1. All works of art have the inalienable right to an honourable and dignified existence.

2. All works of art have the inalienable right to remain in their original abode whenever possible. They should be permitted to rest in their acquired homes without being moved to distant places:

   • in galleries and museums

   • in private collections

   • in houses of worship

   • in public spaces

   • in a protected and controlled environment free, as far as is possible, from pollution, excessive variations of climate and all forms of degradation.

3. Works of art recognized as of the highest order by consensus and by tradition should be regarded as belonging to the entire society of the world, as part of the 'global cultural patrimony', not to a single entity, either local, institutional, or national, although the 'owners' would continue to have full custodial responsibility.

4. The 'owners'of the paintings, sculptures and buildings, as well as other art objects, must hold them under an enforceable constructive trust, for the benefit of the public.

5. No experimental preservation and conservation techniques shall be employed, except where the work is in imminent danger. In all other cases carefully controlled, fully documented testing is a prerequisite; findings,including photographs, must be made publicly available in a timely manner and at reasonable cost. No restoration should be undertaken for the sake of curiosity or profit. If scholarly and scientific 'discoveries' result from conservation techniques, they should be regarded as fortuitous byproducts, not as the raison d'être of the intervention, as the work of art must not be considered an 'experimental laboratory'. Since every treatment, cleaning or restoration has potentially negative side effects, intervention should be undertaken sparingly, and with bland and reversible techniques if possible, recognizing that in the future more effective and less damaging procedures may be devised. Restoration techniques should be subject to review before any restoration is undertaken.

6. In the process of conserving works of art, ample room must also be provided for the new as well as for the conservation of the old, for otherwise we risk fossilizing ourselves in the past. Decisions affecting art held in trust should be reviewable.

7. The most distinguished art objects shall be specially designated 'world-class masterpieces', representing, one object in a hundred among the finest cultural treasures (somewhat the way that buildings are selected for 'landmark' status).  Prior to treatment of any of this group of masterpieces, all proposed procedures would be subject to review by a court of competent jurisdiction after hearing testimony from specialists and representatives of the culture. Second opinions and sometimes third opinions should be sought.

8. Masterpieces of the past should not be reproduced without a clear distinction being made between original and copy, so the integrity of the original is preserved.  Efforts should be made to protect artists and their estates from violations of their intentions. Furthermore, repaintings and integration of missing portions of original works should be clearly visible as such.

9. Works of art should not be divided or dissected, altered or mutilated. For instance, predella panels should not be separated from their altarpiece nor should individual pages be removed from a book of drawings. In principle, later transformations, adjustments and reformations added to the original statement should be left intact as marks of its history.

10. The stewardship of works of art, especially masterpieces of noted historical significance, should be subject to free and open debate and appropriate judicial review.

11. The examination and maintenance of works of art must continue on a regular basis and be carried out by trained professional, certified by national and international standards, when feasible, after any objector has been given the right to be heard. 

James Beck with Michael Daley, Art Restoration: The Culture, the Business and the Scandal, W. W. Norton & Co., New York and London, 1993 & 1994.