Restoration Charters

Le carte per il restauro

Bibliography:

http://www.icomos.org (in this site you can find some restoration charters)

Jokilehto J., A history of architectural conservation, The University of York

(England), 1986:
- Chatpter Twenty: International Concern in Cultural Heritage (pp.399-
401);
- Chapther Twenty One: Towards International Guidelines (pp.409-419).
In italian:

Che cos'è il restauro? Nove studiosi a confronto, da un'idea di B. Paolo Torsello, Marsilio, Venezia
2005
A. Bellini, Teoria del restauro e conservazione architettonica, in A. Bellini (a cura di), Tecniche della
conservazione (1986), Franco Angeli, Milano 1992, pp. 9-56
F. Guerrieri, Restauro e conservazione. Carte del restauro. Norme. Convenzioni e Mozioni sul patrimonio
architettonico e artistico, Edizioni Polistampa, Firenze 1992
What are CHARTERS? Which are their aims?
Meetings among experts and/or Institutions related to these topics are
organized, in order to focus the main problems, concepts, principles and
prescriptions of preservation/restoration.
The attempt is to standardize the discipline in a international level and offer
recommendations/advices.
Restoration Charters are the documents which reflect the results of these
conferences and meetings.

Restoration charters usually don’t correspond to laws.

They are usually declarations of intents, which have the aim of guiding
restoration works.

Charters are usually GUIDELINES which define the criteria for

IDENTIFICATION, PROTECTION (tutela), RESTORATION (restauro) and
PRESERVATION (conservazione) of MONUMENTS
THE MAIN RESTORATION CHARTERS
1883 - 1° Carta del Restauro, Roma. Voto conclusivo del III Congresso degli ingegneri e Architetti italiani
1931 - The Athens Charter for the Restoration of Historic Monuments
1932 - Carta italiana del Restauro. Bollettino d’arte del Ministero dell’Educazione Nazionale
1938 - Istruzioni per l’uso dei monumenti. Ministero dell’Educazione Nazionale, Direzione generale
delle Antichità e Belle Arti
1964 - The Venice Charter. International charter for the conservation and restoration of monuments and
sites
1970 - Convention on the Means of Prohibiting and Preventing the Illicit Import, Export and
Transfer of Ownership of Cultural Property (UNESCO)
1972 - Carta Italiana del Restauro. Circolare Ministero Pubblica Istruzione, n. 117/6 aprile 1972
1972 - Convention for the protection of the world cultural and natural heritage, UNESCO, Paris
1974 - 75/65/EEC: Commission Recommendation of 20 December 1974 to Member States
concerning the protection of the architectural and natural heritage (1974-12-20)
1975 - The Declaration of Amsterdam
1975 - European Charter of the Architectural Heritage. Council of Europe
1978 - Carta del Turismo Culturale
1981 - Carta di Firenze. Sulla conservazione dei giardini storici. Carta ICOMOS-IFLA dei giardini
storici
1981 - Proposta<italiana> per una CARTA DEL RESTAURO DEI GIARDINI STORICI
1985 - Convention for the protection of the Architectural Heritage of Europe (or Granada
convention). Council of Europe.
1986 – Carta di Noto (safeguard of historical centres and plans for integrated preservation)
1986 – Raccomandazioni per gli interventi sul patrimonio monumentale a tipologia specialistica in
zone sismiche (adjustment and improvement of safety requirements)
1987 - Charter for the conservation of historic towns and urban areas (Washington charter),
ICOMOS
1987 - Carta sulla destinazione d’uso degli antichi edifici ecclesiastici. Pontificia Commissione
Centrale per l’Arte sacra in Italia
2000 - Charter of Krakov
IV Congresso nazionale di Roma, 1883

Architectural monuments are not only valuable for the study of architecture
but contribute as essential documents to explain the history; they should be
religiously respected as documents in which any alteration, if it appears to be
part of the original could be misleading.

