In the exhibition of the sculpture of Anna Hyatt Huntington (1876-1973) at the Wallach Gallery, the viewer discovers different versions of the emblematic figure of Joan of Arc, from the small bronze medals, to much larger works of art. Also available to the public in the gallery is a digital replica of the initial statue that was unveiled at Riverside Drive and 93rd Street in December 1915. The success of depictions of Joan of Arc – or The Maid of Orleans comes from the symbol she promotes in culture European and American: a medieval French patriotic heroine who received visions directly from God and was told to help France fight English domination and who died by burning at the stake, as a martyr. In fact, she survives through the multiple representations that have been made of this historical and popular figure. It can be argued that these layers of representations amount to "copies" of Joan of Arc herself: copies of a lost original, recreated each time it is represented by a different artist or narrator. And now we have a copy of a 1915 production of Joan of Arc - or, one might say, a copy of a copy of Joan of Arc. But what is the true value of a copy? Is the statue on Riverside Drive worth more than the other representations displayed in the Wallach Gallery? What does rotational photography bring to the initial artwork? Has something been lost with the evolution of reproductive images, such as the emotion of the moment, the spontaneity of the artist's hand - the "aura" of the original (as Walter Benjamin called it)? Images of Joan of Arc around the world generate symbols of patriotism, linked to French nationalism, fresh youth and the fairer sex. It has inspired hundreds of works of art, from plaster casts to ri......medium of paper......g digital museums already exist, because they would allow more people to discover highly sought-after works of art, without having to queue and be surrounded by people. The progress of digital imaging is becoming more and more impeccable, but it must be remembered that the work remains a copy, and that nothing is worth letting yourself be carried away by the emotion and magic of contemplating the work of art itself. Works Cited Todorov, Tzvetan. Theories of the symbol. Ithaca, NY: Cornell UP, 1982. Print. Catalogue, Anna Hyatt Huntington exhibition at the Wallach Gallery Coyle, Laura. Universal Patriot: Joan of Arc in America during the Gilded Age and the Great War and America. Washington, DC: Corcoran Gallery of Art in association with D. Giles, 2006. Print.Benjamin, Walter and JA Underwood. The work of art in the era of mechanical reproduction. London: Penguin, 2008. Print.