Analysis of the punched decoration of the gilded surfaces on Medieval panel paintings can be quite helpful in uncovering forgeries. A lack of authenticity of certain motif punches used on supposedly Trecento and Quattrocento paintings was evident in a group of paintings with partially restored gold ground on which impressions of these punches exist in addition to the original ones. It was also noted that there were tell-tale punches on the antique frames apparently fashioned in the same workshop in which the restorations and forgeries were made. The identification of the fakes is supported by other technological investigation (x-radiographs, chemical analysis of the pigments, etc.). The forgeries were made in the early twentieth century, probably in the atelier of known forger, Federico Joni. -- AATA