Gutenberg™ electronic work under this agreement, disclaim all -liability to you for damages, costs and expenses, including legal -fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT -LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE -PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE -TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE -LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR -INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH -DAMAGE. -</div> - -<div style='display:block; margin:1em 0'> -1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a -defect in this electronic work within 90 days of receiving it, you can -receive a refund of the money (if any) you paid for it by sending a -written explanation to the person you received the work from. If you -received the work on a physical medium, you must return the medium -with your written explanation. The person or entity that provided you -with the defective work may elect to provide a replacement copy in -lieu of a refund. If you received the work electronically, the person -or entity providing it to you may choose to give you a second -opportunity to receive the work electronically in lieu of a refund. If -the second copy is also defective, you may demand a refund in writing -without further opportunities to fix the problem. -</div> - -<div style='display:block; margin:1em 0'> -1.F.4. Except for the limited right of replacement or refund set forth -in paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO -OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT -LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. -</div> - -<div style='display:block; margin:1em 0'> -1.F.5. Some states do not allow disclaimers of certain implied -warranties or the exclusion or limitation of certain types of -damages. If any disclaimer or limitation set forth in this agreement -violates the law of the state applicable to this agreement, the -agreement shall be interpreted to make the maximum disclaimer or -limitation permitted by the applicable state law. The invalidity or -unenforceability of any provision of this agreement shall not void the -remaining provisions. -</div> - -<div style='display:block; margin:1em 0'> -1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the -trademark owner, any agent or employee of the Foundation, anyone -providing copies of Project Gutenberg™ electronic works in -accordance with this agreement, and any volunteers associated with the -production, promotion and distribution of Project Gutenberg™ -electronic works, harmless from all liability, costs and expenses, -including legal fees, that arise directly or indirectly from any of -the following which you do or cause to occur: (a) distribution of this -or any Project Gutenberg™ work, (b) alteration, modification, or -additions or deletions to any Project Gutenberg™ work, and (c) any -Defect you cause. -</div> - -<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'> -Section 2. Information about the Mission of Project Gutenberg™ -</div> - -<div style='display:block; margin:1em 0'> -Project Gutenberg™ is synonymous with the free distribution of -electronic works in formats readable by the widest variety of -computers including obsolete, old, middle-aged and new computers. It -exists because of the efforts of hundreds of volunteers and donations -from people in all walks of life. -</div> - -<div style='display:block; margin:1em 0'> -Volunteers and financial support to provide volunteers with the -assistance they need are critical to reaching Project Gutenberg™’s -goals and ensuring that the Project Gutenberg™ collection will -remain freely available for generations to come. In 2001, the Project -Gutenberg Literary Archive Foundation was created to provide a secure -and permanent future for Project Gutenberg™ and future -generations. To learn more about the Project Gutenberg Literary -Archive Foundation and how your efforts and donations can help, see -Sections 3 and 4 and the Foundation information page at www.gutenberg.org. -</div> - -<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'> -Section 3. Information about the Project Gutenberg Literary Archive Foundation -</div> - -<div style='display:block; margin:1em 0'> -The Project Gutenberg Literary Archive Foundation is a non-profit -501(c)(3) educational corporation organized under the laws of the -state of Mississippi and granted tax exempt status by the Internal -Revenue Service. The Foundation’s EIN or federal tax identification -number is 64-6221541. Contributions to the Project Gutenberg Literary -Archive Foundation are tax deductible to the full extent permitted by -U.S. federal laws and your state’s laws. -</div> - -<div style='display:block; margin:1em 0'> -The Foundation’s business office is located at 809 North 1500 West, -Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up -to date contact information can be found at the Foundation’s website -and official page at www.gutenberg.org/contact -</div> - -<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'> -Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation -</div> - -<div style='display:block; margin:1em 0'> -Project Gutenberg™ depends upon and cannot survive without widespread -public support and donations to carry out its mission of -increasing the number of public domain and licensed works that can be -freely distributed in machine-readable form accessible by the widest -array of equipment including outdated equipment. Many small donations -($1 to $5,000) are particularly important to maintaining tax exempt -status with the IRS. -</div> - -<div style='display:block; margin:1em 0'> -The Foundation is committed to complying with the laws regulating -charities and charitable donations in all 50 states of the United -States. Compliance requirements are not uniform and it takes a -considerable effort, much paperwork and many fees to meet and keep up -with these requirements. We do not solicit donations in locations -where we have not received written confirmation of compliance. To