INTERNATIONAL CHARTERS FOR

CONSERVATION AND RESTORATION

CHARTES INTERNATIONALES SUR LA

CONSERVATION ET LA RESTAURATION

CARTAS INTERNACIONALES SOBRE

LA CONSERVACIÓN Y LA RESTAURACIÓN

MONUMENTS AND SITES

MONUMENTS ET SITES
MONUMENTOS Y SITIOS I
I N T E R N A T I O N A L C O U N C I L O N M O N U M E N T S A N D S I T E S
C O N S E I L I N T E R N A T I O N A L D E S M O N U M E N T S E T D E S S I T E S
C O N S E J O I N T E R N A C I O N A L D E M O N U M E N T O S Y S I T I O S

  Д У    О Д 
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    К О  Д О С  О   
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INTERNATIONAL CHARTERS
FOR CONSERVATION AND RESTORATION

CHARTES INTERNATIONALES SUR

LA CONSERVATION ET LA RESTAURATION

CARTAS INTERNACIONALES SOBRE LA

CONSERVACIÓN Y LA RESTAURACIÓN

SECOND EDITION WITH AN INTRODUCTION BY MICHAEL PETZET

MONUMENTS AND SITES

MONUMENTS ET SITES
MONUMENTOS Y SITIOS I
Monuments and Sites / Monuments et Sites / Monumentos y Sitios
edited by ICOMOS
Editorial Board: Gustavo Araoz, Francisco Lopez Morales, Axel Mykleby, Michael Petzet, Dosso Sindou, Marilyn Truscott
Office: International Secretariat of ICOMOS, 49-51 rue de la Fédération, F-75015 Paris

ICOMOS is very grateful

to the German Federal Government Commissioner
for Culture and the Media and to the Messerschmitt Foundation
for their generous support of this publication

All illustrations, including front and back cover, taken from Wendel Dietterlin’s Architectura, Nuremberg 1598

© 2004 ICOMOS

Editorial Staff: Michael Petzet, John Ziesemer

Typesetting and Printing: Lipp GmbH, Graphische Betriebe, Meglingerstraße 60, 81477 München

Publication obtainable from: Lipp GmbH, Graphische Betriebe, Meglingerstraße 60, 81477 München, [email protected]

ISBN: 3-87490-676-0
 CONTENTS

Foreword / Avant-Propos / Prólogo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Michael Petzet, Principles of Conservation / Introduction to the International Charters

and Principles 40 Years after the Venice Charter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

The Athens Charter for the Restoration of Historic Monuments (1931) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

La Charte d’Athènes pour la Restauration des Monuments Historiques (1931) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
Carta de Atenas (1931) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

The Venice Charter (1964) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

La Charte de Venise (1964) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
Carta de Venecia (1964) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

Convention Concerning the Protection of the World Cultural and Natural Heritage (1972) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
Convention pour la Protection du Patrimoine Mondial, Cultural et Naturel (1972) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
Convención sobre la Protección del Patrimonio Mundial, Cultural y Natural (1972) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

The Burra Charter (1979, revised 1999) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

La Charte de Burra (1979, revisée 1999) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
Carta de Burra (1979, revisada 1999) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80

Historic Gardens – The Florence Charter (1981) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

Jardins Historiques – La Charte de Florence (1981) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92
Jardines Históricos – Carta de Florencia (1981) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

Charter for the Conservation of Historic Towns and Urban Areas – The Washington Charter (1987) . . . . . . . . . . . . . . . . . . . . . . . . 98
Charte Internationale pour la Sauvegarde des Villes Historiques – La Charte de Washington (1987) . . . . . . . . . . . . . . . . . . . . . . . . . 100
Carta Internacional para la Conservación de Ciudades Historicas y Áreas Urbanas – Carta de Washington (1987) . . . . . . . . . . . . 102

Charter for the Protection and Management of the Archaeological Heritage (1990) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104
Charte Internationale pour la Gestion du Patrimoine Archéologique (1990) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107
Carta Internacional para la Gestión del Patrimonio Arqueológico (1990) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110

Guidelines on Education and Training in the Conservation of Monuments, Ensembles and Sites (1993) . . . . . . . . . . . . . . . . . . . . . . 113
Directives sur l’Éducation et la Formation à la Conservation des Monuments, Ensembles et Sites (1993) . . . . . . . . . . . . . . . . . . . . . 115

The Nara Document on Authenticity (1994) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118

Document Nara sur l’Authenticité (1994) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120

Charter on the Protection and Management of Underwater Cultural Heritage (1996) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122
La Charte Internationale sur la Protection et la Gestion du Patrimoine Culturel Subaquatique (1996) . . . . . . . . . . . . . . . . . . . . . . . 125
Carta Internacional sobre la Protección y la Gestión del Patrimonio Cultural Subacuático (1996) . . . . . . . . . . . . . . . . . . . . . . . . . . . 128

Principles for the Recording of Monuments, Groups of Buildings and Sites (1996) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131
Principes pour l’Établissement d’Archives Documentaires des Monuments, des Ensembles et des Sites (1996) . . . . . . . . . . . . . . . . . 133
Principios para la Creación de Archivos Documentales de Monumentos, Conjuntos Arquitectónicos y Sitios
Históricos y Artísticos (1996) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136

International Cultural Tourism Charter (1999) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139

Charte Internationale du Tourisme Culturel (1999) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142
Carta Internacional sobre Turismo Cultural (1999) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146

Charter on the Built Vernacular Heritage (1999) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150

Charte du Patrimoine Bâti Vernaculaire (1999) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152
Carta del Patrimonio Vernâculo Construido (1999) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154

Principles for the Preservation of Historic Timber Structures (1999) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156

Principes à suivre pour la Conservation des Structures Historiques en Bois (1999) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158
Principios que deben regir la Conservación de las Estructuras Historicas en Madera (1999) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160

Principles for the Preservation and Conservation/Restoration of Wall Paintings (2003) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162
Principes pour la Préservation et la Conservation/Restoration des Peintures Murales (2003) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165
Principios para la Preservación, Conservación y Restauración de Pinturas Murales (2003) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168

Principles for the Analysis, Conservation and Structural Restoration of Architectural Heritage (2003) . . . . . . . . . . . . . . . . . . . . . . . 172
Principes pour l’Analyse, Conservation et la Restauration des Structures du Patrimoine Architectural (2003) . . . . . . . . . . . . . . . . . 174
Principios para el Análisis, Conservación y Restauración de las Estructuras del Patrimonio Arquitectonico (2003) . . . . . . . . . . . . . 176

Publications of ICOMOS / Publications de l’ICOMOS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179

Foreword

One of the essential aims of the International Council on Mon- some Spanish translations. Apart from two new principles
uments and Sites, which considers the Venice Charter as its adopted in 2003 by the General Assembly in Victoria Falls the
foundation stone, is, according to the statutes, to “encourage the second edition is a reprint of the first edition restricted mostly to
adoption and implementation of international recommendations charters and guidelines which were prepared by ICOMOS and
concerning monuments, groups of buildings and sites”. There- its committees.
fore, the first volume of the series “Monuments and Sites” is Of course, there will be further charters and new guidelines in
dedicated to the international charters and guidelines on conser- the future, so that at a certain time a revised edition of this pub-
vation of monuments and sites. lication will again become necessary which will also give the
The first edition of Monuments and Sites no. I was already out opportunity to correct possible mistakes and add other interna-
of print after two years and there has been a great number of ad- tional conservation papers. Within the framework of ICOMOS
vance reservations from all over the world. Therefore, I am very publications (see also attachment p. 179) looked after by our edi-
glad that thanks to the funds provided to ICOMOS Germany by torial board the series „Monuments and Sites“ will not only fo-
the Federal Government Commissioner for Culture and the Me- cus on the results of ICOMOS conferences and symposia and on
dia as well as by the Messerschmitt Foundation we have been special issues of our international scientific committees, but will
able to publish this second edition on the occasion of the scien- also make important contributions to the field of monuments
tific conference “The Venice Charter 1964–2004–2044?” (Bu- and sites on the UNESCO World Heritage list, thus underlining
dapest/Pécs, 22–28 May 2004), organized by ICOMOS Hun- ICOMOS’ role as advisory body of UNESCO. Apart from
gary. Once again I have to thank John Ziesemer and Gaia that this series should, of course, reflect the huge diversity of
Jungeblodt for collecting the relevant new material as well as tasks concerning the protection and preservation of our cultural
helping with the translations. Furthermore, I wish to thank the heritage.
National Committee of ICOMOS Spain for providing us with Michael Petzet

Préface

L’un des buts essentiels du Conseil International des Monu- semblée Générale à Victoria Falls (2003), la deuxième édition
ments et des Sites, qui pose la charte de Venise comme l’élément est une réimpression de la première, limitée à la plupart des
de base à sa fondation, est selon les statuts «d’encourager chartes et directives qui ont été préparées par l’ICOMOS et ses
l’adoption et la mise en oeuvre de recommandations interna- Comités.
tionales concernant les monuments, ensembles et sites». Par Bien sûr, il y aura d’autres Chartes et de nouvelles directives
conséquent, le premier volume de la série Monuments et Sites dans le futur, si bien que dans un futur certain, une édition
est consacré aux chartes internationales et aux directives sur la révisée de cette publication sera à nouveau nécessaire, ce qui
conservation des monuments et des sites. permettra de corriger des erreurs éventuelles et d’ajouter
Après deux années, la première édition du numéro 1 de Monu- d’autres documents sur la conservation internationale. Au sein
ments et Sites est déjà épuisée et il y a eu un grand nombre de du réseau des publications de l’ICOMOS (voir également l’an-
pré-réservations à travers le monde. Je suis donc très heureux nexe p. 179) supervisé par notre Comité éditorial, la série Monu-
que nous puissions publier, grâce aux fonds alloués par la ments et Sites ne se consacrera pas seulement aux résultats des
Déléguée du Gouvernement Fédéral à la Culture et aux Médias conférences et des symposiums de l’ICOMOS et aux thèmes
ainsi que par la Fondation Messerschmitt à l’ICOMOS Alle- spéciales de nos Comités Scientifiques Internationaux, mais
magne, cette seconde édition à l’occasion de la conférence sci- fera également d’importantes contributions dans le domaine des
entifique «La Charte de Venise 1964–2004–2044?» (Buda- monuments et des sites de la Liste du Patrimoine mondial de
pest/Pécs, 22–28 mai 2004) organisée par l’ICOMOS Hongrie. l’UNESCO, pour souligner le rôle de l’ICOMOS en tant qu’or-
Une fois de plus, je remercie John Ziesemer et Gaia Jungeblodt ganisation consultative de l’UNESCO. En dehors de tout cela,
qui ont rassemblé de nouveaux documents pertinents et qui ont cette série, bien sûr, reflètera l’immense diversité des tâches
aidé aux traductions. De plus, je tiens à remercier au Comité Na- concernant la protection et la préservation de notre patrimoine
tional de l’ICOMOS Espagne qui nous a fourni quelques tra- culturel.
ductions. A part de deux nouvelles directives adoptées par l’As- Michael Petzet

5
Michael Petzet

PRINCIPLES OF PRESERVATION
An Introduction to the International Charters for Conservation and Restoration 40 Years after the Venice Charter

The Venice Charter, the International Charter for the Conserva- satisfied. But above all, it is to be recognized that the most im-
tion and Restoration of Monuments and Sites (1964), phrased 40 portant positive result by far of this assembly has been the for-
years ago by the 2nd International Congress of Architects and mulation of the international code for restoration: not simply a
Technicians of Historic Monuments, was also the foundation cultural episode but a text of historical importance. In fact, it
stone of ICOMOS since the resolution to found an International constitutes an obligation which no one will be able to ignore, the
Council of Monuments and Sites was adopted in Venice at the spirit of which all experts will have to keep if they do not want
same time as the Charter: the fundamental “resolution concern- to be considered cultural outlaws. The concerns thus codified
ing the creation of an international non-governmental organiza- constitute for everyone today an unassailable document the va-
tion for monuments and sites”, whose General Constituent As- lidity of which will be affirmed more and more as time passes,
semble was held a year later in Cracow. In his preface to the thereby uniting the name of Venice forever with this historic
publication of the congress papers Piero Gazzola, first President event. In fact, from now on, the Charter of Venice will be in all
of ICOMOS, later rightly underlined this close connection: The the world the official code in the field of the conservation of cul-
results of the meeting are momentous. We need only recall the tural properties.
creation of the International Council of Monuments and Sites –
ICOMOS – the institution which constitutes the court of highest With his words about the Venice Charter, the foundation docu-
appeal in the area of the restoration of monuments, and of the ment of ICOMOS, Piero Gazzola, who demanded high stan-
conservation of ancient historical centers, of the landscape and dards of the work of ICOMOS, standards of which we should
in general of places of artistic and historical importance. That stay aware in the future, was right. This Charter, to which in lat-
organization must supervise the creation of specialized person- er years other Charters and Principles adopted by the General
nel, its recruitment and advancement. It must oversee the use of Assemblies of ICOMOS have referred, is admittedly in some re-
international exchanges and in addition concern itself with the spects a historical document typical of the time of its creation
creation of local international committees that are capable of (cf. p. 28) and needs to be newly interpreted time and again.
counseling international organizations (UNESCO, the Council However, it is and remains an irreplaceable instrument for our
of Europe, etc.). ... With the creation of ICOMOS a gap lament- work on the international level, and attempts to write a “new
ed by every nation has been closed and a need which had been Charter of Venice” – one example being the Cracow Charter of
felt by every local organization concerned with conservation 2000 – make little sense.

I. MONUMENTS AND SITES IN THE FULL RICHNESS OF THEIR AUTHENTICITY

Imbued with a message of the past, the historic monuments of as broadly as possible so that according to the decisive article 13
generations of people remain to the present day as living wit- it explicitly also included the immaterial values of cultural her-
nesses of their age-old traditions. People are becoming more itage: Depending on the nature of the cultural heritage, its cul-
and more conscious of the unity of human values and regard an- tural context and its evolution through time authenticity judge-
cient monuments as a common heritage. The common responsi- ments may be linked to the worth of a great variety of sources
bility to safeguard them for future generations is recognized. It of information. Aspects of the sources may include form and
is our duty to hand them on in the full richness of their authen- design, materials and substance, use and function, traditions
ticity. These are the first words of the introduction of the Venice and techniques, location and setting, and spirit and feeling, and
Charter, which however did not further define the authentic other internal and external factors.
monument values to be safeguarded for future generations. This Many of the factors named here are, however, already implied
was the task of the Nara conference (1994): The Nara Document in the Venice Charter, e.g. authentic location and setting in arti-
on Authenticity is conceived in the spirit of the Charter of Venice cle 6: The conservation of a monument implies preserving a set-
and builds on it and extends it in response to the expanding ting which is not out of scale. Wherever the traditional setting
scope of cultural heritage concerns and interests in our contem- exists, it must be kept. No new construction, demolition or mod-
porary world (preamble of the Nara Document, cf. p. 118). The ification which would alter the relations of mass and color must
Nara Document, one of the most important papers of modern be allowed. Also in article 7: A monument is inseparable from
conservation theory, tried to define the “test of authenticity in the history to which it bears witness and from the setting in
design material and workmanship” developed for the imple- which it occurs. A further prerequisite for the preservation of
mentation of the World Heritage Convention of 1972 (cf. p. 49) monuments concerns use and function, about which article 5 of

7
INTRODUCTION

the charter states: The conservation of monuments is always fa- course of the work, should be included. This record should be
cilitated by making use of them for some socially useful purpose. placed in the archives of a public institution and made available
Such use is therefore desirable but it must not change the lay-out to research workers. It is recommended that the report should be
or decoration of the building. It is within these limits only that published. Some of these reflections were already pre-formulat-
modifications demanded by a change of function should be en- ed in the forerunner of the Venice Charter, the Charter of Athens
visaged and may be permitted. This article 5 refers to the limits (VIIc “values of international documentation”, cf. p. 31).
that must be placed on modifications necessary for the use of a Of utmost importance for the international role of the Charter
monument, limits which must be emphasized because of a ten- of Venice as an “official code in the field of conservation”
dency in modern management toward “use fetishism” (“a mon- (cf. quotation p. 7) was finally that in article 1 it defined
ument without a use is lost”). Without going into more detail the monument concept, which was based on European tradi-
concerning the very important basic issue of use as a general tions, very broadly: The concept of a historic monument em-
prerequisite for the preservation of certain categories of monu- braces not only the single architectural work but also the urban
ments, we need only point out here that under the “useful func- or rural setting in which is found the evidence of a particular
tion” of a monument we can understand not only its actual use, civilization, a significant development or a historic event. This
whatever that may be, but also its cultural statements, such as applies not only to great works of art but also to more modest
the aesthetic statement of an “art monument” or the historical works of the past which have acquired significance with the
statement of a “historic monument” (for example the function passing of time.
of a historic building as a spatial and historical “point of orien- If the Charter of Venice defines a monument concept that al-
tation”). so includes “modest works of the past”, at the time when it was
But the Charter of Venice focuses not only on setting and adopted it probably had those monuments and sites in mind,
function, but also on form, material and techniques of produc- which a few years later, in 1972, the World Heritage Convention
tion, on authentic monuments and sites as a whole - monuments defined as “cultural heritage”, however with reference to monu-
“in the full richness of their authenticity”. A prime concern of ments of all kinds, not necessarily with the “outstanding value”
the Charter is the preservation and conservation of the authentic demanded by the Convention:
fabric. The “originalness” of a monument does not, however, re-
fer only to its earliest appearance but rather encompasses later – monuments: architectural works, works of monumental
alterations: The valid contributions of all periods....must be re- sculpture and painting, elements or structures of an archaeo-
spected (article 11, cf. also p. 11). The Charter also emphasizes logical nature, inscriptions, cave dwellings and combinations
the indissoluble connections among all the parts of a monument of features, which are of outstanding universal value from the
and between the monument and its decorative features, which point of view of history, art or science;
should no more be torn out of their context: Items of sculpture, – groups of buildings: groups of separate or connected build-
painting or decoration which form an integral part of a monu- ings which, because of their architecture, their homogeneity
ment may only be removed from it if this is the sole means of en- or their place in the landscape, are of outstanding universal
suring their preservation (article 8). value from the point of view of history, art or science;
In any case modern preservation practice, understood as a – sites: works of man or the combined works of nature and man,
conscious safeguarding of evidence, has to be able to justify re- and areas including archaeological sites which are of out-
sponsibility for the loss of certain historic layers in some cir- standing universal value from the historical, aesthetic, ethno-
cumstances or be able to tolerate losses at times for the sake of logical or anthropological point of view.
the continued guarantee of a monument’s function. Only as a
discipline operating scientifically will preservation be able to Of course, it goes without saying that in the decades since the
master the issues involved in weighing gains against losses, to Venice Charter was passed the idea of how modern society de-
surmount the problems that every work decision presents. The fines “cultural heritage” has grown considerably, if we only
conservation and restoration of monuments must have recourse think of the categories of “cultural landscapes” and “cultural
to all the sciences and techniques which can contribute to the routes” further developed within the framework of the imple-
study and safeguarding of the architectural heritage, asserts ar- mentation of the World Heritage Convention, or of the growing
ticle 2 of the Venice Charter. So today the scientific aspect of interest in rural settlements and vernacular architecture, in the
preservation practice is a self-evident and generally accepted re- heritage of the industrial age or in “modern” heritage, taking in-
quirement. This is also true for the documentation that is neces- to account that the 20th century has also become history. But
sary to prepare, accompany and conclude every individual pro- even such categories of cultural heritage are compatible with the
ject that is carried out according to the methods and principles Charter of Venice, if in accordance with cultural diversity one
described in the following chapters. The Venice Charter closes understands the terms “monuments” and “sites” in all their for-
along these lines with article 16, which is in fact self-evident for mations. If “everything which reminds us of something” can be
the scientific-based discipline of preservation but for various a “monument” according to the definition in a late classical
reasons is often badly neglected in practice: In all works of pres- commentary on Cicero (omnia monumenta sunt quae faciunt
ervation, restoration or excavation, there should always be pre- alicuius rei recordationem) the public interest in protection and
cise documentation in the form of analytical and critical reports, conservation of “objects of remembrance” can be very compre-
illustrated with drawings and photographs. Every stage of the hensive and range from the authentic spirit of a holy place, pos-
work of clearing, consolidation, rearrangement and integration, sibly only tangible in weak traces, to witnesses of the past made
as well as technical and formal features identified during the of seemingly indestructible material.

8
 INTRODUCTION

II. PRINCIPLES OF CONSERVATION, RESTORATION, RENOVATION AND REPLACEMENT

Already the Athens Charter for the Restoration of Historic Mon- pears – as if behind a wall of fog – behind justifying, undifferen-
uments (see pp. 31-32) distinguishes between restoration and tiated catchwords for a successful “restoration” or “renovation”
conservation in the narrow sense (cf. the technique of conserva- which in fact cover up all manner of work – and in extreme cas-
tion in the case of ruins, quoted p. 32), both of which are then es even destruction of the original. To repeat once again: Every
named in the title of the Venice Charter – International Charter preservation measure – whether conserving, restoring or reno-
for the Conservation and Restoration of Monuments and Sites – vating – should serve the preservation of the monument and its
and used for the subheadings of the corresponding articles, con- historic fabric; in other words, serve the preservation of the orig-
servation above articles 4 to 8, restoration above articles 9 to 13. inal in the form in which it has come down to us, with its vari-
Although nowadays conservation/restoration is also used in gen- ous layers and with its outstanding as well as its seemingly sec-
eral for all kinds of measures for the preservation of monuments ondary or insignificant components. Under the heading “Aim”
and sites – that is preservation or conservation/restoration in article 3 of the Venice Charter summarizes briefly this self-evi-
general – it remains necessary and useful for the understanding dent prerequisite of every preservation concept: The intention in
of our international charters to differentiate between conserva- conserving and restoring monuments is to safeguard them no
tion and restoration in the narrow sense. The term “conserva- less as works of art than as historical evidence.
tion/restoration” which in the meantime is frequently used in pa- From this basic objective it becomes clear that in certain
pers for the work of restorers (for instance in our new Principles cases only conservation in the narrow sense is acceptable;
for the Conservation of Mural Paintings, see pp. 162-164 ff.) on- restoration or renovation would be possible or desirable on-
ly emphasizes the often indissoluble connection between these ly under certain preconditions, or perhaps must be strictly
methods of preservation, both of which cover preservation mea- rejected.
sures of very different types, from conservation of prehistoric In connection with the method of renovation which goes far
traces to conservation and restoration of the exterior or interior beyond restoration the traditional preservation methods of con-
of historic buildings, including all works of art, fittings and servation and restoration will in the following therefore not be
movable objects. described without explicit reference to the dangers of restoration
In the history of preservation especially the term restoration and especially renovation, still existing 40 years after the Venice
has been differently defined. If for some “puristic” colleagues Charter. Also at the beginning of the 21st century these terms
the term “restoration” still arouses negative associations, it has can describe a wide spectrum of measures in accordance with
to do with the still existing consequences of the battle fought the modern understanding of monuments and sites, whereas for-
around 1900 against the restoration methods of the 19th century merly the terms conservation, restoration and renovation were
focusing more or less on reconstructions, for which Viollet-le- used primarily in connection with works of painting and sculp-
Duc’s famous definition of “restoration” (see p. 28) may serve ture or in the context of “art monuments” in the field of “classi-
as a representative. Against this background not only such a fa- cal” preservation. In the following conservation will only be
mous catchphrase as Georg Dehio’s “conserve, do not restore” used in the narrow sense, not as conservation in general.
must be understood, but also the highly restrictive position of the
Venice Charter when it comes to replacements or even recon-
structions. The latter becomes particularly clear in the French Conservation
version of article 9: La restauration est une opération qui doit
garder un caractère exceptionnel (!) (whereas in the English To conserve (conservare) means to keep, to preserve. Thus
version it only says: The process of restoration is a highly spe- the basic attitude of preservation comes most purely to expres-
cialized operation). It is also characteristic that in this context sion in conservation: to conserve is the supreme preservation
the term “reconstruction” is only used in article 15 of the Venice principle. Together with stabilization and safeguarding meas-
Charter, on the issue of excavations (see p. 24), while the term ures, conservation work that protects the fabric of a monument
“renovation” is avoided altogether, although despite negative and prevents its further loss should therefore have absolute pri-
experiences with the restoration methods of the 19th century the ority over all other measures. Unfortunately this principle can-
20th century also very often not only conserved and restored, but not be taken for granted because often parts of a monument are
in fact renovated and reconstructed. renovated or even reconstructed at great cost while other com-
Under these circumstances in modern specialized literature ponents of the same building continue to deteriorate without ur-
these terms are often used without differentiation – restoration gently necessary conservation work.
as a general term for restoration and conservation, renovation in- All those measures that serve the preservation of the fabric of
stead of restoration or the other way around – not to mention the a monument are to be counted as conservation work. Conserva-
fact that in some countries the term “reconstruction” is used in- tion includes, for example, consolidation of the historic fabric of
stead of restoration or renovation regardless of whether a struc- a monument: impregnation of a stone sculpture, injections in the
ture is in fact being reconstructed, restored, renovated or merely cavities behind a layer of plaster, securing a layer of peeling pig-
conserved. Overlapping with one another in practice, the preser- ment on a painting or a polychrome sculpture, strengthening a
vation methods used in conservation, restoration and renovation picture support, etc. For a historic building conservation in-
must therefore be precisely understood, also because unfortu- cludes all measures that prevent further decay and preserve the
nately the basic goal of all preservation work frequently disap- historic fabric. This can encompass structural strengthening

9
INTRODUCTION

with appropriate auxiliary constructions, or the replacement and and that, without supervision, only irrevocably destroy their
completion of components insofar as this prevents their further findings.
deterioration. In this sense the constant replacement of damaged As not only the example of the ruin makes clear, to conserve
stones by the cathedral stonemason workshops is a borderline means to preserve the monument even in a fragmentary state:
case between conservation and restoration. Moreover, in addi- the fragments of a fresco, a sculpture, a vase or an epitaph are all
tion to traditional techniques available modern technology must objects whose historic state should not be “falsified” through
also be used in conservation in certain circumstances to save his- additions in the sense of a restoration or renovation.
toric fabric. Special reference to this is made in article 10 of the In other words, for certain categories of monuments con-
Venice Charter: Where traditional techniques prove inadequate, servation is the first and only measure! It is obvious for sev-
the consolidation of a monument can be achieved by the use of eral reasons that this particularly applies to monuments that are
any modern technique for conservation and construction, the ef- to be seen in a museum-like context. In contrast an inhabited old
ficacy of which has been shown by scientific data and proved by town cannot be preserved as a historic district using conserva-
experience. Caution with regard to methods that are not suffi- tion measures exclusively. The “use-value” of many types of
ciently proven or tested is always in order, unless the monument monuments demands repair or careful rehabilitation that goes
in question cannot be saved by any other means. In some cases beyond conservation work and thus also involves additional
– involving, for instance, full impregnation with acrylic resins of preservation methods which certainly include restoration and
a stone figure that is not to be saved any other way – the princi- perhaps also renovation work. However, conservation always is
ple of reversibility must also be disregarded in conservation. and will remain the starting point for all deliberations in the field
Repair measures that go beyond a mere safeguarding of the ex- of preservation.
isting fabric are no longer within the scope of conservation work;
for instance the completion of a gap, be it a crack in a painting or
a break in a city wall, is not conservation work unless such fill- Restoration
ins are necessary for the techniques used in safeguarding. In con-
trast, the removal of fabric that endangers a monument can be To restore (restaurare) means to re-establish; in the following
considered an important conservation measure. This sometimes it is not to be defined as a term meaning major preservation
includes the removal of intruding alterations from modern times, work in general, as is often customary, but rather as a measure
to the extent that they actually endanger historic fabric (for in- that is to be differentiated from conservation and safeguarding
stance removal of an installation that causes structural damage or as well as from renovation. The Venice Charter says the aim of
of new plastering that contains cement). restoration is to preserve and reveal the aesthetic and historic
The ruin, especially the castle ruin, which played a central role value of the monument and is based on respect for original ma-
in the preservation debates at the turn of the 19th century, offers terial and authentic documents. Thus it should go beyond mere-
a perfect illustration for conservation to which the Athens Char- ly “preserving”, or conserving a monument to “reveal” aesthet-
ter already refers: In the case of ruins, scrupulous conservation ic and historic values; or in other words to accentuate values of
is necessary... Here the monument value also derives from the a monument that are hidden (for whatever reason), disfigured or
fragmentary, ruinous state that reminds us of the past, making impaired: that means to “re-establish” them. Whereas conserva-
history present through the “scars of time”. Maneuvering be- tion of the existing fabric of a monument only attempts, as far as
tween the idea of reconstruction, which crops up sometimes is necessary, to stabilize individual areas technically and to elim-
even today, and the occasionally advocated idea of letting the inate sources of danger that directly threaten the fabric, restora-
ruin “perish in beauty” (the latter being an understandable reac- tion is concerned with the overall appearance of the monument
tion to destruction of the actual historic monument as usually as historical and artistic evidence.
results from the former), the conservation plan must seek the Following upon the stabilization and conservation of the orig-
correct path for each individual case: for instance stabilization inal fabric, a restoration adds new elements, without reducing
of the walls – but only stabilization, without falsification of the original fabric. Because a gap in a painting, for instance, can
the character of the ruin through unnecessary additions. Even severely impair the overall aesthetic effect, far beyond the very
the removal of plant growth, seemingly self-evident as an initial restricted area of the actual damage (which may itself be rela-
conservation measure, must be carefully considered; although tively minor), an effort is made to close the gap by means of re-
the growth endangers the fabric it contributes very critically touching. The many possibilities for restoration, which must be
to the “picturesque” character of the monument. In cases of carefully weighed in each individual case, range here from a
definitive, otherwise inevitable ruin of an important building neutral “adjustment” in a painting to a detailed replacement of
component – such as the fresco fragments in the remains of a missing elements, as would be undertaken for gaps in decorative
castle chapel – a roofing-over can be an unavoidable conser- plasterwork or for certain architectural sculpture. The bay that
vation measure, even if it actually contradicts the nature of the has collapsed because of structural damage in an otherwise in-
ruin. In this context we can understand the covering over care- tact Renaissance palace, for instance, would hardly be con-
fully conserved wall remnants and the paved floor of a Roman served according to the solutions applied to a medieval castle
bath, which would be completely destroyed within a few years ruin, but rather, because of the overall aesthetic effect, would be
without a protective roof. In the case of castle ruins, certain wall restored to accord with the adjoining bays.
remnants and findings are and will remain best conserved under A restoration can also go beyond the harmonizing or filling-
the earth, better preserved than if they are subjected to the ama- in of gaps, to undo disfigurements from previous restorations.
teur excavations that unfortunately are so popular at such sites We must always be conscious of the danger that a new restora-

10
 INTRODUCTION

tion can also interpret certain aesthetic and historical values in a ditions to ultimately conserve its fragmentary state; but the same
biased manner or can even falsify, thus perhaps “disfiguring” figure located on a Baroque altar as a devotional image must of
the monument just as did an earlier restoration, the mistakes of course retain its Baroque polychromy. An altar from the 17th
which occasion the new interventions. A restoration can also century in a space that was uniformly redecorated in the mid-
once again reveal a monument that has been completely hidden, 18th century would not be re-exposed to its initial paint scheme
such as a classical temple beneath later construction or a medie- but rather to the second or third version, the one which harmon-
val fresco under layers of later interior decorations. izes with the overall space. Even a restoration measure that
With the re-exposure of a particular layer – such as a painting seems extremely simple and self-evident, such as removal and
that is not visible but might in fact be extremely well conserved renewal of a yellowing layer of varnish in order to recover the
underneath several layers of lime – a critical question must al- aesthetic effect of an old painting or of marbling, must be ques-
ways be addressed: What is the goal of the restoration of a mon- tioned if by giving up the “age-value” of the varnish layer the re-
ument that, as so often is the case, is composed of very different lationship to other components of the work or to the remaining
historical layers? As traces of its age and evidence of its history, features of the monument is altered in the sense of “restoring
all of these layers are valid parts of the monument. If we imagine asunder”.
that overtop the (to be exposed?) medieval painting there is a Ba- Given the diverse layers of a monument and the varying goals
roque painting as well as one from the 19th century, that the (to and prerequisites for a restoration project, excesses occasional-
be exposed?) original polychromy on a Romanesque crucifix ly arise from a so-called “analytical restoration”, which at-
has no less than eight subsequent polychrome schemes above it, tempts to simultaneously preserve and exhibit all the historic
that the (to be exposed?) Roman temple is integrated into a Byz- states of a monument, at least in part. The Baroque facade of a
antine church complex, then the problems inherent in all resto- palace on which painted architectural decoration from the Ren-
ration work become clear. These issues become particularly dif- aissance, deep medieval wall openings, remains of a re-exposed
ficult if, as is frequently the case, a restoration is based on an late Gothic painting, and remnants of Roman ashlar have all
uncompromising orientation toward a genuine or supposed been made visible on a single bay becomes a mere preserved
“original state” to which later historic layers are to be sacrificed “specimen”; the same is true of a sculpture on which individual
without hesitation. In fact, after consideration of the results of parts have been restored to different historic periods. As impor-
detailed preliminary investigations, we can only proceed with tant and necessary as methodically sound preliminary investiga-
the greatest caution in accordance with article 11 of the Venice tions and documentation of previous historic states are in order
Charter, which clearly dismisses the restoration practices of the to understand the essential character of a monument and to
19th century that aimed at a “unity of style”: The valid contribu- guide the interventions a restoration plan has to be oriented to
tions of all periods to the building of a monument must be re- the – evolved – historic and aesthetic whole of the monument.
spected, since unity of style is not the aim of a restoration. When The safeguarding of evidence is necessary but the search for
a building includes the superimposed work of different periods, these traces cannot become an end in itself, determining the
the revealing of the underlying state can only be justified in ex- goal of a restoration.
ceptional circumstances and when what is removed is of little in- Moreover, earlier historic situations can also be reconstructed
terest and the material which is brought to light is of great his- on paper for scholarly publication. Regarding late Gothic frag-
torical, archaeological or aesthetic value, and its state of ments in a Baroque church interior, for example, there would be
preservation good enough to justify the action. good reason to advise that they not be restored but rather cov-
Extreme care is thus required; the goal of a restoration cannot ered up again, following conservation if necessary, in order not
be coordinated with a particular “historic state” if other “histor- to endanger the aesthetic and historic whole of the monument. A
ic states” will thus be destroyed. On principle, the existing fab- “window to the past”, based on what emerges in the course of a
ric, which has evolved over time, should be respected initially as restoration, is only possible if it can be disposed in an inconspic-
the historic state. Only after thorough analysis will the removal uous place so that there is no negative impact of the kind dis-
of insignificant work to the advantage of materials of “great his- cussed above. In general there must be a warning against the ex-
torical, archaeological or aesthetic value” appear to be warrant- aggerations of “analytical preservation”, which represents a
ed. Moreover, as important as an earlier state may be in compar- special kind of “restoring asunder”.
ison to later changes, it must also be so well preserved that its This applies of course not only to individual restoration pro-
state of preservation (is) good enough to justify the action. The jects and to monuments with extensive decorative components
few particles of pigment that perhaps remain from the Roman- but equally to restoration work within a historic district. The
esque polychromy on a wood sculpture no more justify the re- reexposure of (originally visible) half-timbering can represent
moval of a fully preserved Baroque paint scheme than the re- successful restoration work when considered alone, but in the
mains of a medieval ashlar stone wall justify demolition of an context of a square with only Baroque buildings or Baroque
entire building that has evolved over the following centuries. transformations of houses that are medieval in core, this inter-
In a restoration project, preservation practice must also con- vention must be rejected as a disfigurement and disturbance
sider in particular the function of a monument and its relation to of the square as a historic ensemble. Likewise we must reject
its surroundings, so that the components of a large monument the idea of restoring a streetscape that was transformed in
complex – for example a monastery church with its decorative the 19th century back to its medieval “original state”; monu-
features – will not be “restored asunder”. In a museum there ments are not infrequently destroyed through such massive in-
might be good reason to re-expose the 15th century polychrome terventions based on an unprofessional understanding of resto-
scheme on a late Gothic figure of the Virgin, removing later ad- ration.