1. Better to strenghten rather than repair, repair rather than restore, and
great effort additions and renovations have to be avoided
MINIMUM INTERVENTION
2. If additions of parts which either never existed or are no more exisisting
and we have no information about them, they have to be recognizable

3. If we re-build well documented destroyed parts, or we replace decayed

parts, new parts – built with the originary shape – should be identified
RECOGNIZABILITY
IV Congresso nazionale di Roma, 1883

4. To maintain patina

5. To consider as monuments the additions and changes, except that the

parts which have clearly lower artistic and historic importance

6.7. To take pictures of the restoration works and to place a headstone , with
the date and the main interventions
1931- The Athens Charter for the Restoration of Historic Monuments
Aim: uniform the general principles and doctrines relating to the protection of
monuments among the different countries. It is pointed out that the preservation of
historic and artstic heritage regard the whole international community

-It’s preferred to carry on the preservation through the ordinary manteinance, respecting the
present state of the building (art. II)

- With regard to ruins, it is allowed either the “anastylosis” (the new materials used for this
purpose should in all cases be recognizable), or the burial after careful geometrical survey
(art. IV)

- It is allowed the use of modern techniques and materials, not visible (art. V).

-It is necessary to keep in situ the monumental sculpture (art. VI)

- Urban problems: respect of the setting (art. VII)

-Request to country to publish an Inventory of the Monuments and to realize an Archive (art.
VIII)

- It is necessary the general sensibilization and education of people in order to increase the
respect towards historical buildings (art. X)
1931- The Athens Charter for the Restoration of Historic Monuments
The character and external aspect of the cities should be respected,
especially in the neighbourhood of ancient monuments, where the
surroundings should be given special consideration. Even certain
groupings and certain particularly picturesque perspective treatment should
be preserved.

A study should also be made of the ornamental vegetation most suited to certain
monuments or groups of monuments from the point of view of preserving their ancient
character.
It specially recommends the suppression of all forms of publicity, of the erection of unsightly
telegraph poles and the exclusion of all noisy factories and even of tall shafts in the
neighbourhood of artistic and historic monuments.
1931- The Athens Charter for the
Restoration of Historic Monuments
Restoration Materials (art. 5)
The experts approved the judicious use of all
the resources at the disposal of modern
technique and more especially of reinforced
concrete.
They specified that this work of consolidation
should whenever possible be concealed in
order that the aspect and character of the
restored monuments may be preserved.

IT IS UNDERLINED THAT THE USE OF

MODERN MATERIAL IS ALLOWED,
BUT THEIR PRESENCE HAS TO BE
HIDDEN.
1931- The Athens Charter for the Restoration of Historic Monuments
V. The Deterioration of Ancient Monuments.
The Conference noted that monuments throughout the world were being threatened
to an ever-increasing degree by atmospheric agents.

The Conference recommends that the architects and curators of monuments should
collaborate with specialists in the physical, chemical and natural sciences with a view
to determining the methods to be adopted in specific cases
1932- Carta italiana del Restauro (Italian Restoration Charter).
Bollettino d’arte del Ministero dell’Educazione Nazionale
Summary:
1) Maintenance and strenghtening have to be preferred

2) The re-building of lost parts can be proposed only if we have sure information about them,
and if it is based mainly on materials which still exist

3) In the antiquities, it is forbidden the completion, a part from anastylosos (ricomposition of

existing but dismembered parts, adding neutral element if necessary

4) In recent monuments they are allowed uses not too much different from the original ones,
which – for they adjustment, don’t oblige to eccessive changes.

5) All the elements with artistic or historic values have to be preserved; only the elements
without artsitic or historic values or the elements which constitute an useless
disfigure can be removed

6) The respect for the monument has to be carried also with the respect of the setting, which
can’t be changed with inadequate isolation, or with the construction of new buildings with
inadequate volumen colour and style.
1932- Carta italiana del Restauro (Italian Restoration Charter).
Bollettino d’arte del Ministero dell’Educazione Nazionale
7) To limit all the new additions (for instance, if they are necessary to strenghten the
buildings; to partially or totally restore the formal aspects; to use the buildings); and to realize
them in a simplified way and corrispodence to the structural layout; ornamental element can
be re-built only if they are repetitive elements

8) However, all these additions have to be recognizable, either with a different material, with
specific borders, with the use of inscriptions, in order not to mislead any historian which will
study the building in the future

9) It is allowed to use modern materials, construction techniques and scientific tools

11) Precise documentation of the restoration works

CARTA DI ATENE, 1933 CARTA DI ATENE, 1933

65 I valori architettonici devono essere 65 Architectural assets must be protected,

salvaguardati sia che si tratti di edifici whether found in isolated buildings or in
isolati o di interi nuclei urbani urban aggregations

66 Essi dovranno essere tutelati quando 66 They will be protected if they are the
siano l’espressione di una cultura expression of a former culture and if they
precedente o rispondano a un interesse respond to a universal interest
generale

67 purchè la loro conservazione non 67 and if their preservation does not entail
comporti il sacrificio di gruppi umani the sacrifice of keeping people in unhealthy
costretti in condizioni malsane conditions....

