Abstract

The paper takes as its starting point the decree of the Italian minister of Culture No. 161 of April 11, 2023, to carry out a quick survey of the nature of reproductions by images of cultural heritage, from which it draws arguments that seem to deny their status as "cultural goods," of the same species as what they reproduce, and proposes the hypothesis that they are documents, capable of conveying knowledge, and pertain to functions concerning public cultural heritage in order to its valorization. The digital dimension, however, makes them peculiar, diverse objects, capable of combining fruition, very free reuse, and economic fructification, if, however, one treats them for what they are, and does not confuse them with the goods of which they provide a representation.