11
INTRODUCTION

Whereas “analytical restoration”, a sort of “specimen prepar- ready been discussed in the context of restoration. Here, too, ar-
ation” of historic states which is with good reason hardly prac- ticle 11 of the Venice Charter applies: renovation measures must
ticed anymore today, adversely effects the coherent overall accept in principle the evolved state of a monument with all its
appearance of a monument and leads to loss of fabric in specif- superimposed historic layers; no layer may be sacrificed to the
ic areas, the idea of “restoring back” to a single historic state, aesthetic unity that is the goal of the renovation unless there is
a concept that is always turning up anew, implies removal of justification based on detailed investigations that carefully
entire layers of a monument. A constant conflict with the su- weigh the gains and losses.
preme dictate of preservation, the conserving and preserving Considering the priority of conservation – as the supreme
of historic fabric, is pre-programmed, as is conflict with the principle that applies to all efforts in the field of preservation –
restoration principle, already cited above in article 11 of the and the principle of limitation to the necessary that is universal-
Venice Charter, of accepting the existing state and only re-estab- ly valid for the repair of monuments (see p. 17), it could perhaps
lishing a particular earlier state in well-justified, exceptional be argued that conservation is always necessary, restoration is
cases. justifiable under certain conditions, but renovation, meaning as
Finally, attention should still be given to the general con- it does to renew and therefore to destroy, is not compatible with
nection between every restoration project and the principles preservation’s basic demands. Thus in place of Dehio’s phrase
described for the conservation and repair of monuments (cf. “conserve, do not restore” do we rather have “conserve, restore
p. 17/18). Conservation concerns must take priority, also in the where necessary, do not renovate”?
difficult questions regarding the objective of a restoration pro- In practice historic fabric is in fact being destroyed even
ject. Furthermore, in general a restoration is only appropriate if now to a shocking degree in the name of “renovation” and also
the necessary measures for stabilization and conservation are in the course of many “restorations”. The great danger with
executed beforehand or at the same time. all renovation work lies in the fact that it is preceded by at
The principles regarding general repair – limitation to the nec- least a thorough “cleaning” of the surface of the monument:
essary and reversibility (see p. 26/27) – are also valid for resto- complete removal and renewal of plaster; scraping off of earlier
rations. However, since the removal of even an insignificant his- polychrome layers on an old altar in order to be able to renovate
toric layer, permitted after thorough consideration, represents an it “according to findings” or freely “according to the taste” of
irreversible intervention, in such cases a special measure of re- the authorities; stripping the layers off a figure and thereby de-
sponsibility for the welfare of the monument is required. In arti- stroying an essential part of the artistic and historical statement
cle 11 the Venice Charter therefore demands the participation of of a work of art; even total reworking of a weathered wooden
several specialists to weigh all the possibilities: Evaluation of or stone sculpture through “re-carving” until the object is falsi-
the importance of the elements involved and the decision as to fied and devalued beyond recognition. Similarly, the sanding
what may be destroyed cannot rest solely on the individual in of a gravestone or a stone portal down to an undamaged,
charge of the work. “healthy” layer is equivalent to the replacement of the original
A restoration that makes an effort to close and fill gaps that surface with a modern surface. These are all irreversible losses
impair a monument’s overall appearance can also be linked to that remind us that the general principle of reversibility must
the principle of repair using historic materials and techniques be valid for renovation measures as well. In this context refer-
(see p. 18). This applies particularly to the preservation of his- ence can also be made to the danger of renovation using inappro-
toric buildings, whereas with individual works of art restorative priate materials; dispersion paints, for example, have caused
completions must sometimes be executed in a different tech- devastating damages on plaster or stucco facades or on stone
nique which can guarantee its own damage-free removal, based surfaces.
on the principle of reversibility. Of course, as with conservation In order to avoid such damages, the basic demand for historic
work, not only the traditional but also the most modern restora- materials worked in appropriate techniques must be met in ren-
tion techniques (which cannot be covered individually here) ovation work in particular. Here is the opportunity to practice,
must be employed where traditional techniques prove inade- learn and pass-down traditional technologies and the handling of
quate, as the Venice Charter says in article 10. traditional materials. Renovation is seen in contrast here to the
complicated field of conservation and restoration which, as al-
ready described, cannot dispense with modern restoration tech-
Renovation niques and newly developed resources. Furthermore in the case
of renovation work repeated in ever-shorter intervals even well-
To renovate (renovare) means to renew, and together with con- meant and technically correct measures represent a significant
servation and restoration it is a third widespread method in pres- danger to a monument’s fabric if only because of the preparato-
ervation, although it is not mentioned specifically in the Venice ry cleaning that affects the original fabric.
Charter. Renovation aims particularly at achieving aesthetic uni- In spite of the indisputable dangers suggested here, a renova-
ty in a monument in the sense of “making new again” (the outer tion project which pays heed to the principles of conservation
appearance, the visible surface of a monument, etc.) whereas can indeed be considered a preservation measure. Even if we
“making visible again” by means of conservation work, cleaning constantly remind ourselves that the new layer resulting from a
or re-exposure in combination with completions still belongs in renovation cannot be a fully valid stand-in for the old fabric be-
the realm of restoration. neath it, with its special “age-value”, in preservation practice
The same conflicts concerning goals arise with the renovation there are indeed certain areas in which renovation is the only
of a monument which has multiple historical layers as have al- way possible to preserve the historic and artistic appearance of a

12
 INTRODUCTION

monument and to conserve the original layers below. A renova- It is no doubt self-evident that a renovation is out of the
tion measure is thus justified if it has a conserving effect it- question for certain categories of monuments because only
self or if conservation measures prove to be unfeasible. How- conservation and restoration work are within acceptable
ever, as with conservation and restoration, such a renovation limits. Renovation must be rejected as a legitimate method for a
must be understood as being “in service to the original”, which great number of “art monuments” in particular, objects which in
should not be impaired in its effect and should be protected from general can only be conserved or under some circumstances re-
further danger. stored but which should not be renovated. These include paint-
In order to preserve a monument severely worn, weathered or ings and sculptures or examples of arts and crafts work; the chal-
even soiled components may have to be renovated. For example, ice in a church vestry would, for example, be impaired in its
a new coat of lime paint could be applied over an older one that historic value by a complete re-gilding, an approach we would
has been badly soiled by the modern heating system, without classify as renovation. This applies also to archaeological mon-
thus excluding the cleaning and conservation-oriented handling uments and to fragments, which may be conserved and, as far as
of an old coat of lime paint at a later point in time. This approach appropriate and necessary, restored; but a total “renovation” of
is often valid for the exterior of a building where worn and these objects would destroy their character as evidence. The
weathered original plaster and paint layers can only be preserved widely propagated methods of renovation are acceptable in
under a new and simultaneously protective coat; the new coat preservation practice only if original fabric is no longer tech-
can be executed as a reconstruction of a historic scheme, as doc- nically conservable and must be replaced or if old fabric can
umented by investigative findings. Finally there are cases in no longer be exposed to the effects of environment and use
which old plaster is so badly damaged by weathering and envi- and must be covered over for protection. In both situations
ronmental pollutants that it can no longer be preserved with con- renovation work should be justified and supported by preserva-
servation measures and must be renewed. In this situation the tion-oriented preliminary investigations and by a preservation
painted decorative articulation on the exterior, only traces of plan.
which could still be detected, can be renovated – that is repeated In the case of historic buildings, renovation work can also
– by means of a new coat of paint based on the investigative be appropriate in particular locations, for example in parts of
findings: the only possible way to pass on the monument’s aes- a monument where there is no longer historic fabric to be
thetic appearance. As in the case of a restoration, of course very protected because of previous extensive alterations, so that
different possibilities can emerge from the investigative findings compatibility with the remaining monument fabric is the only
covering various layers. Should the plan for the exterior renova- point that must be heeded, or where preservation concerns for
tion based on these findings repeat the architectural paint retaining historic fabric could not be made to prevail over other
scheme from the Renaissance, from the Baroque or from the interests.
Neo-Classical period, or should it take up the uniform ocher fa- To conclude this attempt to differentiate between conserva-
cade from the 19th century? Whether this involves a palace fa- tion, restoration and renovation work, it must be emphasized that
cade or the plain facade of a townhouse in the historic district of together they constitute a graduated system of preservation
an old town, this decision can only be reached within the frame- measures; in other words, there are monuments that under cer-
work of the overall preservation plan after thorough analysis of tain circumstances should only be conserved but not restored, or
the findings and the history of the building and in coordination that may be conserved and restored but never renovated. Fur-
with its surroundings. thermore, conservation, restoration and renovation measures
Whereas the exterior renovation of a historic building has are interconnected, so that, according to the circumstances,
to be coordinated with its surroundings, an interior renovation they may be carried out one after the other or simultaneously.
must take into consideration the historic, aged surfaces of The gilding of a plastered concave molding in an interior space
surviving elements, especially the “age-value” of all the decora- can serve as an example. For the well-preserved components
tive features; for instance the variable intensity of renovated mere conservation is enough; in some places small gaps must be
painted interior surfaces must be of concern. As already sug- filled in and certain pieces “polished up” in order to more or less
gested, the protective effect that a renovation measure can attain the overall aesthetic appearance of the conserved elements
have must also be taken into account. Thus renovation as – hence, restoration; on one side of the room the gilding, severe-
protection is a valid aim even in cases in which it conceals ly damaged and to a large extent lost because of water penetra-
the “age-value” or an intermediate state that, from an aesthetic tion, must be renewed according to traditional gold leafing tech-
or historic standpoint, is worthy of preservation. An example niques – hence, renovation. In other cases renovation can even
is offered by new plaster on a Romanesque tower to protect be considered a conservation measure, at least to a certain de-
weathering stone; although findings of minimal remnants may gree: for instance, partial re-exposure of one or more historic
provide proof that there was indeed plastering in previous cen- paint schemes within the framework of investigative analyses,
turies, the new plaster replaces – in fact, disposes of –the “pic- consolidation (i. e., conservation) of the lathing, and complete
turesque” and simultaneously “legitimate” version of the tower renovation over an intermediate layer of one of the schemes. Un-
with its exposed medieval masonry, as it had appeared since the derneath the new plaster all the historical layers remain better
19th century. The renovation of an outdoor sculpture of stone or conserved (at least in the case of an exterior façade) than they
wood by applying a new polychrome scheme based on investi- would be if subjected to complete re-exposure, which is always
gative findings or in analogy to similar painted figures can also combined with losses, and to subsequent conservation and res-
combine a change in the aesthetic appearance with a protective toration of the original fabric and the concomitant exposure to
function. dangers of weathering.

13
INTRODUCTION

Replacement and Completion of Components ing as the gap in a painting. Finally, the filling in of a gap imme-
diately after its badly felt loss is more compelling than the some-
Conservation, restoration and renovation measures give rise to times dubious practice of replacing details that have already
different responses to the issue of completion and replacement: been lost for decades or even centuries.
where only conservation of existing historic fabric is involved, The arguments for and against replacement, dependent on
there is in general no need for replacements; restoration on the various artistic, historic and also functional factors, can only be
other hand includes the closing of gaps and a certain degree of clarified after being given careful consideration in the restora-
replacement, as would also be required under certain circum- tion concept that is worked out for a specific case. The “how” of
stances for a renovation. Regarding the exchange or replacement replacements, ranging from neutral retouching in a restoration
of elements, article 12 of the Venice Charter therefore maintains project to partial copying or partial reconstruction, is of equal
under “restoration” that Replacements of missing parts must in- concern, raising questions as to whether a replacement should
tegrate harmoniously with the whole, but at the same time must imitate the original or show its own signature, the latter being
be distinguishable from the original so that restoration does not more or less perceived as a contrast to the original fabric. In this
falsify the artistic or historic evidence. context the issue of the use of historic or modern materials and
In this context it must at first be pointed out that certain mon- techniques also arises (see p. 18).
uments are documents of history precisely in the fragmentary Reference must be made again to article 12 of the Venice
state in which they are passed down to us. The fragment of a Charter, already quoted above, according to which the replace-
gravestone, the torso of a figure, the remnant of a wall painting, ments must integrate harmoniously with the whole but at the
the remains of a city wall or the castle ruin: these are only to be same time must be distinguishable from the original, always as-
conserved and not – or only to a very limited extent – to be re- suming that the replacement has not already gone so far as to
stored; replacements cannot be made without danger of falsifi- represent a “falsification” of the original. This applies, for in-
cation or impairment of their monument character. This is also stance, to the various forms of retouching that are necessary for
particularly valid for small and even minimal replacements a restoration; according to the significance of the gap for the
which are often completely unnecessary; arising only from an overall appearance of the object, completions range from mere-
exaggerated urge for perfection, they needlessly destroy the ly a pigmented or neutral “tuning” to a “depiction” that derives
“age-value” of a monument. An example would be the com- from the existing composition but which on detailed inspection
pletely unnecessary “clearing up” of all minor damages in an (or at least from close up) always should be recognizable as a re-
ashlar stone facade using an artificial stone material, whereas placement. On the other hand the completion should not give the
the closing of a dangerous joint or a hole can indeed be neces- effect of a strong contrast, which could only further impair the
sary in order to avoid future major replacement of original ma- overall appearance of the work of art. In this sense a sculptural
terials. It is important to guard against excessive replacement group in a park which is so badly damaged that its message is no
on both a large and a small scale. longer comprehensible could be treated differentially: the de-
On the other hand, historic buildings, especially if they are in tailed completion of small gaps would be consciously avoided,
use, sometimes practically require repair work that involves con- and only the elements that are important for an understanding of
siderable replacement. This is especially true for the large num- the monument would be replaced, in a reversible manner. Like-
ber of monuments that are used for residential purposes or as wise, with a badly damaged gravestone or a wayside shrine the
public buildings. The bay of an arcaded courtyard that has col- restorer would not replace fragmentarily preserved ornamental
lapsed because of structural damages must be replaced; dam- and figural elements which are still comprehensible but rather
aged building surfaces must be replaced, sometimes already for would complete the outer frame in a neutral manner and would
reasons of hygiene. The lost head of a statue of Nepomuk, saint renew (according to the old form) the cornice and projecting
of bridges, must be replaced if the figure is to fulfill its function roof that are important as protection against weathering. With
in an understandable manner. In general an element of reserve architectural fragments replacements which may be necessary
must be maintained regarding replacements because the historic for purely conservation reasons (such as a new covering) or for
fabric should still “dominate” and should “carry” the added fab- structural reasons (filling in of a crack) can also be kept neutral
ric, so that a monument does not appear more new than old. by using a material that sets itself apart somewhat from the his-
Moreover, the individuality and the artistic quality of a monu- toric fabric (for instance a different brick format or different
ment are of critical importance in the issue of replacement; in method of setting stone). Thus the character of the architectural
some circumstances they prohibit any replacement work other fragment is not falsified by an “imitation” that feigns another
than a neutral retouching without which the overall appearance state of preservation or by a modish “contrast”.
would be impaired. On the other hand, the original artistic plan For completions that are necessary within the framework of
sometimes makes completion of missing elements necessary, normal repair work (see p. 18), the principle of the use of au-
such as the filling in of a gap in a stucco ceiling, or closure ac- thentic materials in an appropriate, traditional manner is appli-
cording to the original design of the ground floor zone of a Neo- cable, insofar as conservation reasons do not preclude it. The sit-
Renaissance facade which has been disfigured by the addition of uation is different if new elements are necessary for functional
storefronts, etc. reasons, for instance in the design of new fittings (modern forms
In principle a monument that has evolved over various epochs and materials can of course appear next to the old) or the design
will be less in need of replacement than a “Gesamtkunstwerk“ of modern additions needed to extend the use of a historic build-
that was created according to a single coherent plan and that is ing complex. Perhaps new choir stalls are needed in a church, or
unchanged in its appearance, where every gap is just as disturb- an addition must be made to the vestry – for such cases article

14
 INTRODUCTION

13 of the Venice Charter makes special reference to the caution stonemasons precisely because replacement work is a tradition-
and respect that must be shown for the preservation of existing al matter of course in their craft. The goal of this examination
fabric: Additions cannot be allowed except in so far as they do must be conservation in situ, particularly of richly designed
not detract from the interesting parts of the building, its tradi- components such as profiles, tracery, pinnacles, sculptural ele-
tional setting, the balance of its composition and its relation ments with their individual artistic signature or components
with its surroundings. with a key function in terms of a building’s construction history.
Furthermore, the “how” of replacements depends critically Thus the stonework would be preserved without any reworking
on the design and condition of the part to be completed as that destroys not only the surface but also any surviving stone-
well as on our knowledge of the earlier situation. If a severe- mason symbols and the traces of age that are caused by minor
ly damaged, no longer repairable component is replaced, or an damages and weathering. An appropriate plan for safeguarding
interrupted profile is filled in, or a volute gable that is only half the stones must be developed on the basis of detailed conserva-
preserved is completed, or the missing piece of a symmetrically tion-oriented preliminary investigations.
designed stucco ceiling is replaced – then a replacement that
copies the original is possible and for the most part even neces-
sary. The appearance of the part that is to be replaced can be re- Replacement by Copies
constructed using exact graphic or photographic materials that
show its previous state. However, if there is no detailed knowl- In some cases a study might show that figural elements on the
edge of a component that has perhaps been missing for a long exterior are already severely damaged and can only be saved
time, either no replacement should be attempted at all, or, as from further deterioration through the production of replicas by
with retouching, the original should be replaced “neutrally” in the stonemasons and the transferal of the originals to the interi-
the manner discussed above. With figural decoration, such as or or their deposition in a secure place. The possibility of copies
figures missing from a gable, even if there is some knowledge of in the context of a restoration concept, not explicitly mentioned
the no longer extant predecessors this is perhaps the opportuni- in the Venice Charter, was already critically commented in the
ty for modern sculpture, adapted of course to the surrounding Athens Charter, but not excluded for certain states of decay of
context of the lost work. monumental sculptures: With regard to the preservation of mon-
Finally there are categories of monuments, particularly certain umental sculpture, the conference is of the opinion that the re-
industrial monuments which are still in use, for which compo- moval of works of art from the surroundings for which they were
nents must be exchanged continually in their original form and designed is in principle to be discouraged. It recommends, by
original materials A special form of continuous replacement, way of precaution, the preservation of original models whenev-
which could also be understood as continuous repair, involves er these still exist or if this proves impossible the taking of casts.
the replacement of stones by the stonemason workshops of ca- Replicating – i. e., making a copy of an existing original or of
thedrals (see p. 10). This involves the exchange of damaged ele- another replica – has a long tradition in art history, as illustrated
ments, from crumbling ashlar to artistically designed compo- by the “multiplication” of a famous pilgrimage painting or stat-
nents such as tracery and pinnacles, work that has been oriented ue through countless small copies. But replication can only be
over centuries to the form, materials and craftsmanship of the considered a preservation measure if the copy is made in or-
existing historic fabric. Recently on some such monuments less der to protect an existing original: the copy as a means of
detailed or consciously more “coarse” work has been carried saving a monument. We must always remain conscious of the
out; only on close observation is this perceived as a “modern” uniqueness of the original because, no matter how faithful in
development. form, material and scale, a replica is always a new object and
Although in the end this constant exchange can approach a to- merely a likeness of the original with its irreplaceable historical
tal renewal of the original stone materials, as a stonemason’s tra- and artistic dimension.
dition that has continued unbroken for centuries it is to be con- Production of a replica to replace an original, already referred
sidered a necessary process which falls in between maintenance to in the context of facade sculpture, can make it possible to re-
and repair. The procedure is more a routine safeguarding or res- move and protect a work of art that can no longer be preserved
toration of the monument than it is a renovation, since the sur- on its original location, without thereby disrupting the meaning
face of a building is never totally reworked, even in larger sec- of a superordinate pictorial program of which it is a part; well-
tions. Such partial exchanges require not only traditional craft known examples include the sculptures personifying the Church
techniques but also as far as possible the use of material from the and the Synagogue on the cathedral of Strasbourg. To a certain
original stone quarry, or at least of a comparable stone with sim- degree such a replica can be understood as a partial replacement,
ilar properties if the original is no longer available or is not re- a completion that serves restoration of the whole. This can also
sistant enough to environmental pollutants (and would therefore be a valid approach for sculptures in a park, each of which is an
require another renewal after an unacceptably short interval). essential element, in its particular location, of an overall artistic
Even with replacements that are correct in themselves in concept; if leaving them exposed to continued negative environ-
terms of craftsmanship, according to the principle of limitation mental influences is no longer justifiable, the originals can be
to the necessary only deteriorated stones should be exchanged, replaced by replicas while they themselves are given the protec-
whereas harmless small damages would not justify replacement tion provided by a museum-like environment. Depending on the
of the original. The process of examining the stonework must al- individual case, a combination of measures may be sensible:
so be seen in this context; it is a procedure that is often over- replication of endangered components of a whole, or the com-
looked or not executed thoroughly enough by the cathedral pletion and conservation of originals that are already so badly

15
INTRODUCTION

damaged or that have been so severely altered during earlier res- A further issue is the extent to which a replica should duplicate
torations that their non-reversible state of deterioration would the original in materials and technique: in each individual case
make exhibition in a museum pointless. Given the abundance of careful consideration must be given as to whether the best solu-
affected monuments – just among stone sculptures, for example tion calls for a handcrafted or sculpted copy in the original mate-
– it must be emphasized that this approach nonetheless has nar- rials or for one of the modern casting techniques, some of which
row applications: even if appropriate storage places are availa- are very highly developed; of course a prerequisite for the latter
ble, the deposited originals must undergo conservation treat- is that no damage be done to the original during the process.
ment so that the decay does not continue, an aspect that is often Apart from the examples mentioned here, the possibilities for
overlooked. And which museums or depots should accept the saving a monument by bringing it into a protected space are very
stained glass from a cathedral that has been replaced by copies? limited because normally a historic building cannot be moved,
With the exception of a few special cases, such windows should nor can it be replaced by a replica. However, there are excep-
be saved and restored on their original location by means of suit- tional cases of replicas in order to save significant monu-
able protective glasswork. ments endangered by modern mass tourism. The paintings in
The testimonies in stone that characterize many cultural land- the caves of Lascaux, unchanged over thousands of years, be-
scapes – the wayside shrines, stations of the cross, road markers, came threatened by the climatic fluctuations caused by visitors.
boundary stones, etc. – must be preserved in situ as long as Closure of the cave and construction of an accurately scaled rep-
possible using stone conservation treatments, even if we know lica nearby, which has enjoyed acceptance by tourists, has saved
these techniques are inadequate; if necessary they must be the original paintings. Another successful example is the
repaired by restorers. In these cases only the threat of total, “tourist’s copy” of the famous Thracian grave of Kasanlyk in
nonstoppable loss can justify replacement of the original with a Bulgaria. This approach could serve as a model for other objects
replica. that are afflicted by mass tourism.

III. PRINCIPLES OF MAINTENANCE, REPAIR AND STABILIZATION, REHABILITATION

AND MODERNIZATION, RECONSTRUCTION AND RELOCATION

Whereas in former times conservation and restoration were practice that expensive repairs become necessary. In such situa-
practiced primarily in the context of works of art and monu- tions the question may arise of whether the damages are already
ments of art and history, that is in the field of “classical” con- so advanced that repair is no longer possible; then either the ul-
servation/preservation, certain forms of maintenance, repair and timate loss must be accepted or a drastic renovation and rehabil-
stabilization, reconstruction and rebuilding have been practiced itation may have to be undertaken as the only alternative. In the
ever since there has been architecture. Therefore, as customary following the repair of monuments is understood as a general
building methods they are not only of interest for the conserva- term that may include measures of conservation and stabiliza-
tion/preservation of monuments and sites. But of course espe- tion/consolidation, measures of restoration and renovation, and
cially the practice of maintenance and repair plays a decisive the replacement of missing elements (see also p. 14/15), where-
role in this context, and many conservation principles could al- as maintenance is used to mean limited, continuous preservation
so be described under the heading “repair”, even if the term “re- work.
pair” is not explicitly named in the Venice Charter. Instead, un- In contrast to normal building maintenance, maintenance of
der the heading “conservation” article 4 on the necessary historic buildings must always take into account the monument
maintenance of monuments and sites stands here in the first value of the fabric as well as the monument character of a struc-
place: It is essential to the conservation of monuments that they ture. Under these conditions, proper maintenance can be the
be maintained on a permanent basis. simplest and gentlest type of preservation because it guards
against potential damages, especially those caused by weather-
ing, and thus preserves monuments intact over centuries.
Maintenance The maintenance of a historic building includes seemingly
self-evident measures such as the cleaning of gutters or the re-
Entire cultural landscapes are perishing for lack of building nailing of damaged roof tiles, work that an owner can carry out
maintenance, affecting the age–old traditional earthen architec- himself and that wards off extensive damage. Obviously such
ture particularly dependent on constant maintenance as well as maintenance work should be oriented to the existing materials
stone buildings of abandoned villages and towns. A lack, for and skilled craft techniques with which the historic building was
various reasons, of the most basic maintenance work is a prob- erected. For maintenance measures such as plaster repairs or
lem that is sometimes overlooked for so long in preservation paint work on historic building components or on a facade, the

16
 INTRODUCTION

professional advice of a preservation agency is necessary. Prop- theft security, etc.) could also be counted as part of the continu-
er maintenance is a direct outcome when a historic building is al maintenance that guarantees the survival of a monument.
used appropriately (particularly in the case of residential use). Planning for such measures must, however, be coupled with ap-
The maintenance work carried out on individual historic build- propriate preservation-oriented preliminary investigations.
ings can add up to an old town that does not deny its age but is
nonetheless very much alive, an old town that neither seems un-
necessarily “spruced up” nor approaches a state of decay that Repair and Stabilization
might be picturesque but in fact is highly dangerous to the his-
toric fabric. Even if the boundaries between maintenance and repair are
Apart from buildings in continual use, some categories of fluid, in general the repair of a monument would be defined as
monuments – from stone boundary markers to castle ruins – re- work which occurs at greater intervals and is often necessitated
quire only occasional maintenance measures, but the work must by inadequate maintenance. Individual components of a monu-
be done again and again; removal of plant growth that endangers ment might be repaired, added to or replaced. We can even speak
the fabric of a ruin is one such example. Still other types of mon- of continuous repair concerning the routine replacement of
uments such as historic parks with their paths and plantings re- stones on certain monuments, as exemplified in particular by the
quire constant intensive care (cf. the section “Maintenance and stonemason workshops of medieval cathedrals (see p. 10).
Conservation” of the Florence Charter, p. 89). Certain industri- A first principle of repair should be: Following thorough
al monuments – an old locomotive, a steamship or a power sta- analysis all work is to be limited to the truly necessary! It is
tion, for instance – that are outdated technically and have be- a mistake to assume that nowadays the higher costs for unneces-
come more or less museum objects must also be intensively sary work would anyway ensure that only necessary work will be
“serviced”, just as if they were still in use. On the other hand, our done. Quite apart from increased costs, various factors – rang-
underground archaeological monuments could survive without ing from a change in use, an increase in the standards of the use,
any maintenance for centuries and millennia – if only they were inadequate preliminary investigations, improper planning, inap-
protected from constant endangerment caused by human inter- propriate techniques, poor execution of work, or sometimes
ference. even a misguided “preservation” plan that inclines toward per-
Special problems of maintenance are presented by the decora- fection – can also lead to an unnecessary, radical renewal after
tive features of historic buildings. There is a broad spectrum of which practically nothing is left of the historic fabric.
possible damages resulting from neglect, from incorrect climate Out of the principle of limitation to the necessary – in fact
control in interior spaces, from improper handling of flowers or self-evident but nonetheless always in need of special emphasis
candles in churches, and even from cleaning or dusting under- – arises the principle that repair takes priority over renewal (that
taken in the name of monument care. For sensitive works of art is, replacement of components): As far as possible repair rath-
even a seemingly harmless cleaning can have a damaging effect; er than renew! In general repair is understood to mean the most
in such cases maintenance should be entrusted to appropriate careful and localized exchange of materials or building compo-
specialists only. nents possible.
In this context reference can be made to a trend-setting mod- Without going into the parallels to this principle in the field of
el, of which little use has been made to date: maintenance con- art restoration, the principle of limitation to the necessary to-
tracts with restorers for outstanding decorative features which gether with the principle of the priority of repair over renewal
are particularly endangered, for instance for climatic reasons. should be made clear to planners and especially to the craftsmen
Threats to works of art could thus be identified early; minor in- who carry out the work – craftsmen whose training today has ac-
itial damages could be repaired year for year by a restorer with- customed them instead to building a new wall, replastering an
out great expense. Over the long term the sum of simple conser- old wall, carpentering a new roof frame, re-tiling a roof, making
vation measures would make major restoration work new floors, new windows and new doors, etc. The fact that pres-
superfluous – certainly the ideal case of maintenance but in fact ervation principles call for limitation to absolutely necessary
nothing different than the usual care that every car owner be- measures, and thus for repair work that is adapted to the actual
stows on his automobile in order to preserve its value. Yet the car extent of damages – in other words stabilization and repair of the
is an item of daily use that can be replaced by a new one at any existing wall, refilling of the gaps in the old plaster, re-nailing of
time, whereas the unique fittings of our historic buildings can- the roof covering, mending of the poorly closing window and the
not be replaced; waiting until the next major restoration be- old door – often demands radical rethinking not only on the part
comes due often means an irretrievable loss. With modifications of planners and craftsmen but in particular on the part of monu-
this model could also be applied to maintenance contracts for ment owners. In our modern throw-away society the abilities to
the general preservation of historic buildings; restorers or repair materials and to use them sparingly – in earlier centuries
craftsmen specialized in certain fields could look after certain a matter of course for economic reasons – are often underdevel-
historic buildings, of course in coordination with the state con- oped or completely lost. Instead we produce not only consumer
servation services. goods but to a certain degree even entire buildings on the assem-
Just how seriously the issue of maintenance must be taken is bly line, and after depreciation they are in fact “used up” dispos-
shown by the possibility of deliberate neglect, whereby the able buildings. Everyone understands today that an old country
conditions needed for a demolition permit are quite consciously cupboard, after its repair, satisfactorily fulfills its purpose as a
attained. Finally, certain precautionary measures against ca- cupboard and simultaneously represents a valuable original
tastrophes and accidents (such as systems for fire prevention, piece (paid for dearly on the art market), whereas a new cup-

17
INTRODUCTION

board made in imitation of the old has a comparatively low val- But it is obvious that repair work which is limited to the truly
ue. Quite apart from the issue of material value, a respect for the necessary – the mending of a damaged stone stair step by means
value of the original as historic evidence – respect which would of a set-in piece, or the replacement of a ceiling beam – is cer-
call for repair instead of replacement of the historic stairs and tainly more easily reversible (for instance when further repairs
the banister railing, refilling of gaps in plaster rather than com- or alterations become necessary in the future) than is the re-
plete renewal of the plaster – unfortunately cannot be taken for placement in concrete of entire structural components or sys-
granted. tems such as stairs, ceilings, girders or supports. Aside from the
Just as the maintenance of a monument preserves original ma- irretrievable losses that arise at the time such work is done, it
terials which have been worked in traditional techniques, the re- would be much more difficult or almost impossible in the future
pair of a monument must be carried out in appropriate materials to remove an entire concrete framework than it would be to ex-
and techniques, provided that a modern conservation technique change a few beams. Moreover, even without being demolished
does not have to be used to ensure preservation. That means: Re- a totally “rebuilt” historic monument for which the principle of
pair using traditional materials and techniques! A door, a reversible repair has been neglected will lose its character as his-
window frame, a roof structure are thus best mended using an torical evidence.
appropriate wood; old plaster is best supplemented in an analo- Repair of monuments also encompasses technology for
gous technique; likewise brick masonry is best repaired with stabilizing and safeguarding monuments (see p. 18). Where-
bricks, a rubble wall with rubble stone, etc. Used as an addition as repair work in general involves removal of damaged elements
to old plasterwork or as new plaster over old masonry walls, and replacement with new materials – resulting in a very careful
modern cement plaster for example is not only an aesthetic prob- exchange of materials or building components limited to the ac-
lem but also soon becomes a serious problem leading to further tual location of the damage – stabilization measures have a
deterioration. conservation-oriented objective that excludes as far as possi-
As far as possible all such repair measures are to be executed ble the replacement of materials or structural elements.
according to skilled craft techniques. Of course, in many cases Here, too, interventions in the original fabric cannot be avoided,
modern hand tools or small electric machines can also be used for example in cases involving consolidation, hardening, im-
to a reasonable extent, but the technical aids of the modern pregnation, pinnings or injections of substances such as lime
large-scale construction site should in general not be employed trass or cement suspensions. Often just such “invisible” inter-
as they can only lead to unnecessary destruction in a historic ventions as these are rather massive. Techniques also include
building. In such cases sensitive skilled repair that is adapted to substitute structural systems and protective fittings against
the old methods of construction and especially to the old surfac- weathering, the effects of light, etc. Stabilization technology
es is much more the issue than is the demand for imitation of his- covers the broad spectrum of materials and constructions within
toric techniques. a monument, from the conservation of pigments, paint layers
The principle of repair using traditional materials and tech- and plasters to the structural securing of historic foundations,
niques does not mean that in special cases the most modern tech- walls and load-bearing systems. Deciding whether and how re-
niques must be excluded, for instance if traditional repair cannot pairs should be made or how a safeguarding measure should be
remedy the cause of damage or if repairs would destroy essen- carried out are certainly among the more difficult, specialized
tial monument qualities whereas modern technology would planning tasks for which the preservationist together with the
guarantee greater success in the preservation of historic fabric. engineer, chemist or restorer must work out a technical plan that
In certain cases the use of conservation-oriented technology for accords with the nature of the monument. Without preliminary
stabilization and consolidation is unavoidable. investigations to ascertain a building’s particular historic fea-
In general the same preservation principles are also valid if, in tures and to identify damages, qualified decisions in this field
addition to mere repair work, certain ruined components have to are not possible; moreover results will be random and hardly
be completely exchanged: for example, use of traditional clay controllable for preservation purposes.
roof tiles which, aside from their aesthetic effect, possess differ-
ent physical properties than substitute materials such as concrete
tiles; use of wooden window frames instead of plastic ones, of Rehabilitation and Modernization
window shutters instead of roller blinds; rejection of all the pop-
ular facade coverings of asbestos cement or plastic, etc. This In connection with the repair of monuments the term rehabilita-
means renunciation of modern industrial throw-away prod- tion refers in current practice to more comprehensive and far-
ucts that are propagandized daily in advertisements; aside from reaching work than is involved in the forms of preservation-
their other characteristics, these products can in fact only disfig- oriented repair described here. Today the term rehabilitation
ure a historic building. implies much more than “recovery”: rather, it refers to work that
Another point that is of importance for all preservation work is in part necessary but also is in part much too extensive and
involves the principle of reversible repair: interventions neces- radical. Such work often results from the need to accommodate
sary in connection with repair work such as mending and modern standards and provisions or to change a building’s use;
replacement of components should be “undoable”. This princi- sometimes it is an outcome of revitalization measures that are
ple, not directly addressed in the Venice Charter mostly involves not necessarily focussed on a building’s historic fabric.
approximate values – more or less reversible – rather than Rehabilitation work undertaken to accommodate a building to
an “absolute” reversibility that can only rarely be guaranteed today’s residential needs (for example through installation of a
(see pp. 26-27). new heating system or renewal of electrical or sanitary systems)

