Hence, from a museological perspective, digitising Polhem’s mechanical alphabet has produced a number of really different results. The London Charter on computer-based visualisation of heritage defines principles for the use of computer-based visualisation methods “in relation to intellectual integrity, reliability, documentation, sustainability and access” (London Charter 2009). Indeed, the charter recognises that the range of available computer-based visualisation methods is constantly increasing. Still, the linkage and genealogy between copy and original sometimes becomes weak. For animator Lindberg, rather than 3D scanning Polhem’s heritage items, it was way easier—and more pedagogical and visually enticing to <hi xmlns="http://www.tei-c.org/ns/1.0" rend="italic">simulate</hi> them—that is, building and constructing <hi xmlns="http://www.tei-c.org/ns/1.0" rend="italic">brand new virtual objects</hi>. The precious and highly esteemed original models collected at the museum—Polhem’s mechanical alphabet—then becomes a model (rather than vice versa). Still, in the case of Polhem’s models, the theme of (digital) reconstruction also has a profound historical dimension, since he sincerely believed (as a pre-industrial inventor) that <hi xmlns="http://www.tei-c.org/ns/1.0" rend="italic">physical models</hi> were always superior to drawings and abstract representations. The question is if he would have considered 3D reconstructions in a similar manner.