Publishing, Piracy and Politics - John Feather

PUBLISHING
PIRACY
AND
POLITICS
AN HISTORICAL STUDY OF
COPYRIGHT IN BRITAIN
John Feather
AFC
Publishing, Piracy and Politics
John feather
Publishing, Piracy
and Politics
An Historical Study of Copyright
in Britain
MANSELL
First published1994 by
Mansell Publishing Limited, A Cassell Imprint
House, 41/47 Strand, London WC2N 5JE, England
Villiers
387 Park Avenue South, New York, New York 10016-8810, USA
John Feather 1994
All rights reserved. No part of this publication may be reproduced or transmitted

in any form or by any means, electronic or mechanical, including photocopy,
recording or any information storage or retrieval system, without permission in

writing from the publishers or their appointed agents.
British Library Cataloguing in Publication Data

A catalogue record for this book is available from the British Library.
ISBN 0-7201-2135-3
Library of Congress Cataloging-in-Publication Data
LC-CIP Card No: 94-7320
Typeset by York House Typographic Ltd., London

Printed and bound in Great Britain by Biddies Ltd, Guildford and King's Lynn
Contents
Acknowledgements vii
Introduction 1
1 The Origins of Copyright 1475-1640 10
2 From Custom to Statute 1640-1710 37
3 Defining the Law 1710-1800 64 '
4 The Legal Deposit of Books 97
5 The Reform of the Law 1800-1842 122 " 27
6 Copyright in Britain and the World 149
7 Challenge and Change 1842-1988 173
Appendix: Statutes 211

A Note on Sources 212
References 215
Index 255
Acknowledgements
My interest in the history of copyright is, in one form or another, more than
twenty years old. In such a long period of time, I have inevitably
accumulated many intellectual and academic debts, some of them perhaps
unrecognized by my creditors. In particular, however, I should like to
thank, for various forms of assistance, John Adams, John Barnard, Terry
Belanger, Maureen Bell, David Foxon, Peter Jaczi, Paul Marret, David
McKitterick, Robin Myers, the late J. C. T. Gates, the late I. G. Philip,
Paul Sturges, Michael Turner, Christine Vanden Bossche and Martha
Woodmansee. My secretary, Irene Martindale, gave invaluable help in the
final stages of preparing the copy, and Veronica Higgs was a tolerant and
friendly editor. Carolyn Pritchett was an eagle-eyed proofreader.
Earlier versions of parts of this book have appeared elsewhere. Part of
Chapter 1 was originally prepared as a paper for a conference of the

Society for Critical Exchange, held in Cleveland, Ohio, in April 1991. It
was subsequently published as 'From rights in copies to copyright: the
recognition of authors' rights in English law and practice in the sixteenth
and seventeenth centuries', Cardozo Arts & Entertainment Law Journal,
10 (1992), pp. 455-73. The sections of Chapter 2 dealing with the 1710 Act
began life as a paper given to the Oxford Bibliographical Society in 1980,
and subsequently published as 'The book trade in politics: the making of
the Copyright Act of 1710', Publishing History, 8 (1980), pp. 19-44. Three
further papers in the same journal have been drawn upon for some parts of
Chapters 3, 4 and 5; these are The publishers and the pirates: British
copyright law in theory and practice, 1710-1775', Publishing History, 22
(1987), pp. 5-32; 'Publishers and politicians: the remaking of the law of
copyright in Britain 1775-1842. Part I: legal deposit and the battle of the
library tax', Publishing History, 24 (1988), pp. 49-76; and 'Publishers and
politicians: theremaking of the law of copyright in Britain 1775-1842. Part
II: the rights of authors', Publishing History, 25 (1989), pp. 45-72. I am
grateful to the various organizations, publishers and editors for their
hospitality, but should perhaps emphasize that all of these papers have
been very substantially revised and augmented for their partial re-
appearance here.
John Feather
Loughborough University
July 1994
VII
Introduction
Copyright is a legal device which is used to protect certain forms of
property. These forms include books, drawings, plays and music,

but extend also to other forms of writing, published and unpub-
lished, and media other than print, including photographs, films
and videos, recorded sound, computer software and electronic
databases. Copyright is as wide-ranging and as complex as the
forms of property which it seeks to protect. Moreover, it does not
stand alone, for it is only part of the wider field of the law of
intellectual property, which is concerned with all the recordable
and reproducible products of the human mind, including inven-

tions, designs and artistic creations.
This book is a history of some aspects of copyright in the United
Kingdom, and is particularly concerned with it as a factor in the
relationship between the authors and publishers of books and other
written matter (such as magazines and newspaper articles), and as
an element in the economics of the book trade in general and the
publishing industry in particular. The main focus, therefore, is on
copyright in written language, or in what the law now calls a
'literary work', that is, anything (provided that it is the coherent
result of conscious effort) which uses language as a medium of
communication, whether it is a novel or an advertising slogan.
Copyright in written works (a more neutral term which will be
used except in the strictest legal contexts) cannot, however, be seen
in isolation. Although this book is intended primarily as a
contribution to the history of the British book trade, it must range
more widely. Rights exist in graphic, dramatic and musical works,
and more recently in works recorded in media which are not
dependent upon paper, print, writing or drawing. The law has
sometimes treated these separately, and sometimes together, and
there have often been influences flowing in both directions; these
we must attempt to trace.
1
More generally, because copyright is primarily a legal concept,

we cannot ignore its legal as well as its economic history. Copyright
isdefined by statute and enforced by litigation. Since the statute
law first concerned itself with copyright at the beginning of the
eighteenth century, legislation has been at the centre of all matters

relating to it. The law has been interpreted, discussed and
enforced; sometimes it has been ignored, it has frequently been
criticized, and it has occasionally been changed. All of this is
relevant to this history. We
need to trace the development of the
law and of the interpretation of the law, both as it was seen by the
lawyers and as it was understood by those most directly affected by
it, the authors and the publishers.
Our concern, however, is not only with the technicalities of legal

history. The development of the law was influenced by social,
economic and technological factors. Copyright law not only
regulates the relationship between authors and publishers, but also
intervenes in the relationship between authors and readers, and
between both authors and the book trade, on the one hand, and, on
the other, society at large. It is concerned with products which have
never been, and can never be, wholly neutral. For most of the
period covered by this book, the printed word was the only medium
of mass communication which could transcend time and distance.
By using it, writers could seek to influence both the thoughts and
the actions of their readers. Others who sought to exercise such an
influence could employ writers to exploit this potential. The printed
word was a social and political instrument of great power, which no
one who sought to exercise power could ignore.
The power of the printed word was of particular importance in
Britain, for, during more than half of the period covered by this
book, parliamentary politicians, and more particularly members of
the House of Commons, were at the heart of the power structure.
They were dependent, however remotely, on the opinions and
votes of electors, and therefore inevitably sensitive to any issue
which concerned the circulation of printed matter and of the ideas
which could transmit. British copyright, therefore, also has a
it
political history, not only because it touches upon the property

rights of individuals, public bodies, private corporations and the
state itself, but also because it is concerned with a form of
communication of vital interest to politicians.
An appreciation of the legal and political issues in the history of
copyright is an essential foundation for any analysis of the more
introspective concerns of publishers and authors. For the former,

Introduction
an effective law of copyright is a necessary condition for the

conduct of business. Publishers, and all those who cluster around
them to form the group of activities loosely called the 'book trade'
(such as booksellers, printers and bookbinders), need some
guarantee that their investment in a book will be protected. Their
problem can be stated quite simply: the publisher pays the author,
the printer and all others involved in the production of a book,
before any copies can be sold. Once the book is published,
however, others can (in a purely technological sense) copy it
without incurring more than a fraction of the expense incurred by
the original publisher. The law of copyright, therefore, seeks to
prevent such copying (and to punish it if it takes place) in order to
- the -
protect the commercial interests property rights of the first
publisher. Copyright is a property which has, historically, more
often belonged to a publisher than to anyone else.
When we turn to the place of the author in this set of
relationships, we are moving onto less certain ground. We need to
consider such issues as plagiarism, creativity and originality,
complex enough in themselves, but apparently made more so by
modern literary critics who question the very idea of the 'author'. 1
But we can see the deconstructionists themselves as being a part of
the history of authorship. Our concern is not with the philosophical
concept of the 'author' (legitimate as that may be as a subject of
study and speculation), but with changing attitudes of, and
towards, those who write. Our concern is not with the history of
authorship per se, but with how authors have seen themselves, and
how others have seen them, as a part of a social and economic
2
system.
It is often argued that in English law, and in jurisdictions
influenced by English law (especially the United States), it is the

social dimension of copyright which has tended to predominate in
legal thinking and legislative provision. It is argued that, by

contrast, French law, and the law in those countries influenced by
the Napoleonic Code, emphasizes the position of the author,
deriving the theory of legal protection for copyright from the idea
that the creator has a moral right to be regarded as the proprietor of
the creation. To some extent this contrast is valid, but it ignores
both the social dimension of French law, and (more importantly for
our purposes) the role of the writer as one of those involved in the
relationships created by the English law. What is true, however, is
that the author was a comparative latecomer into the development
of copyright in England, rather than being its starting-point as was

3
the case in France.
The main narrative of this book is concerned with the develop-
ment of the relationship between authors and publishers in so far as
it was, and is,
regulated or influenced by the law of copyright. The
story is long and complicated; because of that complexity, and
because of the detail which is necessary to support the narrative, it
is summarize the underlying argument before

useful to it is stated
and demonstrated at length.
The origin of copyright in England is clear enough: it began as a
device developed within the London book trade in the sixteenth
century to protect the investments of those involved in printing and
publishing. There was no statutory framework for this device,
although was to some extent supported by the official status of the
it
book trade's guild, the Stationers' Company, which was able to

enforce its collective will on its members and had a wide range of
monopolistic powers over the printing and selling of books.
Authors had no significant part in these early developments,
partly because the book trade excluded them from its own
arrangements, but also because of their social and economic
position. The idea of the book being written for printed publication
was a recent development; printing itself was not yet fifty years old
in the year 1500, and those who were then writing were the first
generation of authors who had grown up with the printed book.

Their predecessors had expected their works to be circulated only
in manuscript, and to a very limited audience. The idea of the
named personal author was also new. Although the names of some
medieval and classical authors were known, books were more
usually referred to by their titles than by the names of their authors
(Canterbury Tales rather than 'Chaucer'), and there was little
interest in authors as individuals. During the fifteenth and sixteenth
centuries, there was a fundamental intellectual shift which pro-

foundly changed this attitude. Although individuals were still seen
as a part of a divinely ordained and regulated society, they were
also seen as identifiable people with existences which could be
associated with names or locations. These names began to appear
on their books, and some authors became widely known. The first
generation included Erasmus and Luther, whose names (and, in
some form, ideas) were known to thousands who had never read
4
their works.
The gradual development of the idea of the writer as an
individual was combined with less elevated matters to bring authors
Introduction
into a new kind of relationship with publishers. The driving force

was economic. In the last third of the sixteenth century, the English
book trade was, for the first time, on an economically sound base,
and was becoming highly competitive. 5 The publishers needed
books to publish, and only writers could provide them. A few
authors began to exploit this, and by the end of the century there
are some rudimentary suggestions of the recognition, at least de
facto, of their right to financial reward for the works which they
wrote.
There was still a long way to go. Copyright remained primarily a
concern of the book trade for over a century after 1600. Through all
the political and constitutional upheavals of the seventeenth
century, the London book trade devised ever more ingenious
mechanisms to protect the growing body of copyrights which its
members owned between them. After the Restoration of Charles
II, the Printing Act of 1662 brought statutory control to the trade
for the first time, and there was an implicit recognition of the
system of copyright protection which the trade had developed.

When the provisions of that Act lapsed in 1693, the trade
successfully agitated for new legislation which finally came in 1710
with the so-called Copyright Act of that year.
The passage of the 1710 Copyright Act is a defining moment in
this history, but it needs careful
analysis. Entitled an 'Act for the
Encouragement of Learning', it says nothing and implies little
about the rights of authors. It is concerned with the

essentially
protection of the rights of certain members of the book trade, and
to a far lesser extent those of the buyers and readers of books, with
a token gesture towards the good of society at large by creating
favourable circumstances for the writing and (more especially) the
publishing and selling of works of culture and learning. Neverthe-
less, despite its origins in the inner circles of the book trade, the
1710 Act did eventually provide the statutory basis on which
authors could assert their own rights. Alexander Pope and his
literary associateswere particularly active in exploiting (and
extending) their rights under the Act, and it was indeed in that
6
circle that the very word 'copyright' was first used.
During the middle years of the eighteenth century, the 1710 Act
was the subject of a succession of complex legal cases in both
England and Scotland, in which authors and publishers alike sought
to use it own purposes. The legal arguments turned
for their
essentially upon whether or not the Act had created new rights, or
had merely confirmed rights which already existed in common law.
This was an issue of great importance in the book trade, for if the
Act meant what it apparently said, then copyrights ceased to exist
after 28 years (with some exceptions) and a book could then be
printed and published by anyone. In 1774, the House of Lords

effectively decided that this was exactly the case, and publishers
had to seek more diverse sources of revenue than the reprints of
popular works which had become one of the mainstays of the
London book trade.
This gave the authors another opportunity to strengthen their
own position. By the middle of the eighteenth century, many
authors were reasonably well-paid for their work, but it was not
end of the century that they began to seek more equitable
until the
7
rewards. At the same time, as in the sixteenth century, the very
idea of authorship was changing. New ideas about originality and
creativity, and the creative process itself, gave the author and his or
her personality a prominence which they had never previously
enjoyed. No longer merely seen as a social being, serving the
welfare of society as a whole, the author was now an individualist as
well as an individual, expressing his or her own thoughts through
writing. The very concept of originality had to be redefined.

