Actual problems of preservation for art treasures exposed to theft or climatic and environmental dangers by means of copying are briefly reviewed with their historical, ethical and methodical implications kept in mind. The difference of copies casted of the pure form to reproduction with the artistic valuable polychromed surface is shown. Finally a just tested and relatively cheap method combining both aspects is demonstrated on the example of a late gothic bas-relief after restoration with full gilding and rich painting. The signed copy was put back into the very humid atmosphere of the church, whereas the original piece was taken to the department of the museum. -- AATA