69 La distruzione dei tuguri attorno ai 69 The destruction of the slums around

monumenti storici fornirà l’occasione per historic monuments will provide an
creare delle aree verdi opportunity to create verdant areas

70 Impiegare con pretesti estetici stili del 70 The practice of using styles of the past on
passato nelle nuove costruzioni innalzate nelle aesthetic pretexts for new structures erected in
zone storiche porta a consequenze nefaste historic areas has harmful consequences
1964 - The Venice Charter. International charter for the conservation and
restoration of monuments and sites

Article 1.
The Concept of an historic monument embraces not only the single architectural
work but also the urban or rural setting in which is found the evidence of a
particular civilisation, a significant development or an historic event. This applies
not only to great works of art but also to more modest works of the past which
have acquired cultural significance with the passing of time.

From MONUMENT OF ART AND HISTORY

to CULTURAL HERITAGE (PATRIMONIO CULTURALE)
1964 - The Venice Charter. International charter for the conservation and
restoration of monuments and sites

Article 2.
The conservation and restoration of monuments must have recourse to all the
sciences and techniques which can contribute to the study and safeguarding of the
architectural heritage.

Article 3.
The intention in conserving and restoring monuments is to safeguard them no less
as works of art than as historical evidence.

AUTHENTICITY

Article 4.
It is essential to the conservation of monuments that they be maintained on a
permanent basis.

MANTEINANCE / MANUTENZIONE
1964 - The Venice Charter. International charter for the conservation and
restoration of monuments and sites

Article 5.
The conservation of monuments is always facilitated by making use of them for
some socially useful purpose. Such use is therefore desirable but it must not
change the lay-out or decoration of the building. It is within these limits only
that modifications demanded by a change of function should be envisaged and
may be permitted.

VALUE OF USE

Article 6.
The conservation of a monument implies preserving a setting which is not out of
scale. Wherever the traditional setting exists, it must be kept. No new construction,
demolition or modification which would alter the relations of mass and colour must
be allowed.
1964 - The Venice Charter. International charter for the conservation and
restoration of monuments and sites

Article 7.
A monument is inseparable from the history to which it bears witness and from the
setting in which it occurs. The moving of all or part of a monument cannot be
allowed except where the safeguarding of that monument demands it or where it is
justified by national or international interest of paramount importance

Article 8.
Items of sculpture, painting or decoration which form an integral part of a
monument may only be removed from it if this is the sole means of ensuring their
preservation.
1964 - The Venice Charter. International charter for the conservation and
restoration of monuments and sites

Article 9. The aim of restoration is to preserve and reveal the aesthetic and
historic value of the monument and is based on respect for original material and
authentic documents. It must stop at the point where conjecture begins, and in this
case moreover any extra work which is indispensable must be distinct from the
architectural composition and must bear a contemporary stamp. The restoration in
any case must be preceded and followed by an archaeological and historical study
of the monument.

DOUBLE POLARITY OF ART AND HISTORY

RESPECT OF AUTHENTICITY

Article 11. The valid contributions of all periods to the building of a monument
must be respected, since unity of style is not the aim of a restoration. When a
building includes the superimposed work of different periods, the revealing of the
underlying state can only be justified in exceptional circumstances and
when what is removed is of little interest and the material which is brought to
light is of great historical, archaeological or aesthetic value, and its state of
preservation good enough to justify the action.
Evaluation of the importance of the elements involved and the decision as to
what may be destroyed cannot rest solely on the individual in charge of the
work.
1964 - The Venice Charter. International charter for the conservation and
restoration of monuments and sites

Article 12. Replacements of missing parts must integrate harmoniously with the
whole, but at the same time must be distinguishable from the original so that
restoration does not falsify the artistic or historic evidence.

Article 13. Additions cannot be allowed except if they respect the interesting parts
of the building, its traditional setting, the balance of its composition and its relation
with its surroundings.

RECOGNIZABILITY OF NECESSARY ADDITIONS (WHICH SHOULD BE

INTEGRATED AND IN HARMONY WITH THE ANCIENT PARTS, AND
TESTIMONY OF CONTEMPORARY AGE)
Rigatino /tratteggio
1964 - The Venice Charter. International charter for the conservation and
restoration of monuments and sites

Article 10. Where traditional techniques prove inadequate, the consolidation of a monument
can be achieved by the use of any modern technique for conservation and construction, the
efficacy of which has been shown by scientific data and proved by
experience.