This generation included two writers whose role in the history of
copyright was to be crucial, Sir Walter Scott and William Words-
worth.The former was perhaps the first to exploit to the full the
economic potential of authorship; the latter was a key figure in the
reform of the law in the first half of the
nineteenth century. In
essence, it was argued by Wordsworth and his supporters that the
1710 Act was unfair to authors; indeed it ignored them. They
sought a new law which would allow authors themselves through-
out their lifetimes, and their heirs after their deaths, to reap the
financial rewards of authorship. In a series of new laws, in 1814,
1836 and 1842, the justice of their cause (and the effectiveness of
their lobbying) was recognized. The 1842 Copyright Act, which was
to remain essentially unchanged for the rest of the century, gave a
period of post mortem copyright, as well as apparently unambigu-

ous lifetime rights. It was, however, almost as unsatisfactory as a
piece of legislation as the 1710 Act had been. It was an authors' act
(and more particularly a literary authors' act), just as the 1710 Act
had been a book trade act, and it concentrated on books to the
exclusion of almost everything else. was ambiguous about
It
abridgements, anthologies, magazine and newspaper articles,

translations, dramatizations and many other matters which were of
6
Introduction
great importance, to authors and publishers alike. The complex-

ities of the issues defeated even the most ardent of reformers,
however, and it was not until 1911 that a new Act, much simpler
than its predecessors, took account of new forms of publication,
and forms which had been ignored by the framers of the legislation
of 1842.
In turn, the 1911 Act became inadequate. It was overtaken by
its
and technological change, and was partly replaced in 1956.

social
The thirty years after that, however, saw the pace of change
increase, with thedevelopment of new reproduction techniques for
printed matter (most obviously photocopying) and whole new
technologies of which copying was the very essence; video was one
example, but by far the most important by the 1980s was
computing. Anew law in 1988 grappled with some of these
complexities, and provided a reasonable basis for protecting both
publishers and authors at the end of the twentieth century.
The main narrative of this book is concerned with the details of
these events, and with the analysis of their significance for authors
and publishers. There are, however, some other issues which arise
and which cannot be entirely ignored. One is an historical accident:
the legal rights of certain libraries to claim for themselves a copy of
each new book published in the United Kingdom. This began as a
private arrangement between Oxford University and the book
trade in 1610, was extended to Cambridge and the Royal Library by
statute in 1662, and was confirmed and again extended in 1710 and
in 1801. At the beginning of the nineteenth century no fewer than
eleven libraries in England, Scotland and Ireland were entitled to
free books. There is no necessary link between copyright and legal
deposit. In some
countries, entitlement to the former depends
upon completion of the latter, but that has never been the case in
the United Kingdom. In British law, the link between the two is
entirely fortuitous. The 1662 Printing Act was, as its title suggests,
concerned with a wide range of book trade issues (principally
relating to the censorship of printed matter) of which legal deposit
happened to be one. It was under pressure from the universities
that the 1710 legislation, which was in part derived from that of
1662, revived the deposit clauses of the Act as well as protecting
copyrights. Consequently, in all subsequent copyright legislation,
legal deposit was also a potential issue.
In the early nineteenth century, this essentially irrelevant matter
came to dominate the debate about the reform of the law of
copyright. The 1814 Act (the most badly drafted of all British
copyright legislation) remained unchanged for nearly thirty years

because the earliest attempts to improve it (in 1818) became
inextricably entangled in a quarrel between the publishers and the
legal deposit libraries. The question was not resolved until 1836,
and only then could the problems of the law of copyright itself be
addressed. Until that time, however, the history of copyright has to
take account of the consequences of the association between
copyright and the legal deposit system.
One other matter also has to be considered. This book is
primarily concerned with the British book trade, and hence with
British copyright law. For a very long time, the British book trade
was insular in a metaphorical as well as the literal sense. From the
beginning, it was primarily concerned with books in English; books
in Latin and modern foreign languages were imported to satisfy the
small market for them. The English language was virtually
unknown outside Britain, to the extent that as late as the
seventeenth century British authors like Bacon, Milton and New-
ton who sought a wider audience wrote in Latin. With the
development of British colonies overseas, however, and the
phenomenal growth of British influence in continental affairs after
1688, this changed. There was a demand for English books outside
Britain, which was only partly met by exports. Publishers on the
continent, and in the colonies, began to reprint British books, a
practice which the English law could not prevent.
After American independence, the practice grew apace in the
United States, and when the rest of Europe was reopened to British
travellers after 1815, the problem became acute there also. For
most of the rest of the century, the development of means of
copyright protection across international boundaries was a matter
of concern to both authors and publishers. Among the authors,
Charles Dickens was particularly active in attempting to protect his
rights in the vastly profitable American market for his works.
Gradually, order was brought to trans-border copyright issues, and
some of this development influenced the subsequent development
of domestic law, especially in forcing a limited reconciliation of the
legal traditions of Britain and France.
The development of an international law of copyright had
brought the two traditions into inevitable conflict. In France,
copyright was understood as a 'moral right', the droit d'auteur to be

recognized as the creator of the work and to have control over its
use. English law was more pragmatic, and essentially concerned
with the property rights of whoever could prove ownership,
8
Introduction
regardless of the owner's role in the creative process. The first

multinational copyright agreement, the Berne Convention of 1886,
recognized both authors' and proprietors' rights. Over the follow-
ing century, English practice and thinking were gradually
influenced by the French concepts, until in the 1988 Act the
principle of the 'moral right' of writers to be recognized as the
authors of their works was, at last, acknowledged.
This long history begins in the early days of printing, with the
wooden presses and hand-cast type of a new craft. It ends in a world
of universal electrostatic copying and instantaneous world-wide
digital communications systems. But the fundamental issues, and
the dilemmas which they pose, have perhaps changed less dramat-
icallythan the economic, social and technological environments
which have produced them. Communications technologies depend
upon the existence of that which is to be communicated. Ideas,
information and works of art are the product of the human brain,
not of the media in which they are stored and through which they
are transmitted and retrieved. These intellectual products are
created so that others can receive and benefit from them. That
presents the central dilemma: authors wish to communicate, and to
be rewarded for doing so, but only by imposing restrictions on the
mechanisms of communication can the rewards of creative endeav-
our be assured. The law and practice of copyright have evolved
over four centuries as an attempt to resolve this problem. How
successfully this has been done will emerge in the remainder of this
book.
1 The Origins of Copyright
1475-1640
When Caxton introduced the art of printing into England in 1477,

he brought it to a country in which there was already a flourishing
commercial manuscript-book trade. Some printed books were
1
already in the country, and a few were probably on sale. The bulk
of the trade, however, was in books copied in commercial
scriptoria, either bespoke by customers or made speculatively for
2
the booksellers. The concept of copyright was meaningless in this
trade, should have developed. The

and there was no reason why it
stationer or scrivener recovered his investment in copying a
manuscript as soon as it was sold. In what was essentially a bespoke

trade, this was an almost immediate return. In other words, there
was little or no stock of books (other than 'second-hand' books,
which were to be found in the shops), and therefore no economic
imperative to protect a long-term investment.
The introduction of printing into the trade led to fundamental
changes in the economics of book production. The producer (later
to be called the 'publisher', but at this time normally the owner of
the printing shop) had to invest in a press and in type; he was an
employer of skilled labour, and he needed a stock of consumables
such as ink and paper. All of this represented a substantial capital
investment, on which the return was necessarily slow. When
printing became the principal means of production, as it had done
in southern Europe by 1480 at the latest, the trade became highly
competitive, and the printers began to look for a means of
protecting their investments.
It was from this need for economic protection that the concept of
the 'privileged book' began to develop. The 'privilege' was a form

of special protection given to an individual printer by secular or
ecclesiastical authorities. The first was that granted by the Republic
of Venice to Johann Speyer in 1469. Speyer was the first printer in
the city, and it was in everyone's interests to protect his position.
10
The Origins of Copyright 1475-1640
His privilege gave him an exclusive right to print books in all

3
Venetian territories for the next five years. As the Italian book
trade developed rapidly during the 1470s, the need for protection
became more acute. In 1481, the Duke of Milan granted to Andrea
de Bosiis the right to print or publish Jean Semoneta's Sforziade for
the next five years. Other such privileges followed in Milan and
4
elsewhere, and the practice was soon imitated in France.
The early Italian and French examples of book privileges show a
distinction which was to be carried over into English practice in due
course: there were privileges which protected individual texts and
those which protected individual members of the trade. To these
was subsequently added a third category: the privilege which
protected particular types of books, such as school books, or books
in Greek.
Thelegal basis for granting book privileges in England was the
exercise of the Royal Prerogative. The extreme assumption was
that all written works (like all other property) could be disposed of
by the Crown, although in practice this was always modified, and

the full claim was never authoritatively sustained. Even so, in the
early seventeenth century, when the claims for prerogative powers
were reaching their height, the Solicitor-General, Sir Thomas
Coventry, took a strong stand in an opinion which he wrote in 1618:
'Wee do not conceive that either the ordinans or the decree can
restrein yor power and prrogative to grant privilege, where it shalbe
5
needfull or convenient . .'
. This position was not without support,
although it contradicted many practices which had developed over
the previous century.
members of the English book trade
Royal grants of privileges to
apparently began in 1504. In that year, Henry VII appointed
William Facques as King's Printer, and to give some substance to
this grand-sounding title Facques was also granted the unique right
to print royal proclamations, statutes and other documents issued
6
by the Crown. In one sense, this grant was similar to that made by
the Venetian Senate to Speyer, for it gave Facques a privileged
position in the trade. On the other hand, it also restricted him, for
his privilegeextended only to the specified groups of publications.
What distinguished those publications, apart from their official
origin, was that they were of unknown or collective authorship, a
principle which was soon to be applied to the granting of other
privileges in very different materials. The privileges of the King's
(or Queen's) Printer were both extended and limited during the
rest of the sixteenth century. Gradually, the Printer's privilege
11
came to include Bibles and service books, as well as the statutes and
proclamations, giving him a major commercial advantage over his
rivals in the trade. Not surprisingly, this was to arouse resentment,
for in the process of extension, the nature of the privileges subtly
changed.
In 1553, Mary I took away from the Queen's Printer the right to
print books of common law. Instead, she gave it to Richard Tottel,
a well-established printer who was already a leading member of the
trade and well-known as a publisher of law books. Tottel's privilege
was, however, unusual in two ways: first, it not only granted him the
sole right to print books of common law, it also explicitly forbade
others to do so; and secondly, and in a significant extension of
previous practice, it granted him rights not only in those common
law books already in existence, but also in all of those which were
7
written in the future. This was indeed a comprehensive provision.
It was not to remain unique for long. By the mid-1570s, there
were similar privileges in primers, prayer books, school-books,

service books, almanacs and prognostications, Bibles, New Testa-
ments, the Book of Common Prayer, catechisms, the ABC (the
elementary reading book prescribed for general use), the Psalms in
metre, Latin grammars, other Latin books and music (and ruled
music paper). The list is formidable, and the more so when it is
understood that much of it was in the hands of two or three
8
printers. These privileges were essentially different from that
granted to Facques in 1504, for the class privileges granted the
absolute rights in books written by others to individual members of
the book trade, whether or not the author wished to grant those
rights. No longer did the privileges only apply to anonymous works,
or those of collective authorship.
All of the grants made in England before the middle of the
sixteenth century protected texts or categories of texts, usually in
the name of a particular printer who was given the sole right to print
the books in question. A
third category of grants of privilege begins
to emerge in the 1560s. These used the same mechanism as the
earlier privileges, Letters Patent granted by the Crown, usually
following a petition from the would-be grantee. The first indisput-
able example is in 1563, when Thomas Cooper, at that time Master
of Magdalen College School in Oxford, was granted a patent to
protect his revised edition of the Latin dictionary by Sir Thomas
Eliot, and his own Thesaurus Linguae Latinae. The privilege was to
last for a period of twelve years, during which time the books could
9
only be printed by him or with his explicit permission.
There were a few subsequent examples of similar practices with

other books and authors. In 1573, for example, Ludovick Lloyd
was granted sole rights for 8 years in his English translation of
Plutarch, with the important rider that no other translation was to
10
be published in that period. This was more comprehensive than
Cooper's patent, and suggests that there was little consistency in
the way in which such grants were made. Each was a response to a
particular case, although cumulatively they began to establish a set
of precedents. The variety of grants, however, is further emphas-
ized by one made to the printer Henry Bynneman in 1580; he was
granted a 21-year privilege for the latest revised version of the Eliot
dictionary, and for Cooper's continuation of Languet's Chronicle,
with the very significant addition of all dictionaries and chronicles.
What had been a patent for particular titles had been transformed
into another class patent, analogous to Tottel's rights in common
law books.
11
A
third example, which was also slightly different
from predecessors, was that granted to the bookseller Richard
its
Field in 1592, which gave him the sole and unlimited right to print
12
Sir John Harington's translation of Aristo's Orlando Furioso.
It has been argued that these books, with their individual grants
of privilege through Letters Patent, represent the only form of

13
author's copyright which was recognized in England before 1640.
In fact, when we look
at them more closely, a rather different
picture emerges. Almost without exception, they are learned works

which had involved their authors in long periods of compilation,
and sometimes in great expense. Protection was necessary not only
to reward the author, but also to protect the investment of the
publisher in such large and slow-selling works. This was clearly the
case with Lloyd's Plutarch, which waTeffectively protected from
competition (which was possible) and not merely from reprinting
(which was, in practice, unlikely). The renewal of Cooper's
expiring privilege in favour of Bynneman when it expired is another
example of the same phenomenon, for no publisher could be
expected to keep such important works in print without some
guarantee for his investment. Indeed, most of the privileges
granted by patent to particular texts were not granted to authors at
all, but to publishers. In 1574, for example, the bookseller Thomas
Vautrollier was granted a 10-year privilege for a whole series of
books, including Beza's edition of the New Testament, Lambinus's
14
editions of Ovid and Cicero, and the Thesaurus of Marloratus;
these works of learning, written in Latin and all to be printed as
large and expensive folios, needed some form of protection if they
13
cy and Politics
were to be published in England at all. That was clearly the purpose

of the grants of privilege to individual titles; if a living author were
the beneficiary of such grants, that was a purely coincidental
consequence.
The
privileges granted by Letters Patent were based upon the
claim made for the Royal Prerogative, a claim which was unchal-
lenged during the sixteenth century, even if some of the con-
sequences were to be the subject of disputes inside the book trade.
Their effect (and probably their intention, although we have no
direct evidence) was to ensure that certain categories of 'essential'
books were readily available, but that the trade in them was orderly
and organized. Some of these texts, such as successive versions of
the prayer book, or the proclamations and statutes, were politically
sensitive; others, such as the school books, were socially necessary;
some, like the learned works and the translations, were culturally
desirable; yet others, like the almanacs, were very profitable.
Individual members of the book trade, and a handful of authors
and translators, benefited from these arrangements, but they
certainly did not constitute a general system for protecting rights in
books. Even so, when Elizabeth I came to the throne in 1558,
Letters Patent were the only public mechanism recognized by law
or custom by which a printer, publisher or author might protect his
work and his investment. The whole system of protection, such as it
was, depended upon the goodwill of the Crown towards indi-
viduals, and the willingness of the courts (which had not apparently
been tested at this stage) to uphold the claims made for the
prerogative. The books were protected, important as they
that
were ways, were only a minority; for the majority,
in their different
at a time when the output of books was consistently increasing from
year to year, there was no legal mechanism at hand to protect their

creators and producers.
For that purpose, a separate, and ultimately more successful and
long-lasting, system was developed within the book trade itself. By
the middle of Elizabeth I's reign it was already recognized that the
privileges granted by patent covered only a minority of books. An
investigation into the operations of the patent system, in 1583,
concluded that the:
. . . Stationers hath diuers copies seueral to themselues, wch they
enioye as fully as if they have the Quenes preuilege for euerie of
them .
14
.euerie of them [the stationers] hath of order seuerall to him selfe

