It was reported in Scotland last week that an invaluable Botticelli masterpiece bought by the National Galleries of Scotland in the 1930's might be a replica. The controversy started when a report from the 1950's resurfaced alleging that the collected paint samples from one of the National Galleries cornerstone pieces, Botticelli's "The Portrait of a Youth", weren't invented until 300 years after the painter's death. According to experts the replication was actually produced by Belgian artist / painting restorer "Albert Philippot", who came from a family famous for producing such incredible replications, and openly admitted to the deed before his passing. Philippot learned the craft of replication from his uncle, Jaf Van der Vveken, whom is considered to be one of the best in the world at the art of replication. Van der Verken's replicas were featured last year at the Groeninge Museum in Bruges, Belgium under an exhibition titled "Fake/Not Fake: Restorations, Reconstructions, and Forgeries". There has been a call in the art community to have the painting tested for its authenticity. However, the National Galleries of Scotland is unwilling to release the possible replica to experts for examination. For over 20 years, almost all of the major painting acquisitions made by the National Galleries of Scotland have been sent for authentication to Martin de Wild, an expert in forgeries and replicas. The only factor that has kept the National Galleries of Scotland from entertaining test requests from the critical art community has been the simple fact that the alleged forger Albert Philippot was very respected amongst Museum curators, and therefore highly unlikely to be a culprit in any such criminal schemes.