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Benning & Co., in an octavo of 700 pages, and in 1851 a separately published supplement by Peter Burke brought Godson's work up to that date. Another early English law book was Robert Maugham's “Treatise on the laws of literary property, comprising the statutes and cases; with an historical view and disquisitions," published by Longmans in 1828. The standard work of W. A. Copinger on “The law of copyright, in works of literature and art," first published in 1870 and re-issued in a fourth edition, as edited by J. M. Easton (London, Stevens & Haynes, 1904, 8vo, 1155 p.), includes as well as English and American decisions, chapters on international copyright and on copyright in foreign countries, with full text of English and many foreign statutes, and many legal forms. A work by J. H. Slater covered “The law relating to copyright and trade-marks” (London, Stevens, 1884, 8vo, 466 p.), in the form of a digest of the more important English and American decisions. The writer of the York Prize Essay of the University of Cambridge for 1882, T. E. Scrutton, rewrote and extended his work under the title of “The law of copyright,” later continued into a fourth enlarged edition (London, Clowes, 1893, 4 ed., 8vo, 356 p.). B. A. Cohen published a compact

study of “The law of copyright” in 1896. Birrell's Augustine Birrell, as Quain Professor of law at lectures University College, London, delivered a series of

lectures in 1898, of which seven were printed in his delightfully readable little volume on “The law and history of copyright in books" (London, Cassell,

1899, 12mo, 228 p.). MacGilli- The latest English law-book writer is E. L. Macvray's works Gillivray, whose “Treatise upon the law of copy

right," British and American (London, Murray, 1902, 8vo, 439 p.) is extremely valuable as a case

digest, with foot-note references to cases. This was followed by a brief “Digest of the law of copyright,' English only, prepared by the same writer for the Publishers Association of Great Britain and Ireland (London, Butterworth, 1906, 12mo, 106 p.). The same association has printed annually from 1901, a digest of “Copyright cases," which are collected in two volumes, for 1901-04 and 1905-10 inclusive, also edited by Mr. MacGilliyray.

Special English treatises on specific classes of copy- English right protection are Colles and Hardy's "Playright special

treatises and copyright in all countries" (London, Macmillan, 1906, 8vo, 275 p.); Edward Cutler's “Manual of musical copyright law” (London, Simpkin, Marshall, 1905, 8vo, 213 p.); Reginald Winslow's “The law of artistic copyright” (London, Clowes, 1889, 8vo, 215 p.); Edmunds and Bentwich's “The law of copyright in designs” (London, Sweet & Maxwell, 1908, 2 ed., 8vo, 488 p.); Knox and Hind's “Law of copyright in designs” (London, Reeves & Turner, 1899, 8vo, 264 p.); and William Briggs's comprehensive treatise on “The law of international copyright” (London, Stevens & Haynes, 1906, 8vo, 870 p.), the most important publication in English in its field.

The Parliamentary papers giving reports of special Parliamencommissions, referred to in previous chapters, con- tary and

Commission stitute an important part of the English literature

reports of copyright, the most notable being the report of the Royal Copyright Commission issued in 1878, with Sir James Stephen's digest of the law as then existing, and a supplementary þlue book of evidence; the report of the Musical Copyright Committee appointed by the Home Department, of 1904; the report of the Law of Copyright Committee appointed by the President of the Board of Trade, of 1909,

with accompanying minutes of evidence; and the minutes of the Imperial Copyright Conference of 1909. The new copyright bill has been four times printed in progressive form - on its first introduction, July 26, 1910, on its reintroduction, March 30, 1911, as it emerged from committee, July 13, 1911, and as it went to the Lords, August 18, 1911.