. .
any boke that he can procure any learned man to make or translate for
15
him, or that can come to his hand to be the first printer of it.
In this obscure prose lies the key to an understanding of the origins

of copyright in England.
Several questions arise out of it. Who were the 'Stationers'?
What was this special position which they obviously occupied?
What was the 'copie' which they claimed or owned? What were the
benefits of such ownership? In answering these questions, the book
historian can perhaps help the literary scholar and the legal
historian to understand the origins and early development of both
the idea and the practice of copyright.
The 'stationers' were the freeman of the Company of Stationers
of London, the trade guild, or livery company, to which members
of the book trade belonged. Although it can trace its history back to
the beginning of the fifteenth century, the Company's most glorious
era begins with its reorganization in 1557, the last year of the reign
16
of The Queen granted the Company a virtual monopoly
Mary I.
over printing and bookselling both in London and throughout the

kingdom. This was confirmed and amplified by Elizabeth I when
she succeeded her half-sister in the following year. Such powers
were not unusual, for most trades were controlled by and through
livery companies and those companies were granted powers to
ensure that their authority could be upheld. This was not bene-
volence on the part of the crown, but an attempt to maintain good
economic order. In the case of the Stationers' Company, this also
entailed helping the crown to ensure that unacceptable printed
17
matter was not put into circulation.
In 1559, Elizabeth I issued a set of Injunctions which dealt with
the crucial issue of the government and organization of the Church,
and it was in this context that rules were made governing the
control of the press. No book was to be published unless it was
18
properly licensed by censors appointed by the Crown. The
Company was required to police the trade and thus to assist the
Crown in the enforcement of the Injunctions against unlicensed
printing. This was a great responsibility, which the Company
exercised only imperfectly, partly because the Crown had other
means of enforcement, and did not give it sufficient powers to carry
out the work which might have been thought to have been given to
19
it. Nevertheless, the Company did try to take its obligations very
seriously, and established procedures which were intended to
15
ensure that the Injunctions were enforced, in so far as that was its
responsibility.
The Company established a system of recording licences to print;
these were listed in a volume known to scholars as the 'Stationers'
Register', although known at various times in its history as the 'Hall
Book', the 'Register Book' and the 'Entry Book', and possibly
other names as well. In 1557-58, the first year of operation under
Mary's Charter, a list of titles was recorded in the Register with the
20
annotation: 'lycensed to be printed by the master and wardens'.
21
There is a similar series of entries for 1 558-59 , and although the
record may be incomplete, it is clear that the practice of entering
licences to print first became usual, and then, quite soon, compuls-
ory. As early as 1557, a stationer was fined twenty shillings by the

Company book before it had been entered, 22 and in
for printing a
the December of the same year another stationer was fined four
shillings for printing a book 'contrary to our ordenaunces that ys
23
not havynge lycense from the master and wardyns'.
All of this requires a little further interpretation. What are the
'ordenaunces'? The use of the word 'our' suggests that we are here
considering some internal regulations, rather than a document
emanating from official sources. And what exactly is the licence
apparently being issued by the Master and Wardens?
The first of these questions can be easily, although not very
satisfactorily, answered. When the Company began its new char-
tered life 1558-59, it had to create for itself the internal
in
institutionsthrough which it would function. It followed the well-
24
established patterns of the City livery companies, by having
various annually elected officers, including a Master and two
Wardens who acted with him, and by making rules which provided
the framework within which the members of the Company could
exercise their rights and meet their obligations. In the Stationers'
Company, these rules were devised by the officers, and by a small
circle of advisers, which was later to be formalized as the Court of
Assistants. The Court was to be of some importance; it was the self-
electing electoral body for the wardenships and the mastership, and
also regulated disputes between members of the Company. For the
moment, however, in its embryonic form, it concentrated on
drafting regulations. Only a draft version of this first effort survives,
but the Ordinances were finally agreed in 1562, and revised from
25
time to time thereafter.
The Ordinances help us to understand the licences, although
they do not fully explain their force. In the 1558-59 draft, one
16
clause reads as follows: 'Euery boke or thinge to be allowed by the

26
stationers before yt be prynted.' This apparently unambiguous
statement certainly reflected current practice, as is illustrated by
the fines in December

1557, which were for precisely this offence.
But it does not explain by what authority the 'stationers' issued this
licence, or what force it had, if any, outside the Company itself.
It is clear that the licence was, in practice, granted by the Master
and Wardens. The form of words in the Register varies, but the gist
is always the same. Yet it is unambiguously clear that under the
1559 Injunctions, the power of censorship rested with the Privy

Council and other designated officials of church and state. Had this
crucial authority been delegated to the Stationers' Company?
Almost certainly The Master and Wardens were signifying that
not.
in their view there was nothing to prevent the publication of the
book, a statement for which the only completely acceptable

evidence would be the permission of the official licensers. In
practice, it seems that many books were not formally licensed at all,
and that the Master and Wardens took upon themselves the
awesome responsibility of agreeing to allow the book to be
27
published.
The original purpose of entries in the Stationers' Register is
clear: itwas a record of the fact that, in the opinion of the Master
and Wardens, the book had been properly licensed, or that it could
be printed without giving offence. It was soon, however, to take on
a very different and more extensive meaning.
An example will illustrate this extension. At some time in the
year 1563-64, John Sampson was fined twenty pence by the

28
Company for printing what are called 'other mens copyes', a
phrase that becomes familiar in the Company's records in the next
eighty years. It was indeed used in each of the following two years
29
to justify fines on other stationers. Even in 1563, it was not
entirely without an apparent precedent. Before the Ordinances
were formally adopted in 1562, William Copland had been fined
twenty pence (in 1558-59) for printing a book 'of master Brad-
30
fordes'. These entries and others seem to establish that possibly in
the late 1550s, and certainly before 1565 at the latest, it was
understood within the Company that the 'licence' issued by the
Master and Wardens and recorded in the Register, was not merely
testimony to the right to print a particular book, but to the unique
right to do so. Here we have, in all but name, the concegtjof
copyright.
Within a very short time, these 'copies' were, logically enough,

being treated as pieces of property. Such a view was, of course, the
only real justification for the fines. In printing another man's copy,
the offender was infringing his property rights, and was to be duly
punished by fine, and in some
cases by also paying compensation to
the sufferer. It followed, however, that if copies could be the
subject of illegal or irregular transactions, they could also be the
objects of legitimate trade. In the late summer of 1564, we have the
first record of a transaction involving rights in a copy. Two copies
were registered in the name of Thomas Marsh, 'which he boughte

of Luke Harrison. 31 In 1566-67, we have the first example of a
joint registration by two stationers of the same copy, in which they
32
apparently owned equal shares. Gaps in the record from the later
1560s to 1576 leave some questions outstanding, but by 1576 when
the surviving Register resumes, and became much more detailed,
there can be no doubt that there was a well-established and
generally accepted pattern of copy ownership, including transfers
by purchase, inheritance and gift, subdivision into shares, and
similar commercial activities. Other evidence that copies were
treated as property is scattered throughout the early records of the
Stationers' Company. As early as 1579, a copy was used as
33
collateral against a debt; similar practices at a later date included
34
using copies to secure mortgages.
How did the system operate? No set of regulations survives
which describes the day-to-day practice, which in any case clearly
evolved over a period of time through trial and error and
precedent, but the basic rules are fairly clear. The most basic was
that every book had to be entered in the Register. This is clear from
35
fines on stationers who did not enter their copies, although it was
not made explicit until as late as 1637. In that year, a decree of the
Court of Star Chamber required that in addition to being licensed,
every book 'shall be also first entred in the Registers Booke of the
36
Company of Stationers'. The distinction between licence and
entry is also quite explicit here, and the distinction is clearly
between the official licence, and the internal arrangements of the
Stationers' Company.
Whenthe copy had been duly entered, it was the sole and
perpetual property of the person or persons who had registered it,
make the entry in the first
provided that he or they had the right to
place. The important, for a number of entries are
latter point is
indeed conditional, and the reservations expressed in some of the
18
conditional entries reveal both practices (sharp and otherwise) and

uncertainties.
These conditional entries are not uniform, for each deals with a
specific and unique case. In 1580, for example, the Wardens were
unhappy about the contents of a book, and ordered it to be entered
with the proviso that those in whose favour the entry was made
'promese to bringe the whole impression therefore into the Hall in
37
case it be disliked when it is printed'. In this case, the Wardens
were clearly concerned that the book might be politically or
religiously unacceptable. Two general points arise out of this: first,
thebook cannot have had a licence from the censors, or the doubts
could not have arisen, and secondly, the Wardens clearly were not
themselves empowered to act as censors on behalf of the Crown.
Fear probably lay at the root of many of the conditional entries in
the Register. Even an author, if he were sufficiently influential,
might be a cause of concern to the Master and Wardens. In 1581, a
book on the education of children was entered with the reservation
that if it had any contents 'preiudiciall or hurtefulF to Roger
Ascham's Schoolmaster 'then thys Lycence shalbe voyd'. 38 Ascham
had been Elizabeth Fs tutor, and was still highly favoured by her;
he was not a man to be annoyed or even, it would seem, refuted in
print.
Even more interesting, however, for our present purposes are
those conditional entries where the doubts concern the legalities of
the ownership of the copy rather than its contents. number of A
entries in the 1580s have such comments as 'vpon condicon that no
39
other man be interested in and 'soe much ... as Doth not
yt',
40
belong to anie other of this Companie'. These cases, which are a
few among many, clearly show that the principal concern of the
Stationers' Company was to regulate the trade for the benefit of its
members. This was their interpretation of their obligation under
the Charter to maintain order in the book trade. They had, in
effect, created for theirown purposes a newjdnd of property, and
developed a system for exploiting it.
The legal basis for what the Company was doing lay in the
Charter, which incorporated the state's perception of the need to
organize and regulate all forms of economic activity. The economic
benefit which this conferred on some members of the book trade
was coincidental to the fundamental principles involved. Riding on
the coat-tails of censorship, and always treading very carefully in
cases of doubt, the first generation of officers of the Stationers'
Company laid the foundations for the domination of the English
19
book trade by themselves and their successors for the following

century, and for an influence over its affairs which was to survive
even longer than that. For the historian of the book trade, the real
significance of the early history of copy ownership lies in the fact
that it was the motive force behind a critical change in the balance
of power within the trade itself. For more than a century after the
invention of printing,it was the printers, with their command of the
limited technical facilities for book production, who controlled

the trade.
It was certainly the printers who dominated the Stationers'
Company during theten or fifteen years after the Charter was
first /
l
granted. During that time, they were able to protect themselves to

some extent by limiting the number of presses and printing houses
(another point at which the interests of the more economically
powerful members of the Stationers' Company coincided with
those of the state), but gradually their power slipped away from
41
them. It was the copy-owning booksellers who succeeded them as
came to control the very
the leaders of the trade, for they gradually
product on which depended
it continued
for itsexistence: the right
to publish books. The printers became, as they have remained ever
since, the paid agents of the copy owners. The copy owners
reinforced their dominance of the Company throughout the late
1570s and early 1580s, and gradually took control of the Court of
Assistants, and hence of the senior offices. By the end of the 1580s,
they were ready to use that dominance to form the policies of the
Company in their own interests, and to exert political and legal
42
influence outside the narrow circles of the book trade itself.
The power of the Stationers' Company as a whole, and of the

copy-owning booksellers within it, was further enhanced by the
Company's gradual absorption of the rights protected by Letters
Patent, thus uniting the older system of copy protection based on
the direct use of the Royal Prerogative with the newer, and less
mechanisms developed within the book trade. By the early
official,
1570s, the patent rights were a cause of serious concern within the
trade, to the extent that they were threatening to disrupt the cosy
arrangements with which the senior members of the Company were
very satisfied.
To understand this complex, but important, series of events, we
need to consider the history of the rights in copies granted by
Letters Patent. During the first decade of the reign of Elizabeth I, a
number of existing patents were renewed, and others were created.
The effect was that nearly all of the most profitable books were
20
The Origins of Copyright 1475- 1640
controlled by a handful of printers and booksellers, and there was

no legal means by which anyone else in the trade could become
actively involved in their publication. Four men were particularly
prominent in this respect: Christopher Barker, the Queen's Printer
(who controlled the Bible, the New
Testament, the Book of
Common Prayer, statutes, proclamations and other official docu-
ments), William Seres (primers and other private prayer books,
and school books, among others), Richard Tottel (common law
books) and John Day (the ABC, the Catechism, and the Psalms in
metre). All four men were prominent in the Stationers' Company,
and were part of the group of Master Printers who at that time still
dominated the Court of Assistants. A protest against the Company
43
and a protest against the patents could easily merge into one.
It was the Day patent which was to bring matters to a head, and
to lead to thefirst detailed official investigation of the trade since
the incorporation of the Stationers' Company. Apart from the

Queen's Printer himself, Day was the most important of the
patentees. The ABC alone was one of the most valuable of copies,
44
and was merely one of those which he controlled. In 1577, a
it
group of Freemen of the Stationers' Company petitioned the Privy

Council against the Day patent, and the Court of Assistants also
found itself dealing with a number of cases involving the patent
books. Neither body was particularly sympathetic to the claims
against the patentees, but the seeds of trouble were being sown. All
sorts of complications were beginning to arise, as the Company's
customs came into conflict with external social, economic and
political forces. In 1578, for example, Richard Jones entered a
Welsh translation of the ABC in the Register, and Day, as
patentee, objected. The Court of Assistants considered the
matter,
and reached the Solomonic judgment that, while the copy of the
Welsh version did indeed belong to Jones, he was to print it in
45
Day's name as the latter's assignee.
Day was not the only victim. Even Christopher Barker was not
exempt, and in 1578 he complained to the Privy Council that his
patents as Queen's Printer were being infringed by 'diverse printers

of the Cittie of London'. In fact, the printer in question was
apparently Richard Tottel, who was printing abridgements of the
statutes (which belonged to Barker) under the cover of his common
law patent! 46 The situation was becoming ridiculous, and could not
be allowed to continue.
It was exacerbated by real piracy, that is the reprinting of patent
books without the permission of the patentees. When Day
21
appealed to the Privy Council about the infringement of his rights,

itwas found that Roger Ward had printed at least 10,000 copies of
the ABC without permission.
47
This is, in itself, a testimony to the
economic importance of the patent books: at that time, a normal
print run rarely exceeded 500. Moreover, Ward was neither the
only pirate nor the worst. In the same year, John Wolfe, the most
depredatory of the pirates, illegally printed both the ABC and the
ABC with the Little Catechism. This was not his first brush with the
law. He had already infringed Barker's rights, and Barker had
turned to the Privy Council for redress. He had also infringed
patents in Latin grammars in 1581, when yet again the Privy
48
Council had ordered him to desist.
Throughout the late 1570s and the early 1580s, piracies of the
patent copies and grievances against the patentees were a disturb-
ing undercurrent which brought the trade to the attention of crown
officials. The Privy Council occasionally reminded the Stationers'
Company of itsduty to protect the patentees, and of its right to
49
search for, and confiscate, pirated books, but the truth was that
there was little that it could do in most cases except to accept the
status quo. The causes of the difficulties were not far to seek.
Barker himself, in a report to the Privy Council in 1582, put his
finger on one of them, which was the growing power of the
booksellers and the relative decline of the printers: '. the . .
Bookesellers being growen the greater and wealthier [,a] nomber

