“On Friday the National Gallery in London learnt that Raphael’s gooey Madonna of the Pinks was probably a forgery; meanwhile the National Gallery of Ireland spent the week rebutting accusations that its precious Caravaggio, a moody nocturne representing Christ’s arrest, was a second-hand Flemish copy, inferior to an original unearthed by a dealer in Rome. The reattribution wounded Irish national pride and the religious conviction that underpins it.”