Opinions

Cultural heritage, the European accounting reform that opens up a market worth billions

by Silver Angel

 (Adobe Stock)

4' min read

Translated by AI
Versione italiana

4' min read

Translated by AI
Versione italiana

A reform in Italian public budgets that the business world has largely ignored could open up one of the most significant markets of the next decade. It is called accrual accounting, it is imposed by Reform 1.15 of the NRP and the European convergence towards EPSAS standards, and it has a direct consequence: for the first time, Italy's cultural heritage assets will have to be entered in public balance sheets at their real economic value. Not as a symbol. As assets.

This is not an Italian discretionary choice. Directive 2011/85/EU, as amended by Directive 2024/1265/EU of 29 April 2024, requires all Member States to converge towards accrual-based financial accounting systems. IPSAS 45, effective as of 1 January 2025, included for the first time heritage assets among tangible fixed assets that can be measured using the Current Operational Value. Italia transposed this framework with the ITAS 4 standard, adopted by RGS Determination No. 176775 of 27 June 2024 and amended at the Steering Committee meetings of 29 July 2024, 27 January and 17 April 2025.

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The operative point is the SeSD Thematic Note No. 155 of 30 June 2025 of the State General Accounting Office. The methodology discounts the net financial flows generated by the utilisation over a tendentially infinite horizon, with a rate of 1.5 per cent in line with Eurostat guidelines for Table 29 of the ESA 2010 National Accounts. The results change scale: Pompeii is worth 11.7 billion Euro, against 48.9 million recorded in the General Heritage Account. The Uffizi 11.6 billion against 2. The Borghese Gallery exceeds 1 billion. Villa Adriana and Villa d'Este reach 731 million despite negative direct revenues, thanks to indirect returns generated in the area. Four sites, over 25 billion in patrimonial value, invisible until yesterday. Italia has about 4,000 museums and over 2,000 archaeological sites. The overall revaluation would be measured in hundreds of billions.

What's changing for enterprises

What happens when a 48 million public asset becomes an 11 billion asset? The investment possibilities, the available guarantees, the potential markets change. An asset correctly valued according to accrual criteria becomes a credible basis for structured finance operations guaranteed by real assets. The concession model, already used for motorways and airports, could be extended to cultural enhancement. The EIB, through InvestEU, offers concessional financing that requires a credible asset base as a prerequisite. Proper accrual valorisation is exactly that basis. Cassa Depositi e Prestiti has the tools to become the pivot of this transformation.

On the insurance front, today many public assets are under-insured on symbolic values, with enormous financial risk in the event of calamitous events. A systematic revaluation opens up a market for specialised art and heritage policies on a scale never before explored in Italia. Lloyd's and AXA Art are already looking at this segment as a structural growth area.

The lesson of the banks

The private sector has already demonstrated with concrete facts what the state has not yet fully understood. In October 2019, Christie's auctioned in London 33 works from the UniCredit collection, which had been sold to finance the Social Impact Banking programme. Intesa Sanpaolo bought five masterpieces for around EUR 15 million, including Gerhard Richter's 1984 Abstraktes Bild, which fetched over EUR 7.7 million, and Sam Francis's 1987 acrylic Erotic Arabesque. The works became part of a collection that had already been revalued for 271 million in 2017, now with 35,000 works. The Gallerie d'Italia welcomed 750,000 visitors in 2024, with a 1.5 billion Culture programme by 2027. While UniCredit divested an asset for cash reasons, Intesa acquired it as a capitalisation tool and reputational leverage.

The Intesa case is not isolated. Banco BPM manages around 19,000 artistic assets. BPER Banca administers over 10,000 works with 43,000 visitors and 26 travelling exhibitions. Monte dei Paschi keeps around 30,000 works accessible through MPSArt.it and the San Donato Museum in Siena. UniCredit relaunched with the digital platform UniCredit Art Collection. The banking system in Italia has already realised that properly budgeted art is not a cost but an asset. It took the State decades to come to the same conclusion.

The opening market

The accrual transition produces an immediate market for services. Thousands of administrations must survey and valorise heritage according to ITAS 4 criteria. The big four are already positioned, but the market also involves operators specialised in public accounting, property valuation and cultural heritage law. On the digital front, proper valorisation justifies investments that are impossible to authorise today: digital twins of historical sites, advanced visitor management systems, artificial intelligence for predictive conservation. Markets worth billions in Europe, largely underdeveloped in Italia. When Pompeii is worth 48 million, it is difficult to approve a technological investment worth tens of millions. When it is worth 11.7 billion, the proportion changes.

According to Io sono Cultura 2025 (I am Culture 2025) by the Symbola Foundation and Unioncamere, the cultural and creative system generates over EUR 112 billion in direct added value and almost EUR 303 billion through allied industries, equal to 16.6% of GDP. First industry in the country, still managed with accounting tools inadequate to its real weight. The Ragioneria's Note 155 is a technical document. Its implications for companies are anything but technical. Those who understand them before the others will have a competitive advantage that is not measured in decimals of GDP.

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