50
haue nowe many of the best Copies .' These 'copies' were,
. .
probably, those which were entered on the Register, rather than

the patent copies, of which the great majority still belonged to
printers. What Barker had identified was that the possession of the
non-patent copies was also becoming profitable, and that this was
widening the gulf between the patentees and the rest of the trade.
The increasingly confident copy-holding booksellers wanted to
share in the good fortune of the patentees by finding some means of
publishing the most profitable books of all. At the same time,
however, the number of men qualified to work in the trade,
especially as printers, was also growing, and there was not enough
work to go around. Gaps were developing between privileged and
unprivileged, between patentees and the rest of the trade, between
the rich and the poor.
The pirates proved intractable. In the early 1580s, Wolfe's
printing shop was raided and his presses and other property
confiscated by the officers of the Bishop of London (who was one of
the official book licensers in his diocese). The City of London tried
22
a more ingenious and more subtle mechanism, presumably under

pressure from the Privy Council, or the Bishop, or the patentees or
perhaps even the Stationers' Company, or some combination of
them: it transferred Wolfe from the Fishmongers' Company, of
which he was a Freeman, to the Stationers', and ordered the latter
to give him enough work to satisfy him. This ploy was partially
successful, but not really a solution.
There was official concern at the highest levels about these
disturbances. Any disruptions in the book trade opened up the
possibility of unlicensed printing. Eventually, the Privy Council
appointed two commissioners to investigate the situation, and they
uncovered what had happened in the trade in the previous fifteen or
twenty years, bringing to the Privy Council's attention the internal
system of regulation which the Stationers' Company had deve-
loped. The outcome was a decree issued by the Court of Star
Chamber in 1586 which reinforced the existing licensing system,
and to a large extent confirmed the position of the patentees. There
were, however, some concessions. The number of Master Printers,
apprentices and journeymen was to be limited, thus easing the
problem of too many men competing for too little work. Print runs
were limited to 1,500 copies of each edition, another provision
which had the same effect. Other clauses reiterated the duties and
rights of the Stationers' Company, including the restriction of
printing to its Freemen (except in Oxford and Cambridge under
licence from the respective Vice-Chancellors), the Wardens' rights
of search and seizure, and the requirement to observe the rulings of
the licensers. The licensing system was strengthened by increasing
the number of officials involved in it, and there was some limited
recognition given to the force of an entry in the Register. It is,

perhaps, an exaggeration to argue that 'The ecclesiastics guarded
51
against "dangerous" works, and the wardens against piracy', but
those were certainly the respective priorities of the parties
involved. The concern of the Crown, however, was first and
foremost to prevent the printing of seditious and heretical books,
and secondly to ensure that its authority was respected. The
protection of the alleged rights, and commercial interests, of a
small group of comparatively insignificant London tradesmen was,
if it were considered at all, a
very minor part of the whole
52
arrangement.
Nevertheless, the 1583 Commission and the 1586 Decree did
have a significant long-term effect on the development of copyright
law and practice. John Day died between the time when the
23
Commission reported and the official response to its findings and

recommendations. His son, Richard, inheriting both the patents
and the long struggle to protect them, reached an agreement with
Wolfe, in which the latter became one of five assignees of the Day
53
patents. This took the sting out of the attack on the patents, and
the other patentees cut their losses and followed suit. The patent
rights had now become a very different kind of property. Although
they clearly derived from the exercise of the prerogative, they
were, equally clearly, an integral part of the book trade, being
owned by consortia of printers and booksellers who profited from
them. Increasingly the patent copies were being treated like copies
to which the claim rested on an entry in the Register, and the
Company began to take a rather different interest in them.

Under the stricter regime imposed in 1586, the Court of
Assistants could not afford to be seen to be lax. Within a matter of
weeks it used its reconfirmed powers to search Roger Ward's
premises (again), seized books he had printed in breach of the
patents in Latin grammars, catechisms and primers, and ordered
54
his presses to be destroyed. At the same time, and perhaps even
on the same day, the Wardens confiscated presses belonging to a
group of five men on the grounds that they were intended to be used
55
for printing Latin grammars in breach of the patent. This was
draconian indeed! Such actions had their effect, and we hear little
more of such overt breaches of the rights of the patentees.
The Court, however, also concerned itself with the arrangements
which the patentees and the developing groups of owners of patent
rights were making for themselves. It began to regulate the
operation of these groups, and, in particular, made rules which
required the owners to ensure that some of the poorer members of
the Company benefited from their good fortune. They required, for
example, that the printing should be undertaken by some of the less
prosperous men, and they made arrangements for the equitable
distribution of the profits according to ownership of rights and
printing undertaken for the owners. By the middle of the 1590s, this
operation had its own Treasurer, and was beginning to take on the
appearance of a business on its own account. When James I came to
the throne in 1603, the arrangements were formalized. Letters
Patent were issued which formally vested the patent rights in the
56
Company.
The Court divided the rights into shares of a notional capital of
9,000, held according to rank in the Company in units of 50, 100
or 200, of which there were 60, 30 and 15 respectively. The
24
7776 Origins of Copyright 1475-1640
business was known as the English Stock, and became one of the
most important activitiesof the Stationers' Company in the
publishing trade. The Stock eventually came to include not only
the Day and Seres patents, but also those for almanacs and
prognostications, which were to prove profitable until well into the
eighteenth century. The shares themselves were highly sought
prizes, for in the early seventeenth century the annual dividend was
57
running at between 12 and 13 per cent per annum.
The transformation of the patent books into the English Stock
was a response to the need for the Stationers' Company to be seen
as an effective and willing agent in the regulation of the press for the
benefit of the Crown. But it also had clear benefits for the Company
itself, and especially for its most powerful members on the Court of
Assistants. The evolution of the English Stock is also, however, a
significant event in the history of copyright, for it established on a
clear legal basis the rights in some of the most valuable copies in the
trade. At the same time, although probably coincidentally, it
confirmed the role of the Stationers' Company in the establishment
and enforcement of such rights. The English Stock copies unequi-
vocally had their origin in the exercise of the Royal Prerogative; the
Stationers' Company had transformed them into commercial
properties.
This was clearly in line with the rapid contemporaneous devel-
opments in practice with regard to rights in other copies,
those entered in the Register. The 1586 Star Chamber decree
strengthened the hand of the Company in enforcing registration
(and all its other internal regulations), and thus facilitated the emer-
gence of a new and clearer understanding of the nature and
implications of copy ownership.
It is clear that the idea of rights in copies, that is, the unique right
to print a particular text, was well-established before the end of the

1580s, and probably earlier. At the same time, it was also claimed,
and probably established de facto, that such rights could normally
only belong to a Freeman of the Stationers' Company although, in
exceptional cases, this could be overridden. In 1598, members of
the Company were required by the Court of Assistants to desist
from the practice of entering copies on behalf of non-members. 58
An order of 1607 was even more explicit: copies were to be entered
only by Freemen of the Company, resident in London; no Freeman
was to help anyone else to enter a copy; and no copy was to be
59
printed without entry. The Company went to great lengths to
prevent the ownership of copies outside its own membership. In
25
1605, it was alleged that Edmund Weaver had entered ten copies on
behalf of Thomas Wight, who was not a member of the Company;
thiswas allowed only on the condition that Wight was to 'dispose of
them to any freeman of this Companye'. 60 The Stationers' Com-
pany thus achieved two objectives at once: it maintained order
within the trade, and it ensured that its members had a collective
monopoly over it.
The Stationers' Register had become the only means of proving
ownership of rights in the vast majority of copies which were not
the subject of Letters Patent or part of the English Stock. number A
of incidents at the turn of the sixteenth and seventeenth centuries
demonstrate this. The case of Thomas Wight
one interesting is
example of what could happen. Wight could never exploit these

copies for himself, other than by selling them to a member of the
Company; but entry, even in the name of another, established his
rights in them, and hence the legitimacy of any subsequent
transactions. There are many episodes from about 1600 onwards
which leave no doubt about the Company's internal interpretation
of a Register entry. In 1603, for example, when, following the usual
practice, the copies of the late Robert Dexter became the common
property of the Company when he died intestate, there was a rider
that the order included 'all other copies and bookes wherin Robert
61
Dexter Deceased had Right by entranc [sic] in the hall book'.
There are several points of interest here:frTrst, an entry in the
Register is
proof of ownership; secondly, rights are obtained and
established by the act of entry; and thirdly, the rights of deceased
Freemen revert to the Company as a whole, presumably to avoid
them going into the hands of those not in the tracle.^2 Indeed, there
is even some evidence that the value of shares in trie Stock attracted
63
men from other companies.
The absence of an entry in the Register could be fatal to any
claim about the ownership of a copy. An interesting, if negative,
example is that of the rights in 'the book of Dcor ffaustus', not
Christopher Marlowe's play, but the English translation of the

German 'Faust Book' which was his main source. On 18 December
1592, the Court of Assistants ruled that the copy was owned by Abel
Jeffes, if no entry could be found for it in the name of Richard
64
Oliffe who also claimed No such entry was found (and indeed
it.
none and the copy was duly considered to belong to Jeffes;

exists),
in 1596, he was able to transfer his share to Edward White. In fact,
the whole story is more complicated than this very brief summary
suggests, for no one involved was an exemplary member of the
26
Company, and there was almost certainly a good deal of sharp

practice hidden beneath the curt entries in the Register and the
65
Court Book. Even so, the principles involved are clear enough:
Oliffe's claim had to stand or fall on the existence of a valid entry in
the Register.
Although entry was the only proof of ownership, it is important
to recognize that the Registerwas merely a record of established
rights; an entry could not, by itself, confer those rights. The
conditional entries exemplify this, for they, in effect, refer to
external and higher authorities for adjudication. The registration
customs could also, however, be used in different ways. This is
exemplified by which rights are clearly deemed
entries for copies in
to exist, and to be legitimately owned by a member of the
Company, but for which there had been no previous entry.
Examples are found at intervals from 1600 onwards. On 2 July
1602, for example, thirteen copies which had belonged to a
deceased member of the Company were entered to William Leake;
of these, earlier entries can be found for only nine. Despite this,
however, the ownership of the four unentered copies, and of the
66
right to transfer them, was never successfully challenged. In 1607,
a similar transfer took place of a group of sixteen copies, now
entered to John Smethwicke, 'whiche dyd belong to Nicholas
Lynge'; several had not previously been entered, but no question
was raised about the legitimacy of the transfer. 67 One final example
will suffice to establish this point, and it is
perhaps the clearest of
the three. Dekker's play The Shoemaker's Holiday was written in
1599, staged in 1600 and published in the same year by Valentine
Simmes. 68 There is no entry in the Register, but in 1610 it was
transferred by Simmes to James Wright without any difficulty or

69
challenge. From these and other examples, it is clear that while
entry was the only proof of ownership of a copy, and was indeed
required under the Company's Ordinances, its absence was not
necessarily an obstacle to exercising the rights of ownership
provided that there was no substantiated challenge. Perhaps it was
for this reason that almost half of those books published before
1640 which were not part of one of the patents were apparently
70
never entered in the Register.
A challenge to the right of publication might come from one of
three principal sources, although such cases are unusual. The first
was from within the Company itself. This was the business of the
Court of Assistants, and was indeed their principal formal involve-
ment in disputes about copy ownership. Their first concern was, of
27
course, to ensure that they did nothing to annoy powerful outside

interests, but they were also committed, for commercial reasons, to
maintaining control over the conduct of the members of the
strict
book The Court Books and the Hall Books are full of
trade.
minutes and entries, many of them impenetrably obscure in their
details, which both the disputes which arose and the Court's
reflect
efforts to mollify everyone involved in them, while ensuring that its
own authority was not blatantly flouted, and that it did its public
duty in relation to the 1559 Injunctions, the 1586 Decree and other
crown orders.
The second source of objections, far fewer in number, but taken
very seriously when they did arise, was the various official bodies
which might object to the contents of a book rather than to the
commercial arrangements for its publication. In other words, these
are not really copyright issues at all, but rather issues relating to the
enforcement of the licensing regulations concerning the censorship
of books.
The third group of complaints came from outside both the book
trade and the official circles concerned with censorship of the press,
although the use of the word 'group' implies a degree of cohesion
which did not exist. Nevertheless, this third category of complaints
isof particular interest, for it consisted of those who argued that
they had some sort of prior claim on the ownership of whatever it
was that was claimed as a piece of property by a Stationer. In other
words, they forced the earliest consideration of the nature of the
'rights' in copies.
There are a few sixteenth-century incidents which, at least to the
modern interpreter, suggest some rudimentary concept of the
rights of the author as well as those of the publisher. In 1582, for
example, Henry Denham was ordered by the Court of Assistants to
pay the not inconsiderable sum of 4. 6s. Sd. to Edward White
because he had published a book called The Diamond of Devotion:
'pte whereof was taken out of a copie of ye said Ed. whites Called
71
the footepath of faithe'. Two
years later, another case also (but
presumably coincidentally) involved White; A Book of Cookery
was entered to him on the usual condition that it did not belong to
anyone else with the rider that it was 'not collected out of anie book
72
already extante in printe in English'. Are these cases concerned
with piracy or with plagiarism? The line is a fine one, and it never
became much clearer in the early seventeenth century. In 1618, for
example, Thomas Jones was forbidden to print in The Father's
Blessing, in which he owned the rights, anything which had
28
appeared in Lewis Bayly's The Practice of Piety, in which he did

73
not. The Father's Blessing is an anonymous (but legitimate)
adaptation of Basilikon Down by James I, but despite this special
circumstance a general question arises. Was Jones being forbidden
to pirate another man's copy or was he being prevented from
plagiarizing Bayly's book?

In the reign of James I, the question became more acute because
of the King's renewed exercise of the prerogative in relation to
74
rights in copies, as defined by Coventry in 1618. Unlike the Tudor
patents, now largely absorbed into the English Stock, the patents
granted by James I were generally given to individuals for

particular titles, usually books which they had written or were
writing. Some of these were connected with particular political
initiatives, such as that granted to William Stalling for his Instruc-
75
tions for Planting and Increase of Mulberry Trees in 1607. Some
were probably simply exercises of patronage in favour of peti-
tioners for royal favours; these may have included George
Humble's patent for John Speed's great atlas, the Theatre of Great
76
Britain, granted in 1608. Others were rewards or incentives to the
authors of great works of learning, such as John Marriott's
77
Pharmocopoeia Londiniensis (granted 1616), or, most famously,
John Minsheu's pioneering multi-lingual dictionary, Glosson Ety-
78
mologicon (granted in 1611 ). Whatever the motive for issuing
these Letters Patent (which were probably a mixture of political,
financial and scholarly), some of them contain the implied recogni-
tion of the rights of the author of a work to be its legal 'owner'.
We can see here some glimmerings of an issue which was to
become central to the law of copyright in the eighteenth and
nineteenth centuries: the relationship between the rights of the
author and the rights of the publisher. The concept of plagiarism,
however rudimentary it may have been, is a movement towards a
recognition of the essential uniqueness of every book, and in those
Company we can perhaps
entries in the records of the Stationers'
see the stumbling attempts to deal with the key issues of the
first
difference between ideas and the works in which those ideas are
expressed. The recognition of the author as a participant in the
process of publishing a book was perhaps further reinforced by the
granting of protection to particular titles rather than to whole
groups of books or to such essentially anonymous works as statutes
or prayer books. A fundamental question, although it was not yet
raised, was clearly implicit: if a copy was a piece of property, what
was its origin? Who created it? At what point in its development did
29
it take on those characteristics which allowed it to be defined and

treated as property? It was from such questions that the concept of
copyright was finally to emerge.