18
 INTRODUCTION

usually involves necessary modernization measures which go is valid for the principle of limitation to the truly necessary and
beyond purely preservation-oriented repair work. But the ba- thus for the principle of repair, emphasized here again: For the
sic preservation principle is valid here, too: interventions in the replacement of truly worn out historic fabric, the replacement of
original fabric made in connection with modernization work windows, etc. the principle of repair using traditional materials
should be kept as limited as possible while nonetheless enabling and techniques must be applied.
reasonable further use. The more conscientiously the preserva-
tion-oriented preliminary investigations which are essential for
such a project are carried out, the more favorable will be the Reconstruction
overall circumstances for preservation. A preliminary investiga-
tion shows, for instance, where new ducts could or could not be Reconstruction refers to the re-establishment of structures that
laid, where later walls could or could not be removed without have been destroyed by accident, by natural catastrophes such as
damage, how the structural system could be most carefully cor- an earthquake, or by events of war; in connection with monu-
rected, etc. This applies to historic dwellings, from farmhouses ments and sites in general to the re-establishment of a lost orig-
to palaces, as well as to ecclesiastical buildings. For churches, inal on the basis of pictorial, written or material evidence. The
rehabilitation and “modernization” (typically installation of a copy or replica, in contrast to the reconstruction, duplicates an
heating system) often involve major interventions in the floor original that still exists (see p. 15). Partial reconstruction as a
and thereby in a zone of important archaeological findings. It is preservation procedure has already been discussed under the
obvious that the rehabilitation of public buildings can lead far topic of completions and replacements (cf. pp. 14/15).
beyond the repair that becomes necessary from time to time, in- Reconstruction is by no means expressly forbidden by the
volving massive interventions that are determined by the build- Venice Charter, as is often maintained; the passage in question
ing’s function and by special requirements and that are regulat- in article 15 - All reconstruction work should however be ruled
ed by the relevant provisions and standards, including fire walls, out a priori. Only anastylosis, that is to say, the reassembling of
emergency routes, new staircases, elevators, etc. existing but dismembered parts, can be permitted - relates exclu-
The term urban rehabilitation is used to refer to the rehabil- sively to archaeological excavations (see p. 24). In contrast the
itation of an urban quarter or an entire city. Extensive investiga- Athens Charter mentions the method of anastylosis, a special
tions of the economic and social structure can precede urban re- form of reconstruction (cf. also p. 19) in connection with ruins
habilitation. In some circumstances they are based on general of all kinds: In the case of ruins...steps should be taken to rein-
demands – for example for transformation into a “central busi- state any original fragment that may be recovered (anastylosis)
ness district” with department stores, for provision of parking wherever this is possible (Athens Charter, VI, Technique of con-
buildings, etc. – that simply deny the given historic structure. servation, p. 32). There are good reasons for the preference for
Clearance urban renewal as practiced widely in the past decades anastylosis in archaeological conservation, although for didactic
has resulted in either total removal of all historic buildings and reasons archaeological preservation work sometimes does in-
thus, from a preservation standpoint, has actually achieved the volve partial reconstructions for the interpretation and explana-
opposite of “rehabilitation”, or it has involved extensive demo- tion of historic context (see p. 24 and Charter for the Protection
lition and restructuring with the retention of a few historic build- and Management of Archaeological Heritage, art. 7 on recon-
ings, which is likewise tantamount to far-reaching annihilation struction, p. 105). In another special field, historic gardens, re-
of the monument stock and the historic infrastructure. The read- construction also plays a decisive role for obvious reasons (see
ily used term “urban renewal” can signal “urban destruction” Florence Charter, “Restoration and Reconstruction”, art. 14, 17,
from a preservation perspective. By now clearance renewal has p. 90). However, in general we can conclude that the authors of
hopefully become the exception, and in many cases urban reha- the Venice Charter, based on the charter’s highly restrictive over-
bilitation is being practiced “from house to house”. In the best all attitude also in regard to replacements (which according to
cases of urban rehabilitation repair in a preservation-oriented article 12 should be distinguishable from the original), were
sense is being practiced according to the principles of repair al- very skeptical of reconstruction work.
ready described (see pp. 17/18), and the necessary moderniza- The skepticism regarding any form of reconstruction is
tion work (see pp. 18/19) is carefully accommodated to the his- based first of all on the knowledge that history is not reversible:
toric fabric. And of course the success of rehabilitation depends in certain circumstances a fragmentary state offers the only val-
critically on a compatible use of the historic buildings. id, unfalsified artistic statement. Indeed even a totally destroyed
As the most telling example of the “achievements” of modern monument is evidence of history, evidence that would be lost in
technology, clearance renewal has proved that rehabilitation a “reconstruction” just as some castle ruins fell victim to “re-
which is going to have a preservation orientation has need from building in the old style” in the nineteenth century. Where such
the beginning of “gentle”, more traditional practices. Modern traces of history must be conserved, reconstruction is totally out
technologies are undesirable if their implementation requires of place. Furthermore, the monument that could be restored or
procedures according to the tabula rasa method, or if they cause renovated, or perhaps stabilized and repaired, must not be de-
enormous initial damages: for instance, the large opening made molished and recreated as a reconstruction “more beautiful than
in the city walls (indeed demolition of half the structure that is before.” But precisely this approach is being proposed daily.
actually intended for “rehabilitation”) just in order to get the Thus the negative attitude to reconstruction is based on recogni-
equipment “on the scene” and to work “rationally”. Here in tion of a genuine danger to our stock of historic buildings today,
many cases it would be more advantageous economically as well rather than merely on an aversion (found in preservation theory
to work from a preservation-oriented standpoint. Of course this since the turn of the century) to 19th century “restoration” work

19
INTRODUCTION

and the disastrous damage it caused to original historic fabric, should not forget that the historic appearance of a building can
particularly on medieval monuments, through reconstruction be reconstructed in designs and models to provide a very useful
trends based more or less on “scientific” hypotheses à la Viollet- foundation for deliberations on a conservation concept project
le-Duc (cf. his definition of “restoration”, p. 28). although for good reasons the reconstruction may not be turned
A reconstruction that does not replace a lost monument but into reality.
rather justifies and facilitates demolition of an existing monu- A necessary prerequisite for either a partial or a total recon-
ment is in fact a deadly danger for our stock of historic build- struction is always extensive source documentation on the state
ings. As far as “art objects” are concerned, it is the undisputed that is to be reconstructed; nonetheless, a reconstruction seldom
opinion of the public that a reconstruction cannot replace the proceeds without some hypotheses. One of the criteria for the in-
original, but there is need of intensive public relations work to scription of cultural properties in UNESCO’s World Heritage
convince this same public that an object that is in use, such as List according to the Operational Guidelines of the Convention
Baroque church pews, similarly cannot be replaced by a replica; is that reconstruction is only acceptable if it is carried out on the
this lack of understanding often also applies to historic build- basis of complete and detailed documentation on the original
ings. Thus, because of imagined or actual constraints on their and to no extent to the conjecture. Thus, in connection with the
use, houses and commercial buildings in particular are threat- inscription of cultural properties in the World Heritage List re-
ened by demands for total renewal instead of repair, for demoli- constructions are not excluded, but they require a sound scien-
tion and reconstruction “in the old form” – preferably then of tific basis. The comments in article 9 of the Venice Charter are
course with a basement that never existed or with that inevitable in a sense also valid for reconstruction: The process of restora-
underground garage. In this context the concept of “reconstruc- tion is a highly specialized operation. It is ... based on respect
tion” generally anyway refers only to the exterior, whereas the for original material and authentic documents. It must stop at
interior is reorganized and floor levels revised so that the “recon- the point where conjecture begins ...
structed” facade must be “lifted” because of an additional story. The preceding discussion perhaps suggests that, although re-
What remains of the monument are perhaps a few building ele- construction is not “forbidden” and does not necessarily repre-
ments taken up in the new structure as a “compromise”: a stone sent a preservation “sin” – the pros and cons must nonetheless
with a coat of arms, an arcade, etc. be very carefully weighed. Just as a reconstructed completion
A reconstruction on the site of an existing monument, neces- that is based on insufficient evidence or questionable hypothe-
sitating removal of the original monument, can thus be ruled out ses in fact falsifies a monument, so an unverified “creative re-
as a preservation solution. A modification of this approach – construction” cannot really restitute a lost monument, not even
dismantlement and re-building using the existing materials formally – and certainly not in its historical dimension. In addi-
– also almost always leads to critical losses, although it is tech- tion there is often confusion about the materials and the techni-
nically conceivable with building elements of cut stone or wood cal, skilled and artistic execution of the lost original. Under
that are not plastered and have no fill materials. Log buildings some circumstances a reconstruction requires, in addition to a
can usually survive such a procedure with limited loss, if the sound scientific basis, execution in the original forms and mate-
work is done with care and expertise. With buildings of cut rials, necessitating appropriate craftsmanship and artistic capa-
stone, the joints and the connections to other building compo- bilities; of course any extant historic fabric should be integrated
nents are lost; the loss of context is anyway a problem with eve- to the greatest extent possible. On principle, reconstructions that
ry reconstruction that incorporates existing elements. Buildings involve an original that was unaltered are more easily justified
with in-fillings or plastering, conglomerate structures, massive than reconstructions attempting to recreate an organic state that
masonry, etc. usually forfeit the greater part of their historic fab- evolved over the centuries and thus can hardly be “reproduced”.
ric in such a project. Thus a reconstruction using existing mate- In special cases a reconstruction may also be conceivable in
rial, through dismantlement and reassembly, can be successful order to elucidate a fragmentary monument, to re-establish the
only with very few objects. Prerequisites are preservation- setting for extant fittings and decorative features or significant
oriented preliminary investigations and an endangerment to the building components. In this context the roofing over of a ma-
existing object which cannot be countered by any other means. sonry wall or other fragments through reconstruction work can
Despite the mentioned dangers, under certain conditions sometimes also have advantages in terms of conservation. In or-
reconstruction can be considered a legitimate preservation der to tolerate this type of approach there must be no loss to the
method, as are conservation, restoration and renovation. In a existing historic fabric, for instance through the replacement of
preservation context reconstruction generally is related to the re- original foundations or through other stabilization measures. Fi-
establishment of a state that has been lost (for whatever reason), nally, a reconstruction may be justified within a historic com-
based on pictorial, written or material sources; it can range from plex or in a particularly uniform ensemble in which a gap (for
completion of elements or partial reconstruction to total recon- whatever reason it has developed) reduces, impairs or disfigures
struction with or without incorporation of existing fragments. the ensemble. A prominent example is the reconstruction in
Within the framework of renovation projects (cf. p. 13) re- 1908 of the Campanile of San Marco in Venice, after its sudden
construction of the original paint scheme – for instance re-estab- collapse, because it was an indispensable element of the histor-
lishment of a room’s interior decoration or repainting of an exte- ic square.
rior according to the findings of color research – can serve the In this context the rebuilding after catastrophes and events
overall aesthetic effect of the monument. The reconstruction of of war must also be addressed. Quite independent of preserva-
the historic fittings of a building, appropriate only in well-justi- tion considerations, such rebuilding has seldom been a process
fied situations, can also be seen in this context. Finally, we of totally new beginnings, even in past centuries and millennia.

20
 INTRODUCTION

For reasons of economy, a frugal handling of available materials reconstruct. This basic human concern was not only valid for re-
tended to pick up on what already existed; indeed this some- building in the period right after the war, but rather is equally
times led to a “reconstructing” approach. A case in point is the true for rebuilding projects that for various reasons first became
cathedral of Orleans: destroyed by the Huguenots, it was rebuilt possible decades later, as for example the Church of Our Lady
throughout the 17th and 18th centuries in Gothic style. Rebuild- in Dresden. Beyond purely preservation aspects, the critical fac-
ing has dimensions that mere reconstruction on a so-called sci- tor is the motivation that is behind the will to rebuild, marking
entific-intellectual basis does not have. The rebuilding of total- the consciousness of loss; under such circumstances the idea of
ly or partly destroyed historic buildings, in particular of a time frame in which reconstruction is “still” allowed or “no
monumental buildings which visually embodied the history of a longer” justifiable – as is sometimes suggested – is not relevant.
city or a nation, can be an act of political self-assertion, in a cer- Sensible handling of the subject of reconstruction requires
tain sense just as vital for the population as the “roof over one’s a correct understanding of monuments “in the full richness of
head”. A prerequisite for rebuilding is of course the will to re- their authenticity”, as it says in the preamble of the Venice Char-
build on the part of the generation that still feels the hurt of the ter. According to the document agreed upon at the Nara con-
losses. It is sometimes astonishing how structures that are rebuilt ference concerning authenticity (see pp. 118-119), in the evalu-
out of this motivation close the gap rendered by the catastrophe ation of a monument not only the oft-evoked historic fabric but
and are perceived as historic documents despite the irreplacea- also additional factors ranging from authentic form to authentic
ble loss of original fabric. This is particularly true if salvaged spirit play a role. The true substance fetishist, with his “materi-
original fittings legitimize the rebuilding. It is also amazing how alistic” understanding of the monument, can only confirm a
a rebuilt monument not only can fulfill its old function, but also continual loss of authentic fabric, given his perception of histo-
can re-occupy the building’s old position in history despite its ry as a one-way street of growth and decay; he can try to con-
mostly new fabric, for instance in the case of the Goethe House serve the most recent state of a monument up to the bitter end.
in Frankfurt. On the historic site of its old foundations can a But the preservationist who, as a sort of lawyer for the historic
building also integrate as far as possible the remnants of histor- heritage in a world that is changing as never before, tries to pre-
ic fabric that survived the catastrophe, as well as any salvaged serve at least a certain degree of continuity by saving historical
fittings and decorative features. Besides, the rebuilt structure evidence must be conscious of all the authentic values of a mon-
should represent the state of the historic building before its de- ument, including a “display” value that may be purely aestheti-
struction, if the true intent of the rebuilding is to close the gap cally motivated or the often neglected “feeling” value that per-
and not to embody the break in tradition that the catastrophe has haps tends toward reconstructions of a particular form or
caused. situation. In conjunction with the deep-felt human concern that
A special situation involves the rebuilding of a structure in ac- arises over rebuilding after catastrophes, there is also always the
cordance with how it looked at an earlier time, as documented additional issue of the perceptible presence of the past at the
by architectural history research, rather than how it appeared be- monument site, an issue that involves more than extant or lost
fore destruction. In this approach the “mistakes”, alterations and historic fabric.
additions of later periods are purified, and even salvaged fittings
may be partly or completely sacrificed to the new plan in order
to bring out the “original appearance” of the architecture once Relocation of Monuments
again. A process that is similar to restoring a building back to an
earlier state (cf. p. 12) this approach to rebuilding is problemat- Part of the context of reconstruction is the relocation of monu-
ic from a preservation standpoint and only justifiable in excep- ments. In rare cases relocation can be possible technically with-
tional cases. out dismantling and rebuilding, for instance with small struc-
The history of rebuilding in Europe after the Second World tures such as a garden pavilion which can be moved by inserting
War – with the possibilities ranging from a totally new begin- a plate underneath it. But with every relocation the critical rela-
ning according to the rules of modern architecture to cases in tionship of the monument to its environment and surroundings
which reconstruction indeed duplicated the materials and forms is lost, together with that part of the building’s historic message
of buildings before their destruction – cannot be described here. which relates to its particular location. In this context article 7 of
Even as we mourn what was lost, as preservationists we must the Venice Charter can also to be applied to relocations: A mon-
now accept the different alternatives used in rebuilding after the ument is inseparable from the history to which it bears witness
war. Indeed we must already look at the results of rebuilding as and from the setting in which it occurs. The moving of all or part
historic evidence and admit that the buildings that were more or of a monument cannot be allowed except where the safeguard-
less faithfully reconstructed are the ones that have actually ing of that monument demands it or where it is justified by na-
proved most successful in the long run: numerous rebuilt struc- tional or international interests of paramount importance.
tures are now themselves recorded in monument lists as authen- Thus from a preservation standpoint relocation is only ad-
tic historic buildings; even if they can never replace the partly or missible if the monument can no longer be preserved at its
totally lost originals of the pre-war period they are a document original location, if it cannot be protected in any other manner,
for the time of their reconstruction. Opposition to any kind of re- if its demolition cannot be prevented. This situation becomes
construction in view of the many historic buildings in ruins quite relevant not only in such cases as the removal of historic build-
simply contradicted what had been the natural reaction over cen- ings for brown coal mining or the flooding of a village for a
turies: the wish to re-establish the familiar surroundings after a man-made lake, but also in the case of the approval of a new
catastrophe, to put the usable materials together again – thus to building on the site, regardless of why the permission was grant-

21
INTRODUCTION

ed. There is even some danger that the mere possibility of the re- locations generally involve wooden buildings, in particular
location of a monument to the next open-air museum will be tak- building types that were relocated at times in past centuries as
en as an excuse for the sought-after demolition. It is mostly ru- well. The nature of their construction makes log buildings par-
ral houses and farm buildings that are relocated, not only for ticularly suited for dismantling, transport and reconstruction.
open-air museums but also out of private interests. The first re- Under certain conditions buildings of cut stone can be relocated,
quirement in such cases is to ensure that the historic building, stone for stone and course for course. In contrast the relocation
though removed from its original surroundings, is at least re- of most other massive buildings is usually pointless, since a
erected in a comparable topographical situation. In general relo- plastered rubblework wall can at best be rebuilt using parts of
cation to a site that is as close as possible to the original location the original material. The same principles that apply for the re-
and as similar as possible to the original landscape situation is to pair of other historic buildings – regarding the use of authentic
be preferred. materials, techniques of craftsmanship and conservation treat-
ments (cf. pp. 17-18) – are also valid for the repairs and com-
Ultimately, the crucial requirement for a relocation is that the pletions that are inevitably necessary on a relocated building.
historic building can in fact be moved, i. e., that the original fab- Scientific documentation and recording of the original condi-
ric (or at least the majority of the most essential components) tion of a building are essential requirements for correct dis-
can be relocated. Thus for purely technical reasons genuine re- mantling and rebuilding.

IV. PRINCIPLES FOR THE PRESERVATION OF ARCHAEOLOGICAL HERITAGE, HISTORIC AREAS

(ENSEMBLES) AND OTHER CATEGORIES OF MONUMENTS AND SITES

The Venice Charter refers to all kinds of monuments and sites, mains of their former fittings. Indeed to a certain extent an ar-
as defined for instance in article 1 of the World Heritage Con- chaeological excavation can turn an archaeological monument
vention of 1972 as cultural heritage (see p. 8). On the basis of back into an architectural monument, for instance if the remains
this Charter other charters and principles were later developed of a ruin within a castle complex are exposed and subsequently
for individual categories of monuments and sites. The Venice must be conserved. On the other hand many architectural mon-
Charter itself devoted an entire article to only one classical mon- uments and even urban districts are simultaneously archaeolog-
ument category, namely to archaeological heritage (see article ical zones because of the underground remains of predecessor
15 on “Excavations”), for which the ICOMOS General Assem- buildings.
bly in Lausanne in 1990 ratified the Charter for the Protection Since archaeological monuments of different epochs are hid-
and Management of the Archaeological Heritage (see pp. 104- den beneath the ground or under water, special survey, excava-
106). For underwater archaeology this Charter was completed tion and documentation methods have been developed to record
by the Charter for the Protection and Management of Under- and investigate them. Survey methods include field inspections
water Cultural Heritage (see pp. 122-124), which was ratified and the collection of materials which make it possible to desig-
in 1996 by the ICOMOS General Assembly in Sofia. In the nate archaeological zones (topographical archaeological sur-
following no further reference will be made to the framework of vey), aerial photography, and the recently developed geophysi-
underwater archaeology described in detail in that Charter. cal survey methods (magnetometry). These survey methods,
which do not need to be described here in any more detail, are
already tied to the first basic requirement, or principle, in the
Archaeological Monuments and Sites field of archaeological heritage preservation: A survey of the ar-
chaeological monuments of a country using these methods must
Archaeological monuments and sites are those parts of our cul- be carried out as accurately and comprehensively as possible. As
tural heritage that are investigated using the methods of archae- in all fields of preservation, a survey of the existing stock is a
ology; mostly hidden in the ground or underwater, they are an ir- prerequisite for its protection.
replaceable source for thousands of years of human history. Of course the general principles of the Venice Charter are al-
Archaeological heritage conservation is understood here as a so valid for the particular circumstances of archaeological heri-
“safeguarding of traces”, and not as “treasure-digging”. A strict tage preservation. Archaeological monuments and sites should
differentiation between archaeological and architectural monu- be preserved in situ and as intact as possible; they must be main-
ments does not always seem appropriate, since archaeological tained, conserved, and under certain circumstances restored. Ar-
monuments in fact frequently consist of the vestiges of buildings ticle 15 of the Venice Charter deals separately with archaeology:
that are hidden under the earth: structures of stone or wood, rem- Excavations should be carried out in accordance with scientific
nants of walls, colorations in the ground, etc. as well as the re- standards and the recommendation defining international prin-

22
 INTRODUCTION

ciples to be applied in the case of archaeological excavation ular: The overall objective of archaeological heritage manage-
adopted by UNESCO in 1956. Ruins must be maintained and ment should be the preservation of monuments and sites in situ,
measures necessary for the permanent conservation and protec- including proper long-term conservation and curation of all re-
tion of architectural features and of objects discovered must be lated records and collections etc. Any transfer of elements of the
taken. Furthermore, every means must be taken to facilitate the heritage to new locations represents a violation of the principle
understanding of the monument and to reveal it without ever dis- of preserving the heritage in its original context. This principle
torting its meaning. stresses the need for proper maintenance, conservation and
According to the above-mentioned UNESCO Recommenda- management. It also asserts the principle that the archaeologi-
tion on International Principles Applicable to Archaeological cal heritage should not be exposed by excavation or left exposed
Excavations, passed by the General Conference in New Delhi on after excavation if provision for its proper maintenance and
5 December 1956, the best overall conditions for the protection management after excavation cannot be guaranteed. The latter
of the archaeological heritage call for the coordination and cen- principle is well worth heeding, considering the zeal – on an in-
tral documentation of excavations by the relevant public author- ternational level – with which archaeological sites are laid bare,
ity of each country in conjunction with support of international only to be left exposed to the disastrous effects of tourism with-
collaboration; further, unauthorized digs and the illegal export out proper maintenance, conservation and management.
of objects taken from excavation sites should be prevented. Par- The Charter of Lausanne also clearly differentiates between
ticular value is placed on preservation of the findings from ex- unavoidable emergency measures precipitated by threats to a site
cavations and their retention in central and regional collections and excavations undertaken for purely scientific reasons; the lat-
and museums in the territory of the excavation, or in collections ter can also serve other purposes such as improvement of the
directly connected to important excavation sites. However, the presentation of an archaeological site. According to article 5 Ex-
recommendation from 1956 does not yet emphasize clearly cavation should be carried out on sites and monuments threat-
enough that excavated findings, just as fortuitous findings, are ened by development, land-use change, looting or natural dete-
always only part of a monument which embodies multifaceted rioration. When an archaeological site is doomed because all
historical relationships; the goal of modern preservation prac- possible protective measures have failed or could not be imple-
tice as a comprehensive “safeguarding of traces” is to preserve mented, then of course its excavation must be as thorough and
this whole to the greatest extent possible. But the long-antiquat- comprehensive as possible. In comparison, excavations for pure-
ed idea of archaeology as mere “treasure digging” even seems to ly scientific purposes of archaeological evidence that is not en-
lurk behind the relevant paragraphs in some of our modern mon- dangered must be justified in detail; these are explicitly desig-
ument protection laws. nated as exceptional cases in the Charter of Lausanne: In
Another critical criterion for the practice of modern archaeo- exceptional cases, unthreatened sites may be excavated to eluci-
logical heritage preservation is missing from the recommenda- date research problems or to interpret them more effectively for
tions of 1956: the differentiation between excavations carried the purpose of presenting them to the public. In such cases exca-
out for purely scientific interests and the unavoidable emergen- vation must be preceded by thorough scientific evaluation of the
cy or salvage excavations which in many countries have be- significance of the site. Excavation should be partial, leaving a
come the rule because of threats to archaeological monuments portion undisturbed for future research. Thus interventions in
on a scale that was barely conceivable in previous decades. It is archaeological sites which are not endangered or which can be
not only private construction projects that are repeatedly causing protected despite endangerment by the available legal resources
destruction of unrecognized archaeological monuments, but al- should be avoided as far as possible, except for special cases in
so a general “upheaval of land” in the course of public works, gi- which specific scientific problems are to be explored by excava-
gantic architectural and civil engineering projects, new transpor- tions that are limited to part of a site or a scientifically and di-
tation facilities, and especially intensive agricultural use with its dactically motivated presentation area for visitors is to be devel-
concomitant land erosion. At least in conjunction with preserva- oped. The prerequisite for these special-case excavations is
tion projects involving historic buildings efforts can be made to always that the exposed site can in fact be conserved and perma-
avert interventions in the ground; a typical example would be nently preserved. If the requirements for the continued mainte-
leaving the “terra sancta” under the floor of a religious building nance of an archaeological site are not met, then such “expo-
untouched – ground which is almost always of interest archaeo- sures” can on principle not be justified.
logically but is often endangered by installation of modern heat- The above-mentioned limitation on excavations of non-en-
ing systems. dangered archaeological sites to those that can be warranted not
In light of the ubiquitous threats that force a profusion of only under scientific but also under conservation standpoints
emergency excavation and salvage operations in many countries should anyway be an outcome of the most reasonable applica-
– in such numbers that they can hardly be executed according to tion of limited resources: Owing to the inevitable limitations of
the strict scientific standards of modern archaeological practice available resources, active maintenance will have to be carried
– the Charter for the Protection and Management of the Ar- out on a selective basis, according to article 6 of the Charter of
chaeological Heritage (Charter of Lausanne) defines com- Lausanne. Moreover, a crucial reason for exercising the greatest
prehensively for the first time the conditions, goals and princi- possible restraint is the fact that every excavation means de-
ples of archaeological preservation. The validity of the most struction: As excavation always implies the necessity of making
important principle of conservation – as far as possible monu- a selection of evidence to be documented and preserved at the
ments are to be preserved intact at their original site – for archae- cost of losing other information and possibly even the total de-
ological monuments as well is emphasized in article 6 in partic- struction of the monument, a decision to excavate should only be

23
INTRODUCTION

taken after thorough consideration (article 5). With excavations great caution, so as to avoid disturbing any surviving archaeo-
that are motivated purely by research interests it is sometimes logical evidence, and they should take account of evidence from
possible to limit interventions significantly when the objectives all sources in order to achieve authenticity. Where possible and
can be met without employing the usual horizontal-stratigraph- appropriate, reconstructions should not be built immediately on
ic methods but rather by excavating a narrow field; for instance the archaeological remains, and should be identifiable as such.
one sector of a ring wall could yield all the necessary informa- A special variant of reconstruction, anastylosis, a method de-
tion. In this way the archaeological monument is mostly undis- veloped in the field of classical archaeology but also applicable
turbed and is preserved in situ, thus remaining available for lat- for partially destroyed monuments of later epochs (cf. p. 19) is re-
er investigations with improved scientific methods. The ferred to in article 15 of the Venice Charter: All reconstruction
UNESCO recommendation from 1956 had already made a pro- work should however be ruled out a priori. Only anastylosis, that
posal in this sense: Each Member State should consider main- is to say, the reassembling of existing but dismembered parts, can
taining untouched, partially or totally, a certain number of ar- be permitted. The material used for integration should always be
chaeological sites of different periods in order that their recognisable and its use should be the least that will ensure the
excavation may benefit from improved techniques and more ad- conservation of a monument and the reinstatement of its form.
vanced archaeological knowledge. On each of the larger sites According to this method the fragments of an ashlar stone build-
now being excavated, in so far as the nature of the land permits, ing – for instance a Greek temple – found on or in the ground
well defined “witness”– areas might be left unexcavated in sev- could be put together again; the original configuration is deter-
eral places in order to allow for eventual verification of the stra- mined from the site and from traces of workmanship, from peg
tigraphy and archaeological composition of the site. holes, etc. If extant, the original foundations are used in situ.
In this context the Charter of Lausanne also refers in article 5 Such a re-erection demands preliminary work in building re-
to an important basic principle that must be applied to excava- search; an inventory of all the extant building components, which
tions of non-endangered sites, a principle that moreover encour- must be analyzed and measured exactly, results in a reconstruc-
ages the use of non-destructive sampling methods in place of to- tion drawing with as few gaps as possible so that mistakes with
tal excavations: It must be an over-riding principle that the the anastylosis can be avoided. A technical plan must also be
gathering of information about the archaeological heritage worked out to preclude damage during re-erection and to address
should not destroy any more archaeological evidence than is all aspects of conservation, including the effect of weathering. Fi-
necessary for the protectional or scientific objectives of the in- nally, the didactic plan for an anastylosis must be discussed, with
vestigation. Non-destructive techniques, aerial and ground sur- concern also being given to future use by tourists.
vey, and sampling should therefore be encouraged wherever In order to be able to show original fragments – a capital, part
possible, in preference to total excavation. of an entablature, a gable, etc. – on their original location and in
The principles that are valid for preservation in general also their original context as part of an anastylosis, there is of course
apply to the preservation of archaeological sites and artifacts. a need for more or less extensive provisional structures. The
The often very fragmentary condition of the objects makes it fragments in an anastylosis should only be conserved and pre-
possible to limit work more to conservation instead of restora- sented as originals; they are not completed as in a restoration or
tion or renovation; completions are carried out either sparingly embedded in a partial or complete reconstruction. The limits of
or not at all. Other problems of repair and rehabilitation which anastylosis are reached when the original fragments are too
arise with architectural monuments, especially in conjunction sparse and would appear on the auxiliary structure as a sort of
with modern uses of historic structures, are largely unimportant “decoration”. Anastylosis, an approach which can indeed serve
in archaeological heritage management. When the completion to protect original material in certain circumstances, also illus-
of an authentic fragment appears to be appropriate, the work trates the special role of the fragment in archaeological heritage
should be distinguishable, for instance by means of a dividing preservation.
joint or layer or by a different format in the brick. Additional Finally reference must be made again to the necessity of a
layers of masonry, for instance to make the ground plan of an comprehensive record and inventory of archaeological mon-
early medieval church visible once again, can also serve as pro- uments as a basic requirement of archaeological heritage
tection for the original foundations that were discovered through preservation, expounded in article 4 of the Charter of Lau-
excavation; however they should not replace the originals. In sanne: The protection of the archaeological heritage must be
fact some excavation sites with their neglected, gradually disin- based upon the fullest possible knowledge of its extent and na-
tegrating remnants of walls would indeed be much better off if ture. General survey of archaeological resources is therefore an
they were concealed once again under a protective layer of earth. essential working tool in developing strategies for the protection
Archaeological monuments are often presented to the visitor of the archaeological heritage. Consequently archaeological
as “visible history” with the help of partial or total reconstruc- survey should be a basic obligation in the protection and man-
tions, a legitimate approach as long as history is not falsified agement of the archaeological heritage. According to article 5
and the original remnants – the actual monument – are not re- this should include appropriate reports on the results of archae-
moved. Indeed in some circumstances reconstructions, which al- ological excavations: A report conforming to an agreed standard
ways should remain recognizable as such, can be erected at an- should be made available to the scientific community and should
other location so that they do not endanger the existing remains. be incorporated in the relevant inventory within a reasonable
In this context article 7 of the Charter of Lausanne states Recon- period after the conclusion of the excavation – quite an under-
structions serve two important functions: experimental research standable wish given the many scientific reports that do not ap-
and interpretation. They should, however, be carried out with pear within a “reasonable period” but are very long in coming.

24
 INTRODUCTION

Moreover, because of the almost unavoidable profusion of emer- article 6 (Wherever the traditional setting exists it must be kept)
gency and salvage excavations with their immense “publication can be understood as a reference to a certain ensemble protec-
debts” and the excessive stockpile of artifacts, it has to be clear tion. In the Venice Charter ensemble protection did not yet play
that it is now more important than ever to protect our archaeo- the decisive role which it received in the theory of conserva-
logical monuments from intervention. In the final analysis an tion/preservation in connection with the European Heritage Year
excavation without a subsequent scholarly publication and with- of 1975. Furthermore, there is article 14 on “Historic Sites”
out conservation of the findings is totally useless. which points out that when it comes to conservation and restora-
The importance of comprehensive documentation and scien- tion the same articles of the Venice Charter apply as for single
tific publication of all work undertaken in archaeological heri- monuments: The sites of monuments must be the object of spe-
tage management must be emphasized again and again. Docu- cial care in order to safeguard their integrity and ensure that
mentation and publication are absolutely essential because every they are cleared and presented in a seemly manner. The work of
excavation is in fact an irreversible intervention that partially or conservation and restoration carried out in such places should
totally destroys the archaeological monument; indeed in many be inspired by the principles set forth in the foregoing articles.
cases after completion of an excavation the monument, apart Here with “sites of monuments” not only archaeological sites
from the artifacts, exists only in the form of a scientific descrip- are meant, but also groups of buildings, ensembles, small and
tion and analysis, and no longer in the form of undisturbed his- large historic areas, historic villages and towns. The fact that the
toric fabric. From this situation comes the principle: no excava- authors of the Venice Charter were very much aware of the prob-
tion without scientific documentation. In a certain sense the lem concerning historic centers is shown by the “Motion con-
scholarly publication, which conveys all the phases of work and cerning protection and rehabilitation of historic centres” adopt-
thus makes the archaeological monument virtually re-con- ed in 1964 by the same International Congress of Architects and
structible in conjunction with the salvaged artifacts, has to re- Technicians of Historic Monuments. However, in view of the
place the original monument. The documentation for an excava- sparse reference in the Charter to this important category of
tion must include all the overlapping layers from various epochs monuments and sites the Charter for the Conservation of His-
and different building phases; all traces of history must be giv- toric Towns and Urban Areas (Washington Charter 1987, see
en serious consideration. A particular historic layer should not pp. 98-99), adopted by the ICOMOS General Assembly in
be studied and others neglected in the documentation; for in- Washington, was meant to be understood as a necessary step for
stance the classical archaeologist cannot heedlessly remove the protection, conservation and restoration of such towns and
Byzantine remains or the prehistoric archaeologist neglect the areas as well as their development and harmonious adaptation
remains from medieval times that would be of interest to an ar- to contemporary life. Apart from various other international pa-
chaeologist of the Middle Ages. pers this was preceded by the UNESCO Recommendation Con-
The obvious care that must be given to conservation of the cerning the Safeguarding and Contemporary Role of Historic
excavated artifacts from all historical epochs must also be seen Areas (Warsaw - Nairobi 1976).
in this context. The conservation of archaeological findings –
the reassembling of ceramic shards, the preservation of wooden
materials found in the damp earth or of a practically unrecogniz- Other Categories of Monuments and Sites
ably rusted metal artifact which would rapidly and completely
decay without conservation treatment – is also a prerequisite for As another necessary addendum regarding categories of monu-
correct publication of the excavation. Subsequently, after their ments not expressly mentioned in the Venice Charter has to be
scientific treatment, groups of artifacts that belong together understood the Florence Charter of 1981 (see pp. 89-91) on the
should not be unnecessarily split up and distributed among var- preservation of historic gardens: As monument, the historic gar-
ious collections, but rather should be housed in a nearby mu- den must be preserved in accordance with the spirit of the Venice
seum of the particular region so that the crucial relationship to Charter. However, since it is a living monument, its preservation
the original monument site is at least to some extent preserved. must be governed by specific rules which are the subject of the
present charter (Florence Charter, article 3). The Charter on
the Built Vernacular Heritage (see pp. 150-151) ratified by the
Historic Areas (Ensembles) ICOMOS General Assembly in Mexico in 1999 is also to be un-
derstood as an addition to the Venice Charter. Furthermore, in
The Venice Charter defines monuments and sites in the widest the years to come we can expect from ICOMOS and its Interna-
sense and refers explicitly not only to the individual monument tional Scientific Committees charters on the topics of cultural
but also to its surroundings: It says in article 1 The concept of a landscapes and cultural routes, perhaps also on the current top-
historic monument embraces not only the single architectural ic of “Modern Heritage”, the heritage of the 20th century, whose
work but also the urban or rural setting..., which together with documentation and preservation are highly demanding.

