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Walter Benjamin emphasizes in his essay, "The Work of Art in the Age of its Technological Reproducibility" that technologies used to make an art has altered the manner it was received, and its "air". Aura represents the creativity and validity of a work of art that has not been replicated. The Sistine Chapel at the Vatican is an instance of a work that has been and truly a beacon of artwork. It has attracted a benefit and enlightenment to the art of painting, plus it's an exemplary setting that cannot be replaced. A picture taken of the Sistine Chapel is just an imaged "captured", although the painting is still original, since it is not movable, and its cult value is still undamaged. He claims that the origin of an art gave its air and validity and since it isn't moveable, it doesn't have the ability to be reproduced by other musicians. Consequently, the air and credibility is autocratic. As an Example, the Sistine Chapel is owned and controlled by the Vatican--Catholic Cardinals. They control its use into the masses. Once art becomes accessible to the masses, then it becomes in a way 'successful.' Moreover, he needs to focus that the forces of commercialization have subjected the air of an artwork to cheapening cult worth, which can be a favorable outcome for the masses. Benjamin does not really find the work of art lamentable, but rather elevated. Replicating an art replacements a mass existence for a distinguishing existence, thus, the reproduction of art, once allowed, brings art closer to the masses (Benjamin 1054). As time slowly changes from the traditional past, into the present "renewal of humanity" (1054), so will the understanding of the masses along with its movement. I would assert that the evolution of technological reproduct...