In so far as these questions were addressed in England before the
Civil War, they seem to have arisen in one particularly complicated
context: printed drama. An understanding of this is essential, but it
requires a little preliminary explanation.
The serious study of many of the issues that have been under
consideration in this chapter had its origins in the study of the
textual and theatrical history of the Elizabethan and Jacobean
drama, and particularly in the complex relationship which existed,
or was presumed to exist, between playwrights, theatrical com-
panies and printers and publishers. As a generalization, it is not a
serious misrepresentation to say that plays were written by authors
working on commission for theatrical companies. Some of these
companies were effectively owned by an individual. One such was
the Admiral's Men in the later part of Elizabeth Fs reign, whose
owner, Philip Henslowe, kept a detailed, if somewhat confused,
79
account of his dealings with playwrights and others. It is clear that
after Henslowe had paid his dramatists, their plays then went into
the Admiral's Men's repertory for as long as they could hold the
stage. Other companies, of which the only significant example was
the Chamberlain's Men (which became the King's Men in 1603),
were, in effect, joint stock companies. We have no similar business
records for such a company. The whole issue is confused by the fact
that Shakespeare was a principal shareholder in the Chamberlain's/
King's company, and that his plays, after 1598, were written for,
and hence belonged Company. There was nothing unusual
to, that
about this arrangement: was the standard pattern of the dramatist
it
writing for the Company (whether he was employed by it, or was a

part owner of it) and the play then becoming part of the stock which
80
the Company owned and performed.
None of this would have been of any significance to the book
trade, had it not been for the fact that some plays were published.
Even that statement needs to be put in context. In a typical year,
between June 1594 and June 1595, the Admiral's Men introduced
81
eighteen new plays into their repertory. If we assume that a major
professional Company like the Admiral's always worked at that
rate, then we would expect it to have introduced between 150 and
200 new plays a decade. This can be compared with the rate of
publication. In the fifteen years from 1590 to 1605, eighteen plays
were published that can be definitely associated with the Admiral's
30
82 83
Men; the period from 1597 to 1612,
in thirty-two plays
84
belonging to the Chamberlain's/King's Men were printed. From
this it seems reasonable to conclude that publication was of minimal
significance to playwrights and theatrical companies, and that it was

the exception, not the rule.
There is a further complicating factor in using any evidence
relating to the publication of plays to cast light on the book trade in
general. So far as the Stationers' Company was concerned, plays
were copies like any other. Some of them were printed in texts
which were later recognized by scholars to be deeply corrupt, and
yet their publication was not irregular in any way. Shakespeare's
2 and 3 Henry VI illustrate this point. The first edition of 2 Henry VI
(with the title The First Part of the Contention of York and
Lancaster} was published in 1594, in a badly mangled text not
85
entirely by Shakespeare. This was entered in the Stationers'
Register on 12 March 1594, in a perfectly normal way, by Thomas
86
Millington. Millington duly published editions in 1594 and 1600,
and then transferred his rights to Thomas Pavier in 1602, again by a
normal transaction in the Register. 87 Pavier published an edition in
1619, and the play was then printed, in a revised and more accurate
version, in the folio edition of Shakespeare's works published in
1623, the so-called First Folio, an enterprise to which Pavier was
88
almost certainly a consenting party. 3 Henry VI has a very similar
legal and textual history. Throughout this series of transactions, a
corrupt text, which cannot have derived from the author, was
treated as if it were a perfectly normal copy. From the trade's point
of view that was indeed precisely the situation.
Are these textually corrupt editions, and similar 'bad' quartos of
other Shakespeare plays, piracies? In the answer to that question
lies the relevance of all of this in the history of copyright. It is
crucial to maintain a clear distinction between 'piracy' as it was

understood in the book trade and 'piracy' as it might have been
understood by the theatrical companies. So far as the book trade
was concerned, piracy could only take place if the rights of a
member of the Stationers' Company were infringed, or if a text
protected under Letters Patent were printed by someone other than
the patentee and without the patentee's permission. The theatrical
companies took a different view, and on a few occasions they
intervened, or attempted to intervene, to prevent the publication of
plays from the repertory. The most notorious case was in 1619,
when the Court of Assistants ordered as follows: '. . .
vppon a ler
from the right hoble the Lo. Chamberleyne It is thought fitt & so
31
ordered That no playes that his Matyes do play shalbe printed

wthout consent of some of them.' 89 The Court could not ignore an
order from such a source, but it must be seen in the context of its
equally compliant reaction to other orders from civil and ecclesi-
astical authorities when they sought to prevent the publication of
particular books. Some such cases involve an attempt to protect the
author or his work for some reason, and that is in fact the case here.
The King's Men had their own reasons for seeking to protect their
plays from publication at that time, and they merely followed the
normal contemporary practice of turning to their most powerful
patron (in their case the King operating through one of the Great
90
Officers of State) to help them, as indeed he did. Despite alleged
instances of earlier interventions by theatrical companies to
prevent the publication of their plays (especially in corrupt texts),
91
there is no real evidence for the practice.
The whole episode in 1619 is full of lessons about the normal
rather than the exceptional. A
powerful patron could put pressure
on the Court of Assistants to order the members of the Company
not to print particular books, even if there were no legal reason why
they should not do so. On the other hand, the Court was recognized
as the governing body of the trade, and it was also recognized that it
controlled the rights in copies and the way in which these were
exercised. We can also see quite clearly that the copies were
regarded as property, to be protected in this case just as they might
be traded in others. Most revealingly, however, there is an
underlying assumption that they 'belonged' to the King's Men,
even though some of them had been printed and were the subject of
legitimate entries in the Register. Once again we have glimmerings
of the concept that the rights originate with the author.
The conclusions to be drawn from the exceptionally complex
rights in plays accord with those suggested by the granting of patent
rights in individual titles and the attempts to prevent the kind of
piracy which verges on plagiarism: there was some limited recogni-
tion of authors' rights in the first half of the seventeenth century.
We can find other fragments of evidence of individual incidents and
general practices which support this view. We know, for
!
example, that authors were paid for their copy. In itself, this proves
nothing, except that the booksellers did recognize that in acquiring
a copy for entry and publication they were acquiring something
which had already taken on the status of property. Can they have
believed that they were only buying a piece of paper rather than
what was written on it? It would be perverse to argue, and probably
32
wrong to assume, that any such distinction would have suggested

itself. As early as the late
1580s, the playwright Robert Greene was
accused of selling a play twice, once to the Queen's Men and then
again to the Admiral's. The accusation itself is more interesting to
us than whether or not it was true: it was clearly thought to be
credible that a man should write a play and then sell it. He can only
have been selling what would later be called his intellectual
92
property, his copyrights.
These are straws in the wind, and again a case from the theatrical
world, but there are others. Before 1600, we can see the beginnings
of a distinction between manuscript and printed works. In the
1590s, Thomas Nashe indicated that printed publication was one
way to prevent illicit copying of works by scriveners, at a time when
the circulation of literary works in manuscript was still com-
mon. 93 In effect, an astute author like Nashe could take advan-
tage of the system of copy protection developed within the
Stationers' Company. Once a book was in print, it was protected by
the Company's regulations, and there is evidence for the exploi-
tation of this system by authors seeking to protect themselves
against the unauthorized printing of their works, or the printing of

94
inaccurate or incomplete texts. Again the examples are few, and,
perhaps inevitably, concern literary texts rather than the mass of
ordinary books; but the signposts are there if we will read them.
Before the death of Elizabeth I it was recognized that authors had
rights in the books which they wrote, and that those rights could be
translated into money by the sale of the copy to a member of the
Stationer's Company. That Stationer could then use the Com-
pany's own mechanisms to protect both his investment and, if it
were a matter of concern, the reputation of the author.
By the second decade of the seventeenth century, there was a
reasonably effective system of copy protection operating in Eng-
land. The Royal Prerogative was the source of it; it had no statutory
basis. Through Letters Patent, through the Charter of the Sta-
tioners'Company, and through the prerogative courts such as Star
Chamber, the Crown controlled the printing and book trades.
Although the primary motive was to control the content and
distribution of books, a coincidental consequence had been to
develop a system which protected the commercial interests of

individualmembers of the trade. The patent rights in privileged
books, some subsumed into the English Stock of the Stationers'
Company, were the oldest and perhaps the most extensive group of
protected copies. But the number of copies protected by the
33
Stationers' Company's own regulations was growing every year,

and the Court of Assistants was assiduous in trying to ensure that
rights were protected and that disputes were fairly adjudicated.
Copies were treated as property, and their owners regarded with
the respect accorded to the holders of property, whether they were
printers, booksellers, theatrical entrepreneurs or even authors.
Although the system thus established under the Crown and its
various agents and agencies, including the Stationers' Company,
was reasonably effective and reasonably stable, there were changes
during the reigns of James I and Charles I. One of these was the use
of Letters Patent by James I to protect or reward or profit from the
work of particular authors. These, however, were not the only
extension of the patent system in his reign. Class patents, like those
which had caused so much trouble in the 1570s and 1580s, were still
being issued, and included new patents for songs and hymns,
granted by James I, and for ballads and other material printed on
one side only, and newsbooks, granted by Charles I. 95 Some of
these led to serious difficulties, especially when the interests of the
patentees conflicted with those of the trade in general, or indeed of
the Stationers' Company itself. George Wither's patent for hymns
was particularly troublesome, and caused many years of dissension
in the trade, and a good deal of damage to the authority of the
Court of Assistants. 96
The whole system, including the Wither patent, became en-
tangled in the general opposition to the use of patents to establish
economic monopolies which was manifested in the House of
Commons throughout the early seventeenth century. Even Eliza-
beth I had some difficulty on the issue in her last Parliament, and
matters became far worse under the less experienced, less well-
97
respected and less politically astute James I. In the parliaments of
1614 and 1621, there was a ground swell of opinion against
monopolies and monopolists, including the Stationer's Company,
and this reached its climax in the Parliament of 1623-24. The
outcome was the Monopolies Act of 1624, 98 which severely limited
the Crown's powers to grant monopolies under Letters Patent, and
brought those which existed under the control of the common law
courts rather than the prerogative courts. The one exception to this
legislation was for 'grants of privilege heretofore made or hereafter
99
to be made for, or concerning printing'. Why should this have
been so? We do not know, but we may guess that the wish to
restrain the press was widespread.
34
The campaign against monopolies in the book trade continued,

but was largely carried on from within, by dissatisfied members of
it
the trade, who, like Wolfe fifty years earlier, felt commercially
disadvantaged by being excluded from the system. George Wither
was the leader of the opposition on this occasion, and he was
silenced, as Wolfe had been, by being given a patent of his own, in
this case in hymns, granted in 1623. But the Stationers' Company
refused to cooperate with him, and he continued his attacks, most
notably in a pamphlet entitled Schollars Purgatory, Discouered in
the Stationers' Commonwealth, published in 1624. Eventually the
dispute with Wither was resolved, but the underlying problem re-
emerged in 1641 when so many long-standing grievances were given
100
their most eloquent airing.
Despite these troubles, the Stationers' Company continued to
exercise its authority as best it could over the printing trade. This
authority was reinforced from time to time. A

Proclamation issued
in 1623 confirmed the Star Chamber decree of 1586, and again
recognized the importance of the Company's own regulations. In
imposing a penalty of six months' imprisonment for illegal printing,
it defined this as
including any printing 'contrary to any allowed
Ordinance, set downe for the good Governaunce of the Company
of Stationers .' and even overrode the
. .
rights of copy owners, by
applying the penalty to such books 'though lawfull or allowed
to bee Printed by such to whom the Printing thereof doth
101
belong ,'. .In 1636-37, the trade petitioned William Laud, as
102
Bishop of London and hence the licenser in his diocese, for a new
Star Chamber decree to confirm its position and its authority. This
was duly granted, and issued in 1637. It is important in the history
of copyright only in being the first document issued in the name of
the Crown to require entry in the Register, but otherwise it merely
confirmed existing practices, increased penalties for those who
infringed against the regulations, and generally tried to ensure
10
good order in the trade.
The Star Chamber decree of 1637 was to prove to be the high-
water mark of royal regulation of the English book trade. In fact, it
was to last, like the political and constitutional system on which it
depended, for only three years, before a wholly new set of
circumstances provided the context in which the book trade had to
work. Even that upheaval, however, was not great enough to
undermine some aspects of book trade practice which had evolved
By 1640, the concept of rights in copies was
in the previous century.
one of the cornerstones of the trade, regulated both by the
35
Stationers' Company and by the Crown. Three generations had

passed sincethe Stationers had begun to evolve their copy
registration and transfer conventions in the early years of the reign
of Elizabeth I. Copies which were not part of the English Stock or
of the patent monopolies were exploited to the profit of their
owners. Even authors had learned how to play the system. The
ownership of copies had come to represent an important element in
how the London book trade worked, and how it saw itself in
relation to customers, competitors and the state. The copies were
investments, less tangible perhaps than presses and printing
houses, but nevertheless representing the key to economic success
in the book trade. The next two decades were to prove that it would
take more than civil war, regicide and republicanism to change the
practices of the copy-holding booksellers.
36
2 From Custom to Statute
1640-1710
By the year 1640, there was an effective, if somewhat eclectic,

system of copy protection in place in the London book trade. It
consisted essentially of two elements: the copies protected by
privileges, deriving from Letters Patent, and those protected by the
mechanisms of the Stationers' Company as part of its own internal
arrangements. Ultimately, both of these were dependent upon the
authority of the Crown and the exercise of the royal prerogative,
either directly or indirectly. If the prerogative powers of the Crown
were diminished, or its authority undermined, there would be
immediate consequences for the organization and stability of the
book trade.
The trade could not be isolated from the general effects of
political and social change. Although the 1624 Monopolies Act had
apparently recognized its special position, the continued debate
about the role of the state in the legal infrastructure of trade in
general had inevitable consequences for all economic activity.
Within the Stationers' Company, as in many livery companies at
the beginning of the 1640s, there was a party which opposed the /
monopolies exercised by the ruling oligarchy, and which gradually
came to identify itself with the anti-prerogative party which
emerged both in the Short Parliament of April 1640 and, more
effectively, in the Long Parliament which first met in November in
thesame year.
The struggles within the book trade mirrored the wider struggles
in the state, but they were also important because of the growing
recognition of their possible effect on the use of the printed word as

an instrument of propaganda. This was critical at a time when two
opposing factions had almost equal access to printing facilities, and
both recognized their significance. When Charles I left London to
lead his army against the rebellious Scots, he took a printer with
him, and a number of proclamations were printed as a result. This
37
1
practice was followed throughout the Civil War. Parliament also
took a hand in the matter, and exercised an increasingly tight
control over the regulation of the press in London from 1641
2
onwards.
Theincreasing exercise of authority by Parliament, and particu-
larly by the House of Commons, had some significant implications
for the copy-owning booksellers. The system of protection for the
unprivileged copies depended on the use of the Stationers'