SEND -DONATIONS or determine the status of compliance for any particular state -visit <a href="https://www.gutenberg.org/donate/">www.gutenberg.org/donate</a>. -</div> - -<div style='display:block; margin:1em 0'> -While we cannot and do not solicit contributions from states where we -have not met the solicitation requirements, we know of no prohibition -against accepting unsolicited donations from donors in such states who -approach us with offers to donate. -</div> - -<div style='display:block; margin:1em 0'> -International donations are gratefully accepted, but we cannot make -any statements concerning tax treatment of donations received from -outside the United States. U.S. laws alone swamp our small staff. -</div> - -<div style='display:block; margin:1em 0'> -Please check the Project Gutenberg web pages for current donation -methods and addresses. Donations are accepted in a number of other -ways including checks, online payments and credit card donations. To -donate, please visit: www.gutenberg.org/donate -</div> - -<div style='display:block; font-size:1.1em; margin:1em 0; font-weight:bold'> -Section 5. General Information About Project Gutenberg™ electronic works -</div> - -<div style='display:block; margin:1em 0'> -Professor Michael S. Hart was the originator of the Project -Gutenberg™ concept of a library of electronic works that could be -freely shared with anyone. For forty years, he produced and -distributed Project Gutenberg™ eBooks with only a loose network of -volunteer support. -</div> - -<div style='display:block; margin:1em 0'> -Project Gutenberg™ eBooks are often created from several printed -editions, all of which are confirmed as not protected by copyright in -the U.S. unless a copyright notice is included. Thus, we do not -necessarily keep eBooks in compliance with any particular paper -edition. -</div> - -<div style='display:block; margin:1em 0'> -Most people start at our website which has the main PG search -facility: <a href="https://www.gutenberg.org">www.gutenberg.org</a>. -</div> - -<div style='display:block; margin:1em 0'> -This website includes information about Project Gutenberg™, -including how to make donations to the Project Gutenberg Literary -Archive Foundation, how to help produce our new eBooks, and how to -subscribe to our email newsletter to hear about new eBooks. -</div> - -</div> - -</body> -</html> diff --git a/old/64686-h/images/cover.jpg b/old/64686-h/images/cover.jpg Binary files differdeleted file mode 100644 index de56deb..0000000 --- a/old/64686-h/images/cover.jpg +++ /dev/null diff --git a/old/64686-h/images/p02.jpg b/old/64686-h/images/p02.jpg Binary files differdeleted file mode 100644 index 2d46407..0000000 --- a/old/64686-h/images/p02.jpg +++ /dev/null diff --git a/old/64686-h/images/p03.jpg b/old/64686-h/images/p03.jpg Binary files differdeleted file mode 100644 index 11a0da0..0000000 --- a/old/64686-h/images/p03.jpg +++ /dev/null diff --git a/old/64686-h/images/p03a.jpg b/old/64686-h/images/p03a.jpg Binary files differdeleted file mode 100644 index 2d49cb5..0000000 --- a/old/64686-h/images/p03a.jpg +++ /dev/null diff --git a/old/64686-h/images/p04a.jpg b/old/64686-h/images/p04a.jpg Binary files differdeleted file mode 100644 index 803934e..0000000 --- a/old/64686-h/images/p04a.jpg +++ /dev/null diff --git a/old/64686-h/images/p04c.jpg b/old/64686-h/images/p04c.jpg Binary files differdeleted file mode 100644 index c0998b6..0000000 --- a/old/64686-h/images/p04c.jpg +++ /dev/null diff --git a/old/64686-h/images/p05.jpg b/old/64686-h/images/p05.jpg Binary files differdeleted file mode 100644 index 6abc605..0000000 --- a/old/64686-h/images/p05.jpg +++ /dev/null diff --git a/old/64686-h/images/p05a.jpg b/old/64686-h/images/p05a.jpg Binary files differdeleted file mode 100644 index d68c792..0000000 --- a/old/64686-h/images/p05a.jpg +++ /dev/null diff --git a/old/64686-h/images/p05c.jpg b/old/64686-h/images/p05c.jpg Binary files differdeleted file mode 100644 index c3f191d..0000000 --- a/old/64686-h/images/p05c.jpg +++ /dev/null diff --git a/old/64686-h/images/p06.jpg b/old/64686-h/images/p06.jpg Binary files differdeleted file mode 100644 index d0e0905..0000000 --- a/old/64686-h/images/p06.jpg +++ /dev/null diff --git a/old/64686-h/images/p06a.jpg b/old/64686-h/images/p06a.jpg Binary files differdeleted file mode 100644 index 20247a1..0000000 --- a/old/64686-h/images/p06a.jpg +++ /dev/null diff --git a/old/64686-h/images/p07.jpg b/old/64686-h/images/p07.jpg Binary files differdeleted file mode 100644 index 9148c2f..0000000 --- a/old/64686-h/images/p07.jpg +++ /dev/null diff --git a/old/64686-h/images/p07a.jpg b/old/64686-h/images/p07a.jpg Binary files differdeleted file mode 100644 index 5da6eef..0000000 --- a/old/64686-h/images/p07a.jpg +++ /dev/null diff --git a/old/64686-h/images/p08.jpg b/old/64686-h/images/p08.jpg Binary files differdeleted file mode 100644 index e4a75b4..0000000 --- a/old/64686-h/images/p08.jpg +++ /dev/null diff --git a/old/64686-h/images/p08a.jpg b/old/64686-h/images/p08a.jpg Binary files differdeleted file mode 100644 index e36e42a..0000000 --- a/old/64686-h/images/p08a.jpg +++ /dev/null diff --git a/old/64686-h/images/p09.jpg b/old/64686-h/images/p09.jpg Binary files differdeleted file mode 100644 index 582c361..0000000 --- a/old/64686-h/images/p09.jpg +++ /dev/null diff --git a/old/64686-h/images/p09a.jpg b/old/64686-h/images/p09a.jpg Binary files differdeleted file mode 100644 index 7711ec7..0000000 --- a/old/64686-h/images/p09a.jpg +++ /dev/null diff --git a/old/64686-h/images/p11.jpg b/old/64686-h/images/p11.jpg Binary files differdeleted file mode 100644 index 4925f0c..0000000 --- a/old/64686-h/images/p11.jpg +++ /dev/null diff --git a/old/64686-h/images/p20.jpg b/old/64686-h/images/p20.jpg Binary files differdeleted file mode 100644 index a19897e..0000000 --- a/old/64686-h/images/p20.jpg +++ /dev/null diff --git a/old/64686-h/images/spine.jpg b/old/64686-h/images/spine.jpg Binary files differdeleted file mode 100644 index 1aedcd6..0000000 --- a/old/64686-h/images/spine.jpg +++ /dev/null |
