1. Antiquarian taste and the international market in the 19th and 20th centuries
2. Exercises in style, commissioned copies, fraudolent copies, copies circulated as forgeries, restorations
3. The Icilio Federico Joni Section (Siena, 1866-1946)
4. The Umberto Giunti Section (1886-1970): from 'fresco forger' to Botticelli and beyond
5. Collaborators and followers
6. The forger's workshop: preparatory sketches, archive photographs, tools, punches, and fragments of spoiled panels
7. Documents, photographic portraits, writings and documentation regarding the lives of the forgers

This section opens with the large altar-piece from the castle of the Velona, now kept in the Civic and Diocesan Museum at Montalcino and long believed to be the original work of the 15th-century artist Girolamo di Benvenuto but actually a fraudulent copy of the painting which, after various misfortunes, is now kept in the Galleria Nazionale delle Marche in Urbino. Next is the copy of the Agnano Polyptych (from the church of S. Jacopo Apostolo in Agnano, near Pisa) carried out in around 1936 by Federico Joni. The 14th-century work by Cecco di Pietro, along with its copy, are now the property of the Fondazione Cassa di Risparmio di Pisa. Joni's polyptych, which, unknown to the authorities, replaced the 14th-century altar-piece in the church of Agnano, was recovered from the rubble left by a wartime bombing. It was later believed to be the original and mistakenly published as such by illustrious scholars.

Also on display are copies executed as stylistic exercises, others fraudulently aged at the request of the patron, and others by Joni commissioned by wealthy aristocrats such as the Serristori of Florence. Also on display are copies of famous works, sculptures and paintings, intended to deceive Italian and foreign antique dealers and collectors alike. From the Donatello-style marble lunette from Torrita di Siena, undoubtedly carried out with fraudulent intent by the sculptor Fulvio Corsini in around 1925, to the panel of St Francis signed by Margarito d'Arezzo, from the Kunsthaus in Zurich, published until recently as a replica of the painting in the Pinacoteca di Siena, but actually a clever copy now attributed to the painter and restorer Bruno Marzi (Siena, 1908-1981).

Also on display is the attribution to Fulvio Corsini of another enchanting Donatello-style marble conceded by the Amedeo Lia collection of La Spezia, derived from a detail of the altar of the Santo Basilica in Padua.

Visitors can also see the Portrait of a Young Lady with the attributes of Saint Catherine of Alexandria in the style of Ghirlandaio, from the Chigi Saracini collection of Siena. The painting is a copy of the original which, following various misadventures, is now kept by the Clark Art Institute of Williamstown in Massachusetts. The curious events surrounding the two paintings link the name of Federico Joni to that of the well-known Florentine antiquarian of the time, Elia Volpi.