Register, and the general acceptance of its meaning within the
Company. Anything which affected the rules of entry had implica-
tions, usually unintended, for the ownership of rights in copies. It is
important to recognize, however, that it was the privileged copies,
and especially those which constituted the English Stock, which
were of greatest importance to the leading members of the trade.
It was these copies which provided the most profitable work, and it
was with the protection of these rights that the Court of Assistants
was principally concerned. The copies protected only by custom,
whether or not they were entered in the Register, were, of course, a
serious matter for their owners, but of far less general consequence
for the trade as a whole.
The finer points of book trade practice were of no concern to
those directing or resisting a revolution. What was of critical
importance was the control and effective use of the press as an
instrument of propaganda. From the earliest days of the Long
Parliament, its members concerned themselves with this issue, for
the licensing system effectively collapsed as the prerogative courts
lost their moral, and subsequently legal, authority. The House of
Commons was particularly sensitive on these issues, and began to
address them early in 1641, with the intention of ensuring that its
3
views were fully and accurately represented in print. Any effect on
the system of copy protection was entirely coincidental and
unintended, but it was, from the trade's point of view, inevitable.
Their first battle was fought to protect the privileged copies, and
particularly the English Stock. The attack on them was renewed/
early in 1641 with a pamphlet published by Michael Sparke;
entitled Scintilla, or a light broken into dark warehouses. Sparke
was deeply involved in the trade in the import of English Bibles, in
4
breach of the privileges of the King's Printer and the universities,
but his attack on monopolies was politically astute and brought him
much support. It caused a real crisis in the Stationers' Company, 5
because it found clear echoes in the Commons, which had already
38
From Custom to Statute 1640-1710
6
concerned with the implications of the Bible patent. Two
itself
years later, John Milton referred back to this affair in Areopagitica:
. .there was in it the fraud of some old patentees and monopolizers in

.
the trade of book-selling; who under pretence of the poor in their

Company not to be defrauded, and the just retaining of each man his
severall copy, which God forbid should be gainsaid, brought divers
glosing colours to the House, which were indeed but colours, and
serving to no end except it be to exercise a superiority over their
7
neighbours . . .
The view that the shareholders in the English Stock were interested
in exploiting it only for their own advantage, and not in order to
provide work for the poorer members of the Company, was
widespread both inside and outside the trade, and, whether or not
the accusation was a fair one, it provided a potent weapon to the
opponents of the trade establishment.
Even before the publication of Scintilla, however, the Commons
had begun to take an active interest in the affairs of the trade,
by
8
establishing a committee to investigate it
February 1641. The
in
trade was now seriously concerned, and, when the Lords also began
to show an interest in its affairs, it pre-emptively complained in
March 1641 to that House that the breakdown in the control of the
9
press was wrecking its economic stability. This was, however, of
little concern to either House as events moved at an ever-increasing
pace. In October, the Court of Assistants agreed to consider the

Company's affairs, and to report on them to the House of
Commons, presumably in response to the committee established in
February; its report would specially concentrate on the 'Ordin-
10
ances and Rights concerning the Entry of Copies'.
There was, however, a growing conflict of interest, and not only
in the matter of monopolies. There were two separate, although
related, issues at stake: the control of the press in order to use it fon/
propaganda (while suppressing the propaganda of others), which
was the interest of Parliament; and the retention of long-
established rights which had a multiplicity of economic implications
for their beneficiaries,which was the interest of at least some
members of The problem for the latter was that they
the trade. /
'
were neither united nor unanimous. The very public opposition of

some members of the Company to the continuation of its historic
role (whatever their own motives may have been) proved both an
excuse and an opportunity for intervention by authority. In
practice, it was the view of Parliament (and particularly that of the
39
House of Commons) which ultimately prevailed, and, as a result, it

was the control of the press, rather than the rights in privileged and
other copies, which dominated the debate and the legislation in the
late 1640s and early 1650s. This had implications for the copy-
protection practices which had developed within the trade, but only
rarely directly impinged upon them.
One example of the almost casual way in which this
interesting
happened is in a House of Commons order in January 1642, which
was principally concerned with licensing arrangements, but added
coincidentally that 'the Master and Wardens of the Company of
stationers shall be required to take special Orders, that the Printers
do neither print or reprint anything without the Name and consent
of the Author
n The
to print the name of the
. . .'
requirement
licenser had
theoretically existed since 1632, and had been reiter-
12
ated in 1637, but this apparent concern for the author was new.
The real purpose was, of course, to enable easy identification of the
authors of unacceptable books and pamphlets, and we should
certainly not ascribe any motive beyond that to the framers of this
Order. Even so, they show a clear recognition that it is the author
who is ultimately responsible for the book.
After the outbreak of war in 1642, the House of Commons had

weightier matters on its mind, and its interest in printing was
thereafter wholly confined to propaganda. It was not until the
spring and early summer of 1643 that it returned to the general
principles involved in the control of the book trade. By that time,
the Court of Assistants had, to some extent, reasserted its own
authority, at least to the extent of pacifying Sparke. The Ordinance
for the Regulating of Printing, issued by the Commons on 14 June
13
1643, recognized the 'diligence of the company of Stationers', and
gave some support to their historic claims. All books were to be
14
licensed, and the licence printed in the book, but they were also
to be 'entred in the Register Book of the Company of Stationers,
according to ancient custom'. Once a book was duly entered it was

not to be reprinted 'without the license and consent of the Owner or
Owners thereof. The Register itself reflects little of this, except in
the growing caution of the officers and members of the Company.
An entry in August 1643 records that Richard Harpur registered
'. .two things wch were printed before the Ordinance came
.
15
forth .', . but no other Stationer seems to have taken the same
.
precaution. What is significant, however, is that from late 1644 until

the mid-1650s, the form of the entries changes from its traditional
wording, omitting the Wardens, and including instead the names of
40
the licensers, or referring to Commons committees, the Clerk of

the Commons, or powerful individuals including both Fairfax and
16
Cromwell.
Throughout the interregnum, the power and status of the
Stationers' Company was undermined. The 1647 Ordinance against
Unlicensed or Scandalous Pamphlets and for the Better Regulating
17
of Printing makes no mention of the Company at all, and in its
1649 successor it clearly plays a subsidiary role. That legislation, An
Act against Unlicensed and Scandalous Books and Pamphlets, and
18
for the Better Regulating of Printing, prescribed detailed mechan-
isms for licensing, and particularly for the licensing of newsbooks,
which were to be recorded in a special register by the Clerk of the
Parliament, and, almost as an afterthought '. in the Register- . .
book of the Company of Stationers, according to ancient custom'.

The newsbooks were, however, an area of particular political
sensitivity, and during the 1650s the control of them became almost
19
absolute. For less inflammatory publications, the Company did
find some support for its position. There was a specific
official
statement that English Stock titles were not to be pirated:
. . . nor any Book or Books, or part of any Book or Books, now

entered in the Register Book of the said Company, or which hereafter
shall be duly entred in the said Register Book, for any particular
member of the said Company, without the like consent of the owner or
owners thereof. 20
This at least allowed the Court of Assistants to protect, however

tenuously, the continuing existence of rights in copies as recorded
in the Register. There was, however, not even the pretence of
leaving the Company in control of the book trade in the final piece
of Commonwealth legislation, in January 1653. The control of the
trade passed to the Council of State, and the Master and Wardens
were merely left with a series of duties and obligations, supported
by the reassertion of their rights to search for and seize illegal
books, and rewarded by granting to the Company half of the value
of the fines levied on those associated with the writing, printing,
21
publishing and selling of such books.
The 1653 Act was in force until the Restoration of Charles II in
May 1660. Licensing was strictly enforced, but, within the system,
the Court of Assistants continued to operate as best it could. There
was, perhaps, a more cautious approach to potentially contentious
issues. When Richard Hodgkinson complained in 1653 that Wil-
liam Ley bourne had pirated a copy which belonged to him, he
41
produced his licence as evidence of ownership. Confronted with

22
such authority, the Court referred the matter for a later decision.
In another case, in 1656, concerning a dispute between Thomas
Warren and Francis Leach, the Clerk eventually suggested that the
Court of Assistants should take legal advice before determining a
23
course of action; nothing more seems to have happened. These
are mere straws in the wind, although the latter is not wholly
without significance in suggesting a reference to the law as well as to
custom. Also of some interest are a few entries in the Register
which suggest that copy ownership practices were still evolving and
changing even under the difficulties of the times. In particular,
there is a noticeable growth in the transfer of shares in copies, as
opposed to copies as a whole. In May 1656, for example, William
Lee, Daniel Pakemen, Gabriel Bedell and Thomas Collins jointly
entered Reports in the Exchequer, the official record of the Court of
Exchequer for 1606 to 1614; the first two each owned one-third
24
shares and the others one-sixth each. Such complex joint
ownership was becoming more common, if not yet usual; it was also
in 1656 that John Harrison's widow transferred his one-sixteenth
25
share in Lancelot Andrews's sermons to Octavian Pulleyn, and
Giles Calvert transferred to Mary Simmons a one-fourth share of
volumes two, three and four of the works of Joseph Caryl. In the
latter transaction the phrase 'parte or share' is used, apparently for
26
the time, as a description of the nature of the property.
first
In May 1660, however, the trade found itself in a legal vacuum.

Interregnum legislation was deemed to have no force, but the book
trade had operated under decrees from the prerogative courts,
which were also not to be restored. A
few minor actions were taken
by administrative decree. An Order-in-Council in June ordered the
Master and Wardens to seize all republican books; Milton's Pro
populo anglicano defensio and his refutation of Eikon Basilike were
both banned by proclamation in August; 27 and, in a strange echo
from the distant past, 28 it was ordered on 1 October that the Master
29
of the Revels was to authorize all plays before they were printed.
Obviously, however, more than this was needed, a fact recog-
nized by the Court of Assistants on the same day: The Table taking
notice of the great want of a Law for restraining the Exorbitances of
Printing & securing propriety [sic] in Copies
30
.' . The Court
.
noted that a Bill was already in front of the House of Commons,

and took steps to ensure that the Company's interests were
represented. The minute of the Court's discussion makes it clear
that the protection of copies was at least as important to the trade as
42
was the regulation of the press. It is, however, significant that, from
the very beginning of post-Restoration attempts to legislate for
the press, the Court of Assistants linked the two issues of
censorship and copyright, thus enabling it to present an argument
in favour of its own commercial control as one for the protection of
the state.
No legislation was passed in 1660, and by the summer of 1661, it
was regarded as a matter of urgency. In early July, the House of

Commons, 'taking Notice that several traiterous, schismatical, and
scandalous Pamphlets have been printed since his Majesty's happy
Restauration', ordered that a Bill should be prepared 'for the
31
Regulation of Printing'. The essence of
the proposal was to
establish the new Surveyor of
office of
the Press, whose occupant
would oversee book-trade matters and would have wide-ranging
powers. The Stationers' Company was to be a part of the system,
and indeed was to be firmly enmeshed in it by forcing all members
to take an oath not to print unlicensed books, and, in another
proposal, giving a committee of twelve members of the Company

32
the to prosecute offenders.
power In the meanwhile, however,
the Solicitor-General was ordered to prepare a Bill to give the King
statutory power to regulate the press 'till it be otherwise provided
33
for'.
The Bill to regulate the press passed quickly through the

Commons, getting its Second Reading on 26 July and its Third
34
Reading the following day. It then ran into trouble in the Lords,
where it was amended to protect the houses of peers from search by
officers looking for illegal books. The Commons rejected this
35
amendment, and the Bill was lost at the end of the Session.
The merely exacerbated the problem. On the one
loss of the Bill
hand, Charles and his ministers wanted to control the press, and
II
on the other, the Court of Assistants wanted protection for copies

and, especially, for the English Stock. Piecemeal legislation, such
as the Royal Proclamation against Milton's works, or to prevent the
unlicensed printing of almanacs, only made the situation more
36
confused, and, inevitably, a new Bill was introduced into
Parliament in 1662. The Commons was left in no doubt as to the
importance attached to the proposed legislation:
Mr Secretary Morice acquainted the House, from his Majesty, That,

next to the Bill for settling the Forces of the Kingdom, his Majesty held,
that the Bill, now depending, for regulating the Press, and to prevent
the Printing of libellous and seditious Books, did most conduce to the
37
securing of the Peace of the Kingdom.
43
After this message, it was not surprising that the Bill passed fairly
quickly through both houses, and received the Royal Assent on
38
19 May. In various guises, the 1662 Printing Act was to provide
the legislative framework for the trade until 1679, and again from
1685 to 1694.
Despite Cyprian Blagden's view that in 1662 'the clock was firmly
39
put back to 1637', the Act actually included a number of
important innovations, including the appointment of a Licenser
(Sir Roger L'Estrange) and a statutory requirement for entry in the
Register. The latter brought the whole business of entry and copy
protection firmly within the orbit of the common-law courts for the
first time, despite the parallel survival of the privileged copies, and
the patents of the King's Printer which had been created and
protected by the exercise of the prerogative. In practice, the power
and prestige of the Stationers' Company was damaged, although
not yet fatally so, by the Printing Act of 1662 and its successors.
There is no evidence in the Court Book that the Company was ever
consulted about the Bill as it passed through Parliament; it seems to
40
have offered its support to the proposals. The printers even tried
to break away to form their own livery company, an idea which had
been floated as early as November 1660, 41 and was rejected in 1663
largely because L'Estrange was unhappy about it rather than
42
because of the views of the Court of Assistants.
The book trade now had to operate within the provisions of a law
which was specifically and avowedly designed to control the output/
of the press. The law required that all books should be licensed
before publication, and that the fact of licensing should then be
recorded in the Stationers' Register. It was this requirement to
enter the licences in the Register which ensured the survival of the
system of copy protection which the trade had evolved before the
Civil War. This now consisted of three elements: the patents of
the King's Printer and the universities, together with a few patents
for individual titles; the English Stock (which was a specialized
variant of the patent system); and the copies secured to their
owners by custom supported by entry in the Register and the
practices of the Stationers' Company.
Increasingly, the Court of Assistants was more concerned with
the English Stock than with any other aspect of copyright regula-
tion,and was vigorous in its defence. In 1666, for example, Neville
Simmons was allowed to enter Tobias Ellis's The English Schole
only on the condition that 'this booke be not prejudiciall to the
43
Companie of Staconers, or anie other mans rights, &c'. Despite
44
the apparent inclusiveness of the last clause and the '&c', this was
clearly a move to protect the school-book monopoly of the English
Stock.
It was, however, the almanac monopoly which came to dominate
the Stock in the late seventeenth century, and for the next hundred
years. Almanacs were vastly popular throughout the period, and
represented a regular source of income for the shareholders. There
were two complications in their enjoyment of this profitable
monopoly: legal claims, and piracy. The

university presses both
claimed that their own Letters Patent gave them the right to print
privileged books, including almanacs. Various agreements were
reached between the Company and the universities during the
seventeenth century, including long periods when almanacs were
44
printed at Cambridge for the English Stock, but there was always
a sense of unease about the potential damage to the Stock's profits
from university intervention in this trade. Piracy was more
insidious, but sometimes easier to control. It was always a factor in
the London almanac trade, and the Court adopted various ploys to
deal with it, including, on one occasion, fining a pirate and
depriving him of his shares in the Stock, and then reaching an
accommodation which resulted in his election as Master a year
45
later!
The Company, however, more formal mechanisms for
also used
protecting the English Stock, including the law itself. It was the
1662 Act which made this possible, for it provided the basis on
which a body of case law could be developed. As early as the
autumn of 1667, the Company and the patentees of Roll's
Abridgement (which was part of the Law Patent) sought the views
of the Court of Common Pleas on the legality of the monopoly. The
Court unequivocally upheld the patents, as having been granted
under the prerogative, because 'The King hath a general prerogat-
46
ive [in relation to printing] at common law time out of mind'.
. . .
This general judgment was of particular relevance to the English

