During the late nineteenth and early twentieth centuries, wealthy art collectors in the United States amassed extraordinary collections of medieval and early Renaissance art, and, on occasion, unscrupulous dealers fulfilled the demand for such objects by passing off fakes as originals. The story of one such object is instructive in understanding the way that collectors pursued, purchased and displayed their finds. A sculptural bas-relief of the Virgin and Child at Hammond Castle in Gloucester, Massachusetts, was purchased as an authentic Italian Renaissance piece, but the revelation of its true provenance as a modern work by Alceo Dossena ultimately connected it to one of the most notorious cases of art forgery in the early twentieth century. This article discusses the case of Dossena and his artistic fabrications, but also reconsiders the role such objects could play in the creation of an authentic atmosphere – the goal of revivalist monuments like Hammond Castle.

中文翻译：

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在哈蒙德城堡制造过去

在 19 世纪末和 20 世纪初，美国富有的艺术收藏家积累了非凡的中世纪和文艺复兴早期艺术收藏品，有时，不道德的经销商通过将赝品冒充为原件来满足对此类物品的需求。一件这样的物品的故事对于理解收藏家追求、购买和展示他们的发现的方式具有指导意义。马萨诸塞州格洛斯特哈蒙德城堡的圣母子雕塑浅浮雕被购买为真正的意大利文艺复兴时期的作品，但阿尔西奥·多塞纳 (Alceo Dossena) 揭示其作为现代作品的真实出处最终将其与最臭名昭著的作品之一联系起来二十世纪初的艺术品伪造案件。这篇文章讨论了多塞纳的案例和他的艺术创作，