The pending Canadian bill has been printed only as introduced April 26, 1911, but the government has supplied an accompanying memorandum comparing

its provisions with existing law. Cyclopædias The American and English law cyclopædias and and digests digests also give references to copyright cases and

decisions, some in special chapters, more or less com

prehensive of recent copyright interpretations. French

The most recent authoritative French works on works

literary property are Eugène Pouillet's "Traité théorique et pratique de la propriété littéraire et artistique" (Paris, Marchal & Billard, 3d ed., 1908, 1028 p.); Gustave Huard's “Traité de la propriété intellectuelle, v. 1. Propriété littéraire et artistique" (Paris, Marchal & Billard, 1903, 400 p.), and A. Huard and Édouard Mack's "Répertoire de législation, de doctrine et de jurisprudence en matière de propriété littéraire et artistique" (Paris, Marchal & Billard, 1909, 740 p.). An earlier elaborate work is that of Claude Couhin, “La propriété industrielle, artistique et littéraire" (Paris, Larose, 1894), in three

volumes. German For Germany the text of the general copyright works

law of June 19, 1901, of the law relating to figurative arts and photographs of January 9, 1907, and the amendatory law including mechanical music reproductions, May 22, 1910, should be consulted. Otto Lindemann's "Das Urheberrecht an Werken der Literatur und der Tonkunst" (Berlin, Guttentag, 1910,

3d ed., 16mo, 155P.) is a brief compilation of and comment on these laws of 1901 and 1910. The most recent and authoritative general works are Prof. Josef Kohler's “ Urheberrecht an Schriftwerken und Verlagsrecht" (Stuttgart, F. Enke, 1907, 527 p.), though some of his statements of theory have given rise to criticism and dispute, and his “Kunstwerkrecht" (Stuttgart, Enke, 1908, 191 p.), Daude's "Die Reichsgesetze über das Urheberrecht an Werken der Literatur und Tonkunst und das Verlagsrecht” (Berlin, Guttentag, 1910, 293 p.), and Dr. Albert Osterrieth's "Das Urheberrecht an Werken der bildenden Künste und der Photographie" (Berlin, Heymann, 1907, 312 p.).

In the early German literature of copyright should Early Gerbe noted the works of Pütter, sometimes called the man confather of the modern theory of property in intellec

tributions tual productions, who wrote as early as 1764, an edition of whose “Beyträge zum Teutschen Staats- u. Fürsten-Rechte" was published in Göttingen in 1777; and the tractate of Immanuel Kant,“Von der Unrechtmässigkeit des Büchernachdrucks," which may be found in his collected works.

The most important Italian work of recent issue Italian works is that of Eduardo Piola-Caselli, “Del diritto di autore" (Naples, E. Marghieri, 1907,875 p.), and earlier works of standard character are Enrico Rosmini's "Legislazione e jurisprudenza sui diritti d'autore" (Milan, M. Hoepli, 1890, 671 p.), and Pietro Esperson, "De' diritti di autore sulle opere dell'ingegno ne' rapporti internazionali” (Torino, Unione tipograficoeditrice, 1899, 278 p.).

A useful compendium of Spanish copyright law Spanish comof 1879 et seq., covering both the Peninsula and the pendium ultramar colonies, was published in Havana by La Propaganda Literaria, in 1890, as edited with an in

teresting comparison of Spanish law with that of Great Britain and America by D. F. G. Garofalo y

Morales. Laternational A most valuable compilation of the copyright compilations laws and treaties of all countries, comprising a literal

translation into German of about 250 acts, is “Gesetze über das Urheberrecht in allen Ländern,” edited in a second edition by Prof. Ernest Röthlisberger (Leipzig, Hedeler, 1902, 418 p.), which was complemented by his summary of the domestic and international law of copyright in the different countries, “Der interne und der internationale Schutz des Urheberrechts," also in its second edition (Leipzig, Boersenverein der deutschen Buchhändler, 1904, 116 p.), comprising references or mentions covering fifty-seven countries and forty-nine colonies, especially the British colonies. With these should be mentioned “Recueil des conventions et traités concernant la propriété littéraire et artistique, published under the auspices of the Bureau of the International Copyright Union (Berne, Bureau de l'Union internationale, 1904, 8vo, 908 p.). These works are supplemented by the publication from month to month in the Droit d'Auteur of Berne, of which Prof. Röthlisberger is the editor, of new conventions, treaties, laws and other material, bringing world-information up to date.

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