Stock. In 1677, King's Bench held that the almanac patent derived
from the prerogative, and therefore was not an illegal monopoly,
47
because the King 'may grant the printing to whom he will'.
Moreover, the justices added that their view was supported by the
1662 Act in which 'it is impliedly granted that the printing of all
48
books is restrainable, or grantable
by the King's patent'.
This broad view of the prerogative powers of the Crown, and
their particular application in the book trade, was generally
45
advantageous to the Stationers' Company, and we an increas-

find
ing recourse to the courts in disputes between the Company and

pirates, and between individual stationers, from the 1660s
49
onwards. On at least one occasion, the Company sought the views
of the Solicitor-General on a copyright issue; the issue was a
comparatively trivial one (whether or not marginal annotation
50
created a new copy), but the action itself was significant. In a by-
law approved in January 1678, the growing relevance of the law to
the trade's affairs was recognized, implicitly, when the Court of
Assistants made an attempt, perhaps somewhat anachronistically,
to try to control it
by ordering that:
. . . when any difference or differences shall hereafter arise between any

51
Member and Members of this Company for Copy Right or any thing
Bookbinding That then before any
relating to Printing bookselling or
Accion or Suite be Commenced They shall first make their application
to the Master Wardens & Assistants in a Court . . .
52
There was a 10 fine for going directly to law. There is evidence
that this by-law was enforced. In April 1678, Thomas Fabian was
given permission to sue Henry Harris for infringing his rights in 'his
53
Coppy Entitled Flavells
Navigacon Spiritualized'. In 1682,
Robert Pawlett was given an even more inclusive permission to sue,
in the name of the Company, any member who had printed or
imported any of his copies without his permission, although the

Company carefully indemnified itself from any costs arising out of
54
the case. Ironically, no such permission is recorded in what seems
to be the only fully reported seventeenth-century case of an
individual stationer suing another individual stationer for breach of
55
copyright, Ponder v. Braddill in May 1678.
In general, the law supported the Stationers' Company and the
shareholders in the English Stock, although it did so for political
rather than economic reasons. The report of the final hearing of
Company of Stationers v. Seymour in King's Bench in 1677 is
perhaps the most explicit statement of the position. The Court
referred to an earlier case regarding the Law Patent determined by
the House of Lords, and argued that the case for the almanac
monopoly was 'stronger':
The Lords, in the resolution of that case, relied upon this, that printing
was a new invention, and therefore every man could not by the common
law have a liberty of printing law-books. And since printing has been
invented, and is become a common trade, so much of it as had been
kept inclosed never was made common; but matters of State, and this
that concern the Government, were never left to any man's liberty to
print that would Queen Elizabeth, King James, and King Charles
. . .
the First, granted such patents as these, and the law has great respect to
56
common usage . . ,
This was apparently a resounding reaffirmation of the position of

the Crown and of the English Stock as a beneficiary of the Crown's
exercise of powers. But there was a sting in the tail. Having
its
quoted precedents, and looked deep into the history of patents, the
Court added that 'There is no particular author of an almanack;
and then, by the rule of our law, the King has the property in the
57
copy'. This was a modification of the extreme position held by
58
Coventry in James I's reign, for it seemed to acknowledge that
books which did have an identifiable author were not subject to the
exercise of the prerogative in the same way.
This did not, however, mean that there was no royal intervention
in securing rights in copies to individuals. There are a few post-
Restoration examples of the earlier practice of granting patents to
An example in July 1661, when Miles
individuals for their books.
Dodson was a given a 31-year licence for his God and the King,
should probably be regarded as atypical because of both the timing
59
(when there was no legislation) and the delicate subject matter.
The few remaining examples include Ogilby's patents for his
illustrated editions of Virgil, Homer and Aesop, granted for 15
years in 1666, and duly noted by the Court of Assistants, and John
Fuller's 10-year patent for his father's Worthies of England in
1663.
^ In general, however, patents for individual titles had
vanished before the end of Charles H's reign, although a few class
monopolies were still granted outside the English Stock, including
61
one for Welsh almanacs in 1680, and perhaps a de facto monopoly
62
on music. For the protection of particular titles outside the patent
books, entry in the Register remained the only mechanism.
The use of the Register as a record of licences was compulsory
under the 1662 Act. The Court of Assistants thus had a sanction
which it never had before 1640, despite the various regulations
about entry which had been made both by the Company itself and
by the state in various guises. The Court was now in a very different
position. Although its hand was indeed stronger, it was itself, as
was the whole trade, under the constant surveillance of the
Surveyor of the Press, and was obliged from time to time to take
measures to convince officials of its seriousness. In 1674, for
example, it ordered Robert Clavell, the publisher of the Term
47
and
Publishing, Piracy Politics
^,
63
Catalogues, quarterly of newly published books,
lists to print in
his catalogue 'only such [titles] as are entred in the Register booke
.' The reason was
belonging to the Company . .
simple: he had
been putting 'unlicensed bookes into his Catalogue'. 64 Two years
later, this ruling was generalized to the effect that no catalogue was
to be published until the Clerk of the Stationers' Company could
65
attest that every book listed in it was duly licensed.
Although the requirement to license and enter new books was

specified in the 1662 Act and its successors, the interpretation of the
entry within the trade was an internal matter. Here the Court of
Assistants followed its own precedents. There was never any
question that rights derived from entries before 1662 (and indeed
before 1640) were still regarded as valid. When Humphrey
Moseley, who had been active in the trade since the 1630s, died in
1661, his widow sold his copies to Henry Herringman, who, on the
strength of them, became the leading literary publisher of the late
seventeenth century, for his purchases included Milton, Donne and
many of the Cavalier poets. He added contemporary literature,
especiallyDryden, to this list, much of which was eventually bought
by Jacob Tonson, and laid the foundations of his family's successful
66
three generations in the trade. Other examples abound of pre-
Civil War copyrights clearly recognized after 1662; perhaps the
most famous are the rights in Shakespeare, which descended intact,
and with surprisingly little challenge, until the late eighteenth
67
century.
For so long as the 1662 Act was in force, the Court of Assistants
could ensure that copies were entered in the Register, and that the
Company's own rules were then obeyed. The lapse of the Act in
1678-79 therefore provoked something of a crisis. The key political
issue was the control of the press, but this now passed outside the
68
Company. For the Company, the key issue
orbit of the Stationers'
was that of copy protection. The 1678 by-laws, and the likelihood
of litigation which they assumed, were an attempt to address this
it became
issue as apparent that the legislative underpinning of the
system might vanish. Indeed, the Court of Assistants was suffi-
ciently concerned to appoint a committee in March 1679 to 'attend
69
the drawing and passing of an Act of Parliament', presumably to
replace the lapsed Act in whole or in part. The Company was
already aware of the significance of the statute law for the conduct
of its affairs. The English Stock cases which referred back to the
1662 Act affirmed its importance, and in 1674, the Court of

Assistants had directed that entries in the Register 'shall be with a
Saluo lure cuilibet', explicitly recognizing the superior force of law

70
over custom.
71
It is in this context that Ponder v. Braddill is of some interest.
The case was a complicated one concerning Bunyan's Pilgrim's
Progress. The work had been duly licensed, and then properly
entered on the Register by Ponder on 22 December 1677; it was
72
published early in 1678. It was an immediate success, and was
reprinted twice in the same year; according to Ponder, there were

also piratical reprints at the same time, one or more of them by
Thomas Braddill (or Braddyl). It was the beginning of a long series
of disputes between the two men over this valuable copy; its
importance is that Ponder's case was based on legal ownership
attested by entry in the Register. In fact, the case was withdrawn
before it was determined, and the legal force of an entry in the
Register as a record of ownership remained in some doubt.
There was, however, no doubt in the minds of the Assistants.
From 1678 onwards the number of entries in the Register declined
dramatically in the absence of legal sanctions. The efforts of the
Court of Assistants to enforce entry and to prevent piracy seem to
have been in vain, 73 and it was doubtless a matter of great relief
when, on 5 June 1685, the Commons in James II's first Parliament
appointed a committee to look at expiring laws, and also ordered
'That the same Committee have Power to present a Bill to this
74
House, for regulating the Printing Press'. It duly did so, and a Bill
75
reviving the 1662 Act received the Royal assent on 2 July. This
restored the position to that which had existed in 1678 before the
expiry of the earlier legislation, and offered a little more stability,
for the new Act was to be in force for seven years, and until the end
76
of the next session of Parliament thereafter.
Long before the 1685 Act expired, the political system of which it
was a product had vanished for ever. The Glorious Revolution,
however, had no immediate effect on the law. The Act was in fact
renewed in March 1693, and the licensing system was enforced with
some rigour; in turn this meant that copies had to be entered in the
Register and the Court of Assistants had its traditional powers
77
restored to it. Nevertheless, the Court was in trouble. There was
general agreement in the early 1690s that there was a need for
licensing to control the opposition, and more particularly Jacobite,
press. This did not, however, mean that there was a consensus
about the role of the Stationers' Company. The legislative process
of 1693 brought both old and new grievances to the surface. There
were objections to the monopolies on the patent books, both those
49
of the King's Printer and of the English Stock. There were also
claims made that entries in the Register were being falsified to
establish 'rights' which did not actually exist. The truth of the latter
accusation cannot be established; what is certain is that there was
j,
a widespread and growing resentment, both inside and outside
still
the trade, about the role of the Stationers' Company, and of those
who controlled the Court and the English Stock. 78
There was also a different kind of opposition to the renewal of
the 1685 Act in 1693. Not all of its opponents were concerned with
issues of trade; at least one, John Locke, also addressed issues of
principle. He argued that the Stationers' monopoly made books too

expensive, and that they merely made profits from the fruits of-
other people's work. This view did not prevail in 1693, but in the
winter of 1694-95, when the Act came up for renewal once more,
Locke mobilized a group of his friends in the Commons in the hope
of engineering the defeat of the Bill. The Court of Assistants was
not idle, but it was somewhat complacent. It was taken by surprise
when the Commons rejected the Bill on 11 February 1695, and
79
immediately began to agitate for its revival.
The final lapse of the law which began as the Printing Act of 1662
marks a turning-point in the history of the English book trade, and
in the history of the freedom of the press in England. So far as the
latter was concerned, the lapse of the Act led to the abolition of
pre-publication censorship, although this by no means created a

'free' press overnight. For the trade, the immediate consequences
were potentially catastrophic. Much of the superstructure of
f
protection which the Stationers' Company had so carefully erectedv
and so assiduously defended was swept away. Although the
patents, and hence the English Stock, were unaffected, little else
remained the same. There were no more restrictions on the number
(or location) of printers, or on the numbers of journeymen or
apprentices. There were no restrictions of the import of books.
Above all, there was no longer any legal obligation to enter new
books on the Stationers' Register, and, given the absence of any
unambiguous precedents, certainly no guarantee that the courts
would uphold the claims of the copy-owning booksellers.
The book trade was, of course, not alone in its concern about the
absence of any legislation relating to publishing, but the politicians
were far more interested in the other and more important
implication for licensing. Indeed, the trade was now to pay the
price for its own history. Ever since the middle of the sixteenth
century, its practices in relation to copy ownership and the
50
Table 2.1
Book trade bills 1695-1710
Date
All the successors of the 1695 Bill (except the 1710 Copyright
Act) were similarly lost when they became entangled in the
machinery of Parliament. Only five reached a Second Reading in

either House: one passed (in 1710), three were rejected on a
division, and one was lost when Parliament was dissolved on the
death of Queen Anne. All the others died in various stages of
procedure. It was not lack of parliamentary time which led to these
failures. When both houses wanted to enact a law they could do so
83
very quickly. Indeed, the 1710 Copyright Act went through all its
stages to the Royal Assent in just over three months. The ,
explanation for failure was quite different: there were too manyvX
opposing interests in conflict with each other.
For most of the politicians, the only reason to be interested in any
of these bills was in the hope of reviving the licensing laws. Robert
Harley, later first earl of Oxford, dominated the politics of the
period, from the Speaker's chair, then from the office of the
first
Secretary of State, and finally from the Treasury. Harley was

obsessed with the press. This was not entirely surprising, for he was
the first major politician to be exposed to the perils of an unlicensed
84
press at a time of great political discord. The first decade of the
eighteenth century saw both the publication of the first successful
daily newspaper, and the emergence of Daniel Defoe as the first
great journalist. Yet within living memory, news had been regarded/
as a state secret, and its printing and distribution a state monopoly.
Until the Glorious Revolution, news and its dissemination had
been effectively controlled by the Secretary of State's office, and
the official London Gazette had for long periods been the only
85
licensed newspaper. After the Revolution, the situation inevit-
ably changed, but the final lapse of the licensing law created a
wholly new and uncontrolled situation. The government could now

only protect itself through the courts by looking for very broad
interpretations of such common-law offences as seditious libel, 86 or
by using parliamentary procedures such as prosecutions for breach
87
of privilege or contempt of the House. All this happened at a time
of unprecedentedly fierce party conflicts, especially after all Queen
Anne's children predeceased her and the High Tories began to look
towards a Stuart restoration as their only salvation. It is hardly
surprising that successive governments, even when led by moderate
Tories like Harley, should have sought some means of controlling
the press. Even if licensing did not always work, as had been argued
in 1694 and 1695, it did provide some vestigial legal protection.
52
Certainly, the Bill presented in April 1695 was intended to

