The Codex Calixtinus, the 12th-century manuscript at the heart of Spain’s Camino de Santiago, was stolen, hidden for a year, and then found in a trash can wrapped in newsprint and plastic. The extraordinary theft highlights some dysfunctions in cultural heritage thought and practice. Explored here are questions about exemplars and copies, ambiguities in heritage protection law, problems of proprietorship and commercialization of heritage goods, and administrative negligence in the management of heritage assets. The focus is on Spain, but the questions have broad relevance. This article concludes that one way to better protect movable heritage assets like the codex is to recognize them as part of a broad heritage landscape in which their loss or mismanagement means damage to an entire ecosystem of culture and history.

This article focuses on the idea that archaeology aids the revaluation of cultural properties within historical centers. At the same time, it holds that the application of the Convention Concerning the Protection of the World Cultural and Natural Heritage of 1972 should imply the development of best management practices at inscribed sites. The handling of archaeological heritage in three Latin American cities is presented and discussed in this study, through the theoretical assumptions of preventive archaeology for the management of archaeological properties. It examines the different social contexts of World Heritage in these areas and concludes that the traditional vision of World Heritage impedes other historical readings of the past in these places. This conclusion is reached through a proactive vision defending the use of these UNESCO World Heritage Sites to improve management models with high public participation, the use of which should also be considered in the European community. There is, finally, a reminder of the desired objective: the improvement of archaeological management and, consequently, of urban historical discourses, whose outcomes enrich the lives of citizens.

Ardelia Ripley Hall (1899–1979) served from 1946 until 1962 as the Fine Arts and Monuments Adviser to the U.S. Department of State. In this role she oversaw the recovery and restitution of movable cultural property that had been displaced during the Second World War. In spite of her vast accomplishments, almost nothing has been written on Ardelia Hall, and little is known about her life. She began her career at the Museum of Fine Arts, Boston, but personal circumstances led to her resignation in 1941. During the war, she was employed by the Office of Strategic Services. The expertise she established as an art historian working with the Roberts Commission at this time led to her appointment at the State Department in 1946. This essay traces for the first time Hall’s remarkable journey from curatorial researcher to adviser on international art restitution.