USE OF MODERN MATERIALS AND CONSTRUCTION TECNHIQUES AS LAST CHOICE

COMPATIBILITY OF MATERIALS
1972 – Italian Restoration Charter
Il restauro include“tutte le opere d’arte di ogni epoca, nella accezione più vasta, che va dai
monumenti architettonici a quelli di pittura e scultura, anche se in frammenti, e dal repertorio
paleolitico alle espressioni figurative delle culture popolari e dell’arte contemporanea [...],
complessi di edifici di interesse monumentale, storico o ambientale, particolarmente i centri
storici; le collezioni artistiche e gli arredamenti conservati nella loro disposizione tradizionale;
i giardini e i parchi”

Restoration includes “all the works of art of each age, in the widest meaning, from the
architectural monuments to paintings and scupltures, even if in fragments; from the paleolitic
remains to the works of popolar cultures and contemporary art [...]. Groups of buildings
with architectural , historic [...] interest, mainly historical centers; artistic collections and
forniture preserved in their traditional place; gardens and parks”
Restauro è “qualsiasi intervento volto a
mantenere in efficienza, a facilitare la lettura
e a trasmettere integralmente al futuro le
opere”
“è un processo che deve avere carattere
eccezionale. Il suo scopo è di conservare e di
rivelare i valori formali e storici del
monumento e si fonda sul rispetto della
sostanza antica e delle documentazioni
autentiche”
“deve fermarsi dove ha inizio l’ipotesi [...]
deve distinguersi”
“l’unità stilistica non è lo scopo di un restauro”
“la liberazione di una struttura di epoca
anteriore non si giustifica che
eccezionalmente”
Restoration is “any any intervention aimed
to keep the efficiency, make easier the
interpretation and transmit integrally the
historical buildings ”
“it has to be a exceptional process. His aim is
to preserve and reveal formal and historic
values and is based on the respect of ancient
materials and authentic documents”
“it has to stop when hypothesis starts [...] is
has to be noticeable”
“stylistic unity is not the aim of a restoration”
“the removal of a structure of a previous age
is justified only exceptionally”
“La conservazione dei monumenti impone
anzitutto una manutenzione sistematica,
favorita dalla loro utilizzazione in funzioni utili
alla società” che “non deve alterare la
distribuzione e l’assetto dell’edificio”
Salvaguardia: “qualsiasi provvedimento
conservativo che non implichi l’intervento
diretto sull’opera”.
“The conservation of monuments obliges
first of all to a systematic mainteinance, linked
by their use with useful functions for society”,
which “do not have to change the distribution
and the arrangement of the buillding”
Safeguard (salvaguardia): “any measure
aimed to preservation which doesn’t not
implicate a direct intervention on the building”
1972 – Italian Restoration Charter
Forbidden works (art. 6):

- Stylistic or analogic completion, even if with simplified shapes;

- Removals or demolition of stratification (only are allowed removal of incoherent

alterations or fake stylistic restorations)

- Removals and reconstruction in different places (only are allowed if necessary to the
preservation)

- Changes in the setting of the historical buildings

- Changes or removals of patina

1972 – Italian Restoration Charter
Allowed works (art. 7):

- Addition of part with structural function o integration of small existing parts, pointing out
a difference in the outline, or using a different material

- Cleaning of finishings have to respect the patina

- Anastilosi based on documentation, with construction of small missing recognizable

parts (different materials or neutral materials “undercut/sottosquadro”); it’s forbidden re-
built wide parts

- Changes inside the structure for strenghtening purposes (but without any change to the
external aspect)

- Realization of a new setting of the historical object, only if the previous one was lost o if
it’s necessary for its preservation
1972 – Italian Restoration Charter
It is introduced the concept of REVERSIBILITY (art. 8).
Any intervention has to be done in a way, with techiniques and materials, that guarantees
that in the future other protection and restoration interventions will be possible”.

If some cleaning operations on finishings are carried on, it should be preserved a sample of
the state before the cleaning
If some parts are removed, they should be preserved in a deposit in the Superintendency.
1972 – Italian Restoration Charter
Attached A
• To assure the preservation of monuments, it may be considered the possibilities
of new uses, when they are not incompatible with the historic-artistic interests. The
works to adapt the building should be reduced as much as possible, preserving
external forms and avoiding important alterations to the tipology, to the structural
layout and to the internal distribution.