25
INTRODUCTION

V. THE OPTION OF REVERSIBILITY

The term reversibility, not mentioned even once in the Charter be made reversible like a “piece of furniture”. In this context the
of Venice, has in the meantime become common in connection preservationist must always pose critical questions: why must a
with conservation/restoration/renovation issues and the conser- roofing structure be converted into a “coffin lid” of concrete that
vation/preservation measures of all kinds mentioned in the pre- burdens the entire structural system of a building, why is the en-
ceding chapters. Of course, our monuments with all their later tire foundation of a church to be replaced irreversibly in con-
changes and additions which indeed are to be accepted on prin- crete? Is this intrusion in the historic fabric from above or below
ciple as part of the historic fabric are the result of irreversible really necessary for preservation of the building? Is there not a
historic processes. Their “age value” is also the result of more or much simpler, less radical, perhaps also essentially more intelli-
less irreversible aging processes. It can hardly be a question of gent solution? From a larger perspective the new building which
keeping there “natural” aging processes (catchword “patina”) accommodates itself within a gap in the property lots of an old
reversible, of rejuvenizing the monument, of returning it to that town undergoing urban rehabilitation – a modest solution re-
“original splendor” that is so fondly cited after restorations. duced to the necessary – will also appear more reversible than a
Rather it is only a question of arresting more or less “unnatural” structure such as a parking building or a high-rise that irrevoca-
decay (for example the effects of general environmental pollu- bly breaks up the urban structure by extending over property
tion), of warding off dangers, and simply of keeping all interven- lots, causing damages that from a preservation standpoint can
tions that are for particular reasons necessary or unavoidable as hardly ever be made good again.
“reversible” as possible. “Reversibility” in preservation work as Also in the field of modern safety technology (technology that
the option of being able to reestablish – in as unlimited a man- for conservation reasons is indispensable for the preservation of
ner as possible – the previous condition means deciding in favor materials and structures), where interventions such as fasten-
of “more harmless” (sometimes also simply more intelligent) ings, nailings, static auxiliary structures, etc. are often “invisi-
solutions and avoiding irreversible interventions which often ble” but nonetheless serious, the principle of reversibility can be
end with an irreversible loss of the monument as a historic doc- introduced at least as a goal in the sense of a more or less rever-
ument. sible intervention, for example an auxiliary construction, re-
In this sense we can speak of a reversibility option within the movable in the future, which relieves historic exterior masonry
context of several principles of modern preservation laid down walls or an old roof structure. The issue of more or less reversi-
in the Charter of Venice. Regarding the maintenance of monu- bility will naturally also play a role in the weighing of advantag-
ments there are measures that must be repeated constantly and es and disadvantages of purely craftsman-like repairs as op-
thus to a certain degree are reversible. It can be assumed that a posed to modern safety techniques, quite apart from the
certain degree of reversibility is guaranteed regarding repair questions of costs, long-term effects, etc. For example, is the
measures as well, if the important principle of repairs using tra- consolidation of a sandstone figure using a silica acid ester dip
ditional materials and techniques is observed. For instance in or an acryl resin full impregnation simply unavoidable because
case of repairs that become necessary again in the future or in there is no other alternative or, instead of adhering to a – more
connection with use-related changes, repair work that is limited or less – hypothetical “reversibility” should we talk here about
to the strictly necessary is more likely to be reversible than various degrees of “compatibility”. In the case of a compatible
would be the renewal of entire components using the arsenal of (that is, adapted in its nature to the original material) “nondam-
modern materials and techniques. This is not to mention the fact aging” substitute that serves to stabilize and supplement when
that a historic building, rehabilitated “from top to bottom”, for used in conservation or restorations work, we can at any rate
which every principle of repair has been disregarded, can com- more likely assume that this material can to a certain degree be
pletely loose its significance as historic evidence without demo- employed “reversibly”.
lition taking place. Insofar as traditional repairs are limited to With all conservation measures on a work of art – stabilization
the replacement of worn-out old materials with new materials of the paint layers on a panel painting, consolidation of a worm-
only on truly damaged places, the reversibility option refers es- infested wooden sculpture, etc. – the materials that are intro-
sentially to preservation of the “ability to be repaired” (repeated duced should at least be examined regarding their relative rever-
“reparability”). In this sense the replacement of stones by the ca- sibility; sometimes a cautious “bringing-it-through” with
thedral stonemason workshops, seen as “continuous repair” (cf. interventions that are perhaps less permanent but to a certain de-
p. 17), can be understood as a “reversible” measure (insofar as it gree reversible should be given preference. This would also de-
keeps its orientation to the existing forms, materials and crafts- pend on the use of materials for which a kind of “antidote”, in
manship), although the continuous loss of material is naturally the sense of the reversibility of the procedure, is always held in
an irreversible process. readiness. Thus if the surface of a monument possesses several
The principle of reversibility will also be very helpful in judg- “finishes”, we must be conscious that every “re-exposure” of an
ing a rehabilitation measure. For instance, the partition wall nec- older finish means the – irreversible – removal of a younger but
essary for use of a building can be “reversibly” inserted as a light likewise “historic” finish; that re-exposure is not in fact a fore-
construction without massive intervention in the wall and ceil- gone conclusion but rather is only justified after a comprehen-
ing, and thus could be removed during future alterations without sive analysis which favors it as having “great historic, archaeo-
difficulty. The same applies to certain necessary interior fittings logical or aesthetic value”, as the Charter of Venice says. Even
in historic spaces (for example sanitary modules) that also can such a “harmless” measure as the removal of a yellowed varnish

26
 INTRODUCTION

layer, which in the sense of a cyclic renewal may seem to be “re- stance a new coat of paint according to historic evidence) is re-
versible” because varnish is replaced again and again by varnish versible; that is a renewed re-exposure of the original would be
can be connected with irreversible damages to the paint layer. just as possible as renewed renovation (the ability to be renovat-
The demand for reversibility is valid moreover for many resto- ed again).
rative additions. With appropriately cautious treatment of the Even where the principle of reversibility is legitimately
transition “seam” between the new and the historic fabric, we brought into play, it is never a matter of a total reversibility but
can speak here of an almost complete reversibility, for instance rather of reversibility options, of a more or less genuine reversi-
the closure of a gap in a painting using watercolor retouching bility, if the work is not absolutely irreversible but rather remains
that can easily be removed. Just as we can speak about reversi- “to a certain degree” reversible. Thus there is a clear discrepancy
bility in the sense of “ability to be repaired again” (see p. 18) between theoretically conceivable and practically realizable re-
here we are concerned with the option of being able to conserve versibility. A very helpful aim for preservation practice seems to
or restore again with as little damage as possible. be in this context the possibility of repeating certain measures,
It is no coincidence that the “reversibility debate” was inaugu- thus the already mentioned ability to repair again, to conserve
rated primarily in the literature on the restoration of paintings: again, to restore again, to renovate again, to add again: a monu-
presumably painting restorers have always been vexed by the ir- ment that is to survive the coming centuries in spite of its in-
reversible interventions of their colleagues in the near and dis- creasing “age value” is never repaired and restored “once and for
tant past. But even if restoration history is in many cases a down- all”, as one must sometimes fear given the wild perfectionism of
right alarming process, it does not allow itself to be reversed in our time, which naturally hasn’t skirted the field of preservation.
the sense of a “de-restoration”. The restorer will hopefully be Finally, the issue of reversibility is naturally to be subordinat-
careful about removing retouchings and additions that already ed, as are other preservation principles as well, to the principle
are a part of the “historic fabric” as if they had been applied ear- of conservation as the highest tenet; in other words, in preserva-
lier as “reversibly” as we can expect today from such a work – tion there must also be deliberate or unavoidable irreversibility,
work which should at least be left open for possible corrections the irreversible intervention as the only possibility for preserv-
by future colleagues who are perhaps equipped with better tech- ing a monument. However, decisions for reversible or irreversi-
nical possibilities and new knowledge. In addition to the rever- ble measures naturally presuppose thorough preliminary inves-
sibility option suggested for conservation and restoration work, tigations; investigations involving restoration findings as well as
this approach can eventually also be helpful in renovations. Ren- building research, the “art” of which should be to manage them-
ovations of surfaces are perhaps the sole means not only to pass selves with interventions which are as slight as possible. More-
down the architectural appearance of a monument but also to over, these investigations should actually be repeatable in the fu-
conserve the surviving historic fabric under a new “wearing ture on the object, in order to be able to control results and
course” as it were – provided that this wearing course (for in- eventually to make corrections.

VI. A PLURALISTIC APPROACH TO PRESERVATION 40 YEARS AFTER THE VENICE CHARTER

Thirty years after the Venice Charter ICOMOS published its Charter does not completely meet the demands of contemporary
Scientific Journal 4 (The Venice Charter/La Charte de Venise society. Proponents and critics of the Charter may be grouped in
1964-1994).The Journal also contains the summary report of the general into three separate camps. One defends the Venice Char-
International Symposium connected with the 9th General As- ter as it stands. In this camp are also those who defend the Char-
sembly of ICOMOS in Lausanne, where a working group dealt ter with the condition that regional charters form an adjunct to
with the actuality of the Venice Charter. This report underlines the present document. The second proposes changing those ar-
the necessity to create a working group on the Charter of Venice ticles which fail to meet current demands and introducing sup-
doctrine, theory and commentaries and comes to the conclusion: plementary articles to complete it. The third insists that a new
We can affirm that the Charter of Venice is a historical monu- charter be prepared to replace the Venice Charter altogether.
ment which should be protected and preserved. It needs neither If now, 40 years after the Venice Charter was written, such
restoration, renewal, nor reconstruction. As for the future, it has criticisms are hardly heard any longer, this may have to do with
been suggested that a commentary or a parallel text should be the fact that this paper, by now translated into many languages
drawn up to present interdisciplinary regional and national per- and known and appreciated world-wide, is considered a historic
spectives, with the object of finding a better solution to the needs document, which must not be corrected in any way. Thanks to its
of the new generations and the coming century. The Charter broad definition of the term “monument” the Charter can easily
should be considered in a philosophical and open perspective be integrated into the cosmos of international theory and prac-
rather than in a narrow and technical one. The same publication tice of conservation/preservation although nowadays definitions
also contains a review of the Venice Charter, written as early as of cultural heritage go far beyond the ideas of 40 years ago (see
1977 by Cevat Erder: Recent reactions ... show that the Venice p. 8). Furthermore, aims and possibilities combined with catch-

27
INTRODUCTION

words such as “repair”, “rehabilitation”, “reconstruction” and who backed completely a fiction of “original” form and design
“reversibility” open up new perspectives for the safeguarding of which negated later alterations in accordance with the ideas of
monuments and sites as well as new fields of duties for the “stylistic purity” and “unity of style”. They sacrificed to this fic-
preservation of monument categories on which the Venice Char- tion not only all traces of age but also the historic layers that had
ter commented only cursorily or not at all. evolved over centuries, quite in keeping with Viollet-le-Duc’s
In accordance with the “cultural diversity and heritage diver- famous definition of restoration: Restaurer un édifice, ce n’est
sity”, explicitly emphasized in the Nara Document, regional pas l’entretenir, le réparer ou le refaire, c’est le rétablir dans un
principles on protection and conservation are also very wel- état complet qui peut n’avoir jamais existé à un moment donné”
come, one example being the Burra Charter of 1979 (The Aus- (To restore a building is not to preserve it, to repair or rebuild it,
tralia ICOMOS Charter for Places of Cultural Significance), al- it is to reinstate it in a condition of completeness that could nev-
ready revised several times (see pp. 62-69). It seems that for er have existed at any given time). In its strict rejection of this
world-wide efforts to preserve monuments and sites “in the full “restoration” practice of the 19th century the “classic” conser-
richness of their authenticity”, as it says in the Venice Charter vation practice of the 20th century, developed at the turn of the
(cf. p. 7), a pluralistic approach taking regional traditions of century, concentrated exclusively on the mere conservation of
preservation into consideration has under these circumstances monuments of artistic and historic value. At the same time the
become a matter of course. Considering the omnipresent threats Modern Movement jettisoned all “historic ballast”, thus declar-
to our cultural heritage, in all necessary struggle for the right so- ing the new form, “purified” of even the simplest ornament, an
lution in every individual case there should not be any “dogmat- expression of the respective new function (“form follows func-
ic wars” about principles. Instead it is important to save what can tion”) in contrast to the conserved old form as “document of his-
be saved within the range of our possibilities. Of course, the pre- tory”. Under these circumstances “pure” architecture and “pure”
conditions vary a lot and depend on the existing - or non-exist- conservation can actually only exist as contrasts, if only for rea-
ing - monument protection laws and on an effective management sons of “honesty“ and “material justice” – catchwords from the
as well as on the commitment of all parties concerned and on the Modern Movement, which occasionally are even used today as
quality of the conservation professionals. arguments in conservation practice, although they are hardly
Within the framework of a necessarily pluralistic approach to suitable for the handling of historic architecture.
conservation the Venice Charter, the foundation document of Against this background typical attitudes of the time when the
ICOMOS (see p. 7), will also in the future remain one of the Venice Charter was written are noticeable in some of its articles,
most relevant papers on the theory and practice of our work. But reflecting a period that was not only highly critical of the ques-
exactly because of that we must not ignore that from today’s tionable restoration practice of Historicism but also of its archi-
point of view the Venice Charter as a historic document depends tecture in general. Even the conservation authorities either puri-
on a certain period: Up to a certain degree the Venice Charter fied many of these architectural witnesses or had them
bears testimony of its time and therefore not only requires sup- demolished altogether – buildings which in the meantime would
plements to special points – supplements which in many areas have achieved monument status themselves. In the sense of the
have already been made –, but also needs interpretation from famous slogan “conserve, do not restore” by Georg Dehio, who
time to time. The history of its origin leads back to the First In- was one of the founders of “classic” monument conservation
ternational Congress of Architects and Specialists of Historic around 1900, we can understand the Venice Charter’s cautious-
Buildings in Paris 1957 and to the result of a meeting of conser- ness about “restorations”, which should only be the exception
vationists of historic buildings, organized by the International (article 9, see p. 9), and its negation of the question of “renova-
Museum Office at the Athens conference, the Athens Charter, tion” by leaving it out completely as well as its rather “prudish”
already mentioned several times (cf. pp. 8, 9, 10, 15, 19). In a attitude towards replacements (article 12) or, what is more, re-
way some of the thoughts found in the Venice Charter were de- constructions (article 15). On this account from a modernistic
veloped parallel to the reflections formulated in the 1920s and point of view it was seducing to manipulate certain articles of
1930s by the Modern Movement, for instance the famous the Venice Charter in accordance with one’s own architectural
Athens Charter of 1933 by CIAM (= Congrès Internationaux doctrines, for instance article 15 as alleged prohibition of any
d’Architecture Moderne, founded in 1928). With considerable kind of reconstruction (see p. 19), or article 5 as an alleged com-
contributions from Le Corbusier CIAM at that time laid down mand to use and find a function for every monument (see p. 8),
the rules of modern urban planning. even if this new function is paid for with considerable loss.
Also in the case of the Venice Charter theory and practice of In so far we must consider the Venice Charter as a historic
conservation, as they have developed since the 19th century, document in correspondence with the “classic” monument con-
must be seen in close correlation to the respective “modern” servation evolved around the turn of the century in Europe in op-
architecture. Conservation practice of the 19th century, in Eu- position to the restoration practice of Historicism. And of course
rope a “child of Romanticism”, born against the background of a certain correlation to the Modern Movement is noticeable,
a first brutal wave of destruction during the French Revolution which by the 1960s had developed into the “International Style”
and the Secularization, must be seen in its fluid transition be- and overcome all political borders and social systems. There-
tween “restoration” and “new creation”, drawing from the freely fore, the thought suggests itself that the crisis of modern archi-
available arsenal of historic styles in close connection with the tecture in the 1970s, marked by the appearance of so-called
architecture of Historicism. Thus in the 19th century, despite Post-modernism, must also have had an impact on the practice
warning voices from such men as John Ruskin and William of dealing with historic architecture. The various trends in the
Morris, the preservation architects who prevailed were those architecture of the last decades have indeed opened up new per-

28
 INTRODUCTION

spectives, including the possibility of reacting to a historic sur- geist” that the monument embodies, a hard-to-translate German
rounding in a differentiated way, not simply by contrast of form word suggesting the spirit of the times in which the way of life
and material, but occasionally by even using historic architec- and the “style” of a particular period or epoch are reflected.
ture as a source of inspiration. In this context new opportunities Space and time can even become one in the spiritual message of
for the preservation of historic architecture have also developed. a monument, - the apparently paradoxical but quite tangible
The intercourse with historic architecture is even understood as presence of the past.
a kind of “school for building” in the sense of repair and sus- In the future the close cooperation in protection and preserva-
tainability – chances which conservationists acting world-wide tion of our natural and cultural heritage as demanded by the
must use in a pluralistic approach, adapted from case to case to World Heritage Convention (1972) will surely influence the fur-
the various categories of monuments and sites and also taking ther development of conservation principles, thus going far be-
regional traditions into account. yond the Venice Charter which aimed exclusively at our cultur-
Within such a pluralistic approach all monument values need al heritage in the form of monuments and sites. The fact that
to be taken into consideration, in the way they were already de- environmental protection and monument protection belong to-
fined 100 years ago by the still useful system of commemorative gether, that today’s preservation practice rests on the foundations
and present-day values in Alois Riegl’s Modern Cult of Monu- of a general environmental movement is an aspect that is not to
ments (1903), going far beyond the question of material/imma- be overlooked, although so far the consequences of this connec-
terial or tangible/intangible values. While the Venice Charter at tion are to some extent only reluctantly acknowledged by pres-
the time when it was written could hardly free itself from a ervationists themselves. But against the background of world-
slightly one-sided cult of historic substance – i.e. the emphasis wide progressive environmental destruction on a gigantic scale,
on the role of the authentic material, which to a certain extent is monument protection and management also take on a true mo-
of course indispensable –, the Nara Document (cf. p. 118) de- ral dimension which has hardly been discussed in connection
scribed the authentic values, including the authentic spirit of with the Venice Charter. The moral question directed to the pres-
monuments and sites, in a much more differentiated way than in ervationist himself is very tightly linked with the issue of con-
the current debate on the rather simple distinction between tan- serving, of preservation as the supreme principle. However,
gible and intangible values. Concerning this authentic spirit one within the framework of today’s “monument cult” the attempt to
could recall the remarks on works of art by Walter Benjamin, establish general moral tenets for handling the historic heritage
who speaks of a spiritual message that is also expressed in every could avail itself less of the key term authenticity and more of
monument’s and every site’s own “trace” and its “aura”. Trace is the key term continuity. The concept of historic continuity –
understood here as the meaning of the history of the building, continuity which should be upheld and which of course is not
which is expressed by traces of age, the “scars of time”. Aura only embodied in our monuments – can also be called upon as a
refers not only to the aura of the famous original but also to the moral justification for monument protection: the remembrance
aura of the modest historic monument, an aura that is present “in of history, also necessary in the future for man as a historical
situ”, even when the monument is no longer existing or is hard- creature, must not be broken off. Therefore monuments and sites
ly comprehensible as “historic fabric”. So the true and authentic are to be preserved; to surrender them to destruction is not a
spirit of monuments and sites normally only finds expression in question of weighing interests but rather a question of morals. In
combination with a particular place, a space encompassing a a figurative sense this is true not only for cultural landscapes
certain environment or what we may have defined as a cultural shaped by monuments, but also for our natural environment, in
landscape or cultural route. In conjunction with such a space which the continuity of a natural history that encompasses mil-
time as a historical dimension becomes comprehensible: time lions of years (also embodied by “monuments of nature”) ap-
that has passed at this place, a process that has left many traces pears today to be in question.
since the creation of an object, which has perhaps become a The now 40 year-old Venice Charter and all the other ICO-
monument, an object of remembrance, only in the course of cen- MOS charters and principles will hopefully accrue the moral
turies, a monument in the sense of the Roman definition quoted strength that will help us in the future in the daily struggle
above (see p. 8); time that is also present in the form of the “Zeit- against the all-present powers of destruction.

(Translated from the German by Margaret Thomas Will

and John Ziesemer)

29
THE ATHENS CHARTER FOR THE RESTORATION OF HISTORIC
MONUMENTS (1931)

Adopted at the First International Congress of Architects and 3 Problems of preservation of historic sites are to be solved by
Technicians of Historic Monuments, Athens 1931. legislation at national level for all countries.
At the Congress in Athens the following seven main resolu- 4 Excavated sites which are not subject to immediate restora-
tions were made and called “Carta del Restauro”: tion should be reburied for protection.
1 International organisations for Restoration on operational 5 Modern techniques and materials may be used in restoration
and advisory levels are to be established. work.
2 Proposed Restoration projects are to be subjected to knowl- 6 Historical sites are to be given strict custodial protection.
edgeable criticism to prevent mistakes which will cause loss 7 Attention should be given to the protection of areas sur-
of character and historical values to the structures. rounding historic sites.

General Conclusions of the Athens Conference It earnestly hopes that the International Museums Office will
publish a repertory and a comparative table of the legislative
I. Doctrines. General Principles measures in force in the different countries and that this infor-
The Conference heard the statement of the general principles mation will be kept up to date.
and doctrines relating to the protection of monuments.
Whatever may be the variety of concrete cases, each of which III. Aesthetic Enhancement of Ancient Monuments
are open to a different solution, the Conference noted that there The Conference recommends that, in the construction of buildings,
predominates in the different countries represented a general the character and external aspect of the cities in which they are
tendency to abandon restorations in toto and to avoid the atten- to be erected should be respected, especially in the neighbourhood
dant dangers by initiating a system of regular and permanent of ancient monuments, where the surroundings should be given
maintenance calculated to ensure the preservation of the build- special consideration. Even certain groupings and certain par-
ings. ticularly picturesque perspective treatment should be preserved.
When, as the result of decay or destruction, restoration ap- A study should also be made of the ornamental vegetation
pears to be indispensable, it recommends that the historic and most suited to certain monuments or groups of monuments from
artistic work of the past should be respected, without excluding the point of view of preserving their ancient character. It spe-
the style of any given period. cially recommends the suppression of all forms of publicity, of
The Conference recommends that the occupation of build- the erection of unsightly telegraph poles and the exclusion of all
ings, which ensures the continuity of their life, should be main- noisy factories and even of tall shafts in the neighbourhood of
tained but that they should be used for a purpose which respects artistic and historic monuments.
their historic or artistic character.
IV. Restoration of Monuments
II. Administrative and Legislative Measures Regarding The experts heard various communications concerning the use
Historical Monuments of modern materials for the consolidation of ancient monu-
The Conference heard the statement of legislative measures de- ments. They approved the judicious use of all the resources at
vised to protect monuments of artistic, historic or scientific in- the disposal of modern technique and more especially of rein-
terest and belonging to the different countries. forced concrete.
It unanimously approved the general tendency which, in this They specified that this work of consolidation should when-
connection, recognises a certain right of the community in re- ever possible be concealed in order that the aspect and character
gard to private ownership. of the restored monument may be preserved.
It noted that the differences existing between these legislative They recommended their adoption more particularly in
measures were due to the difficulty of reconciling public law cases where their use makes it possible to avoid the dangers
with the rights of individuals. of dismantling and reinstating the portions to be preserved.
Consequently, while approving the general tendency of these
measures, the Conference is of the opinion that they should be V. The Deterioration of Ancient Monuments
in keeping with local circumstances and with the trend of public The Conference noted that, in the conditions of present day life,
opinion, so that the least possible opposition may be encoun- monuments throughout the world were being threatened to an
tered, due allowance being made for the sacrifices which the ever-increasing degree by atmospheric agents.
owners of property may be called upon to make in the general Apart from the customary precautions and the methods suc-
interest. cessfully applied in the preservation of monumental statuary in
It recommends that the public authorities in each country be current practice, it was impossible, in view of the complexity of
empowered to take conservatory measures in cases of emer- cases and with the knowledge at present available, to formulate
gency. any general rules.

31
THE ATHENS CHARTER FOR THE RESTORATION OF HISTORIC MONUMENTS

The Conference recommends: festing their interest in the protection of works of art in which
1 That, in each country, the architects and curators of monu- civilisation has been expressed to the highest degree and which
ments should collaborate with specialists in the physical, would seem to be threatened with destruction;
chemical, and natural sciences with a view to determining Expresses the wish that requests to attain this end, submitted
the methods to be adopted in specific cases; to the Intellectual Co-operation Organisation of the League
2 That the International Museums Office should keep itself in- of Nations, be recommended to the earnest attention of the
formed of the work being done in each country in this field States.
and that mention should be made thereof in the publications It will be for the International Committee on Intellectual Co-
of the Office. operation, after an enquiry conducted by the International Mu-
With regard to the preservation of monumental sculpture, the seums Office and after having collected all relevant information,
Conference is of the opinion that the removal of works of art more particularly from the National Committee on Intellectual
from the surroundings for which they were designed is, in prin- Co-operation concerned, to express an opinion on the expedien-
ciple, to be discouraged. It recommends, by way of precaution, cy of the steps to be taken and on the procedure to be followed
the preservation of original models whenever these still exist or in each individual case.
if this proves impossible, the taking of casts. The members of the Conference, after having visited in the
course of their deliberations and during the study cruise which
VI. The Technique of Conservation they were able to make on this occasion, a number of excavation
The Conference is gratified to note that the principles and tech- sites and ancient Greek monuments, unanimously paid a tribute
nical considerations set forth in the different detailed communi- to the Greek Government, which, for many years past, has been
cations are inspired by the same idea, namely: itself responsible for extensive works and, at the same time, has
In the case of ruins, scrupulous conservation is necessary, and accepted the collaboration of archaeologists and experts from
steps should be taken to reinstate any original fragments that every country.
may be recovered (anastylosis), whenever this is possible; the The members of the Conference there saw an example of ac-
new materials used for this purpose should in all cases be recog- tivity which can but contribute to the realisation of the aims of
nisable. When the preservation of ruins brought to light in the intellectual co-operation, the need for which manifested itself
course of excavations is found to be impossible, the Conference during their work.
recommends that they be buried, accurate records being of
course taken before filling-in operations are undertaken. b) The role of education in the respect of monuments
It should be unnecessary to mention that the technical work The Conference, firmly convinced that the best guarantee in the
undertaken in connection with the excavation and preservation matter of the preservation of monuments and works of art de-
of ancient monuments calls for close collaboration between the rives from the respect and attachment of the peoples themselves;
archaeologist and the architect. Considering that these feelings can very largely be promoted
With regard to other monuments, the experts unanimously by appropriate action on the part of public authorities;
agreed that, before any consolidation or partial restoration is un- Recommends that educators should urge children and young
dertaken, a thorough analysis should be made of the defects and people to abstain from disfiguring monuments of every descrip-
the nature of the decay of these monuments. They recognised tion and that they should teach them to take a greater and more
that each case needed to be treated individually. general interest in the protection of these concrete testimonies of
all ages of civilisation.
VII. The Conservation of Monuments and International
Collaboration c) Value of international documentation
The Conference expresses the wish that:
a) Technical and moral co-operation 1 Each country, or the institutions created or recognised com-
The Conference, convinced that the question of the conservation petent for this purpose, publish an inventory of ancient mon-
of the artistic and archaeological property of mankind is one that uments, with photographs and explanatory notes;
interests the community of the States, which are wardens of 2 Each country constitute official records which shall contain
civilisation, all documents relating to its historic monuments;
Hopes that the States, acting in the spirit of the Covenant of 3 Each country deposit copies of its publications on artistic
the League of Nations, will collaborate with each other on an and historic monuments with the International Museums Of-
ever-increasing scale and in a more concrete manner with a view fice;
to furthering the preservation of artistic and historic monu- 4 The Office devote a portion of its publications to articles on
ments; the general processes and methods employed in the preser-
Considers it highly desirable that qualified institutions and as- vation of historic monuments;
sociations should, without in any manner whatsoever prejudic- 5 The Office study the best means of utilising the information
ing international public law, be given an opportunity of mani- so centralised.

32
THE VENICE CHARTER
International Charter for the Conservation and Restoration of Monuments
and Sites (1964)
IInd International Congress of Architects and Technicians of Historic Monuments, Venice, 1964. Adopted by ICOMOS in 1965.

Imbued with a message from the past, the historic monuments Conservation
of generations of people remain to the present day as living wit-
nesses of their age-old traditions. People are becoming more Article 4.
and more conscious of the unity of human values and regard an- It is essential to the conservation of monuments that they be
cient monuments as a common heritage. The common respon- maintained on a permanent basis.
sibility to safeguard them for future generations is recognized.
It is our duty to hand them on in the full richness of their au- Article 5.
thenticity. The conservation of monuments is always facilitated by making
It is essential that the principles guiding the preservation and use of them for some socially useful purpose. Such use is there-
restoration of ancient buildings should be agreed and be laid fore desirable but it must not change the lay-out or decoration of
down on an international basis, with each country being respon- the building. It is within these limits only that modifications de-
sible for applying the plan within the framework of its own cul- manded by a change of function should be envisaged and may be
ture and traditions. permitted.
By defining these basic principles for the first time, the
Athens Charter of 1931 contributed towards the development of Article 6.
an extensive international movement which has assumed con- The conservation of a monument implies preserving a setting
crete form in national documents, in the work of ICOM and UN- which is not out of scale. Wherever the traditional setting exists,
ESCO and in the establishment by the latter of the International it must be kept. No new construction, demolition or modifica-
Centre for the Study of the Preservation and the Restoration of tion which would alter the relations of mass and colour must be
Cultural Property. Increasing awareness and critical study have allowed.
been brought to bear on problems which have continually be-
come more complex and varied; now the time has come to ex- Article 7.
amine the Charter afresh in order to make a thorough study of A monument is inseparable from the history to which it bears
the principles involved and to enlarge its scope in a new docu- witness and from the setting in which it occurs. The moving of all
ment. or part of a monument cannot be allowed except where the safe-
Accordingly, the IInd International Congress of Architects guarding of that monument demands it or where it is justified by
and Technicians of Historic Monuments, which met in Venice national or international interest of paramount importance.
from May 25th to 31st 1964, approved the following text:
Article 8.
Items of sculpture, painting or decoration which form an inte-
Definitions gral part of a monument may only be removed from it if this is
the sole means of ensuring their preservation.
Article 1.
The concept of a historic monument embraces not only the sin-
gle architectural work but also the urban or rural setting in Restoration
which is found the evidence of a particular civilization, a sig-
nificant development or a historic event. This applies not only Article 9.
to great works of art but also to more modest works of the past The process of restoration is a highly specialized operation. Its
which have acquired cultural significance with the passing of aim is to preserve and reveal the aesthetic and historic value of
time. the monument and is based on respect for original material and
authentic documents. It must stop at the point where conjecture
Article 2. begins, and in this case moreover any extra work which is indis-
The conservation and restoration of monuments must have re- pensable must be distinct from the architectural composition and
course to all the sciences and techniques which can contribute to must bear a contemporary stamp. The restoration in any case
the study and safeguarding of the architectural heritage. must be preceded and followed by an archaeological and histor-
ical study of the monument.
Article 3.
The intention in conserving and restoring monuments is to Article 10.
safeguard them no less as works of art than as historical evi- Where traditional techniques prove inadequate, the consolidation
dence. of a monument can be achieved by the use of any modern tech-
nique for conservation and construction, the efficacy of which
has been shown by scientific data and proved by experience.

37
THE VENICE CHARTER

Article 11. Publication

The valid contributions of all periods to the building of a monu-
ment must be respected, since unity of style is not the aim of a Article 16.
restoration. When a building includes the superimposed work of In all works of preservation, restoration or excavation, there
different periods, the revealing of the underlying state can only should always be precise documentation in the form of analyti-
be justified in exceptional circumstances and when what is re- cal and critical reports, illustrated with drawings and pho-
moved is of little interest and the material which is brought to tographs. Every stage of the work of clearing, consolidation, re-
light is of great historical, archaeological or aesthetic value, and arrangement and integration, as well as technical and formal
its state of preservation good enough to justify the action. Eval- features identified during the course of the work, should be in-
uation of the importance of the elements involved and the deci- cluded. This record should be placed in the archives of a public
sion as to what may be destroyed cannot rest solely on the indi- institution and made available to research workers. It is recom-
vidual in charge of the work. mended that the report should be published.

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 in so far as they do not de-
tract from the interesting parts of the building, its traditional set-
ting, the balance of its composition and its relation with its sur-
roundings.

