The derogatory discourse about artistic copy that had prevailed in the taste of past generations begins to evolve towards a rediscovery of its appeal. The copy is appreciated because it is an art object in itself. Moreover, the relativism of the above undisputed hierarchies is discovered. Also, the copy is essential to understand our cultural history (copy is not obvious: it is an uncommon practice in other civilizations). It is present in practices of artists of all ages as it was a valuable object in the princely collections. Although it is a silenced chapter in the history of Art, the history of the relationship between men and art happens thanks to art dissemination.
The Museum posses the collection of Artistic Reproductions that offers an extraordinary opportunity to study a stage in the evolution of reproduction par excellence: the works of classical antiquity. First, because during the Classical Antiquity is where all the dimensions of this phenomenon are more representative. Second, because in this period, the Museum's collections are of high quality and variety of media -not just plaster casts, but bronze replicas, photographs, lithographs, painting on clay, electroplating, watercolors and photographic glass plates-. In conclusion, the copy has been practiced for millennia but intensely developed in the 19th century, the century of great inventions in the field of technical art dissemination.