Cultural Law as an autonomous branch of Law began to be used by the end of the 20th century to identify the set of provisions of the Legal System that referred to culture as a reality with legal content1. In these first years, the scope of the term was practically limited to the internal national sphere of each State and was mainly identified with the constitutional treatment of the culture and its derived rights.
When we visit a large museum that houses world-renowned works, it is common to find in its halls some artists who practice their skills copying the great masters. It is inevitable not to contemplate how this beautiful process develops and to pay attention to the details that the copyist decided to reproduce. This live experience makes us aware of how much it takes to undertake a painting, of the years of study needed and of the dedication that being a good artist requires.
Unfortunately, the 1954 Hague Convention is again in full force since the recent confrontation in Syria has once again exposed the vulnerability of cultural heritage. The Convention, drafted after the devastating destructive effects of cultural goods produced during the World War II, sought to synthesise a shared desire that such losses would not recur in the future.