Historic Sites

Article 14. The following persons took part in the work of the Committee
The sites of monuments must be the object of special care in or- for drafting the International Charter for the Conservation and
der to safeguard their integrity and ensure that they are cleared Restoration of Monuments:
and presented in a seemly manner. The work of conservation and Piero Gazzola (Italy), Chairman
restoration carried out in such places should be inspired by the Raymond Lemaire (Belgium), Reporter
principles set forth in the foregoing articles. José Bassegoda-Nonell (Spain)
Luis Benavente (Portugal)
Djurdje Boskovic (Yugoslavia)
Excavations Hiroshi Daifuku (UNESCO)
P.L. de Vrieze (Netherlands)
Article 15. Harald Langberg (Denmark)
Excavations should be carried out in accordance with scientific Mario Matteucci (Italy)
standards and the recommendation defining international prin- Jean Merlet (France)
ciples to be applied in the case of archaeological excavation Carlos Flores Marini (Mexico)
adopted by UNESCO in 1956. Roberto Pane (Italy)
Ruins must be maintained and measures necessary for the per- S.C.J. Pavel (Czechoslovakia)
manent conservation and protection of architectural features and Paul Philippot (ICCROM)
of objects discovered must be taken. Furthermore, every means Victor Pimentel (Peru)
must be taken to facilitate the understanding of the monument Harold Plenderleith (ICCROM)
and to reveal it without ever distorting its meaning. Deoclecio Redig de Campos (Vatican)
All reconstruction work should however be ruled out “a pri- Jean Sonnier (France)
ori”. Only anastylosis, that is to say, the reassembling of exist- Francois Sorlin (France)
ing but dismembered parts can be permitted. The material used Eustathios Stikas (Greece)
for integration should always be recognizable and its use should Gertrud Tripp (Austria)
be the least that will ensure the conservation of a monument and Jan Zachwatovicz (Poland)
the reinstatement of its form. Mustafa S. Zbiss (Tunisia)

38
CONVENTION CONCERNING THE PROTECTION OF THE WORLD
CULTURAL AND NATURAL HERITAGE (1972)

The General Conference of the United Nations Educational, Adopts this sixteenth day of November 1972 this Convention.
Scientific and Cultural Organization meeting in Paris from
17 October to 21 November 1972, at its seventeenth session,
I. Definition of the Cultural and Natural Heritage
Noting that the cultural heritage and the natural heritage are in-
creasingly threatened with destruction not only by the tradition- Article 1
al causes of decay, but also by changing social and economic For the purposes of this Convention, the following shall be con-
conditions which aggravate the situation with even more formi- sidered as “cultural heritage”:
dable phenomena of damage or destruction, monuments: architectural works, works of monumental sculp-
ture and painting, elements or structures of an archaeological
Considering that deterioration or disappearance of any item of nature, inscriptions, cave dwellings and combinations of fea-
the cultural or natural heritage constitutes a harmful impover- tures, which are of outstanding universal value from the point of
ishment of the heritage of all the nations of the world, view of history, art or science;
groups of buildings: groups of separate or connected buildings
Considering that protection of this heritage at the national level which, because of their architecture, their homogeneity or their
often remains incomplete because of the scale of the resources place in the landscape, are of outstanding universal value from
which it requires and of the insufficient economic, scientific, the point of view of history, art or science;
and technological resources of the country where the property to sites: works of man or the combined works of nature and man,
be protected is situated, and areas including archaeological sites which are of outstand-
ing universal value from the historical, aesthetic, ethnological or
Recalling that the Constitution of the Organization provides that anthropological point of view.
it will maintain, increase, and diffuse knowledge, by assuring
the conservation and protection of the world’s heritage, and rec- Article 2
ommending to the nations concerned the necessary internation- For the purposes of this Convention, the following shall be con-
al conventions, sidered as “natural heritage”:
natural features consisting of physical and biological formations
Considering that the existing international conventions, recom- or groups of such formations, which are of outstanding univer-
mendations and resolutions concerning cultural and natural sal value from the aesthetic or scientific point of view;
property demonstrate the importance, for all the peoples of the geological and physiographical formations and precisely delin-
world, of safeguarding this unique and irreplaceable property, to eated areas which constitute the habitat of threatened species of
whatever people it may belong, animals and plants of outstanding universal value from the point
of view of science or conservation;
Considering that parts of the cultural or natural heritage are of natural sites or precisely delineated natural areas of outstanding
outstanding interest and therefore need to be preserved as part of universal value from the point of view of science, conservation
the world heritage of mankind as a whole, or natural beauty.

Considering that, in view of the magnitude and gravity of the Article 3

new dangers threatening them, it is incumbent on the interna- It is for each State Party to this Convention to identify and de-
tional community as a whole to participate in the protection of lineate the different properties situated on its territory men-
the cultural and natural heritage of outstanding universal value, tioned in Articles 1 and 2 above.
by the granting of collective assistance which, although not tak-
ing the place of action by the State concerned, will serve as an
efficient complement thereto, II. National Protection and International Protection of the
Cultural and Natural Heritage
Considering that it is essential for this purpose to adopt new
provisions in the form of a convention establishing an effec- Article 4
tive system of collective protection of the cultural and natural Each State Party to this Convention recognizes that the duty of
heritage of outstanding universal value, organized on a per- ensuring the identification, protection, conservation, presenta-
manent basis and in accordance with modern scientific tion and transmission to future generations of the cultural and
methods, natural heritage referred to in Articles 1 and 2 and situated on its
territory, belongs primarily to that State. It will do all it can to
Having decided, at its sixteenth session, that this question this end, to the utmost of its own resources and, where appropri-
should be made the subject of an international convention, ate, with any international assistance and co-operation, in par-

43
CONVENTION CONCERNING THE PROTECTION OF THE WORLD CULTURAL AND NATURAL HERITAGE

ticular, financial, artistic, scientific and technical, which it may III. Intergovernmental Committee for the Protection
be able to obtain. of the World Cultural and Natural Heritage

Article 5 Article 8
To ensure that effective and active measures are taken for the 1 An Intergovernmental Committee for the Protection of the
protection, conservation and presentation of the cultural and nat- Cultural and Natural Heritage of Outstanding Universal Val-
ural heritage situated on its territory, each State Party to this ue, called “the World Heritage Committee”, is hereby estab-
Convention shall endeavor, in so far as possible, and as appro- lished within the United Nations Educational, Scientific and
priate for each country: Cultural Organization. It shall be composed of 15 States Par-
a to adopt a general policy which aims to give the cultural and ties to the Convention, elected by States Parties to the Con-
natural heritage a function in the life of the community and vention meeting in general assembly during the ordinary
to integrate the protection of that heritage into comprehen- session of the General Conference of the United Nations Ed-
sive planning programs; ucational, Scientific and Cultural Organization. The number
b to set up within its territories, where such services do not ex- of States members of the Committee shall be increased to 21
ist, one or more services for the protection, conservation and as from the date of the ordinary session of the General Con-
presentation of the cultural and natural heritage with an ap- ference following the entry into force of this Convention for
propriate staff and possessing the means to discharge their at least 40 States.
functions; 2 Election of members of the Committee shall ensure an equi-
c to develop scientific and technical studies and research and table representation of the different regions and cultures of
to work out such operating methods as will make the State the world.
capable of counteracting the dangers that threaten its cultur- 3 A representative of the International Center for the Study of
al or natural heritage; the Preservation and Restoration of Cultural Property (Rome
d to take the appropriate legal, scientific, technical, adminis- Center), a representative of the International Council on
trative and financial measures necessary for the identifica- Monuments and Sites (ICOMOS) and a representative of the
tion, protection, conservation, presentation and rehabilita- International Union for Conservation of Nature and Natural
tion of this heritage; and Resources (IUCN), to whom may be added, at the request of
e to foster the establishment or development of national or re- States Parties to the Convention meeting in general assembly
gional centers for training in the protection, conservation during the ordinary sessions of the General Conference of the
and presentation of the cultural and natural heritage and to United Nations Educational, Scientific and Cultural Organi-
encourage scientific research in this field. zation, representatives of other intergovernmental or non-
governmental organizations, with similar objectives, may at-
Article 6 tend the meetings of the Committee in an advisory capacity.
1 Whilst fully respecting the sovereignty of the States on
whose territory the cultural and natural heritage mentioned Article 9
in Articles 1 and 2 is situated, and without prejudice to prop- 1 The term of office of States members of the World Heritage
erty right provided by national legislation, the States Parties Committee shall extend from the end of the ordinary session
to this Convention recognize that such heritage constitutes a of the General Conference during which they are elected un-
world heritage for whose protection it is the duty of the in- til the end of its third subsequent ordinary session.
ternational community as a whole to co-operate. 2 The term of office of one-third of the members designated at
2 The States Parties undertake, in accordance with the provi- the time of the first election shall, however, cease at the end
sions of this Convention, to give their help in the identifica- of the first ordinary session of the General Conference fol-
tion, protection, conservation and presentation of the cul- lowing that at which they were elected; and the term of of-
tural and natural heritage referred to in paragraphs 2 and 4 fice of a further third of the members designated at the same
of Articles 11 if the States on whose territory it is situated time shall cease at the end of the second ordinary session of
so request. the General Conference following that at which they were
3 Each State Party to this Convention undertakes not to take elected. The names of these members shall be chosen by lot
any deliberate measures which might damage directly or in- by the President of the General Conference of the United
directly the cultural and natural heritage referred to in Arti- Nations Educational, Scientific and Cultural Organization
cles 1 and 2 situated on the territory of other States Parties after the first election.
to this Convention. 3 States members of the Committee shall choose as their rep-
resentatives persons qualified in the field of the cultural or
Article 7 natural heritage.
For the purpose of this Convention, international protection of
the world cultural and natural heritage shall be understood to Article 10
mean the establishment of a system of international co-opera- 1 The World Heritage Committee shall adopt its Rules of Pro-
tion and assistance designed to support States Parties to the cedure.
Convention in their efforts to conserve and identify that her- 2 The Committee may at any time invite public or private or-
itage. ganizations or individuals to participate in its meetings for
consultation on particular problems.

44
 CONVENTION CONCERNING THE PROTECTION OF THE WORLD CULTURAL AND NATURAL HERITAGE

3. The Committee may create such consultative bodies as it Article 12

deems necessary for the performance of its functions. The fact that a property belonging to the cultural or natural
heritage has not been included in either of the two lists men-
Article 11 tioned in paragraphs 2 and 4 of Article 11 shall in no way be
1 Every State Party to this Convention shall, in so far as pos- construed to mean that it does not have an outstanding univer-
sible, submit to the World Heritage Committee an inventory sal value for purposes other than those resulting from inclusion
of property forming part of the cultural and natural heritage, in these lists.
situated in its territory and suitable for inclusion in the list
provided for in paragraph 2 of this Article. This inventory, Article 13
which shall not be considered exhaustive, shall include doc- 1 The World Heritage Committee shall receive and study
umentation about the location of the property in question requests for international assistance formulated by States
and its significance. Parties to this Convention with respect to property forming
2 On the basis of the inventories submitted by States in ac- part of the cultural or natural heritage, situated in their ter-
cordance with paragraph 1, the Committee shall establish, ritories, and included or potentially suitable for inclusion in
keep up to date and publish, under the title of “World Her- the lists mentioned referred to in paragraphs 2 and 4 of Ar-
itage List”, a list of properties forming part of the cultural ticle 11. The purpose of such requests may be to secure the
heritage and natural heritage, as defined in Articles 1 and 2 protection, conservation, presentation or rehabilitation of
of this Convention, which it considers as having outstand- such property.
ing universal value in terms of such criteria as it shall have 2 Requests for international assistance under paragraph 1 of
established. An updated list shall be distributed at least this article may also be concerned with identification of cul-
every two years. tural or natural property defined in Articles 1and 2, when
3 The inclusion of a property in the World Heritage List re- preliminary investigations have shown that further inquiries
quires the consent of the State concerned. The inclusion of a would be justified.
property situated in a territory, sovereignty or jurisdiction 3 The Committee shall decide on the action to be taken with
over which is claimed by more than one State shall in no way regard to these requests, determine where appropriate, the
prejudice the rights of the parties to the dispute. nature and extent of its assistance, and authorize the conclu-
4 The Committee shall establish, keep up to date and publish, sion, on its behalf, of the necessary arrangements with the
whenever circumstances shall so require, under the title of government concerned.
“List of World Heritage in Danger”, a list of the property 4 The Committee shall determine an order of priorities for its
appearing in the World Heritage List for the conservation of operations. It shall in so doing bear in mind the respective
which major operations are necessary and for which assis- importance for the world cultural and natural heritage of
tance has been requested under this Convention. This list the property requiring protection, the need to give inter-
shall contain an estimate of the cost of such operations. The national assistance to the property most representative of a nat-
list may include only such property forming part of the ural environment or of the genius and the history of the peo-
cultural and natural heritage as is threatened by serious and ples of the world, the urgency of the work to be done, the
specific dangers, such as the threat of disappearance caused resources available to the States on whose territory the threat-
by accelerated deterioration, large- scale public or private ened property is situated and in particular the extent to which
projects or rapid urban or tourist development projects; de- they are able to safeguard such property by their own means.
struction caused by changes in the use or ownership of the 5 The Committee shall draw up, keep up to date and publicize
land; major alterations due to unknown causes; abandon- a list of property for which international assistance has been
ment for any reason whatsoever; the outbreak or the threat granted.
of an armed conflict; calamities and cataclysms; serious 6 The Committee shall decide on the use of the resources of
fires, earthquakes, landslides; volcanic eruptions; changes the Fund established under Article 15 of this Convention. It
in water level, floods and tidal waves. The Committee may shall seek ways of increasing these resources and shall take
at any time, in case of urgent need, make a new entry in the all useful steps to this end.
List of World Heritage in Danger and publicize such entry 7 The Committee shall co-operate with international and na-
immediately. tional governmental and non-governmental organizations
5 The Committee shall define the criteria on the basis of which having objectives similar to those of this Convention. For the
a property belonging to the cultural or natural heritage may implementation of its programs and projects, the Committee
be included in either of the lists mentioned in paragraphs 2 may call on such organizations, particularly the Internation-
and 4 of this article. al Center for the Study of the Preservation and Restoration
6 Before refusing a request for inclusion in one of the two lists of Cultural Property (the Rome Center), the International
mentioned in paragraphs 2 and 4 of this article, the Com- Council on Monuments and Sites (ICOMOS) and the Inter-
mittee shall consult the State Party in whose territory the national Union for Conservation of Nature and Natural Re-
cultural or natural property in question is situated. sources (IUCN), as well as on public and private bodies and
7 The Committee shall, with the agreement of the States con- individuals.
cerned, co-ordinate and encourage the studies and research 8 Decisions of the Committee shall be taken by a majority of
needed for the drawing up of the lists referred to in para- two-thirds of its members present and voting. A majority of
graphs 2 and 4 of this article. the members of the Committee shall constitute a quorum.

45
CONVENTION CONCERNING THE PROTECTION OF THE WORLD CULTURAL AND NATURAL HERITAGE

Article 14 Convention, meeting during the sessions of the General

1 The World Heritage Committee shall be assisted by a Sec- Conference of the United Nations Educational, Scientific
retariat appointed by the Director-General of the United Na- and Cultural Organization. This decision of the General
tions Educational, Scientific and Cultural Organization. Assembly requires the majority of the States Parties pre-
2 The Director-General of the United Nations Educational, sent and voting, which have not made the declaration re-
Scientific and Cultural Organization, utilizing to the fullest ferred to in paragraph 2 of this Article. In no case shall the
extent possible the services of the International Center for compulsory contribution of States Parties to the Conven-
the Study of the Preservation and Restoration of Cultural tion exceed 1% of the contribution to the regular budget of
Property (the Rome Center), the International Council on the United Nations Educational, Scientific and Cultural
Monuments and Sites (ICOMOS) and the International Organization.
Union for Conservation of Nature and Natural Resources 2 However, each State referred to in Article 31 or in Article
(IUCN) in their respective areas of competence and capabil- 32 of this Convention may declare, at the time of the deposit
ity, shall prepare the Committee’s documentation and the of its instrument of ratification, acceptance or accession,
agenda of its meetings and shall have the responsibility for that it shall not be bound by the provisions of paragraph 1
the implementation of its decisions. of this Article.
3 A State Party to the Convention which has made the decla-
ration referred to in paragraph 2 of this Article may at any
IV. Fund for the Protection of the World Cultural time withdraw the said declaration by notifying the Direc-
and Natural Heritage tor-General of the United Nations Educational, Scientific
and Cultural Organization. However, the withdrawal of the
Article 15 declaration shall not take effect in regard to the compulsory
1 A Fund for the Protection of the World Cultural and Natural contribution due by the State until the date of the subse-
Heritage of Outstanding Universal Value, called “the World quent General Assembly of States parties to the Conven-
Heritage Fund”, is hereby established. tion.
2 The Fund shall constitute a trust fund, in conformity with the 4 In order that the Committee may be able to plan its opera-
provisions of the Financial Regulations of the United Na- tions effectively, the contributions of States Parties to
tions Educational, Scientific and Cultural Organization. this Convention which have made the declaration referred
3 The resources of the Fund shall consist of: to in paragraph 2 of this Article, shall be paid on a regular
a compulsory and voluntary contributions made by States basis, at least every two years, and should not be less than
Parties to this Convention, the contributions which they should have paid if they had
b contributions, gifts or bequests which may be made by: been bound by the provisions of paragraph 1 of this Article.
other States; 5 Any State Party to the Convention which is in arrears with
the United Nations Educational, Scientific and Cultural Or- the payment of its compulsory or voluntary contribution for
ganization, other organizations of the United Nations sys- the current year and the calendar year immediately preced-
tem, particularly the United Nations Development Program ing it shall not be eligible as a Member of the World Her-
or other intergovernmental organizations; itage Committee, although this provision shall not apply to
public or private bodies or individuals; the first election.
c any interest due on the resources of the Fund; The terms of office of any such State which is already a member
d funds raised by collections and receipts from events or- of the Committee shall terminate at the time of the elections pro-
ganized for the benefit of the fund; and vided for in Article 8, paragraph 1 of this Convention.
e all other resources authorized by the Fund’s regulations,
as drawn up by the World Heritage Committee.
4 Contributions to the Fund and other forms of assistance
made available to the Committee may be used only for such Article 17
purposes as the Committee shall define. The Committee The States Parties to this Convention shall consider or encour-
may accept contributions to be used only for a certain pro- age the establishment of national public and private foundations
gram or project, provided that the Committee shall have de- or associations whose purpose is to invite donations for the pro-
cided on the implementation of such program or project. No tection of the cultural and natural heritage as defined in Articles
political conditions may be attached to contributions made 1 and 2 of this Convention.
to the Fund.

Article 16 Article 18
1 Without prejudice to any supplementary voluntary contri- The States Parties to this Convention shall give their assistance
bution, the States Parties to this Convention undertake to to international fund-raising campaigns organized for the World
pay regularly, every two years, to the World Heritage Fund, Heritage Fund under the auspices of the United Nations Educa-
contributions, the amount of which, in the form of a uni- tional, Scientific and Cultural Organization. They shall facilitate
form percentage applicable to all States, shall be deter- collections made by the bodies mentioned in paragraph 3 of Ar-
mined by the General Assembly of States Parties to the ticle 15 for this purpose.

46
 CONVENTION CONCERNING THE PROTECTION OF THE WORLD CULTURAL AND NATURAL HERITAGE

V. Conditions and Arrangements for International and specialists at all levels in the field of identification, protec-
Assistance tion, conservation, presentation and rehabilitation of the cultur-
al and natural heritage.
Article 19
Any State Party to this Convention may request international as- Article 24
sistance for property forming part of the cultural or natural her- International assistance on a large scale shall be preceded by de-
itage of outstanding universal value situated within its territory. tailed scientific, economic and technical studies. These studies
It shall submit with its request such information and documen- shall draw upon the most advanced techniques for the protec-
tation provided for in Article 21 as it has in its possession and as tion, conservation, presentation and rehabilitation of the natural
will enable the Committee to come to a decision. and cultural heritage and shall be consistent with the objectives
of this Convention. The studies shall also seek means of making
Article 20 rational use of the resources available in the State concerned.
Subject to the provisions of paragraph 2 of Article 13, sub-para-
graph (c) of Article 22 and Article 23, international assistance Article 25
provided for by this Convention may be granted only to proper- As a general rule, only part of the cost of work necessary shall
ty forming part of the cultural and natural heritage which the be borne by the international community. The contribution of
World Heritage Committee has decided, or may decide, to enter the State benefiting from international assistance shall consti-
in one of the lists mentioned in paragraphs 2 and 4 of Article 11. tute a substantial share of the resources devoted to each program
or project, unless its resources do not permit this.
Article 21
1 The World Heritage Committee shall define the procedure Article 26
by which requests to it for international assistance shall be The World Heritage Committee and the recipient State shall de-
considered and shall specify the content of the request, fine in the agreement they conclude the conditions in which a
which should define the operation contemplated, the work program or project for which international assistance under the
that is necessary, the expected cost thereof, the degree of ur- terms of this Convention is provided, shall be carried out. It shall
gency and the reasons why the resources of the State re- be the responsibility of the State receiving such international as-
questing assistance do not allow it to meet all the expenses. sistance to continue to protect, conserve and present the proper-
Such requests must be supported by experts’ reports when- ty so safeguarded, in observance of the conditions laid down by
ever possible. the agreement.
2 Requests based upon disasters or natural calamities should,
by reasons of the urgent work which they may involve, be
given immediate, priority consideration by the Committee, VI. Educational Programs
which should have a reserve fund at its disposal against such
contingencies. Article 27
3 Before coming to a decision, the Committee shall carry out 1 The States Parties to this Convention shall endeavor by all
such studies and consultations as it deems necessary. appropriate means, and in particular by educational and in-
formation programs, to strengthen appreciation and respect
Article 22 by their peoples of the cultural and natural heritage defined
Assistance granted by the World Heritage Committee may take in Articles 1and 2 of the Convention.
the following forms: 2 They shall undertake to keep the public broadly informed of
a studies concerning the artistic, scientific and technical prob- the dangers threatening this heritage and of the activities car-
lems raised by the protection, conservation, presentation and ried on in pursuance of this Convention.
rehabilitation of the cultural and natural heritage, as defined
in paragraphs 2 and 4 of Article 11 of this Convention; Article 28
b provisions of experts, technicians and skilled labor to ensure States Parties to this Convention which receive international as-
that the approved work is correctly carried out; sistance under the Convention shall take appropriate measures
c training of staff and specialists at all levels in the field of to make known the importance of the property for which assis-
identification, protection, conservation, presentation and re- tance has been received and the role played by such assistance.
habilitation of the cultural and natural heritage;
d supply of equipment which the State concerned does not
possess or is not in a position to acquire; VII. Reports
e low-interest or interest-free loans which might be repayable
on a long-term basis; Article 29
f the granting, in exceptional cases and for special reasons, of 1 The States Parties to this Convention shall, in the reports
non-repayable subsidies. which they submit to the General Conference of the United
Nations Educational, Scientific and Cultural Organization
Article 23 on dates and in a manner to be determined by it, give infor-
The World Heritage Committee may also provide international mation on the legislative and administrative provisions
assistance to national or regional centers for the training of staff which they have adopted and other action which they have

47
CONVENTION CONCERNING THE PROTECTION OF THE WORLD CULTURAL AND NATURAL HERITAGE

taken for the application of this Convention, together with dividual constituent States, countries, provinces or cantons
details of the experience acquired in this field. that are not obliged by the constitutional system of the fed-
2 These reports shall be brought to the attention of the World eration to take legislative measures, the federal government
Heritage Committee. shall inform the competent authorities of such States, coun-
3 The Committee shall submit a report on its activities at each tries, provinces or cantons of the said provisions, with its
of the ordinary sessions of the General Conference of the recommendation for their adoption.
United Nations Educational, Scientific and Cultural Organi-
zation. Article 35
1 Each State Party to this Convention may denounce the Con-
vention.
VIII. Final Clauses 2 The denunciation shall be notified by an instrument in writ-
ing, deposited with the Director-General of the United Na-
Article 30 tions Educational, Scientific and Cultural Organization.
This Convention is drawn up in Arabic, English, French, Russ- 3 The denunciation shall take effect twelve months after the
ian and Spanish, the five texts being equally authoritative. receipt of the instrument of denunciation. It shall not affect
the financial obligations of the denouncing State until the
Article 31 date on which the withdrawal takes effect.
1 This Convention shall be subject to ratification or accep-
tance by States members of the United Nations Educational, Article 36
Scientific and Cultural Organization in accordance with The Director-General of the United Nations Educational, Scien-
their respective constitutional procedures. tific and Cultural Organization shall inform the States members
2 The instruments of ratification or acceptance shall be de- of the Organization, the States not members of the Organization
posited with the Director-General of the United Nations Ed- which are referred to in Article 32, as well as the United Nations,
ucational, Scientific and Cultural Organization. of the deposit of all the instruments of ratification, acceptance,
or accession provided for in Articles 31 and 32, and of the de-
Article 32 nunciations provided for in Article 35.
1 This Convention shall be open to accession by all States not
members of the United Nations Educational, Scientific and Article 37
Cultural Organization which are invited by the General Con- 1 This Convention may be revised by the General Conference
ference of the Organization to accede to it. of the United Nations Educational, Scientific and Cultural
2 Accession shall be effected by the deposit of an instrument Organization. Any such revision shall, however, bind only
of accession with the Director-General of the United Nations the States which shall become Parties to the revising con-
Educational, Scientific and Cultural Organization. vention.
2 If the General Conference should adopt a new convention re-
Article 33 vising this Convention in whole or in part, then, unless the
This Convention shall enter into force three months after the new convention otherwise provides, this Convention shall
date of the deposit of the twentieth instrument of ratification, ac- cease to be open to ratification, acceptance or accession, as
ceptance or accession, but only with respect to those States from the date on which the new revising convention enters
which have deposited their respective instruments of ratifica- into force.
tion, acceptance or accession on or before that date. It shall en-
ter into force with respect to any other State three months after Article 38
the deposit of its instrument of ratification, acceptance or acces- In conformity with Article 102 of the Charter of the United Na-
sion. tions, this Convention shall be registered with the Secretariat of
the United Nations at the request of the Director-General of the
Article 34 United Nations Educational, Scientific and Cultural Organiza-
The following provisions shall apply to those States Parties to tion.
this Convention which have a federal or non-unitary constitu- Done in Paris, this twenty-third day of November 1972, in two
tional system: authentic copies bearing the signature of the President of the
a with regard to the provisions of this Convention, the imple- seventeenth session of the General Conference and of the Di-
mentation of which comes under the legal jurisdiction of the rector-General of the United Nations Educational, Scientific
federal or central legislative power, the obligations of the and Cultural Organization, which shall be deposited in the
federal or central government shall be the same as for those archives of the United Nations Educational, Scientific and Cul-
States parties which are not federal States; tural Organization, and certified true copies of which shall be
b with regard to the provisions of this Convention, the imple- delivered to all the States referred to in Articles 31 and 32 as
mentation of which comes under the legal jurisdiction of in- well as to the United Nations.

48
THE BURRA CHARTER
The Australia ICOMOS Charter for Places of Cultural Significance
(1979, revisions 1981, 1988, 1999)

Preamble

Considering the International Charter for the Conservation and Restoration of Monu-
ments and Sites (Venice 1964), and the Resolutions of the 5th General Assembly of the
International Council on Monuments and Sites (ICOMOS) (Moscow 1978), the Burra
Charter was adopted by Australia ICOMOS (the Australian National Committee of
ICOMOS) on 19 August 1979 at Burra, South Australia. Revisions were adopted on 23
February 1981, 23 April 1988 and 26 November 1999.
The Burra Charter provides guidance for the conservation and management of places
of cultural significance (cultural heritage places), and is based on the knowledge and
experience of Australia ICOMOS members.
Conservation is an integral part of the management of places of cultural significance
and is an ongoing responsibility.

Who is the Charter for?

The Charter sets a standard of practice for those who provide advice, make decisions
about, or undertake works to places of cultural significance, including owners, man-
agers and custodians.

Using the Charter

The Charter should be read as a whole. Many articles are interdependent. Articles in
the Conservation Principles section are often further developed in the Conservation
Processes and Conservation Practice sections. Headings have been included for ease of
reading but do not form part of the Charter.
The Charter is self-contained, but aspects of its use and application are further ex-
plained in the following Australia ICOMOS documents:
• Guidelines to the Burra Charter: Cultural Significance;
• Guidelines to the Burra Charter: Conservation Policy;
• Guidelines to the Burra Charter: Procedures for Undertaking Studies and Reports;
• Code on the Ethics of Coexistence in Conserving Significant Places.

What places does the Charter apply to?

The Charter can be applied to all types of places of cultural significance including nat-
ural, indigenous and historic places with cultural values.
The standards of other organisations may also be relevant. These include the Aus-
tralian Natural Heritage Charter and the Draft Guidelines for the Protection, Manage-
ment and Use of Aboriginal and Torres Strait Islander Cultural Heritage Places.

Why conserve?

Places of cultural significance enrich people’s lives, often providing a deep and inspi-
rational sense of connection to community and landscape, to the past and to lived ex-
periences. They are historical records that are important as tangible expressions of Aus-
tralian identity and experience. Places of cultural significance reflect the diversity of
our communities, telling us about who we are and the past that has formed us and the
Australian landscape. They are irreplaceable and precious.

62
 THE BURRA CHARTER

These places of cultural significance must be conserved for present and future gener-
ations.
The Burra Charter advocates a cautious approach to change: do as much as neces-
sary to care for the place and to make it usable, but otherwise change it as little as pos-
sible so that its cultural significance is retained.

Articles Explanatory Notes

Article 1. Definitions
For the purposes of this Charter:

1.1 Place means site, area, land, landscape, building or other work, group of buildings The concept of place should be broadly
or other works, and may include components, contents, spaces and views. interpreted. The elements described in
Article 1.1 may include memorials, trees,
gardens, parks, places of historical
events, urban areas, towns, industrial
places, archaeological sites and spiritual
and religious places.
1.2 Cultural significance means aesthetic, historic, scientific, social or spiritual val- The term cultural significance is synony-
ue for past, present or future generations. mous with heritage significance and cul-
Cultural significance is embodied in the place itself, its fabric, setting, use, associa- tural heritage value.
tions, meanings, records, related places and related objects. Cultural significance may change as a re-
Places may have a range of values for different individuals or groups. sult of the continuing history of the place.
Understanding of cultural significance
may change as a result of new informa-
tion.
1.3 Fabric means all the physical material of the place including components, fix- Fabric includes building interiors and
tures, contents, and objects. sub-surface remains, as well as excavated
material.
Fabric may define spaces and these may
be important elements of the significance
of the place.
1.4 Conservation means all the processes of looking after a place so as to retain its
cultural significance.
1.5 Maintenance means the continuous protective care of the fabric and setting of a The distinctions referred to, for example
place, and is to be distinguished from repair. Repair involves restoration or re- in relation to roof gutters, are:
construction. • maintenance — regular inspection and
cleaning of gutters;
• repair involving restoration — return-
ing of dislodged gutters;
• repair involving reconstruction — re-
placing decayed gutters.
1.6 Preservation means maintaining the fabric of a place in its existing state and re- It is recognised that all places and their
tarding deterioration. components change over time at varying
rates.
1.7 Restoration means returning the existing fabric of a place to a known earlier state
by removing accretions or by reassembling existing components without the in-
troduction of new material.
1.8 Reconstruction means returning a place to a known earlier state and is distin- New material may include recycled mate-
guished from restoration by the introduction of new material into the fabric. rial salvaged from other places. This
should not be to the detriment of any
place of cultural significance.
1.9 Adaptation means modifying a place to suit the existing use or a proposed use.
1.10 Use means the functions of a place, as well as the activities and practices that may
occur at the place.
1.11 Compatible use means a use which respects the cultural significance of a place.
Such a use involves no, or minimal, impact on cultural significance.
1.12 Setting means the area around a place, which may include the visual catchment.

63
THE BURRA CHARTER

1.13 Related place means a place that contributes to the cultural significance of an-
other place.
1.14 Related object means an object that contributes to the cultural significance of a
place but is not at the place.
1.15 Associations mean the special connections that exist between people and a place. Associations may include social or spiri-
tual values and cultural responsibilities
for a place.
1.16 Meanings denote what a place signifies, indicates, evokes or expresses. Meanings generally relate to intangible
aspects such as symbolic qualities and
memories.
1.17 Interpretation means all the ways of presenting the cultural significance of a Interpretation may be a combination of
place. the treatment of the fabric (e.g. mainte-
nance, restoration, reconstruction); the
use of and activities at the place; and the
use of introduced explanatory material.

Conservation Principles

Article 2. Conservation and management

2.1 Places of cultural significance should be conserved.
2.2 The aim of conservation is to retain the cultural significance of a place.
2.3 Conservation is an integral part of good management of places of cultural signif-
icance.
2.4 Places of cultural significance should be safeguarded and not put at risk or left in
a vulnerable state.

Article 3. Cautious approach

3.1 Conservation is based on a respect for the existing fabric, use, associations and The traces of additions, alterations and
meanings. It requires a cautious approach of changing as much as necessary but earlier treatments to the fabric of a place
as little as possible. are evidence of its history and uses which
may be part of its significance. Conserva-
tion action should assist and not impede
their understanding.
3.2 Changes to a place should not distort the physical or other evidence it provides,
nor be based on conjecture.

Article 4. Knowledge, skills and techniques

4.1 Conservation should make use of all the knowledge, skills and disciplines which
can contribute to the study and care of the place.
4.2 Traditional techniques and materials are preferred for the conservation of signif- The use of modern materials and tech-
icant fabric. In some circumstances modern techniques and materials which offer niques must be supported by firm scien-
substantial conservation benefits may be appropriate. tific evidence or by a body of experience.

Article 5. Values
5.1 Conservation of a place should identify and take into consideration all aspects of Conservation of places with natural sig-
cultural and natural significance without unwarranted emphasis on any one value nificance is explained in the Australian
at the expense of others. Natural Heritage Charter. This Charter
defines natural significance to mean the
importance of ecosystems, biological di-
versity and geodiversity for their exis-
tence value, or for present or future gen-
erations in terms of their scientific,
social, aesthetic and life-support value.
5.2 Relative degrees of cultural significance may lead to different conservation ac- A cautious approach is needed, as under-
tions at a place. standing of cultural significance may
change. This article should not be used to
justify actions which do not retain cultur-
al significance.

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 THE BURRA CHARTER

Article 6. Burra Charter Process

6.1 The cultural significance of a place and other issues affecting its future are best The Burra Charter process, or sequence
understood by a sequence of collecting and analysing information before making of investigations, decisions and actions,
decisions. Understanding cultural significance comes first, then development of is illustrated in the accompanying flow-
policy and finally management of the place in accordance with the policy. chart
6.2 The policy for managing a place must be based on an understanding of its cultur-
al significance.
6.3 Policy development should also include consideration of other factors affecting
the future of a place such as the owner’s needs, resources, external constraints and
its physical condition.

Article 7. Use
7.1 Where the use of a place is of cultural significance it should be retained. The policy should identify a use or com-
7.2 A place should have a compatible use. bination of uses or constraints on uses
that retain the cultural significance of the
place. New use of a place should involve
minimal change to significant fabric and
use; should respect associations and
meanings; and where appropriate should
provide for continuation of practices
which contribute to the cultural signifi-
cance of the place.

Article 8. Setting
Conservation requires the retention of an appropriate visual setting and other relation- Aspects of the visual setting may include
ships that contribute to the cultural significance of the place. use, siting, bulk, form, scale, character,
New construction, demolition, intrusions or other changes which would adversely af- colour, texture and materials.
fect the setting or relationships are not appropriate. Other relationships, such as historical
connections, may contribute to interpre-
tation, appreciation, enjoyment or experi-
ence of the place.
Article 9. Location
9.1 The physical location of a place is part of its cultural significance. A building,
work or other component of a place should remain in its historical location. Re-
location is generally unacceptable unless this is the sole practical means of ensur-
ing its survival.
9.2 Some buildings, works or other components of places were designed to be readi-
ly removable or already have a history of relocation. Provided such buildings,
works or other components do not have significant links with their present loca-
tion, removal may be appropriate.
9.3 If any building, work or other component is moved, it should be moved to an ap-
propriate location and given an appropriate use. Such action should not be to the
detriment of any place of cultural significance.

Article 10. Contents

Contents, fixtures and objects which contribute to the cultural significance of a place
should be retained at that place. Their removal is unacceptable unless it is: the sole
means of ensuring their security and preservation; on a temporary basis for treatment
or exhibition; for cultural reasons; for health and safety; or to protect the place. Such
contents, fixtures and objects should be returned where circumstances permit and it is
culturally appropriate.

Article 11. Related places and objects

The contribution which related places and related objects make to the cultural signifi-
cance of the place should be retained.

65
THE BURRA CHARTER

Article 12. Participation

Conservation, interpretation and management of a place should provide for the partic-
ipation of people for whom the place has special associations and meanings, or who
have social, spiritual or other cultural responsibilities for the place.