• A preservtion design needs a preliminary study which takes into consideration

different points of view (structural features, materials, formal qualities, context…),
both of the originary building and of the transformations over time
Geometrical, archival, bibliographical, iconographical surveys are often required.

• Essential need of restoration is to respect the authenticity of the elements which

compose it.
Replacements are allowed only when urgent and when repairs are not possible.
1975 – European Charter of the Architectural Heritage

Integrated preservation:

- is achieved by the application of sensitive restoration techniques and the correct choice of
appropriate functions.

-has to be a preliminary element which has to guide the urban planning.

- has to be carried on taking into account the aspects regarding the social justice

- needs that common people are able to appreciate the values of the architectural heritage

- needs juridical, administrative, financial and technical means

1987 – Carta del CNR
Conservazione: “insieme degli atti di
prevenzione e salvaguardia rivolti ad essicurare
una durata tendenzialmente illimitata alla
configurazione materiale dell’oggetto
considerato”
Preservation (Conservazione): the actions
concerning prevention and safeguard directed to
assure a tendencially illimitated duration to the
material conditions of buildings.

Prevenzione: insieme di atti di conservazione, Prevention: the conservation actions, based on

motivati da conoscenze predittive al piu’ lungo predictive knowledges [...], on the considered
termine possibile, sull’oggetto considerato e sulle object and on the condition of its environmental
condizioni del suo contesto ambientale setting

Salvaguardia: qualsiasi provvedimento Safeguard: any conservative and preventive

conservativo e preventivo che non implichi measure which does not imply direct
interventi diretti sull’oggetto considerato interventions on the considered object

Restauro: qualsiasi intervento che, nel rispetto
dei principi della conservazione e sulla base di
previe indagini conoscitive di ogni tipo, sia rivolto
a restituire all’oggetto, nei limiti del possibile, la
relativa leggibilità e, ove occorra, l’uso
Restoration: any intervention coherent to
conservation principles and based on wide
preliminary surveys, which is aimed to reinstate
[...] its comprehension and, when necessary, the
use.

Manutenzione: insieme degli atti Manteinance : actions, planned and recurring,

programmaticamente ricorrenti rivolti a mantere aimed to keep in good condition of functionality
le cose di interesse cuturale in condizioni ottimali and integrity buildings
di integrità e funzionalità
The code of cultural objects and landscape
Il codice dei beni culturali e del paesaggio
D.lgs n. 42, 22 Jenuary 2004 smi
It collects and organizes all the italian laws of Italian States with regard the protection and
preservation of cultural objects and landscape.

In particular:
N. 1089, 1 June 1939, Protection of the objects with artistic or historic interest (Tutela delle
cose d’interesse Artistico o Storico)
N. 1089, 1 june1939, Protection of natural beauties (Protezione delle bellezze naturali)
Legge galasso, 1985
Testo Unico, 1999

The code is organized in 5 parts:

1- General dispositions
2- Cultural objects
3- Landscape
4- Fines
5- Transitory dispositions
First part. General dispositions

Art. 2 Cultural heritage:

The cultural heritage is composed by cultural objects and landscape objects
Cultural objects are movable or immovable objects which present artistic, historic,
archealogic, etnoanthropologic, archival, bibliographic interest, and all the other things
identified as testimonies which have the value of civilization

Art. 3. Protection (tutela) of the cultural heritage

Moving from an adequate study, the “protection” are the activities which have the aim to
identify objects which constitute cultural heritage, and to protect and preserve them for a
public fruition.

Art. 6. Valorization of the cultural heritage

The valorization are the activities directed to promote the knowledge of the cultural heritage
and assure the best conditions for its use and the public fruition, also by people with
disabilities, in order to promote the culture.

Art. 4
The protection is assigned to the Ministey for the cultural objects and activities (through
Superintendencies – Soprintendenze).
Second part

Object of the protection

Art. 10. Cultural objects

1.Cultural objects: movable and immovable objects....., which present artistic, historic,
archeological, etnoanthropological interest.
2. Besides, cultural objects are: collections in museum; archives and archival documents; books and
libraries of any public institutions

4. They also included:

a) objects which regard paleontology, prehistory, primitive civilizations;
b) objects with numismatic interest;
c) manuscripts, autographes, epistolar exchanges, incunabula, books.... rare or with value;
d) geographical carts and sheet music rare or with value;
e) photographies, including negatives, rare or with value;
f) villas, parks, gardens with artistic or historic interest;
g) public squares, streets and other urban places with artistic or historic interest;
h) mines with historical or atnoanthropological interest;
i) ships ... with artistical, historical or etnoanthropological interest;
l) vernacular architectures with historic or etnoanthropological interest , as testimonies of
traditional rural economy

