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 introductory section of the exhibition contains works by non-Sienese authors. These artists were dedicated to the forgery of ancient works of art and achieved considerable results in terms of both quality and commercial success.

On display are four chest fronts made in Florence in around 1860-1870 following a revival of decorated Renaissance Italian chests promoted in particular by the British and Americans.

The group of works by the so-called "Spanish Forger", very active around the turn of the century (perhaps in Paris), has been chosen to show the aspiration to a fantastic and idealised medieval era, typical of the time and not far from that sought after by the Sienese painters of the "stile panforte" and by the imagerie of the Palio.

Three works by the most celebrated of Italian 20th-century forgers, Alceo Dossena (Cremona, 1878 ? Rome, 1937), active mainly in Rome, display the great skill reached in this artistic field: a Madonna and Child, a polychrome wooden sculpture in the style of Giovanni Pisano; a Saint Catherine of Alexandria and a donor, a marble high relief in the 14th-century Sienese style; the Madonna and Child, St Giovannino, St Anne and two cherubim, signed «Donatellius flor.», a marble low relief which, as shown by John Pope Hennessy, partly derives from one of Donatello's Sienese works, the Madonna del Perdono (Siena, Museo dell'Opera della Metropolitana).