Article 13. Co-existence of cultural values

Co-existence of cultural values should be recognised, respected and encouraged, espe- For some places, conflicting cultural val-
cially in cases where they conflict. ues may affect policy development and
management decisions. In this article, the
term cultural values refers to those beliefs
which are important to a cultural group,
including but not limited to political, reli-
gious, spiritual and moral beliefs. This is
broader than values associated with cul-
tural significance.

Conservation Processes

Article 14. Conservation processes

Conservation may, according to circumstance, include the processes of: retention or There may be circumstances where no ac-
reintroduction of a use; retention of associations and meanings; maintenance, preser- tion is required to achieve conservation.
vation, restoration, reconstruction, adaptation and interpretation; and will commonly
include a combination of more than one of these.

Article 15. Change

15.1 Change may be necessary to retain cultural significance, but is undesirable where When change is being considered, a
it reduces cultural significance. The amount of change to a place should be guid- range of options should be explored to
ed by the cultural significance of the place and its appropriate interpretation. seek the option which minimises the re-
duction of cultural significance.
15.2 Changes which reduce cultural significance should be reversible, and be reversed Reversible changes should be considered
when circumstances permit. temporary. Non-reversible change should
only be used as a last resort and should
not prevent future conservation action.
15.3 Demolition of significant fabric of a place is generally not acceptable. However,
in some cases minor demolition may be appropriate as part of conservation. Re-
moved significant fabric should be reinstated when circumstances permit.
15.4 The contributions of all aspects of cultural significance of a place should be re-
spected. If a place includes fabric, uses, associations or meanings of different pe-
riods, or different aspects of cultural significance, emphasising or interpreting
one period or aspect at the expense of another can only be justified when what is
left out, removed or diminished is of slight cultural significance and that which is
emphasised or interpreted is of much greater cultural significance.

Article 16. Maintenance

Maintenance is fundamental to conservation and should be undertaken where fabric is
of cultural significance and its maintenance is necessary to retain that cultural signifi-
cance.

Article 17. Preservation

Preservation is appropriate where the existing fabric or its condition constitutes evi- Preservation protects fabric without ob-
dence of cultural significance, or where insufficient evidence is available to allow oth- scuring the evidence of its construction
er conservation processes to be carried out. and use. The process should always be
applied:

• where the evidence of the fabric is of

such significance that it should not be
altered;
• where insufficient investigation has
been carried out to permit policy deci-

66
 THE BURRA CHARTER

Article 18. Restoration and reconstruction sions to be taken in accord with Arti-
Restoration and reconstruction should reveal culturally significant aspects of the place. cles 26 to 28.
New work (e.g. stabilisation) may be car-
ried out in association with preservation
when its purpose is the physical protec-
tion of the fabric and when it is consistent
with Article 22.
Article 19. Restoration
Restoration is appropriate only if there is sufficient evidence of an earlier state of the fabric.

Article 20. Reconstruction

20.1 Reconstruction is appropriate only where a place is incomplete through damage
or alteration, and only where there is sufficient evidence to reproduce an earlier
state of the fabric. In rare cases, reconstruction may also be appropriate as part of
a use or practice that retains the cultural significance of the place.
20.2 Reconstruction should be identifiable on close inspection or through additional
interpretation.

Article 21. Adaptation

21.1 Adaptation is acceptable only where the adaptation has minimal impact on the Adaptation may involve the introduction
cultural significance of the place. of new services, or a new use, or changes
to safeguard the place.
21.2 Adaptation should involve minimal change to significant fabric, achieved only af-
ter considering alternatives.

Article 22. New work

22.1 New work such as additions to the place may be acceptable where it does not dis- New work may be sympathetic if its sit-
tort or obscure the cultural significance of the place, or detract from its interpre- ing, bulk, form, scale, character, colour,
tation and appreciation. texture and material are similar to the ex-
isting fabric, but imitation should be
avoided.
22.2 New work should be readily identifiable as such.

Article 23. Conserving use

Continuing, modifying or reinstating a significant use may be appropriate and pre- These may require changes to significant
ferred forms of conservation. fabric but they should be minimised. In
some cases, continuing a significant use
or practice may involve substantial new
work.
Article 24. Retaining associations and meanings
24.1 Significant associations between people and a place should be respected, retained For many places associations will be
and not obscured. Opportunities for the interpretation, commemoration and cele- linked to use.
bration of these associations should be investigated and implemented.
24.2Significant meanings, including spiritual values, of a place should be respected.
Opportunities for the continuation or revival of these meanings should be investi-
gated and implemented.

Article 25. Interpretation

The cultural significance of many places is not readily apparent, and should be ex-
plained by interpretation. Interpretation should enhance understanding and enjoyment,
and be culturally appropriate.

Conservation Practice

Article 26. Applying the Burra Charter process

26.1 Work on a place should be preceded by studies to understand the place which The results of studies should be up to
should include analysis of physical, documentary, oral and other evidence, draw- date, regularly reviewed and revised as
ing on appropriate knowledge, skills and disciplines. necessary.

67
 THE BURRA CHARTER

26.2 Written statements of cultural significance and policy for the place should be pre- Statements of significance and policy
pared, justified and accompanied by supporting evidence. The statements of sig- should be kept up to date by regular re-
nificance and policy should be incorporated into a management plan for the place. view and revision as necessary. The man-
26.3Groups and individuals with associations with a place as well as those involved agement plan may deal with other matters
in its management should be provided with opportunities to contribute to and par- related to the management of the place.
ticipate in understanding the cultural significance of the place. Where appropri-
ate they should also have opportunities to participate in its conservation and man-
agement.

Article 27. Managing change

27.1 The impact of proposed changes on the cultural significance of a place should be
analysed with reference to the statement of significance and the policy for man-
aging the place. It may be necessary to modify proposed changes following analy-
sis to better retain cultural significance.
27.2 Existing fabric, use, associations and meanings should be adequately recorded
before any changes are made to the place.

Article 28. Disturbance of fabric

28.1 Disturbance of significant fabric for study, or to obtain evidence, should be min-
imised. Study of a place by any disturbance of the fabric, including archaeologi-
cal excavation, should only be undertaken to provide data essential for decisions
on the conservation of the place, or to obtain important evidence about to be lost
or made inaccessible.
28.2 Investigation of a place which requires disturbance of the fabric, apart from that
necessary to make decisions, may be appropriate provided that it is consistent with
the policy for the place. Such investigation should be based on important research
questions which have potential to substantially add to knowledge, which cannot be
answered in other ways and which minimises disturbance of significant fabric.

Article 29. Responsibility for decisions

The organisations and individuals responsible for management decisions should be
named and specific responsibility taken for each such decision.

Article 30. Direction, supervision and implementation

Competent direction and supervision should be maintained at all stages, and any
changes should be implemented by people with appropriate knowledge and skills.

Article 31. Documenting evidence and decisions

A log of new evidence and additional decisions should be kept.

Article 32. Records

32.1 The records associated with the conservation of a place should be placed in a per-
manent archive and made publicly available, subject to requirements of security
and privacy, and where this is culturally appropriate.
32.2 Records about the history of a place should be protected and made publicly avail-
able, subject to requirements of security and privacy, and where this is culturally
appropriate.

Article 33. Removed fabric

Significant fabric which has been removed from a place including contents, fixtures
and objects, should be catalogued, and protected in accordance with its cultural signif-
icance.
Where possible and culturally appropriate, removed significant fabric including con-
tents, fixtures and objects, should be kept at the place.

Article 34. Resources

Adequate resources should be provided for conservation. The best conservation often involves the
least work and can be inexpensive.
Words in italics are defined in Article 1.

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 THE BURRA CHARTER

The Burra Charter Process

Sequence of investigations, decisions and actions

IDENTIFY PLACE AND ASSOCIOATIONS

Secure the place and make it safe

Further research and consultation may be necessary

GATHER AND RECORD INFORMATION ABOUT THE PLACE
SUFFICIENT TO UNDERSTAND SIGNIFICANCE
Understand Significance

Documentary Oral Physical

ASSESS SIGNIFICANCE

PREPARE A STATEMENT OF SIGNIFICANCE

IDENTIFY OBLIGATIONS ARISING FROM SIGNIFICANCE

Parts of it may need to be repeated.

GATHER INFORMATION ABOUT OTHER FACTORS
AFFECTING THE FUTURE OF THE PLACE
Owner/manager’s needs and resources
Develop Policy

External factors Physical condition

DEVELOP POLICY
Identify options
Consider options and test their impact on significance
The whole process is iterative.

PREPARE A STATEMENT OF POLICY

MANAGE PLACE IN ACCORDANCE WITH POLICY

Develop strategies
Implement strategies through a management plan
Manage

Record place prior to any change

MONITOR AND REVIEW

69
HISTORIC GARDENS – THE FLORENCE CHARTER (1981)

Preamble Article 7.
Whether or not it is associated with a building in which case it is
The ICOMOS-IFLA International Committee for Historic Gar- an inseparable complement, the historic garden cannot be iso-
dens, meeting in Florence on 21 May 1981, decided to draw up lated from its own particular environment, whether urban or rur-
a charter on the preservation of historic gardens which would al, artificial or natural.
bear the name of that town. The present Florence Charter was
drafted by the Committee and registered by ICOMOS on 15 De- Article 8.
cember 1982 as an addendum to the Venice Charter covering the A historic site is a specific landscape associated with a memo-
specific field concerned. rable act, as, for example, a major historic event; a well-known
myth; an epic combat; or the subject of a famous picture.

Definitions and Objectives Article 9.

The preservation of historic gardens depends on their iden-
Article 1. tification and listing. They require several kinds of action,
“A historic garden is an architectural and horticultural composi- namely maintenance, conservation and restoration. In certain
tion of interest to the public from the historical or artistic point cases, reconstruction may be recommended. The authenticity
of view”. As such, it is to be considered as a monument. of a historic garden depends as much on the design and scale
of its various parts as on its decorative features and on the
Article 2. choice of plant or inorganic materials adopted for each of its
“The historic garden is an architectural composition whose con- parts.
stituents are primarily vegetal and therefore living, which means
that they are perishable and renewable.” Thus its appearance
reflects the perpetual balance between the cycle of the seasons, Maintenance, Conservation, Restoration, Reconstruction
the growth and decay of nature and the desire of the artist and
craftsman to keep it permanently unchanged. Article 10.
In any work of maintenance, conservation, restoration or
Article 3. reconstruction of a historic garden, or of any part of it, all its
As a monument, the historic garden must be preserved in accor- constituent features must be dealt with simultaneously. To iso-
dance with the spirit of the Venice Charter. However, since it is late the various operations would damage the unity of the
a living monument, its preservation must be governed by specif- whole.
ic rules which are the subject of the Present charter.

Article 4. Maintenance and Conservation

The architectural composition of the historic garden includes:
Its plan and its topography. Article 11.
• Its vegetation, including its species, proportions, colour Continuous maintenance of historic gardens is of paramount im-
schemes, spacing and respective heights. portance. Since the principal material is vegetal, the preserva-
• Its structural and decorative features. tion of the garden in an unchanged condition requires both
• Its water, running or still, reflecting the sky. prompt replacements when required and a long-term pro-
gramme of periodic renewal (clear felling and replanting with
mature specimens).
Article 5.
As the expression of the direct affinity between civilisation and Article 12.
nature, and as a place of enjoyment suited to meditation or re- Those species of trees, shrubs, plants and flowers to be replaced
pose, the garden thus acquires the cosmic significance of an ide- periodically must be selected with regard for established and
alised image of the world, a “paradise” in the etymological sense recognised practice in each botanical and horticultural region,
of the term, and yet a testimony to a culture, a style, an age, and and with the aim to determine the species initially grown and to
often to the originality of a creative artist. preserve them.

Article 13.
Article 6. The permanent or movable architectural, sculptural or decora-
The term “historic garden” is equally applicable to small gar- tive features which form an integral part of the historic garden
dens and to large parks, whether formal or “landscape”. must be removed or displaced only insofar as this is essential for

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HISTORIC GARDENS – THE FLORENCE CHARTER

their conservation or restoration. The replacement or restoration Thus, the conditions of such occasional use of a historic garden
of any such jeopardised features must be effected in accordance should be clearly defined, in order that any such festivity may it-
with the principles of the Venice Charter, and the date of any self serve to enhance the visual effect of the garden instead of
complete replacement must be indicated. perverting or damaging it.

Article 14. Article 20.

The historic garden must be preserved in appropriate surround- While historic gardens may be suitable for quiet games as a dai-
ings. Any alteration to the physical environment which will en- ly occurrence, separate areas appropriate for active and lively
danger the ecological equilibrium must be prohibited. These ap- games and sports should also be laid out adjacent to the historic
plications are applicable to all aspects of the infrastructure, garden, so that the needs of the public may be satisfied in this re-
whether internal or external (drainage works, irrigation systems, spect without prejudice to the conservation of the gardens and
roads, car parks, fences, caretaking facilities, visitors’ ameni- landscapes.
ties, etc.).
Article 21.
The work of maintenance and conservation, the timing of which
Restoration and Reconstruction is determined by season and brief operations which serve to re-
store the garden’s authenticity, must always take precedence over
Article 15. the requirements of public use. All arrangements for visits to
No restoration work and, above all, no reconstruction work on historic gardens must be subjected to regulations that ensure the
a historic garden shall be undertaken without thorough prior re- spirit of the place is preserved.
search to ensure that such work is scientifically executed
and which will involve everything from excavation to the Article 22.
assembling of records relating to the garden in question and to If a garden is walled, its walls may not be removed without pri-
similar gardens. Before any practical work starts, a project or examination of all the possible consequences liable to lead to
must be prepared on the basis of said research and must be changes in its atmosphere and to affect its preservation.
submitted to a group of experts for joint examination and ap-
proval.
Legal and Administrative Protection
Article 16.
Restoration work must respect the successive stages of evolution Article 23.
of the garden concerned. In principle, no one period should be It is the task of the responsible authorities to adopt, on the advice
given precedence over any other, except in exceptional cases of qualified experts, the appropriate legal and administrative
where the degree of damage or destruction affecting certain measures for the identification, listing and protection of historic
parts of a garden may be such that it is decided to reconstruct it gardens. The preservation of such gardens must be provided for
on the basis of the traces that survive or of unimpeachable doc- within the framework of land-use plans and such provision must
umentary evidence. Such reconstruction work might be under- be duly mentioned in documents relating to regional and local
taken more particularly on the parts of the garden nearest to the planning. It is also the task of the responsible authorities to
building it contains in order to bring out their significance in the adopt, with the advice of qualified experts, the financial mea-
design. sures which will facilitate the maintenance, conservation and
restoration, and, where necessary, the reconstruction of historic
Article 17. gardens.
Where a garden has completely disappeared or there exists no
more than conjectural evidence of its successive stages a recon- Article 24.
struction could not be considered a historic garden. The historic garden is one of the features of the patrimony
whose survival, by reason of its nature, requires intensive, con-
tinuous care by trained experts. Suitable provision should there-
Use fore be made for the training of such persons, whether histori-
ans, architects, landscape architects, gardeners or botanists.
Article 18. Care should also be taken to ensure that there is regular propa-
While any historic garden is designed to be seen and walked gation of the plant varieties necessary for maintenance or
about in, access to it must be restricted to the extent demanded restoration.
by its size and vulnerability, so that its physical fabric and cul-
tural message may be preserved. Article 25.
Interest in historic gardens should be stimulated by every
Article 19. kind of activity capable of emphasising their true value as part
By reason of its nature and purpose, a historic garden is a peace- of the patrimony and making for improved knowledge and ap-
ful place conducive to human contacts, silence and awareness of preciation of them: promotion of scientific research; interna-
nature. This conception of its everyday use must contrast with its tional exchange and circulation of information; publications,
role on those rare occasions when it accommodates a festivity. including works designed for the general public; the encour-

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 HISTORIC GARDENS – THE FLORENCE CHARTER

agement of public access under suitable control and use of the Nota Bene
media to develop awareness of the need for due respect for na-
ture and the historic heritage. The most outstanding of the his- The above recommendations are applicable to all the historic
toric gardens shall be proposed for inclusion in the World Her- gardens in the world.
itage List. Additional clauses applicable to specific types of gardens may
be subsequently appended to the present Charter with brief de-
scriptions of the said types.

91
CHARTER FOR THE CONSERVATION OF HISTORIC TOWNS
AND URBAN AREAS (WASHINGTON CHARTER 1987)
The document was adopted at the October 1987 meeting of the ICOMOS General Assembly in Washington, DC, and is known
commonly as the “Washington Charter.”

Preamble and definitions d) the relationship between the town or urban area and its
surrounding setting, both natural and man-made; and
1 All urban communities, whether they have developed grad- e) the various functions that the town or urban area has ac-
ually over time or have been created deliberately, are an ex- quired over time.
pression of the diversity of societies throughout history.
2 This charter concerns historic urban areas, large and small, Any threat to these qualities would compromise the authenticity
including cities, towns and historic centres or quarters, to- of the historic town or urban area.
gether with their natural and man-made environments. Be-
yond their role as historical documents, these areas embody 3 The participation and the involvement of the residents
the values of traditional urban cultures. Today many such ar- are essential for the success of the conservation pro-
eas are being threatened, physically degraded, damaged or gramme and should be encouraged. The conservation of
even destroyed, by the impact of the urban development that historic towns and urban areas concerns their residents
follows industrialisation in societies everywhere. first of all.
3 Faced with this dramatic situation, which often leads to ir- 4 Conservation in a historic town or urban area demands pru-
reversible cultural, social and even economic losses, the In- dence, a systematic approach and discipline. Rigidity should
ternational Council on Monuments and Sites (ICOMOS) be avoided since individual cases may present specific prob-
deems it necessary to draw up an international charter for lems.
historic towns and urban areas that will complement the
“International Charter for the Conservation and Restora-
tion of Monuments and Sites,” usually referred to as “The Methods and instruments
Venice Charter.” This new text defines the principles, ob-
jectives, and methods necessary for the conservation of his- 5 Planning for the conservation of historic towns and urban ar-
toric towns and urban areas. It also seeks to promote the eas should be preceded by multidisciplinary studies.
harmony of both private and community life in these areas • Conservation plans must address all relevant factors in-
and to encourage the preservation of those cultural proper- cluding archaeology, history, architecture, techniques, so-
ties, however modest in scale, that constitute the memory of ciology and economics.
mankind. • The principal objectives of the conservation plan should
4 As set out in the UNESCO “Recommendation Concerning be clearly stated as should the legal, administrative and
the Safeguarding and Contemporary Role of Historic Areas” financial measures necessary to attain them.
(Warsaw – Nairobi, 1976), and also in various other interna- • The conservation plan should aim at ensuring a harmo-
tional instruments, “the conservation of historic towns and nious relationship between the historic urban areas and
urban areas” is understood to mean those steps necessary for the town as a whole.
the protection, conservation and restoration of such towns • The conservation plan should determine which buildings
and areas as well as their development and harmonious must be preserved, which should be preserved under cer-
adaptation to contemporary life. tain circumstances and which, under quite exceptional
circumstances, might be expendable.
• Before any intervention, existing conditions in the area
Principles and objectives should be thoroughly documented.
• The conservation plan should be supported by the resi-
1 In order to be most effective, the conservation of historic dents of the historic area.
towns and other historic urban areas should be an integral 6 Until a conservation plan has been adopted, any necessary
part of coherent policies of economic and social develop- conservation activity should be carried out in accordance
ment and of urban and regional planning at every level. with the principles and the aims of this Charter and the
2 Qualities to be preserved include the historic character of the Venice Charter.
town or urban area and all those material and spiritual ele- 7 Continuing maintenance is crucial to the effective conserva-
ments that express this character, especially: tion of a historic town or urban area.
a) urban patterns as defined by lots and streets; 8 New functions and activities should be compatible with the
b) relationships between buildings and green and open character of the historic town or urban area.
spaces;
c) the formal appearance, interior and exterior, of buildings Adaptation of these areas to contemporary life requires
as defined by scale, size, style, construction, materials, the careful installation or improvement of public service facil-
colour and decoration; ities.

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 CHARTER FOR THE CONSERVATION OF HISTORIC TOWNS AND URBAN AREAS

9 The improvement of housing should be one of the basic ob- 13 When urban or regional planning provides for the construc-
jectives of conservation. tion of major motorways, they must not penetrate a historic
10 When it is necessary to construct new buildings or adapt ex- town or urban area, but they should improve access to them.
isting ones, the existing spatial layout should be respected, 14 Historic towns should be protected against natural disasters
especially in terms of scale and lot size. and nuisances such as pollution and vibrations in order to
safeguard the heritage and for the security and well-being of
The introduction of contemporary elements in harmony with the the residents.
surroundings should not be discouraged since such features can
contribute to the enrichment of an area. Whatever the nature of a disaster affecting a historic town or ur-
ban area, preventative and repair measures must be adapted to
11 Knowledge of the history of a historic town or urban area the specific character of the properties concerned.
should be expanded through archaeological investiga-
tion and appropriate preservation of archaeological find- 15 In order to encourage their participation and involvement, a
ings. general information programme should be set up for all res-
12 Traffic inside a historic town or urban area must be con- idents, beginning with children of school age.
trolled and parking areas must be planned so that they do not 16 Specialised training should be provided for all those profes-
damage the historic fabric or its environment. sions concerned with conservation.

99
CHARTER FOR THE PROTECTION AND MANAGEMENT
OF THE ARCHAEOLOGICAL HERITAGE (1990)
Prepared by the International Committee for the Management of Archaeological Heritage (ICAHM) and approved by the 9 th General
Assembly of ICOMOS in Lausanne in 1990.

Introduction of human activity, abandoned structures, and remains of

all kinds (including subterranean and underwater sites), to-
It is widely recognised that a knowledge and understanding of gether with all the portable cultural material associated with
the origins and development of human societies is of fundamen- them.
tal importance to humanity in identifying its cultural and social
roots. Article 2. Integrated Protection Policies
The archaeological heritage constitutes the basic record of The archaeological heritage is a fragile and non-renewable cul-
past human activities. Its protection and proper management is tural resource. Land use must therefore be controlled and devel-
therefore essential to enable archaeologists and other scholars to oped in order to minimise the destruction of the archaeological
study and interpret it on behalf of and for the benefit of present heritage.
and future generations. Policies for the protection of the archaeological heritage
The protection of this heritage cannot be based upon the ap- should constitute an integral component of policies relating to
plication of archaeological techniques alone. It requires a wider land use, development, and planning as well as of cultural, envi-
basis of professional and scientific knowledge and skills. Some ronmental and educational policies. The policies for the protec-
elements of the archaeological heritage are components of ar- tion of the archaeological heritage should be kept under contin-
chitectural structures and in such cases must be protected in ac- ual review, so that they stay up to date. The creation of
cordance with the criteria for the protection of such structures archaeological reserves should form part of such policies.
laid down in the 1966 Venice Charter on the Conservation and The protection of the archaeological heritage should be integrat-
Restoration of Monuments and Sites. Other elements of the ar- ed into planning policies at international, national, regional and
chaeological heritage constitute part of the living traditions of local levels.
indigenous peoples, and for such sites and monuments the par- Active participation by the general public must form part of
ticipation of local cultural groups is essential for their protection policies for the protection of the archaeological heritage. This is
and preservation. essential where the heritage of indigenous peoples is involved.
For these and other reasons the protection of the archaeologi- Participation must be based upon access to the knowledge nec-
cal heritage must be based upon effective collaboration between essary for decision-making. The provision of information to the
professionals from many disciplines. It also requires the co-op- general public is therefore an important element in integrated
eration of government authorities, academic researchers, private protection.
or public enterprise, and the general public. This charter there-
fore lays down principles relating to the different aspects of ar- Article 3. Legislation and Economy
chaeological heritage management. These include the responsi- The protection of the archaeological heritage should be consid-
bilities of public authorities and legislators, principles relating to ered as a moral obligation upon all human beings; it is also a col-
the professional performance of the processes of inventorisa- lective public responsibility. This obligation must be acknowl-
tion, survey, excavation, documentation, research, maintenance, edged through relevant legislation and the provision of adequate
conservation, preservation, reconstruction, information, presen- funds for the supporting programmes necessary for effective
tation, public access and use of the heritage, and the qualifica- heritage management.
tion of professionals involved in the protection of the archaeo- The archaeological heritage is common to all human society
logical heritage. and it should therefore be the duty of every country to ensure
The charter has been inspired by the success of the Venice that adequate funds are available for its protection.
Charter as guidelines and source of ideas for policies and prac- Legislation should afford protection to the archaeological her-
tice of governments as well as scholars and professionals. itage that is appropriate to the needs, history, and traditions of
The charter has to reflect very basic principles and guidelines each country and region, providing for in situ protection and re-
with global validity. For this reason it cannot take into account search needs.
the specific problems and possibilities of regions or countries. Legislation should be based on the concept of the archaeolog-
The charter should therefore be supplemented at regional and ical heritage as the heritage of all humanity and of groups of
national levels by further principles and guidelines for these peoples, and not restricted to any individual person or nation.
needs. Legislation should forbid the destruction, degradation or al-
teration through changes of any archaeological site or monu-
Article 1. Definition and Introduction ment or to their surroundings without the consent of the relevant
The “archaeological heritage” is that part of the material archaeological authority.
heritage in respect of which archaeological methods provide Legislation should in principle require full archaeological in-
primary information. It comprises all vestiges of human vestigation and documentation in cases where the destruction of
existence and consists of places relating to all manifestations the archaeological heritage is authorised.

104
 CHARTER FOR THE PROTECTION AND MANAGEMENT OF THE ARCHAEOLOGICAL HERITAGE

Legislation should require, and make provision for, the es excavation must be preceded by thorough scientific evalua-
proper maintenance, management and conservation of the tion of the significance of the site. Excavation should be partial,
archaeological heritage. Adequate legal sanctions should be leaving a portion undisturbed for future research.
prescribed in respect of violations of archaeological heritage A report conforming to an agreed standard should be made
legislation. available to the scientific community and should be incorporat-
If legislation affords protection only to those elements of the ed in the relevant inventory within a reasonable period after the
archaeological heritage which are registered in a selective statu- conclusion of the excavation.
tory inventory, provision should be made for the temporary pro- Excavations should be conducted in accordance with the prin-
tection of unprotected or newly discovered sites and monuments ciples embodied in the 1956 UNESCO Recommendations on
until an archaeological evaluation can be carried out. International Principles Applicable to Archaeological Excava-
Development projects constitute one of the greatest physical tions and with agreed international and national professional
threats to the archaeological heritage. A duty for developers to standards.
ensure that archaeological heritage impact studies are carried
out before development schemes are implemented, should there- Article 6. Maintenance and Conservation
fore be embodied in appropriate legislation, with a stipulation The overall objective of archaeological heritage management
that the costs of such studies are to be included in project costs. should be the preservation of monuments and sites in situ, in-
The principle should also be established in legislation that de- cluding proper long-term conservation and curation of all relat-
velopment schemes should be designed in such a way as to min- ed records and collections etc. Any transfer of elements of the
imise their impact upon the archaeological heritage. heritage to new locations represents a violation of the principle
of preserving the heritage in its original context. This principle
Article 4. Survey stresses the need for proper maintenance, conservation and man-
The protection of the archaeological heritage must be based up- agement. It also asserts the principle that the archaeological her-
on the fullest possible knowledge of its extent and nature. Gen- itage should not be exposed by excavation or left exposed after
eral survey of archaeological resources is therefore an essential excavation if provision for its proper maintenance and manage-
working tool in developing strategies for the protection of the ar- ment after excavation cannot be guaranteed.
chaeological heritage. Consequently archaeological survey Local commitment and participation should be actively
should be a basic obligation in the protection and management sought and encouraged as a means of promoting the mainte-
of the archaeological heritage. nance of the archaeological heritage. This principle is especial-
At the same time, inventories constitute primary resource ly important when dealing with the heritage of indigenous peo-
databases for scientific study and research. The compilation of ples or local cultural groups. In some cases it may be appropriate
inventories should therefore be regarded as a continuous, dy- to entrust responsibility for the protection and management of
namic process. It follows that inventories should comprise in- sites and monuments to indigenous peoples.
formation at various levels of significance and reliability, since Owing to the inevitable limitations of available resources, ac-
even superficial knowledge can form the starting point for pro- tive maintenance will have to be carried out on a selective basis.
tectional measures. It should therefore be applied to a sample of the diversity of sites
and monuments, based upon a scientific assessment of their sig-
Article 5. Investigation nificance and representative character, and not confined to the
Archaeological knowledge is based principally on the scientific more notable and visually attractive monuments.
investigation of the archaeological heritage. Such investigation The relevant principles of the 1956 UNESCO Recommenda-
embraces the whole range of methods from non-destructive tions should be applied in respect of the maintenance and con-
techniques through sampling to total excavation. servation of the archaeological heritage.
It must be an overriding principle that the gathering of infor-
mation about the archaeological heritage should not destroy any Article 7. Presentation, Information, Reconstruction
more archaeological evidence than is necessary for the protec- The presentation of the archaeological heritage to the general
tional or scientific objectives of the investigation. Non-destruc- public is an essential method of promoting an understanding of
tive techniques, aerial and ground survey, and sampling should the origins and development of modern societies. At the same
therefore be encouraged wherever possible, in preference to to- time it is the most important means of promoting an under-
tal excavation. standing of the need for its protection.
As excavation always implies the necessity of making a selec- Presentation and information should be conceived as a popu-
tion of evidence to be documented and preserved at the cost of lar interpretation of the current state of knowledge, and it must
losing other information and possibly even the total destruction therefore be revised frequently. It should take account of the
of the monument, a decision to excavate should only be taken af- multifaceted approaches to an understanding of the past.
ter thorough consideration. Reconstructions serve two important functions: experimental
Excavation should be carried out on sites and monuments research and interpretation. They should, however, be carried out
threatened by development, land-use change, looting, or natural with great caution, so as to avoid disturbing any surviving ar-
deterioration. chaeological evidence, and they should take account of evidence
In exceptional cases, unthreatened sites may be excavated to from all sources in order to achieve authenticity. Where possible
elucidate research problems or to interpret them more effective- and appropriate, reconstructions should not be built immediately
ly for the purpose of presenting them to the public. In such cas- on the archaeological remains, and should be identifiable as such.

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CHARTER FOR THE PROTECTION AND MANAGEMENT OF THE ARCHAEOLOGICAL HERITAGE

Article 8. Professional Qualifications Article 9. International Co-operation

High academic standards in many different disciplines are es- The archaeological heritage is the common heritage of all hu-
sential in the management of the archaeological heritage. The manity. International co-operation is therefore essential in de-
training of an adequate number of qualified professionals in veloping and maintaining standards in its management.
the relevant fields of expertise should therefore be an important There is an urgent need to create international mechanisms for
objective for the educational policies in every country. The the exchange of information and experience among profession-
need to develop expertise in certain highly specialised fields als dealing with archaeological heritage management. This re-
calls for international co-operation. Standards of professional quires the organisation of conferences, seminars, workshops,
training and professional conduct should be established and etc. at global as well as regional levels, and the establishment of
maintained. regional centres for postgraduate studies. ICOMOS, through its
The objective of academic archaeological training should take specialised groups, should promote this aspect in its medium-
account of the shift in conservation policies from excavation to and long-term planning.
in situ preservation. It should also take into account the fact that International exchanges of professional staff should also be
the study of the history of indigenous peoples is as important in developed as a means of raising standards of archaeological her-
preserving and understanding the archaeological heritage as the itage management.
study of outstanding monuments and sites. Technical assistance programmes in the field of archaeologi-
The protection of the archaeological heritage is a process cal heritage management should be developed under the aus-
of continuous dynamic development. Time should therefore pices of ICOMOS.
be made available to professionals working in this field to
enable them to update their knowledge. Postgraduate train- This Charter, written by the International Committee on Ar-
ing programmes should be developed with special emphasis chaeological Heritage Management (ICAHM), a specialised
on the protection and management of the archaeological her- committee of ICOMOS, was approved by the ICOMOS Gener-
itage. al Assembly, meeting in Lausanne, Switzerland, in October
1990.