Art. 11. 1. Other possible cultural objects:

a) frescoes, coat of arms; graffiti; headstones (lapidi); inscriptions; tabernacles and other ornamental
element in buildings;
b) artists’ studios;
c) public areas with cultural value;
d) works of painting; sculpture; graphic and each object realized by a living author in the last 50 years;
e) contemporary architectures with particular artistic value;
f) photographies, including negatives, films of movies....realized more than 25 years ago;
g) means of transport realized more than 75 years ago;
h) objects and tools with a peculiar interest for the history of science andtechnique realized more than 50
years ago;
i) traces of the first world war
Art. 12. Confirm of the cultural interest
(verifica dell’interesse culturale)
All these objects which belong to the State, to regions, to other public institutions...
which are realized by a no more living author and which were realized 50 years ago (if
movable objects) and 70 years ago (if immovable objects), are subordinate to these
dispositions,

unless

a specific evaluation (verifica) prove that the object do not really have a artistic, historic,
archeological, etnoanthropoligacal interest.
If they are interested in this control, public institutions have to prepare all the documents
regarding any information on the objects and send them to Superintendencies.
Confirm of cultural interest
Art. 10. Cultural objects
Objects which don’t belong to public Institutions can be considered cultural objects if
a “declaration of cultural interest” is realized.

Art. 13. Declaration of cultural interest (Dichiarazione dell’interesse culturale)

The declaration has to verify if the objects have a cultural interest.

Art. 14. Procedure of the declaration

The superintendent starts the procedure, also after the warning of other subjects, and
informs the owner.

Art. 15. Notification of the declaration (Notifica della dichiarazione)

If the surveys identifies that the object can be considered a cultural object, the declaration is
notified to the owner.

The needs of protection and preservation are more important than

private rights.
18 aprile 1920

Notifica di vincolo
L. 20 giugno 1909
art. n°384
Once an object is declared cultural object, it is subordinated to the Code.

Capo III – Protection and preservation (selection of what regards architectural field)

Section I – Measures for protection

Art. 20. Forbidden interventions

Cultural objects can’t be destroyed, damaged or used in a way not proper to their
historical or artistical character or in a way not compatble with their preservation.
...

Art. 21. Interventions subordinated to authorization of Ministery

(Superintendency)

1. They are subordinated to ministerial authorization:

a) Removal or demolition, also with following reconstruction, of cultural objects
b) movements, also temporary, of movable cultural objects

4. The execution of any work on cultural objects and the change in their use is subordinated
to the authorization of the superintendent.

5. Solicitant has to deliver the plans of a technical report regarding the proposals to the
superintendet; his authorization can include prescriptions.
Section II – Measures for preservation
Art. 29. Preservation

1. Preservation of cultural heritage is assured by a coherent, cohordinated and

planned activity of study, prevention, manteinance, restoration
2. Prevention are all the activities aimed to reduce the situations which can cause a
danger for cultural object in its setting.
3. Manteinance are all the activities and interventions directed to control the condition
of cultural objects and the manteinance of integrity, functional efficiency, identity of
the object and of its parts.
4. Restoration is the intervention on the object through a combination of operations
aimed to the material integrity and to its recovery, to the protection and trasmission of
its cultural value.
5. The Ministery, with the help of other Institutions, defines guidelines, technical prescriptions,
criteria and models for the interventions.

Art. 30. Obligations of preservation

1.State and public institutions are obliged to guarantee the safety and preservation of the
owned cultural objects
2. Private subjects are obliged to guarantee the preservationof their owned cultural objects.

Art. 31. Voluntary preservative interventions

Art. 32. Imposed preservative interventions

Section III – Other forms of protection

Art. 45. Prescriptions of indirect protection (tutela indiretta)

Ministery can prescribe distance, measure and other prescriptions directed to avoid which
integrity of immovable cultural objects is in danger, is damaged the perspective on it, the light
and the conditions of the setting and of decorum.
TITLE II – Fruition and valorization
Promotion of the use; fruition; studies and researches for the knowledge of the cultural
objects, and the diffusion of information
The “limits” of the code

The concept of “historical building” is wider and the most of historical buildings are not subordinated to this
law.
Besides, an approach based only on “vincoli” (restrictions) is probably not sufficient to solve the complex
topic of the preservation of hisorical buildings.

Other laws influence and control the works on historical buildings.