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 explores the work of the other great «painter of ancient pictures» in Siena in the 20th century. A substantial series of fake fresco fragments in the 15th-century style, from the National Gallery of Ireland in Dublin and the National Museum of Warsaw, seen together here for the first time, have allowed us to reconstruct the early work of Umberto Giunti (around 1907-1920). This work was acknowledged in a famous article by Federico Zeri as being that of the so-called «Fresco Forger».

The exhibition continues with a number of significant works in the style of Botticelli, executed by Giunti during the 1920s, the height of his career. Further works from the same period, of excellent workmanship, include the Madonna and Child with Saint Catherine of Alexandria in the style of Matteo di Giovanni, left to the Accademia di San Luca in Rome in the legacy of Baron Michele Lazzaroni, an ambiguous marchand-amateur figure. Of particular note is the large panel in the style of Sano di Pietro and the Ritratto Virile in an "Antonellian" style granted on loan by the Collezione Bologna-Buonsignori of the Societ? di Pie Disposizioni of Siena. These are accompanied by other works from private collections.