106
GUIDELINES ON EDUCATION AND TRAINING IN THE CONSERVATION
OF MONUMENTS, ENSEMBLES AND SITES (1993)

The General Assembly of the International Council on Monu- Educational and Training Programs and Courses
ments and Sites, ICOMOS, meeting in Colombo, Sri Lanka, at 4 There is a need to develop a holistic approach to our heritage
its tenth session from July 30 to August 7, 1993; on the basis of cultural pluralism and diversity, respected by
professionals, craftspersons and administrators. Conserva-
Considering the breadth of the heritage encompassed within the tion requires the ability to observe, analyze and synthesize.
concept of monuments, ensembles and sites; The conservationist should have a flexible yet pragmatic ap-
proach based on cultural consciousness which should pene-
Considering the great variety of actions and treatments required trate all practical work, proper education and training, sound
for the conservation of these heritage resources, and the neces- judgement and a sense of proportion with an understanding
sity of a common discipline for their guidance; of the community’s needs. Many professional and craft skills
are involved in this interdisciplinary activity.
Recognizing that many different professions need to collaborate 5 Conservation works should only be entrusted to persons
within the common discipline of conservation in the process and competent in these specialist activities. Education and train-
require proper education and training in order to guarantee good ing for conservation should produce from a range of profes-
communication and coordinated action in conservation; sionals, conservationists who are able to:
a) read a monument, ensemble or site and identify its emo-
Noting the Venice Charter and related ICOMOS doctrine, and tional, cultural and use significance;
the need to provide a reference for the institutions and bodies in- b) understand the history and technology of monuments, en-
volved in developing training programs, and to assist in defining sembles or sites in order to define their identity, plan for
and building up appropriate standards and criteria suitable to their conservation, and interpret the results of this re-
meet the specific cultural and technical requirements in each search;
community or region; c) understand the setting of a monument, ensemble or site,
their contents and surroundings, in relation to other build-
Adopts the following guidelines, and Recommends that they be ings, gardens or landscapes;
diffused for the information of appropriate institutions, organi- d) find and absorb all available sources of information rele-
zations and authorities. vant to the monument, ensemble or site being studied;
e) understand and analyze the behavior of monuments, en-
Aim of the Guidelines sembles and sites as complex systems;
1 The aim of this document is to promote the establishment of f) diagnose intrinsic and extrinsic causes of decay as a basis
standards and guidelines for education and training in the for appropriate action;
conservation of monuments, groups of buildings (“ensem- g) inspect and make reports intelligible to non-specialist
bles”) and sites defined as cultural heritage by the World readers of monuments, ensembles or sites, illustrated by
Heritage Convention of 1972. They include historic build- graphic means such as sketches and photographs;
ings, historic areas and towns, archaeological sites, and the h) know, understand and apply UNESCO conventions and
contents therein, as well as historic and cultural landscapes. recommendations, and ICOMOS and other recognized
Their conservation is now, and will continue to be a matter Charters, regulations and guidelines;
of urgency. i) make balanced judgements based on shared ethical prin-
ciples, and accept responsibility for the long-term welfare
Conservation of cultural heritage;
2 Conservation of cultural heritage is now recognized as rest- j) recognize when advice must be sought and define the ar-
ing within the general field of environmental and cultural eas of need of study by different specialists, e.g. wall
development. Sustainable management strategies for change paintings, sculpture and objects of artistic and historical
which respect cultural heritage require the integration of value, and/or studies of materials and systems;
conservation attitudes with contemporary economic and so- k) give expert advice on maintenance strategies, manage-
cial goals including tourism. ment policies and the policy framework for environmen-
3 The object of conservation is to prolong the life of cultural tal protection and preservation of monuments and their
heritage and, if possible, to clarify the artistic and historical contents, and sites;
messages therein without the loss of authenticity and mean- l) document works executed and make same accessible.
ing. Conservation is a cultural, artistic, technical and craft m)work in multi-disciplinary groups using sound methods;
activity based on humanistic and scientific studies and sys- n) be able to work with inhabitants, administrators and
tematic research. Conservation must respect the cultural planners to resolve conflicts and to develop conservation
context. strategies appropriate to local needs, abilities and re-
sources;

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GUIDELINES ON EDUCATION AND TRAINING IN THE CONSERVATION OF MONUMENTS, ENSEMBLES AND SITES

Aims of Courses impart profound understanding of conservation. They can

6 There is a need to impart knowledge of conservation atti- help introduce concepts and techniques of conservation in
tudes and approaches to all those who may have a direct or the management of the built and natural environment and the
indirect impact on cultural property. objects within it.
7 The practice of conservation is interdisciplinary; it therefore 14 Participants in specialist courses should be of a high caliber
follows that courses should also be multidisciplinary. Pro- normally having had appropriate education and training and
fessionals, including academics and specialized craftsper- practical working experience. Specialist courses should be
sons, who have already received their normal qualification multi-disciplinary with core subjects for all participants, and
will need further training in order to become conservation- optional subjects to extend capacities and/or to fill the gaps
ists; equally those who seek to act competently in historic in previous education and training. To complete the educa-
environment. tion and training of a conservationist an internship is recom-
8 Conservationists should ensure that all artisans and staff mended to give practical experience.
working on a monument, ensemble or site respect its signif- 15 Every country or regional group should be encouraged to
icance. develop at least one comprehensively organized institute
9 Training in disaster preparedness and in methods of mitigat- giving education and training and specialist courses. It may
ing damage to cultural property, by strengthening and im- take decades to establish a fully competent conservation ser-
proving fire prevention and other security measures, should vice. Special short-term measures may therefore be required,
be included in courses. including the grafting of new initiatives onto existing pro-
10 Traditional crafts are a valuable cultural resource. grams in order to lead to fully developed new programs. Na-
Craftspersons, already with high level manual skills, should tional, regional and international exchange of teachers, ex-
be further trained for conservation work with instruction perts and students should be encouraged. Regular evaluation
in the history of their craft, historic details and practices, of conservation training programs by peers is a necessity.
and the theory of conservation with the need for documen-
tation. Many historic skills will have to be recorded and re- Resources
vived. 16 Resources needed for specialist courses may include e.g.:
a) an adequate number of participants of required level ide-
Organization of Education and Training ally in the range of 15 to 25;
11 Many satisfactory methods of achieving the required educa- b) a full-time co-ordinator with sufficient administrative
tion and training are possible. Variations will depend on tra- support;
ditions and legislation, as well as on administrative and eco- c) instructors with sound theoretical knowledge and practi-
nomic context of each cultural region. The active exchange cal experience in conservation and teaching ability;
of ideas and opinions on new approaches to education and d) fully equipped facilities including lecture space with au-
training between national institutes and at international lev- dio-visual equipment, video, etc., studios, laboratories,
els should be encouraged. Collaborative network of individ- workshops, seminar rooms, and staff offices;
uals and institutions is essential to the success of this ex- e) library and documentation center providing reference
change. collections, facilities for coordinated research, and access
12 Education and sensitization for conservation should begin in to computerized information networks;
schools and continue in universities and beyond. These in- f) a range of monuments, ensembles and sites within a rea-
stitutions have an important role in raising visual and cultur- sonable radius.
al awareness – improving ability to read and understand the 17 Conservation depends upon documentation adequate for un-
elements of our cultural heritage – and giving the cultural derstanding of monuments, ensembles or sites and their re-
preparation needed by candidates for specialist education spective settings. Each country should have an institute for
and training. Practical hands-on training in craft work should research and archive for recording its cultural heritage and
be encouraged. all conservation works related thereto. The course should
13 Courses for continuing professional development can en- work within the archive responsibilities identified at the na-
large on the initial education and training of professionals. tional level.
Long-term, part-time courses are a valuable method for ad- 18 Funding for teaching fees and subsistence may need special
vanced teaching, and useful in major population centers. arrangements for mid-career participants as they may al-
Short courses can enlarge attitudes, but cannot teach skills or ready have personal responsibilities.

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THE NARA DOCUMENT ON AUTHENTICITY (1994)

Preamble highly desirable, provided achieving this balance does not

undermine their fundamental cultural values.
1 We, the experts assembled in Nara (Japan), wish to ac-
knowledge the generous spirit and intellectual courage of the Values and Authenticity
Japanese authorities in providing a timely forum in which we 9 Conservation of cultural heritage in all its forms and histor-
could challenge conventional thinking in the conservation ical periods is rooted in the values attributed to the heritage.
field, and debate ways and means of broadening our hori- Our ability to understand these values depends, in part, on
zons to bring greater respect for cultural and heritage diver- the degree to which information sources about these values
sity to conservation practice. may be understood as credible or truthful. Knowledge and
2 We also wish to acknowledge the value of the framework for understanding of these sources of information, in relation to
discussion provided by the World Heritage Committee’s de- original and subsequent characteristics of the cultural her-
sire to apply the test of authenticity in ways which accord itage, and their meaning, is a requisite basis for assessing all
full respect to the social and cultural values of all societies, aspects of authenticity.
in examining the outstanding universal value of cultural 10 Authenticity, considered in this way and affirmed in the
properties proposed for the World Heritage List. Charter of Venice, appears as the essential qualifying factor
3 The Nara Document on Authenticity is conceived in the spir- concerning values. The understanding of authenticity plays
it of the Charter of Venice, 1964, and builds on it and extends a fundamental role in all scientific studies of the cultural her-
it in response to the expanding scope of cultural heritage itage, in conservation and restoration planning, as well as
concerns and interests in our contemporary world. within the inscription procedures used for the World Her-
4 In a world that is increasingly subject to the forces of glob- itage Convention and other cultural heritage inventories.
alization and homogenization, and in a world in which the 11 All judgements about values attributed to cultural properties
search for cultural identity is sometimes pursued through ag- as well as the credibility of related information sources may
gressive nationalism and the suppression of the cultures of differ from culture to culture, and even within the same cul-
minorities, the essential contribution made by the consider- ture. It is thus not possible to base judgements of values and
ation of authenticity in conservation practice is to clarify and authenticity within fixed criteria. On the contrary, the re-
illuminate the collective memory of humanity. spect due to all cultures requires that heritage properties
must be considered and judged within the cultural contexts
Cultural Diversity and Heritage Diversity to which they belong.
5 The diversity of cultures and heritage in our world is an irre- 12 Therefore, it is of the highest importance and urgency that,
placeable source of spiritual and intellectual richness for all within each culture, recognition be accorded to the specific
humankind. The protection and enhancement of cultural and nature of its heritage values and the credibility and truthful-
heritage diversity in our world should be actively promoted ness of related information sources.
as an essential aspect of human development. 13 Depending on the nature of the cultural heritage, its cultural
6 Cultural heritage diversity exists in time and space, and de- context, and its evolution through time, authenticity judge-
mands respect for other cultures and all aspects of their be- ments may be linked to the worth of a great variety of
lief systems. In cases where cultural values appear to be in sources of information. Aspects of the sources may include
conflict, respect for cultural diversity demands acknowl- form and design, materials and substance, use and function,
edgment of the legitimacy of the cultural values of all par- traditions and techniques, location and setting, and spirit and
ties. feeling, and other internal and external factors. The use of
7 All cultures and societies are rooted in the particular forms these sources permits elaboration of the specific artistic, his-
and means of tangible and intangible expression which con- toric, social, and scientific dimensions of the cultural her-
stitute their heritage, and these should be respected. itage being examined.
8 It is important to underline a fundamental principle of
UNESCO, to the effect that the cultural heritage of each is the
cultural heritage of all. Responsibility for cultural heritage Appendix
and the management of it belongs, in the first place, to the
cultural community that has generated it, and subsequently to Suggestions for follow-up (proposed by H. Stovel)
that which cares for it. However, in addition to these respon- 1 Respect for cultural and heritage diversity requires con-
sibilities, adherence to the international charters and conven- scious efforts to avoid imposing mechanistic formulae or
tions developed for conservation of cultural heritage also standardized procedures in attempting to define or deter-
obliges consideration of the principles and responsibilities mine authenticity of particular monuments and sites.
flowing from them. Balancing their own requirements with 2 Efforts to determine authenticity in a manner respectful of
those of other cultural communities is, for each community, cultures and heritage diversity requires approaches which

118
 THE NARA DOCUMENT ON AUTHENTICITY

encourage cultures to develop analytical processes and tools Appendix II

specific to their nature and needs. Such approaches may
have several aspects in common: Definitions
• efforts to ensure assessment of authenticity involve mul- Conservation: all efforts designed to understand cultural her-
tidisciplinary collaboration and the appropriate utiliza- itage, know its history and meaning, ensure its material safe-
tion of all available expertise and knowledge; guard and, as required, its presentation, restoration and enhance-
• efforts to ensure attributed values are truly representative ment. (Cultural heritage is understood to include monuments,
of a culture and the diversity of its interests, in particular groups of buildings and sites of cultural value as defined in ar-
monuments and sites; ticle one of the World Heritage Convention).
• efforts to document clearly the particular nature of au-
thenticity for monuments and sites as a practical guide to Information sources: all material, written, oral and figurative
future treatment and monitoring; sources which make it possible to know the nature, specifica-
• efforts to update authenticity assessments in light of tions, meaning and history of the cultural heritage.
changing values and circumstances.
3 Particularly important are efforts to ensure that attributed
values are respected, and that their determination includes
efforts to build, as far as possible, a multidisciplinary and
community consensus concerning these values.
4 Approaches should also build on and facilitate international
co-operation among all those with an interest in conserva-
tion of cultural heritage, in order to improve global respect
and understanding for the diverse expressions and values of
each culture.
5 Continuation and extension of this dialogue to the various
regions and cultures of the world is a prerequisite to increas- The Nara Document on Authenticity was drafted by the 45 par-
ing the practical value of consideration of authenticity in the ticipants at the Nara Conference on Authenticity in Relation to
conservation of the common heritage of humankind. the World Heritage Convention, held at Nara, Japan, from 1-6
6 Increasing awareness within the public of this fundamental November 1994, at the invitation of the Agency for Cultural Af-
dimension of heritage is an absolute necessity in order to ar- fairs (Government of Japan) and the Nara Prefecture. The
rive at concrete measures for safeguarding the vestiges of the Agency organized the Nara Conference in cooperation with UN-
past. This means developing greater understanding of the ESCO, ICCROM and ICOMOS.
values represented by the cultural properties themselves, as This final version of the Nara Document has been edited by the
well as respecting the role such monuments and sites play in general rapporteurs of the Nara Conference, Mr. Raymond
contemporary society. Lemaire and Mr. Herb Stovel.

119
CHARTER ON THE PROTECTION AND MANAGEMENT
OF UNDERWATER CULTURAL HERITAGE (1996)
Ratified by the 11th ICOMOS General Assembly in Sofia, October 1996

Introduction Many of these threats can be removed or substantially reduced

by early consultation with archaeologists and by implementing
This Charter is intended to encourage the protection and manage- mitigatory projects. This Charter is intended to assist in bringing
ment of underwater cultural heritage in inland and inshore waters, a high standard of archaeological expertise to bear on such threats
in shallow seas and in the deep oceans. It focuses on the specific to underwater cultural heritage in a prompt and efficient manner.
attributes and circumstances of cultural heritage under water and Underwater cultural heritage is also threatened by activities
should be understood as a supplement to the ICOMOS Charter for that are wholly undesirable because they are intended to profit
the Protection and Management of Archaeological Heritage, few at the expense of many. Commercial exploitation of under-
1990. The 1990 Charter defines the “archaeological heritage” as water cultural heritage for trade or speculation is fundamentally
that part of the material heritage in respect of which archaeologi- incompatible with the protection and management of the her-
cal methods provide primary information, comprising all vestiges itage. This Charter is intended to ensure that all investigations
of human existence and consisting of places relating to all mani- are explicit in their aims, methodology and anticipated results so
festations of human activity, abandoned structures, and remains that the intention of each project is transparent to all.
of all kinds, together with all the portable cultural material asso-
ciated with them. For the purposes of this Charter underwater cul- Article 1 – Fundamental Principles
tural heritage is understood to mean the archaeological heritage The preservation of underwater cultural heritage in situ should
which is in, or has been removed from, an underwater environ- be considered as a first option.
ment. It includes submerged sites and structures, wreck-sites and
wreckage and their archaeological and natural context. Public access should be encouraged.
By its very character the underwater cultural heritage is an in-
ternational resource. A large part of the underwater cultural her- Non-destructive techniques, non-intrusive survey and sampling
itage is located in an international setting and derives from in- should be encouraged in preference to excavation.
ternational trade and communication in which ships and their
contents are lost at a distance from their origin or destination. Investigation must not adversely impact the underwater cultural
Archaeology is concerned with environmental conservation; heritage more than is necessary for the mitigatory or research
in the language of resource management, underwater cultural objectives of the project.
heritage is both finite and non-renewable. If underwater cultur-
al heritage is to contribute to our appreciation of the environ- Investigation must avoid unnecessary disturbance of human re-
ment in the future, then we have to take individual and collective mains or venerated sites.
responsibility in the present for ensuring its continued survival.
Archaeology is a public activity; everybody is entitled to draw Investigation must be accompanied by adequate documentation.
upon the past in informing their own lives, and every effort to
curtail knowledge of the past is an infringement of personal au- Article 2 – Project Design
tonomy. Underwater cultural heritage contributes to the forma- Prior to investigation a project must be prepared, taking into ac-
tion of identity and can be important to people’s sense of com- count :
munity. If managed sensitively, underwater cultural heritage can • the mitigatory or research objectives of the project;
play a positive role in the promotion of recreation and tourism. • the methodology to be used and the techniques to be em-
Archaeology is driven by research, it adds to knowledge of the ployed;
diversity of human culture through the ages and it provides new • anticipated funding;
and challenging ideas about life in the past. Such knowledge and • the time-table for completing the project;
ideas contribute to understanding life today and, thereby, to an- • the composition, qualifications, responsibility and experi-
ticipating future challenges. ence of the investigating team;
Many marine activities, which are themselves beneficial and • material conservation;
desirable, can have unfortunate consequences for underwater • site management and maintenance;
cultural heritage if their effects are not foreseen. • arrangements for collaboration with museums and other in-
Underwater cultural heritage may be threatened by construc- stitutions;
tion work that alters the shore and seabed or alters the flow of • documentation;
current, sediment and pollutants. Underwater cultural heritage • health and safety;
may also be threatened by insensitive exploitation of living and • report preparation;
non-living resources. Furthermore, inappropriate forms of ac- • deposition of archives, including underwater cultural her-
cess and the incremental impact of removing “souvenirs” can itage removed during investigation;
have a deleterious effect. • dissemination, including public participation.

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 CHARTER ON THE PROTECTION AND MANAGEMENT OF UNDERWATER CULTURAL HERITAGE

The project design should be revised and amended as necessary. Documentation must provide a comprehensive record of the
Investigation must be carried out in accordance with the project site, which includes the provenance of underwater cultural her-
design. The project design should be made available to the ar- itage moved or removed in the course of investigation, field notes,
chaeological community. plans and drawings, photographs and records in other media.

Article 3 – Funding Article 9 – Material conservation

Adequate funds must be assured in advance of investigation to The material conservation programme must provide for treat-
complete all stages of the project design including conservation, ment of archaeological remains during investigation, in transit
report preparation and dissemination. The project design should and in the long term.
include contingency plans that will ensure conservation of un- Material conservation must be carried out in accordance with
derwater cultural heritage and supporting documentation in the current professional standards.
event of any interruption in anticipated funding.
Project funding must not require the sale of underwater cul- Article 10 – Site management and maintenance
tural heritage or the use of any strategy that will cause underwa- A programme of site management must be prepared, detailing
ter cultural heritage and supporting documentation to be irre- measures for protecting and managing in situ underwater cultur-
trievably dispersed. al heritage in the course of an upon termination of fieldwork.
The programme should include public information, reasonable
Article 4 – Time-table provision for site stabilisation, monitoring and protection
Adequate time must be assured in advance of investigation to against interference. Public access to in situ underwater cultural
complete all stages of the project design including con- heritage should be promoted, except where access is incompati-
servation, report preparation and dissemination. The project ble with protection and management.
design should include contingency plans that will ensure
conservation of underwater cultural heritage and supporting Article 11 – Health and safety
documentation in the event of any interruption in anticipated The health and safety of the investigating team and third parties
timings. is paramount. All persons on the investigating team must work
according to a safety policy that satisfies relevant statutory and
Article 5- Research objectives, methodology and techniques professional requirements and is set out in the project design.
Research objectives and the details of the methodology and
techniques to be employed must be set down in the project de- Article 12 – Reporting
sign. The methodology should accord with the research objec- Interim reports should be made available according to a time-
tives of the investigation and the techniques employed must be table set out in the project design, and deposited in relevant pub-
as unintrusive as possible. lic records.
Post-fieldwork analysis of artefacts and documentation is in-
tegral to all investigation; adequate provision for this analysis Reports should include :
must be made in the project design. • an account of the objectives;
• an account of the methodology and techniques employed;
Article 6 – Qualifications, responsibility and experience • an account of the results achieved;
All persons on the investigating team must be suitably qualified • recommendations concerning future research, site manage-
and experienced for their project roles. They must be fully ment and curation of underwater cultural heritage removed
briefed and understand the work required. during the investigation.
All intrusive investigations of underwater cultural heritage
will only be undertaken under the direction and control of a Article 13 – Curation
named underwater archaeologist with recognised qualifications The project archive, which includes underwater cultural heritage
and experience appropriate to the investigation. removed during investigation and a copy of all supporting doc-
umentation, must be deposited in an institution that can provide
Article 7 – Preliminary investigation for public access and permanent curation of the archive.
All intrusive investigations of underwater cultural heritage must Arrangements for deposition of the archive should be agreed be-
be preceded and informed by a site assessment that evaluates the fore investigation commences, and should be set out in the pro-
vulnerability, significance and potential of the site. ject design. The archive should be prepared in accordance with
The site assessment must encompass background studies of current professional standards.
available historical and archaeological evidence, the archaeolog- The scientific integrity of the project archive must be assured;
ical and environmental characteristics of the site and the conse- deposition in a number of institutions must not preclude re-
quences of the intrusion for the long term stability of the area af- assembly to allow further research. Underwater cultural heritage
fected by investigations. is not to be traded as items of commercial value.

Article 8 – Documentation Article 14 – Dissemination

All investigation must be thoroughly documented in accordance Public awareness of the results of investigations and the signifi-
with current professional standards of archaeological documen- cance of underwater cultural heritage should be promoted
tation. through popular presentation in a range of media. Access to such

123
CHARTER ON THE PROTECTION AND MANAGEMENT OF UNDERWATER CULTURAL HERITAGE

presentations by a wide audience should not be prejudiced by rating institutions should be made in advance of investigation.
high charges. A final synthesis of the investigation must be made available as
Co-operation with local communities and groups is to be en- soon as possible, having regard to the complexity of the re-
couraged, as is co-operation with communities and groups that search, and deposited in relevant public records.
are particularly associated with the underwater cultural heritage
concerned. It is desirable that investigations proceed with the Article 15 – International co-operation
consent and endorsement of such communities and groups. International co-operation is essential for protection and
The investigation team will seek to involve communities and management of underwater cultural heritage and should be
interest groups in investigations to the extent that such involve- promoted in the interests of high standards of investigation and
ment is compatible with protection and management. Where research. International co-operation should be encouraged in
practical, the investigation team should provide opportunities order to make effective use of archaeologists and other profes-
for the public to develop archaeological skills through training sionals who are specialised in investigations of underwater
and education. cultural heritage. Programmes for exchange of profession-
Collaboration with museums and other institutions is to be en- als should be considered as a means of disseminating best
couraged. Provision for visits, research and reports by collabo- practice.

124
PRINCIPLES FOR THE RECORDING OF MONUMENTS,
GROUPS OF BUILDINGS AND SITES (1996)
Ratified by the 11th ICOMOS General Assembly in Sofia, October 1996

As the cultural heritage is a unique expression of human any way, or where at risk from natural events or human ac-
achievement; and tivities;
– as this cultural heritage is continuously at risk; and c) provide information for administrators and planners at
– as recording is one of the principal ways available to give national, regional or local levels to make sensitive planning
meaning, understanding, definition and recognition of the val- and development control policies and decisions;
ues of the cultural heritage; and d) provide information upon which appropriate and sustain-
– as the responsibility for conserving and maintaining the cul- able use may be identified, and the effective research,
tural heritage rests not only with the owners but also with con- management, maintenance programmes and construction
servation specialists and the professionals, managers, politi- works may be planned.
cians and administrators working at all levels of government, 3 Recording of the cultural heritage should be seen as a prior-
and with the public; and ity, and should be undertaken especially:
– as article 16 of the Charter of Venice requires, it is essential a) when compiling a national, regional, or local inventory;
that responsible organisations and individuals record the na- b) as a fully integrated part of research and conservation ac-
ture of the cultural heritage. tivity;
c) before, during and after any works of repair, alteration, or
The purpose of this document is therefore to set out the princi- other intervention, and when evidence of its history is re-
pal reasons, responsibilities, planning measures, contents, man- vealed during such works;
agement and sharing considerations for the recording of the cul- d) when total or partial demolition, destruction, abandon-
tural heritage. ment or relocation is contemplated, or where the heritage
is at risk of damage from human or natural external
Definitions of words used in this document: forces;
– Cultural Heritage refers to monuments, groups of buildings e) during or following accidental or unforeseen disturbance
and sites of heritage value, constituting the historic or built en- which damages the cultural heritage;
vironment. f) when change of use or responsibility for management or
– Recording is the capture of information which describes the control occurs.
physical configuration, condition and use of monuments,
groups of buildings and sites, at points in time, and it is an es- Responsibility for Recording
sential part of the conservation process. 1 The commitment at the national level to conserve the her-
– Records of monuments, groups of buildings and sites may in- itage requires an equal commitment towards the recording
clude tangible as well as intangible evidence, and constitute a process.
part of the documentation that can contribute to an under- 2 The complexity of the recording and interpretation process-
standing of the heritage and its related values. es requires the deployment of individuals with adequate
skill, knowledge and awareness for the associated tasks. It
The Reasons for Recording may be necessary to initiate training programmes to achieve
1 The recording of the cultural heritage is essential: this.
a) to acquire knowledge in order to advance the understand- 3 Typically the recording process may involve skilled individ-
ing of cultural heritage, its values and its evolution; uals working in collaboration, such as specialist heritage
b) to promote the interest and involvement of the people in recorders, surveyors, conservators, architects, engineers, re-
the preservation of the heritage through the dissemination searchers, architectural historians, archaeologists above and
of recorded information; below ground, and other specialist advisors.
c) to permit informed management and control of construc- 4 All managers of cultural heritage are responsible for ensur-
tion works and of all change to the cultural heritage; ing the adequate recording, quality and updating of the
d) to ensure that the maintenance and conservation of records.
the heritage is sensitive to its physical form, its materi-
als, construction, and its historical and cultural signifi- Planning for Recording
cance. 1 Before new records are prepared, existing sources of infor-
2 Recording should be undertaken to an appropriate level of mation should be found and examined for their adequacy.
detail in order to: a) The type of records containing such information should
a) provide information for the process of identification, un- be searched for in surveys, drawings, photographs, pub-
derstanding, interpretation and presentation of the her- lished and unpublished accounts and descriptions, and re-
itage, and to promote the involvement of the public; lated documents pertaining to the origins and history of
b) provide a permanent record of all monuments, groups of the building, group of buildings or site. It is important to
buildings and sites that are to be destroyed or altered in search out recent as well as old records;

131
PRINCIPLES FOR THE RECORDING OF MONUMENTS, GROUPS OF BUILDINGS AND SITES

b) Existing records should be searched for in locations such the materials, constituent parts and construction, decoration,
as national and local public archives, in professional, in- ornament or inscriptions
stitutional or private archives, inventories and collections, services, fittings and machinery,
in libraries or museums; ancillary structures, the gardens, landscape and the cultural,
c) Records should be searched for through consultation with topographical and natural features of the site;
individuals and organisations who have owned, occupied,
recorded, constructed, conserved, or carried out research d) the traditional and modern technology and skills used in
into or who have knowledge of the building, group of construction and maintenance;
buildings or site. e) evidence to establish the date of origin, authorship, own-
2 Arising out of the analysis above, selection of the appropri- ership, the original design, extent, use and decoration;
ate scope, level and methods of recording requires that: f) evidence to establish the subsequent history of its uses,
a) The methods of recording and type of documentation associated events, structural or decorative alterations, and
produced should be appropriate to the nature of the her- the impact of human or natural external forces;
itage, the purposes of the record, the cultural context, and g) the history of management, maintenance and repairs;
the funding or other resources available. Limitations of h) representative elements or samples of construction or site
such resources may require a phased approach to record- materials;
ing. Such methods might include written descriptions and i) an assessment of the current condition of the heritage;
analyses, photographs (aerial or terrestrial), rectified j) an assessment of the visual and functional relationship
photography, photogrammetry, geophysical survey, between the heritage and its setting;
maps, measured plans, drawings and sketches, replicas or k) an assessment of the conflicts and risks from human or
other traditional and modern technologies; natural causes, and from environmental pollution or adja-
b) Recording methodologies should, wherever possible, use cent land uses.
non-intrusive techniques, and should not cause damage to
the object being recorded; 5 In considering the different reasons for recording (see Sec-
c) The rationale for the intended scope and the recording tion 1.2 above) different levels of detail will be required. All
method should be clearly stated; the above information, even if briefly stated, provides im-
d) The materials used for compiling the finished record portant data for local planning and building control and
must be archivally stable. management. Information in greater detail is generally re-
quired for the site or building owner’s, manager’s or user’s
Content of Records purposes for conservation, maintenance and use.
l Any record should be identified by:
a) the name of the building, group of buildings or Management, Dissemination and Sharing of Records
b) a unique reference number; 1 The original records should be preserved in a safe archive,
c) the date of compilation of the record; and the archive’s environment must ensure permanence of
d) the name of the recording organisation; the information and freedom from decay to recognised in-
e) cross-references to related building records and reports, ternational standards.
photographic, graphic, textual or bibliographic documen- 2 A complete back-up copy of such records should be stored
tation, archaeological and environmental records. in a separate safe location.
2 The location and extent of the monument, group of buildings 3 Copies of such records should be accessible to the statutory
or site must be given accurately – this may be achieved by authorities, to concerned professionals and to the public,
description, maps, plans or aerial photographs. In rural areas where appropriate, for the purposes of research, develop-
a map reference or triangulation to known points may be the ment controls and other administrative and legal processes.
only methods available. In urban areas an address or street 4 Up-dated records should be readily available, if possible on
reference may be sufficient. the site, for the purposes of research on the heritage, man-
3 New records should note the sources of all information not agement, maintenance and disaster relief.
obtained directly from the monument, group of buildings or 5 The format of the records should be standardised, and
site itself. records should be indexed wherever possible to facilitate the
4 Records should include some or all of the following infor- exchange and retrieval of information at a local, national or
mation: international level.
a) the type, form and dimensions of the building, monument 6 The effective assembly, management and distribution of
or site; recorded information requires, wherever possible, the un-
b) the interior and exterior characteristics, as appropriate, of derstanding and the appropriate use of up-to-date informa-
the monument, group of buildings or site; tion technology.
c) the nature, quality, cultural, artistic and scientific signifi- 7 The location of the records should be made public.
cance of the heritage and its components and the cultural, 8 A report of the main results of any recording should be dis-
artistic and scientific significance of: seminated and published, when appropriate.

132
INTERNATIONAL CULTURAL TOURISM CHARTER
Managing Tourism at Places of Heritage Significance (1999)
Adopted by ICOMOS at the 12th General Assembly in Mexico, October 1999

Introduction physical, ecological and aesthetic dimensions. The achievement

of a beneficial inter-action between the potentially conflicting
The Charter Ethos expectations and aspirations of visitors and host or local com-
munities, presents many challenges and opportunities.
At the broadest level, the natural and cultural heritage belongs to The natural and cultural heritage, diversities and living cultures
all people. We each have a right and responsibility to understand, are major tourism attractions. Excessive or poorly-managed
appreciate and conserve its universal values. tourism and tourism related development can threaten their phys-
Heritage is a broad concept and includes the natural as well as ical nature, integrity and significant characteristics. The ecologi-
the cultural environment. It encompasses landscapes, historic cal setting, culture and lifestyles of host communities may also
places, sites and built environments, as well as bio-diversity, col- be degraded, along with the visitor’s experience of the place.
lections, past and continuing cultural practices, knowledge and Tourism should bring benefits to host communities and pro-
living experiences. It records and expresses the long processes vide an important means and motivation for them to care for and
of historic development, forming the essence of diverse nation- maintain their heritage and cultural practices. The involvement
al, regional, indigenous and local identities and is an integral and co-operation of local and/or indigenous community repre-
part of modern life. It is a dynamic reference point and positive sentatives, conservationists, tourism operators, property owners,
instrument for growth and change. The particular heritage and policy makers, those preparing national development plans and
collective memory of each locality or community is irreplace- site managers is necessary to achieve a sustainable tourism in-
able and an important foundation for development, both now dustry and enhance the protection of heritage resources for fu-
and into the future. ture generations.
At a time of increasing globalisation, the protection, conser- ICOMOS, the International Council on Monuments and Sites,
vation, interpretation and presentation of the heritage and cul- as the author of this Charter, other international organisations
tural diversity of any particular place or region is an important and the tourism industry, are dedicated to this challenge.
challenge for people everywhere. However, management of that
heritage, within a framework of internationally recognised and Objectives of the Charter
appropriately applied standards, is usually the responsibility of The Objectives of the International Cultural Tourism Charter
the particular community or custodian group. are:
A primary objective for managing heritage is to communicate • To facilitate and encourage those involved with heritage
its significance and need for its conservation to its host commu- conservation and management to make the significance of
nity and to visitors. Reasonable and well managed physical, in- that heritage accessible to the host community and visitors.
tellectual and/or emotive access to heritage and cultural devel- • To facilitate and encourage the tourism industry to promote
opment is both a right and a privilege. It brings with it a duty of and manage tourism in ways that respect and enhance the
respect for the heritage values, interests and equity of the pre- heritage and living cultures of host communities.
sent-day host community, indigenous custodians or owners of • To facilitate and encourage a dialogue between conservation
historic property and for the landscapes and cultures from which interests and the tourism industry about the importance and
that heritage evolved. fragile nature of heritage places, collections and living cul-
tures, including the need to achieve a sustainable future for
them.
The Dynamic Interaction between Tourism and Cultural • To encourage those formulating plans and policies to devel-
Heritage op detailed, measurable goals and strategies relating to the
presentation and interpretation of heritage places and cultur-
Domestic and international tourism continues to be among the al activities, in the context of their preservation and conser-
foremost vehicles for cultural exchange, providing a personal vation.
experience, not only of that which has survived from the past, In addition,
but of the contemporary life and society of others. It is increas- • The Charter supports wider initiatives by ICOMOS, other
ingly appreciated as a positive force for natural and cultural con- international bodies and the tourism industry in maintaining
servation. Tourism can capture the economic characteristics of the integrity of heritage management and conservation.
the heritage and harness these for conservation by generating • The Charter encourages the involvement of all those with
funding, educating the community and influencing policy. It is relevant or at times conflicting interests, responsibilities and
an essential part of many national and regional economies and obligations to join in achieving its objectives.
can be an important factor in development, when managed suc- • The Charter encourages the formulation of detailed guide-
cessfully. lines by interested parties, facilitating the implementation of
Tourism itself has become an increasingly complex phenom- the Principles to their specific circumstances or the require-
enon, with political, economic, social, cultural, educational, bio- ments of particular organisations and communities.

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INTERNATIONAL CULTURAL TOURISM CHARTER

Principles of the Cultural Tourism Charter the heritage and lifestyles of the host community, while re-
sponding to the needs and aspirations of the visitor.
Principle 1 2.3 Conservation, interpretation and tourism development pro-
grammes should be based on a comprehensive understand-
Since domestic and international tourism is among the fore- ing of the specific, but often complex or conflicting aspects
most vehicles for cultural exchange, conservation should of heritage significance of the particular place. Continuing
provide responsible and well managed opportunities for research and consultation are important to furthering the
members of the host community and visitors to experience evolving understanding and appreciation of that signifi-
and understand that community’s heritage and culture at cance.
first hand. 2.4 The retention of the authenticity of heritage places and col-
1.1 The natural and cultural heritage is a material and spiritual lections is important. It is an essential element of their cul-
resource, providing a narrative of historical development. It tural significance, as expressed in the physical material, col-
has an important role in modern life and should be made lected memory and intangible traditions that remain from
physically, intellectually and/or emotively accessible to the the past. Programmes should present and interpret the au-
general public. Programmes for the protection and conser- thenticity of places and cultural experiences to enhance the
vation of the physical attributes, intangible aspects, contem- appreciation and understanding of that cultural heritage.
porary cultural expressions and broad context, should facil- 2.5 Tourism development and infrastructure projects should
itate an understanding and appreciation of the heritage take account of the aesthetic, social and cultural dimensions,
significance by the host community and the visitor, in an eq- natural and cultural landscapes, bio-diversity characteristics
uitable and affordable manner. and the broader visual context of heritage places. Preference
1.2 Individual aspects of natural and cultural heritage have dif- should be given to using local materials and take account of
fering levels of significance, some with universal values, local architectural styles or vernacular traditions.
others of national, regional or local importance. Interpreta- 2.6 Before heritage places are promoted or developed for in-
tion programmes should present that significance in a rele- creased tourism, management plans should assess the natur-
vant and accessible manner to the host community and the al and cultural values of the resource. They should then es-
visitor, with appropriate, stimulating and contemporary tablish appropriate limits of acceptable change, particularly
forms of education, media, technology and personal expla- in relation to the impact of visitor numbers on the physical
nation of historical, environmental and cultural information. characteristics, integrity, ecology and biodiversity of the
1.3 Interpretation and presentation programmes should facili- place, local access and transportation systems and the social,
tate and encourage the high level of public awareness and economic and cultural well being of the host community. If
support necessary for the long term survival of the natural the likely level of change is unacceptable the development
and cultural heritage. proposal should be modified.
1.4 Interpretation programmes should present the significance 2.7 There should be on-going programmes of evaluation to as-
of heritage places, traditions and cultural practices within sess the progressive impacts of tourism activities and devel-
the past experience and present diversities of the area and the opment on the particular place or community.
host community, including that of minority cultural or lin-
guistic groups. The visitor should always be informed of the
differing cultural values that may be ascribed to a particular Principle 3
heritage resource.
Conservation and Tourism Planning for Heritage Places
should ensure that the Visitor Experience will be worth-
Principle 2 while, satisfying and enjoyable.
3.1 Conservation and tourism programmes should present high
The relationship between Heritage Places and Tourism is dy- quality information to optimise the visitor’s understanding
namic and may involve conflicting values. It should be man- of the significant heritage characteristics and of the need for
aged in a sustainable way for present and future generations. their protection, enabling the visitor to enjoy the place in an
2.1 Places of heritage significance have an intrinsic value for all appropriate manner.
people as an important basis for cultural diversity and social 3.2 Visitors should be able to experience the heritage place at their
development. The long term protection and conservation of own pace, if they so choose. Specific circulation routes may
living cultures, heritage places, collections, their physical be necessary to minimise impacts on the integrity and physi-
and ecological integrity and their environmental context, cal fabric of a place, its natural and cultural characteristics.
should be an essential component of social, economic, po- 3.3 Respect for the sanctity of spiritual places, practices and tra-
litical, legislative, cultural and tourism development poli- ditions is an important consideration for site managers, vis-
cies. itors, policy makers, planners and tourism operators. Visi-
2.2 The interaction between heritage resources or values and tors should be encouraged to behave as welcomed guests,
tourism is dynamic and ever changing, generating both op- respecting the values and lifestyles of the host community,
portunities and challenges, as well as potential conflicts. rejecting possible theft or illicit trade in cultural property
Tourism projects, activities and developments should and conducting themselves in a responsible manner which
achieve positive outcomes and minimise adverse impacts on would generate a renewed welcome, should they return.

