My proposal for perfect copies requires that they be just that -- perfect --
or, at least indistinguishable from the originals to expert eyes.

So Michael could marvel at the workmanship of the copy as much as of the
original.

Except that --- his marveling isn't just in response to what he sees, is it?
As he tells us -- it's his knowing that "there isn't a molecule of cadmium or
alizarine or phthalocyanine in them" -- or his knowing that "they didn't have
heat sensors, except perhaps guardian cones, or thermocouples."

He wants the piece to serve as evidence of all the stuff he's read about art
history -- or no -- he's not really performing the function of a professional
art historian or archeologist -- he  just wants his memory of that  history to
serve as evidence of his learning -- and for that special thrill of self
recognition he needs to know that the piece in front of him is authentic.

No -- it's not the same thing as the apotropaic power (gosh, I love that
word!) - but it's irrational all the same -- i.e. his knowledge of art history
is not diminished one jot by the fact that he is looking at a perfect copy
instead of an authentic original.

BTW -- regarding the "Persian" Bull at the Oriental Institute -- my beef with
that is not that it's not 100% original -- but that it's poorly done.
Aesthetically -- it's weak -- not because it's modern -- but because, unlike
the ancient Persians, the scholars at the Oriental Institute did not care
enough to hire the very best sculptors that money could buy.  The fellows who
modeled that plaster bull were probably technical assistants getting paid the
low wages that their sculptural ability deserved.

The ancient Persian aristocracy -- like many aristocrats around the world --
were experienced and astute aesthetes.  The directors of the Oriental
Institute were just archeologists.
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