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 INTERNATIONAL CULTURAL TOURISM CHARTER

3.4 Planning for tourism activities should provide appropriate those places, including their natural and cultural contexts.
facilities for the comfort, safety and well-being of the visi- Where possible, visitors should be advised of this revenue
tor, that enhance the enjoyment of the visit but do not ad- allocation.
versely impact on the significant features or ecological char- 5.4 Tourism programmes should encourage the training and em-
acteristics. ployment of guides and site interpreters from the host com-
munity to enhance the skills of local people in the presenta-
tion and interpretation of their cultural values.
Principle 4 5.5 Heritage interpretation and education programmes among
the people of the host community should encourage the in-
Host communities and indigenous peoples should be in- volvement of local site interpreters. The programmes should
volved in planning for conservation and tourism. promote a knowledge and respect for their heritage, encour-
4.1 The rights and interests of the host community, at regional aging the local people to take a direct interest in its care and
and local levels, property owners and relevant indigenous conservation.
peoples who may exercise traditional rights or responsibili-
ties over their own land and its significant sites, should be re- 5.6 Conservation management and tourism programmes should
spected. They should be involved in establishing goals, include education and training opportunities for policy mak-
strategies, policies and protocols for the identification, con- ers, planners, researchers, designers, architects, interpreters,
servation, management, presentation and interpretation of conservators and tourism operators. Participants should be
their heritage resources, cultural practices and contemporary encouraged to understand and help resolve the at times con-
cultural expressions, in the tourism context. flicting issues, opportunities and problems encountered by
4.2 While the heritage of any specific place or region may have their colleagues.
a universal dimension, the needs and wishes of some com-
munities or indigenous peoples to restrict or manage physi-
cal, spiritual or intellectual access to certain cultural prac- Principle 6
tices, knowledge, beliefs, activities, artefacts or sites should
be respected. Tourism promotion programmes should protect and en-
hance Natural and Cultural Heritage characteristics.
6.1 Tourism promotion programmes should create realistic ex-
Principle 5 pectations and responsibly inform potential visitors of the
specific heritage characteristics of a place or host communi-
Tourism and conservation activities should benefit the host ty, thereby encouraging them to behave appropriately.
community. 6.2 Places and collections of heritage significance should be
5.1 Policy makers should promote measures for the equitable promoted and managed in ways which protect their authen-
distribution of the benefits of tourism to be shared across ticity and enhance the visitor experience by minimising fluc-
countries or regions, improving the levels of socio-econom- tuations in arrivals and avoiding excessive numbers of visi-
ic development and contributing where necessary to poverty tors at any one time.
alleviation. 6.3 Tourism promotion programmes should provide a wider dis-
5.2 Conservation management and tourism activities should tribution of benefits and relieve the pressures on more pop-
provide equitable economic, social and cultural benefits to ular places by encouraging visitors to experience the wider
the men and women of the host or local community, at all cultural and natural heritage characteristics of the region or
levels, through education, training and the creation of full- locality.
time employment opportunities. 6.4 The promotion, distribution and sale of local crafts and oth-
5.3 A significant proportion of the revenue specifically derived er products should provide a reasonable social and econom-
from tourism programmes to heritage places should be al- ic return to the host community, while ensuring that their
lotted to the protection, conservation and presentation of cultural integrity is not degraded.

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CHARTER ON THE BUILT VERNACULAR HERITAGE (1999)
Ratified by the ICOMOS 12th General Assembly in Mexico, October 1999

Introduction and financial means and to hand them down to future gener-
ations.
The built vernacular heritage occupies a central place in the af-
fection and pride of all peoples. It has been accepted as a char-
acteristic and attractive product of society. It appears informal, Principles of conversation
but nevertheless orderly. It is utilitarian and at the same time 1 The conservation of the built vernacular heritage must be
possesses interest and beauty. It is a focus of contemporary life carried out by multidisciplinary expertise while recognising
and at the same time a record of the history of society. Although the inevitability of change and development, and the need to
it is the work of man it is also the creation of time. It would be respect the community’s established cultural identity.
unworthy of the heritage of man if care were not taken to con- 2 Contemporary work on vernacular buildings, groups and
serve these traditional harmonies which constitute the core of settlements should respect their cultural values and their tra-
man’s own existence. ditional character.
The built vernacular heritage is important; it is the fundamen- 3 The vernacular is only seldom represented by single struc-
tal expression of the culture of a community, of its relationship tures, and it is best conserved by maintaining and preserving
with its territory and, at the same time, the expression of the groups and settlements of a representative character, region
world’s cultural diversity. by region.
Vernacular building is the traditional and natural way by 4 The built vernacular heritage is an integral part of the cul-
which communities house themselves. It is a continuing process tural landscape and this relationship must be taken into con-
including necessary changes and continuous adaptation as a re- sideration in the development of conservation approaches.
sponse to social and environmental constraints. The survival of 5 The vernacular embraces not only the physical form and fab-
this tradition is threatened world-wide by the forces of econom- ric of buildings, structures and spaces, but the ways in which
ic, cultural and architectural homogenisation. How these forces they are used and understood, and the traditions and the in-
can be met is a fundamental problem that must be addressed by tangible associations which attach to them.
communities and also by governments, planners, architects,
conservationists and by a multidisciplinary group of specialists.
Due to the homogenisation of culture and of global socio-eco- Guidelines in Practice
nomic transformation, vernacular structures all around the 1 Research and documentation
world are extremely vulnerable, facing serious problems of ob- Any physical work on a vernacular structure should be cau-
solescence, internal equilibrium and integration. tious and should be preceded by a full analysis of its form
It is necessary, therefore, in addition to the Venice Charter, to and structure. This document should be lodged in a publicly
establish principles for the care and protection of our built ver- accessible archive.
nacular heritage. 2 Siting, landscape and groups of buildings
Interventions to vernacular structures should be carried out
in a manner which will respect and maintain the integrity of
General Issues the siting, the relationship to the physical and cultural land-
1 Examples of the vernacular may be recognised by: scape, and of one structure to another.
– a manner of building shared by the community; 3 Traditional building systems
– a recognisable local or regional character responsive to The continuity of traditional building systems and craft
the environment; skills associated with the vernacular is fundamental for ver-
– coherence of style, form and appearance, or the use of tra- nacular expression, and essential for the repair and restora-
ditionally established building types; tion of these structures. Such skills should be retained,
– traditional expertise in design and construction which is recorded and passed on to new generations of craftsmen and
transmitted informally; builders in education and training.
– an effective response to functional, social and environ- 4 Replacement of materials and parts
mental constraints; Alterations which legitimately respond to the demands of
– the effective application of traditional construction sys- contemporary use should be effected by the introduction of
tems and crafts. materials which maintain a consistency of expression, ap-
2 The appreciation and successful protection of the vernacular pearance, texture and form throughout the structure and a
heritage depend on the involvement and support of the com- consistency of building materials.
munity, continuing use and maintenance. 5. Adaptation
3 Governments and responsible authorities must recognise the Adaptation and reuse of vernacular structures should be car-
right of all communities to maintain their living traditions, to ried out in a manner which will respect the integrity of the
protect these through all available legislative, administrative structure, its character and form while being compatible

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 CHARTER ON THE BUILT VERNACULAR HERITAGE

with acceptable standards of living. Where there is no break a) education programmes for conservators in the principles
in the continuous utilisation of vernacular forms, a code of of the vernacular;
ethics within the community can serve as a tool of interven- b) training programmes to assist communities in maintain-
tion. ing traditional building systems, materials and craft
6 Changes and period restoration skills;
Changes over time should be appreciated and understood as c) information programmes which improve public aware-
important aspects of vernacular architecture. Conformity of ness of the vernacular especially amongst the younger
all parts of a building to a single period, will not normally be generation.
the goal of work on vernacular structures. d) regional networks on vernacular architecture to exchange
7 Training expertise and experiences.
In order to conserve the cultural values of vernacular ex-
pression, governments, responsible authorities, groups and
organisations must place emphasis on the following:

151
PRINCIPLES FOR THE PRESERVATION OF HISTORIC TIMBER
STRUCTURES (1999)
Adopted by ICOMOS at the 12 th General Assembly in Mexico, October 1999

The aim of this document is to define basic and universally ap- prevent necessary minor interventions and emergency mea-
plicable principles and practices for the protection and preserva- sures.
tion of historic timber structures with due respect to their cul-
tural significance. Historic timber structures refer here to all Monitoring and Maintenance
types of buildings or constructions wholly or partially in timber 3. A coherent strategy of regular monitoring and maintenance
that have cultural significance or that are parts of a historic area. is crucial for the protection of historic timber structures and
For the purpose of the preservation of such structures, the Prin- their cultural significance.
ciples:
• recognise the importance of timber structures from all peri- Interventions
ods as part of the cultural heritage of the world; 4 The primary aim of preservation and conservation is to
• take into account the great diversity of historic timber struc- maintain the historical authenticity and integrity of the cul-
tures; tural heritage. Each intervention should therefore be based
• take into account the various species and qualities of wood on proper studies and assessments. Problems should be
used to build them; solved according to relevant conditions and needs with due
• recognise the vulnerability of structures wholly or partially respect for the aesthetic and historical values, and the phys-
in timber due to material decay and degradation in varying ical integrity of the historic structure or site.
environmental and climatic conditions, caused by humidity 5 Any proposed intervention should for preference:
fluctuations, light, fungal and insect attacks, wear and tear, a follow traditional means;
fire and other disasters; b be reversible, if technically possible; or
• recognise the increasing scarcity of historic timber struc- c at least not prejudice or impede future preservation work
tures due to vulnerability, misuse and the loss of skills and whenever this may become necessary; and
knowledge of traditional design and construction technolo- d not hinder the possibility of later access to evidence in-
gy; corporated in the structure.
• take into account the great variety of actions and treatments 6 The minimum intervention in the fabric of a historic timber
required for the preservation and conservation of these her- structure is an ideal. In certain circumstances, minimum in-
itage resources; tervention can mean that their preservation and conservation
• note the Venice Charter, the Burra Charter and related UN- may require the complete or partial dismantling and subse-
ESCO and ICOMOS doctrine, and seek to apply these gen- quent reassembly in order to allow for the repair of timber
eral principles to the protection and preservation of historic structures.
timber structures; 7 In the case of interventions, the historic structure should be
and make the following recommendations: considered as a whole; all material, including structural
members, in-fill panels, weather-boarding, roofs, floors,
doors and windows, etc., should be given equal attention. In
Inspection, Recording and Documentation principle, as much as possible of the existing material should
1 The condition of the structure and its components should be be retained. The protection should also include surface fin-
carefully recorded before any intervention, as well as all ishes such as plaster, paint, coating, wall-paper, etc. If it is
materials used in treatments, in accordance with Article 16 necessary to renew or replace surface finishes, the original
of the Venice Charter and the ICOMOS Principles for the materials, techniques and textures should be duplicated as
Recording of Monuments, Groups of Buildings and Sites. far as possible.
All pertinent documentation, including characteristic 8 The aim of restoration is to conserve the historic structure
samples of redundant materials or members removed from and its loadbearing function and to reveal its cultural values
the structure, and information about relevant traditional by improving the legibility of its historical integrity, its ear-
skills and technologies, should be collected, catalogued, se- lier state and design within the limits of existing historic ma-
curely stored and made accessible as appropriate. The doc- terial evidence, as indicated in articles 9 – 13 of the Venice
umentation should also include the specific reasons given Charter. Removed members and other components of the
for choice of materials and methods in the preservation historic structure should be catalogued, and characteristic
work. samples kept in permanent storage as part of the documen-
2 A thorough and accurate diagnosis of the condition and the tation.
causes of decay and structural failure of the timber structure
should precede any intervention. The diagnosis should be Repair and Replacement
based on documentary evidence, physical inspection and 9 In the repair of a historic structure, replacement timber can
analysis, and, if necessary, measurements of physical condi- be used with due respect to relevant historical and aestheti-
tions and non-destructive testing methods. This should not cal values, and where it is an appropriate response to the

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 PRINCIPLES FOR THE PRESERVATION OF HISTORIC TIMBER STRUCTURES

need to replace decayed or damaged members or their parts, tion of historic structures and sites should establish or en-
or to the requirements of restoration. courage the establishment of stores of timber appropriate for
New members or parts of members should be made of the such work.
same species of wood with the same, or, if appropriate, with
better, grading as in the members being replaced. Where Contemporary Materials and Technologies
possible, this should also include similar natural characteris- 13 Contemporary materials, such as epoxy resins, and tech-
tics. The moisture content and other physical characteristics niques, such as structural steel reinforcement, should be
of the replacement timber should be compatible with the ex- chosen and used with the greatest caution, and only in cases
isting structure. where the durability and structural behaviour of the materi-
Craftsmanship and construction technology, including the als and construction techniques have been satisfactorily
use of dressing tools or machinery, should, where possible, proven over a sufficiently long period of time. Utilities, such
correspond with those used originally. Nails and other sec- as heating, and fire detection and prevention systems, should
ondary materials should, where appropriate, duplicate the be installed with due recognition of the historic and aesthet-
originals. ic significance of the structure or site.
If a part of a member is replaced, traditional woodwork 14 The use of chemical preservatives should be carefully con-
joints should, if appropriate and compatible with structural trolled and monitored, and should be used only where there
requirements, be used to splice the new and the existing part. is an assured benefit, where public and environmental safe-
10 It should be accepted that new members or parts of members ty will not be affected and where the likelihood of success
will be distinguishable from the existing ones. To copy the over the long term is significant.
natural decay or deformation of the replaced members or
parts is not desirable. Appropriate traditional or well-tested Education and Training
modern methods may be used to match the colouring of the 15 Regeneration of values related to the cultural significance of
old and the new with due regard that this will not harm or de- historic timber structures through educational programmes
grade the surface of the wooden member. is an essential requisite of a sustainable preservation and de-
11 New members or parts of members should be discretely velopment policy. The establishment and further develop-
marked, by carving, by marks burnt into the wood or by oth- ment of training programmes on the protection, preservation
er methods, so that they can be identified later. and conservation of historic timber structures are encour-
aged. Such training should be based on a comprehensive
Historic Forest Reserves strategy integrated within the needs of sustainable produc-
12 The establishment and protection of forest or woodland re- tion and consumption, and include programmes at the local,
serves where appropriate timber can be obtained for the national, regional and international levels. The programmes
preservation and repair of historic timber structures should should address all relevant professions and trades involved
be encouraged. in such work, and, in particular, architects, conservators, en-
Institutions responsible for the preservation and conserva- gineers, craftspersons and site managers.

157
PRINCIPLES FOR THE PRESERVATION AND CONSERVATION-
RESTORATION OF WALL PAINTINGS
Adopted by ICOMOS at the 14th General Assembly, Victoria Falls in 2003

Introduction and Definition the degradation or alteration of wall paintings, including their
surroundings. Legislation should not only provide for the pro-
Wall paintings have been cultural expressions of human creation tection of wall paintings, but also make available resources for
throughout history, from the earliest beginnings, such as rock research, professional treatment and monitoring, and provide
art, extending up to present day murals. Their deterioration, ac- for the appreciation of their tangible and intangible values by
cidental or intentional destruction constitutes a loss affecting a society.
significant part of the world’s cultural heritage. The Venice If interventions are required, these should be carried out with
Charter (1964) has provided general principles for the conserva- the full knowledge and the consent of the authorities responsi-
tion/restoration of cultural heritage. The Amsterdam Declara- ble. Legal sanctions should be provided for any violation of such
tion (1975) introducing the concept of integrated conservation, regulations. Legal provisions should also consider new discov-
and the Nara Document on Authenticity (1994) dealing with eries and their preservation pending formal protection. Region-
cultural diversity, have expanded these principles. Taking into al, urban or architectural development projects, such as the con-
account these and additional relevant contributions, such as the struction of roads, dams, conversion of buildings, etc. affecting
ICOM-CC Code of Ethics (1984), Document of Pavia (1997), wall paintings should not be carried out without an initial impact
and E.C.C.O. Professional Guidelines (1997), the aim of this assessment study and without providing appropriate remedies
document is to provide more specific principles for the protec- for their safeguard.
tion, preservation and the conservation/restoration of wall paint- Special efforts must be made through the co-operation of var-
ings. This document, therefore, reflects basic and universally ap- ious authorities to accommodate and respect the cult function of
plicable principles and practices, and does not take into account religious paintings without compromising their authenticity.
particular problems of regions or countries, which can be sup-
plemented at regional and national level by providing further
recommendations where necessary. Article 2: Investigation
The richness of wall paintings is founded on the variety of cul-
tural expressions, aesthetic achievements, and the diversity of All conservation projects should begin with substantial scholar-
materials and techniques used from ancient until present times. ly investigations. The aim of such investigations is to find out as
The following articles refer to paintings created on inorganic much as possible about the fabric of the structure and its super-
supports, such as plaster, brick, clay and stone, and do not in- imposed layers with their historical, aesthetic and technical di-
clude paintings executed on organic supports, such as wood, pa- mensions. This should encompass all material and incorporeal
per and canvas. Composite materials in many historic buildings values of the painting, including historic alterations, additions
need special consideration outside the scope of this document. and restorations. This calls for an interdisciplinary approach.
Architectural surfaces and their finishing layers, with their his- The methods of investigation should be as far as possible non-
torical, aesthetic and technical values have to be considered as destructive. Special consideration should be given to wall paint-
equally important components of historic monuments. ings that may be hidden under whitewash, paint layers, plaster,
Wall paintings are an integral part of monuments and sites and etc. Prerequisites for any conservation program are the scientif-
should be preserved in situ. Many of the problems affecting wall ic investigation of decay mechanisms on macro and micro scale,
paintings are linked to the poor condition of the building or the material analysis and the diagnosis of the condition.
structure, its improper use, lack of maintenance, frequent repairs
and alterations. Also frequent restorations, unnecessary uncov-
ering, and use of inappropriate methods and materials can result Article 3: Documentation
in irreparable damage. Substandard and inadequate practices
and professional qualifications have led to unfortunate results. It In agreement with the Venice Charter, the conservation/restora-
is for this reason that an appropriate document covering the prin- tion of wall paintings must be accompanied by a precise pro-
ciples of proper conservation/restoration of wall paintings is gram of documentation in the form of an analytical and critical
necessary. report, illustrated with drawings, copies, photographs, mapping,
etc. The condition of the paintings, the technical and formal fea-
tures pertaining to the process of the creation and the history of
Article 1: Protection Policy the object must be recorded. Furthermore, every stage of the
conservation/restoration, materials and methodology used
A necessary approach to the protection of wall paintings of should be documented. This report should be placed in the
every culture and religion is to list and make inventories of archives of a public institution and made available to the inter-
monuments and sites including wall paintings, even in cases ested public. Copies of such documentation should also be kept
when they are not presently visible. Laws and regulations for in situ, or in the possession of those responsible for the monu-
the protection of cultural heritage must prohibit the destruction, ment. It is also recommended that the results of the work should

162
 PRINCIPLES FOR THE PRESERVATION AND CONSERVATION OF WALL PAINTINGS

be published. This documentation should consider definable All methods and materials used in conservation and restora-
units of area in terms of such investigations, diagnosis and treat- tion of wall paintings should take into account the possibility of
ment. Traditional methods of written and graphic documenta- future treatments. The use of new materials and methods must
tion can be supplemented by digital methods. However, regard- be based on comprehensive scientific data and positive results of
less of the technique, the permanence of the records and the testing in laboratories as well as on sites. However, it must be
future availability of the documentation is of utmost importance. kept in mind that the long term effects of new materials and
methods on wall paintings are unknown and could be harmful.
Therefore, the use of traditional materials, if compatible with the
Article 4: Preventive Conservation, Maintenance components of the painting and the surrounding structure,
and Site Management should be encouraged.
The aim of restoration is to improve the legibility of form and
The aim of preventive conservation is to create favourable con- content of the wall painting, while respecting the original cre-
ditions minimising decay, and to avoid unnecessary remedial ation and its history. Aesthetic reintegration contributes to min-
treatments, thus prolonging the life span of wall paintings. Ap- imising the visibility of damage and should primarily be carried
propriate monitoring and the control of the environment are both out on non-original material. Retouching and reconstructions
essential components of preventive conservation. Inappropriate should be carried out in a way that is discernible from the origi-
climatic conditions and moisture problems can cause deteriora- nal. All additions should be easily removable. Over-painting
tion and biological attacks. Monitoring can detect initial must be avoided.
processes of decay of the painting or the supporting structure, Uncovering of wall paintings requires the respect of the his-
thus preventing further damage. Deformation and structural fail- toric situation and the evaluation of what might be lost. This op-
ure leading even to possible collapse of the supporting structure, eration should be executed only after preliminary investigations
can be recognised at an early stage. Regular maintenance of the of their condition, extent and value, and when this is possible
building or the structure is the best guarantee for the safeguard without incurring damage. The newly uncovered paintings
of the wall paintings. should not be exposed to unfavourable conditions.
Inappropriate or uncontrolled public uses of monuments and In some cases, reconstruction of decorative wall paintings or
sites with wall paintings can lead to their damage. This may ne- coloured architectural surfaces can be a part of a conservation/
cessitate the limitation of visitors and, in certain cases, involve restoration program. This entails the conservation of the authen-
temporary closure to public access. However, it is preferable that tic fragments, and may necessitate their complete or partial cov-
the public should have the opportunity to experience and appre- ering with protective layers. A well-documented and profession-
ciate wall paintings as being part of the common cultural her- ally executed reconstruction using traditional materials and
itage. It is, therefore, important to incorporate into the site man- techniques can bear witness to the historic appearances of fa-
agement careful planning of access and use, preserving, as far as cades and interiors.
possible, the authentic tangible and intangible values of the Competent direction of conservation/restoration projects
monuments and sites. should be maintained at all stages and have the approval of the
Due to various sociological, ideological and economical rea- relevant authorities. It would be desirable that independent su-
sons many wall paintings, often situated in isolated locations, pervision of the project were insured by competent authorities or
become the victims of vandalism and theft. In these cases, the re- institutions without commercial interest in the outcome. Those
sponsible authorities should take special preventive measures. responsible for management decisions must be named, and the
work must be implemented by professionals with appropriate
knowledge and skills.
Article 5: Conservation/Restoration Treatments

Wall paintings are an integral part of the building or structure. Article 6: Emergency Measures
Therefore, their conservation should be considered together
with the fabric of the architectural entity and surroundings. Any In urgent cases, immediate emergency treatment is necessary for
intervention in the monument must take into account the specif- the safeguard of wall paintings. Materials and techniques em-
ic characteristics of wall paintings and the terms of their preser- ployed must permit later treatment. Appropriate conservation
vation. All interventions, such as consolidation, cleaning and measures must follow as soon as possible with the permission of
reintegration, should be kept at a necessary minimal level the relevant authorities.
to avoid any reduction of material and pictorial authenticity. Detachment and transfer are dangerous, drastic and irre-
Whenever possible, samples of stratigraphic layers testifying versible operations that severely affect the physical composition,
to the history of the paintings should be preserved, preferably material structure and aesthetic characteristics of wall paintings.
in situ. These operations are, therefore, only justifiable in extreme cas-
Natural ageing is a testimony to the trace of time and should es when all options of in situ treatment are not viable. Should
be respected. Irreversible chemical and physical transformations such situations occur, decisions involving detachment and trans-
are to be preserved if their removal is harmful. Previous restora- fer should always be taken by a team of professionals, rather
tions, additions and over-painting are part of the history of the than by the individual who is carrying out the conservation
wall painting. These should be regarded as witnesses of past in- work. Detached paintings should be replaced in their original lo-
terpretations and evaluated critically. cation whenever possible.

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PRINCIPLES FOR THE PRESERVATION AND CONSERVATION OF WALL PAINTINGS

Special measures should be taken for the protection and main- requires specific knowledge, skills, experience and responsi-
tenance of detached paintings, and for the prevention of their bility, conservators/restorers of this kind of cultural property
theft and dispersion. should be professionally educated and trained, as recommended
The application of a covering layer concealing an existing by the Code of Ethics of the ICOM-Committee of Conser-
decoration, carried out with the intention of preventing damage vation (1984) and by associations such as E.C.C.O. (European
or destruction by exposure to an inhospitable environment, Confederation of Conservator-Restorers’ Organisations) and
should be executed with materials compatible with the wall ENCoRE (European Network for Conservation/Restoration
painting, and in a way that will permit future uncovering. Education).

Article 7: Research and Public Information

Article 9: Traditions of Renewal
The establishment of research projects in the field of conserva-
tion/restoration of wall paintings is an essential requisite of sus- In many regions of the world, the authentic painting practices
tainable preservation policy. Investigations based on research of artists and craftsmen are continued by repeating historic dec-
questions, which have potential to add to the knowledge of orative and iconographic programs using traditional materials
degradation processes should be encouraged. Research that will and techniques. These traditions, satisfying religio-cultural
expand our knowledge of the original painting techniques, as needs and keeping to the Nara principles, should be sustained.
well as materials and methods of past restoration practices are However, as important as it is to preserve this special knowl-
essential in the implementation of appropriate conservation pro- edge, this does not imply that the conservation/restoration treat-
jects. This research is also relevant to related disciplines of the ments of wall paintings are to be carried out by craftsmen or
arts and sciences. The disturbance of significant fabric for study, artists.
or to obtain samples, should be minimised.
Dissemination of knowledge is an important feature of re-
search, and should be done on both the professional and popular
levels. Public information can substantially advance awareness Article 10: International Co-operation
of the need for preservation of wall paintings, even if conserva-
tion/restoration work may cause temporary inconveniences. Sharing the care for common heritage is nationally and inter-
nationally an accepted concept. It is therefore necessary to en-
courage the exchange of knowledge and to disseminate infor-
Article 8: Professional Qualifications and Training mation at every level. In the spirit of interdisciplinary colla-
boration, conservators/restorers of wall paintings need to liaise
Conservation/restoration of wall paintings is a specialised dis- with their colleagues in other countries and with relevant insti-
cipline in the field of heritage preservation. As this work tutions and specialists around the world.

This document, in its present form, was drafted in Copenhagen pleted in Thessaloniki from 8 to 9 May 2003. Rapporteur:
from 28 October to 1 November 2002. It was edited and com- Isabelle Brajer.

Participants Vaios Ganitis (Greece)

R.C. Agrawal (India) George Kavakas (Greece)
Valia Anapliotou (Greece) Haris Lionis (Greece)
Stefan Belishki (Bulgaria) Penelope Mavroudi (Greece)
Giorgio Bonsanti (Italy) Vassilis Petropoulos (Greece)
Isabelle Brajer (Denmark) Michael Petzet (Germany)
Marjan Buyle (Belgium) Ursula Schädler-Saub (Germany)
Jaime Cama Villafranca (Mexico) Walter Schudel (Belgium)
Nikolas Charkiolakis (Greece) Nimal de Silva (Sri Lanka)
Rob Crèvecoeur (The Netherlands) Roland Silva (Sri Lanka)
Luigi Dei (Italy) Kirsten Trampedach (Denmark)
Alberto Felici (Italy) Ioannis Zervos (Greece)

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PRINCIPLES FOR THE ANALYSIS, CONSERVATION AND STRUCTURAL
RESTORATION OF ARCHITECTURAL HERITAGE
Adopted by ICOMOS at the 14th General Assembly of ICOMOS in Victoria Falls in 2003

Purpose of the Document 1.7 No action should be undertaken without having ascer-
tained the achievable benefit and harm to the architec-
Structures of architectural heritage, by their very nature and his- tural heritage, except in cases where urgent safeguard
tory (material and assembly), present a number of challenges in measures are necessary to avoid the imminent collapse
diagnosis and restoration that limit the application of modern le- of the structures (e.g. after seismic damages); those ur-
gal codes and building standards. Recommendations are desir- gent measures, however, should when possible avoid
able and necessary to both ensure rational methods of analysis modifying the fabric in an irreversible way.
and repair methods appropriate to the cultural context.
These Recommendations are intended to be useful to all those
involved in conservation and restoration problems, but cannot in 2 Researches and diagnosis
anyway replace specific knowledge acquired from cultural and
scientific texts. 2.1 Usually a multidisciplinary team, to be determined in re-
The Recommendations presented in the complete document lation to the type and the scale of the problem, should
are in two sections: Principles, where the basic concepts of con- work together from the first steps of a study - as in the
servation are presented; Guidelines, where the rules and initial survey of the site and the preparation of the inves-
methodology that a designer should follow are discussed. Only tigation programme.
the Principles have the status of an approved/ratified ICOMOS 2.2 Data and information should first be processed approxi-
document. mately, to establish a more comprehensive plan of activ-
The guidelines are available in English in a separate document. ities in proportion to the real problems of the structures.
2.3 A full understanding of the structural and material char-
acteristics is required in conservation practice. Informa-
1 General criteria tion is essential on the structure in its original and earlier
states, on the techniques that were used in the construc-
1.1 Conservation, reinforcement and restoration of architec- tion, on the alterations and their effects, on the phenome-
tural heritage requires a multi-disciplinary approach. na that have occurred, and, finally, on its present state.
1.2 Value and authenticity of architectural heritage cannot 2.4 In archaeological sites specific problems may be posed
be based on fixed criteria because the respect due to all because structures have to be stabilised during excava-
cultures also requires that its physical heritage be con- tion when knowledge is not yet complete. The structural
sidered within the cultural context to which it belongs. responses to a “rediscovered” building may be com-
1.3 The value of architectural heritage is not only in its ap- pletely different from those to an ”exposed” building.
pearance, but also in the integrity of all its components Urgent site-structural-solutions, required to stabilise the
as a unique product of the specific building technology structure as it is being excavated, should not compromise
of its time. In particular the removal of the inner struc- the complete building’s concept form and use.
tures maintaining only the façades does not fit the con- 2.5 Diagnosis is based on historical, qualitative and quantita-
servation criteria. tive approaches; the qualitative approach being mainly
1.4 When any change of use or function is proposed, all the based on direct observation of the structural damage and
conservation requirements and safety conditions have to material decay as well as historical and archaeological re-
be carefully taken into account. search, and the quantitative approach mainly on material
1.5 Restoration of the structure in architectural heritage is and structural tests, monitoring and structural analysis.
not an end in itself but a means to an end, which is the 2.6 Before making a decision on structural intervention it is
building as a whole. indispensable to determine first the causes of damage
1.6 The peculiarity of heritage structures, with their com- and decay, and then to evaluate the safety level of the
plex history, requires the organisation of studies and pro- structure.
posals in precise steps that are similar to those used in 2.7 The safety evaluation, which is the last step in the diag-
medicine. Anamnesis, diagnosis, therapy and controls, nosis, where the need for treatment measures is deter-
corresponding respectively to the searches for signifi- mined, should reconcile qualitative with quantitative
cant data and information, individuation of the causes of analysis: direct observation, historical research, structur-
damage and decay, choice of the remedial measures and al analysis and, if it is the case, experiments and tests.
control of the efficiency of the interventions. In order to 2.8 Often the application of the same safety levels as in the
achieve cost effectiveness and minimal impact on archi- design of new buildings requires excessive, if not im-
tectural heritage using funds available in a rational way; possible, measures. In these cases specific analyses and
it is usually necessary that the study repeats these steps appropriate considerations may justify different ap-
in an iterative process. proaches to safety.

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 PRINCIPLES FOR THE ANALYSES, CONSERVATION AND STRUCTURAL RESTORATION OF ARCHITECTURAL HERITAGE

2.9 All aspects related to the acquired information, the diag- 3.10 The characteristics of materials used in restoration work
nosis including the safety evaluation, and the decision (in particular new materials) and their compatibility with
to intervene should be described in an “explanatory existing materials should be fully established. This must
report”. include long-term impacts, so that undesirable side-ef-
fects are avoided.
3.11 The distinguishing qualities of the structure and its envi-
3 Remedial measures and controls ronment, in their original or earlier states, should not be
destroyed.
3.1 Therapy should address root causes rather than symp- 3.12 Each intervention should, as far as possible, respect the
toms. concept, techniques and historical value of the original
3.2 The best therapy is preventive maintenance. or earlier states of the structure and leaves evidence that
3.3 Safety evaluation and an understanding of the signifi- can be recognised in the future.
cance of the structure should be the basis for conserva- 3.13 Intervention should be the result of an overall integrated
tion and reinforcement measures. plan that gives due weight to the different aspects of ar-
3.4 No actions should be undertaken without demonstrating chitecture, structure, installations and functionality.
that they are indispensable. 3.14 The removal or alteration of any historic material or dis-
3.5 Each intervention should be in proportion to the safety tinctive architectural features should be avoided when-
objectives set, thus keeping intervention to the minimum ever possible.
to guarantee safety and durability with the least harm to 3.15 Deteriorated structures whenever possible should be re-
heritage values. paired rather than replaced.
3.6 The design of intervention should be based on a clear un- 3.16 Imperfections and alterations, when they have become
derstanding of the kinds of actions that were the cause of part of the history of the structure, should be maintained
the damage and decay as well as those that are taken in- so far so they do not compromise the safety require-
to account for the analysis of the structure after inter- ments.
vention; because the design will be dependent upon 3.17 Dismantling and reassembly should only be undertaken
them. as an optional measure required by the very nature of the
3.7 The choice between “traditional” and “innovative” tech- materials and structure when conservation by other
niques should be weighed up on a case-by-case basis and means impossible, or harmful.
preference given to those that are least invasive and most 3.18 Provisional safeguard systems used during the interven-
compatible with heritage values, bearing in mind safety tion should show their purpose and function without cre-
and durability requirements. ating any harm to heritage values.
3.8 At times the difficulty of evaluating the real safety levels 3.19 Any proposal for intervention must be accompanied by a
and the possible benefits of interventions may suggest programme of control to be carried out, as far as possi-
“an observational method”, i.e. an incremental ap- ble, while the work is in progress.
proach, starting from a minimum level of intervention, 3.20 Measures that are impossible to control during execution
with the possible subsequent adoption of a series of sup- should not be allowed.
plementary or corrective measures. 3.21 Checks and monitoring during and after the intervention
3.9 Where possible, any measures adopted should be “re- should be carried out to ascertain the efficacy of the
versible” so that they can be removed and replaced with results.
more suitable measures when new knowledge is ac- 3.22 All the activities of checking and monitoring should
quired. Where they are not completely reversible, inter- be documented and kept as part of the history of the
ventions should not limit further interventions. structure.

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