restrain the press, as was that presented in the new session later in
the same year by Harley himself. Both bills, however, provoked
opposition from many quarters including the book trade. Four days
after a House of Commons committee had begun to draft a new Bill
in February 1695, John Sims, the Master of the Stationers'
Company, called an extraordinary meeting of the Court of
Assistants to decide what action should be taken. It was agreed to
petition theHouse, and to authorize the Treasurer to pay the
Master and Wardens whatever they needed for this purpose. 88 This
petition, whose objective was to ask for protection for rights in
copies, was presented to the House on 30 March. 89 On the
following day, the journeymen added their voices, asking for the
restoration of the geographical restrictions on printing (to London,
York and the universities), and for limits on the numbers of both
90
master printers and apprentices.
There was a similar pattern of petitions on subsequent bills. On
5 December 1695, the House received petitions from the printers
and booksellers of London and Westminster (the employers) and
from the journeymen (the employees), the latter once again
91
concerned to limit the numbers of masters and apprentices. In
October 1696, a petition was printed, but never reached the House,
92
because the Bill to which it referred was dropped. This petition
began with a nod in the direction of the promoters of the Bill by
arguing that both church and state were in need of the protection
afforded by licensing. It then, however, came to its real point:
piracy was commonplace, imports should be banned, the geogra-

phical restrictions on printing restored, and the number of masters
and apprentices limited by law. The implication was that the
provisions of the 1662 Act, including registration, should be
revived. In 1696, the masters petitioned the House on the then-
93
current Bill. In 1704, it was once again the turn of the journey-
men, who pointed out that the number of men engaged in the trade
had greatly increased since 1695, and asked for restrictions on the
number of apprentices, and sanctions against 'interlopers', that is,
94
those who had not served a proper apprenticeship.
There is a common theme which runs through all of these
petitions, whatever their specific requests: the desire to restore to
the book trade the laws under which it operated before 1695. There /
are, however, differing motives for wishing to do so, although both
masters and men were seeking to protect their investments in the
trade. For the journeymen, this meant their skills. For the masters
53
it meant the less tangible, but no less valuable, asset of their rights
in copies. We do not know whether the two sides acted in concert,
but it is clear that both felt that they would be best served by the
revival of the historic powers and assumed privileges of the Court
of Assistants.
The book trade, however, was not alone in its interest in these
matters. Quite apart from any political or philosophical opposition
to the revival of licensing, there were those who used economic and
commercial arguments against it. In 1694 or 1695, an anonymous
95
petition, To the Honourable Members, assembled in Parliament,
had argued that any monopoly was contrary to the national /
interest, and that one such as that which had formerly been
exercised by the Stationers' Company should not be restored once
it had
lapsed. The petitioner probably touched a raw nerve in the
trade when he argued that it was only self-interest which made the
Stationers support licensing at all: 'Were it not for their Mammon-
Monopoly, the Master, Wardens, &c of the Stationers' Company,

would cry out against the slavery and charge of Licensing as much
as any of their Brethren.'
The interests of the politicians were, however, completely
different, aswas clear as early as 1697. In that year, as the end of the
Session approached, another licensing bill was still in committee,
and seemed likely to be lost when Parliament was prorogued. The
House of Commons then gave leave for another Bill to be brought
in which would have prevented the unlicensed writing, printing and
96
publication of news. That was aimed both at the newspapers and
at the writers of the privately circulated manuscript newsletters
which were an important means of communication of political
97
information. This Bill also vanished at the end of the Session, but
it showed starkly where the real argument was being pursued,
among those who wished news and
to control the dissemination of
opinion.
Faced with their inability to push licensing legislation through the
House, successive governments used different means to pursue
their enemies in the press. Between 1695 and 1714, more than thirty
printers, booksellers and news-writers were brought to one or other
House to answer charges relating to privilege or contempt. 98 It was,
however, both a clumsy and an ultimately unsatisfactory way of
dealing with the problem. By the spring of 1704, at least three such
prosecutions were in hand, and at the same time the Tory majority
in the House was slipping away. The ministry dissolved, and Harley
54
became Secretary of State in a new administration which combined

Whigs and moderate Tories.
This change in the ministry signalled the end of the attempt to
revive the old licensing system. Harley had come round to the view
that subtlety was more potent than legislation, and that what he
really needed was a knowledge of the state of opinion outside the

House so that he could direct his policies accordingly. He used both
public and private money to this end, employing agents to keep
himself well-informed." His chief agent, and to some extent the
controller of the whole propaganda exercise, was Daniel Defoe, in
whose release from prison in 1703 Harley had been instrumental. 101
Soon after he began to work for Harley, Defoe went into print on
licensing, and also on the associated matter of copyright. Defoe, in
101
his pamphlet An Essay on the Regulation of the Press, set out
what was, by then, the moderate Tory position on press controls.
He argued that the restoration of licensing would make the press a
'slave to party', and the 'first step to restore Arbitrary Power in this
102
Nation'. The latter phrase was an allusion to the Jacobite
tendencies of the High Tories, but Defoe was not making the case
for a wholly free press. He proposed to specify particular matters
of both church and state which should not be allowable, while
leaving room for open publication of party political quarrels. He
also proposed compulsory imprints, showing the names of author,
printer and publisher, and very heavy penalties for infringements of
103
the law.
This inevitably raised the question of the registration, and hence
of the protection, of copies. A
law which required explicit
statements of the authorial and trade origins of a book, would also,
he wrote, 'put a Stop to a certain sort of Thieving which is now in
fullpractice in England, and which no law extends to punish, viz.
'
some Printers and Booksellers printing copies none of their'
104
own'. Defoe considered that this not only robs authors of their
property, and thus discourages the publication of useful and
learned works, but also gives rise to the production of unauthorized
abridgements, and cheap reprints on poor paper in bad type. In
Defoe's view, if authors were granted the right to prosecute pirates,
the whole trade in piracies would rapidly come to an end.
It is not clear whether Defoe was exaggerating the difficulties
faced by the trade. There was some piracy in the early eighteenth
century, especially of popular literary texts, and, of course, the
continuing problems with the almanacs and the import of books
105
protected by the patents of King's Printer such as Bibles. What is
55
certain that he was suggesting a different approach to the whole

is
problem of copy protection. He saw it as being a matter for the

author. This was an unusual perception at a time when the whole
public debate had revolved around censorship on the one hand, and
the property rights of publishers on the other. Even Defoe,
however, subordinates the protection of copies to the need for the
clear identification of the origins of books so that authors and
publishers can, if necessary, be traced by the authorities.
No such Defoe envisaged was promoted during Harley's
Bill as
but it seems reasonable to assume that in An
secretaryship, Essay
Defoe gave a reasonably accurate representation of Harley's
position. He was, after all, working for the Secretary of State, and
had recently been released from prison through his influence.
Harley, however, had other matters on his mind. A steady stream
106
of prosecutions of books in Parliament and the courts continued,
but no attempt was made to reintroduce a licensing bill. Quite apart
from Harley's own views, it is unlikely that such a Bill would have
107
commended Whiggish House elected in 1705.
itself to the
Nevertheless, Defoe's ideas were implanted in the minds of some
moderate Tories, as was their presumed authority from Harley.
When the House considered copyright legislation in 1707, the
ministry was, at worst, sympathetic. In a sense, Defoe's arguments
opened the way for a reconsideration of the whole issue of copy
protection, by suggesting a slightly different case which might be
made for it. Despite Defoe's emphasis on the need for some control
of the press, he had also added a further argument in favour of the
protection of property. It was, of course, precisely this with which
the booksellers had been concerned, and it was central to their /
various petitions on the bills which had been discussed since 1695.
Defoe, however, added a new element: the idea that protection was
It was this element, the
beneficial to authors as well as to the trade.
'encouragement of learning', as Defoe called it, which the trade
now began to emphasize.

The first formal expression of this view was put by thirteen ?
leading members of the trade in a petition presented to the v

108
Commons in February 1707. They pointed out that time and
money had been spent in writing books, and in printing and selling
them, but that the pirates, both English and foreign, were making \/
serious inroads in this property. They therefore asked that what

they called 'literary property' (another new phrase) should be
secured to the writer or his assignees, or to the purchaser of the
copy. The last would, of course, normally be a publisher, but the
56
Table 2.2
The signatories of the book trade petition 1707
Name
and Politics
groups of printers and booksellers who controlled much of the

wholesale trade, and were also joint owners of some copyrights.
Nine of them were subscribers to the so-called 'trade books'
published jointly by the copyright owners and distributed through
the congers. At least three of them had either books or copies sold
at trade sales. In short, they were all deeply committed to the trade
109
through heavy financial commitments. We can identify here the
'proprietors' who had agitated for over ten years for the restoration
of some kind of legislative framework for the book trade, and it is
clear that they saw themselves as the mouthpiece of the trade as a
whole. Certainly, the partners in the English Stock wished them
well. On 1 March 1707, they agreed to pay 30 to the Doorkeepers
of the House of Commons for their help with the copyright bill, and
authorized Goodwin and Walthoe, both signatories of the petition,
110
to act for them in this matter.
quite clear that the initiative for legislation in 1707 came

It is
from the inner circles of the London book trade, under the
leadership of some of the most influential and deeply involved

copy-owning booksellers, supported by representatives of the
wholesaling conger and of the English Stock, and with the active
support of the Stationers' Company. A
Bill was duly presented to
111
the House, and was given a Second Reading on 4 March. This
was followed by a short flurry of activity from various quarters.
These quarters included the Royal Library, the Archbishop of
Canterbury, and both English universities, all seeking to benefit
from the possibility of legal deposit, 112 and also, especially in
Oxford, a growing concern about how the Bill might affect the
already strained relations between the University Press and the
London trade about Oxford's claims to print privileged books. 113 In
the end, all of this activity came to nothing, for the Bill never
emerged from committee.
This was not, however, to be the end of the story, for early in
1710 the matter was raised once more. A new Bill was given its First
114
Reading on 11 January, and once again the book trade went into
action through the Stationers' Company. The Court of Assistants
held a special meeting on 13 January, and what is described in the
Court Book as 'a saving clause for the Company' was read and
115
approved. The Master and Wardens were at Westminster on
7 January, and again on 6 March (and perhaps on other occasions)
116
to attend to the Company's interests.
117
The proposals in the Bill dealt with three central issues:
58
1. From a date to be determined, all existing copies shall be confirmed

to their presentowners for 21 years; new books will be protected for
14 years, with the possibility of a second 14-year term. There are
fines for breaches of these rights.
2. From a date to be determined, books shall not be sold at 'High or
Unreasonable Price', with the duty of judging complaints on this
score being settled on a committee headed by the Archbishop of
Canterbury.
3. From a date to be determined, copies of new books and revised
editions shall be delivered for deposit to certain libraries.
In addition, two other matters were dealt with:
1. The Act was to have no effect on the rights of the English

universities in copies which they owned.
2. Books in Greek, Latin and other foreign languages could be
imported, despite any prohibition on the import of books in English.
The preamble to the Bill explains its purpose:
Whereas the liberty which Printers Booksellers and other Persons have
of late frequently taken in Printing Reprinting, and Publishing or
causing to be Printed, Reprinted and Published Books, and other
Writings, without the consent of tffe Authors thereof, in whom ye
undoubted Property of such Books and Writing as the product of their
learning and labour remains or of such persons to whom such Authors
for good Consideracons have lawfully transferred their Right and title
thereinis not only a real discouragement to learning in generll [sic]
which in all Civilized Nations ought to receive ye greatest Countenance

and Encouragement but it is also a notorious invasion of ye property of ye
such Books and Writings, to their own very great
rightfull Proprietors of
Detriment, and too often to the Ruin of them and their Families . . .
The whole tone of this was, of course, quite different from that of
the licensing presented and rejected between 1695 and 1704.
bills
The objective was clear: to protect the rights of authors and to

encourage the publication of good books.
However noble such an aspiration might have been, it was not
easily to be achieved. Four petitions on the 1710 Bill are known,
three from surviving printed copies, and one from the Journals of
the House of Commons. All four were generally favourable to the
Bill, although for different reasons. The journeymen, like their
masters, had by now abandoned hope of any return to older
practices,and prayed generally for the protection of Parliament,
supported the Bill on the grounds that piracies were printed by men
who had not served apprenticeships, a statement for which they
59
118
apparently offered no evidence. The Cose of the Booksellers'
Rights to their Copies, or sole power of printing their respective
119
books, represented to the Parliament, supports the Bill because
'The liberty now set on" foot of breaking thro' this antient and
reasonable Usage is no way effectually to be retained but by an Act
of Parliament'. There is no reference to, or even tacit support of,
the encouragement of learning or the rights of authors, but a tone

of reluctant acceptance of the need for legislation.
The other two representations to the House, which seem to be
the 'official' book trade petitions, were rather more generous. The
first of them, The Booksellers' Humble Address to the Honourable
House of Commons, in behalf of the Bill for Encouraging Learn-

120
ing offers seven reasons for passing the Bill:
1. It confirms common-law rights.

2. It offers redress for common law does not provide.
which
3. It provides a mechanism for the publication of books at reasonable
prices, as had happened when common law was confirmed by statute
in 1662.
4. If the Billis rejected the trade will be ruined.
5. The trade has tried not to offend in the years since the lapse of
licensing.
6. If the trade is ruined, there will be no public benefit.
7. The Bill will not restrain the freedom of the press.
This strange mixture was politically astute. First, the petitioners

clearly assert that they are seeking nothing new, merely the
protection of their existing rights. Secondly, they need such
protection if their trade is to survive. Finally, the Bill does not
inhibit thefreedom of the press, and in any case the trade is so well-
behaved that such inhibitions would be superfluous. In political
terms, this was close to the Defoe-Harley position of three years
before, and there was nothing in it which would seriously offend the
Whigs or the moderate Tories whose votes were needed to carry the
Bill into law.
The petition does, however, raise the issue of common-law rights
121
which was to be of great significance during the next 65 years,
and also seems to argue that there is no requirement to take
advantage of the benefits which statute law offers:
For no man will be obliged thereby to Register his Copy unless
he pleases; and without the Author's leave it cannot be done at all.
The Press therefore under this Law will be as Free as ever, and
Un-registered Books and Pamphlets always unappropriated.
60
To the petitioners, the two important points here were, first, that
registration was voluntary, and secondly that unregistered copies
had no owners. Both of these provisos assume the superior force of
common law over any new statute, and imply that the proposed Act
ismerely supplementary to existing law and practice. They cleverly
disguised this point with nods to both authors and Whigs.
The second trade petition, More Reasons Humbly Offered to the
Honourable House of Commons for the Bill for Encouraging
Learning, and for securing property of copies of books to the rightful
122
owners thereof, is concerned entirely with these alleged
common-law rights. This time, Parliament is explicitly asked to
confirm existing rights, on the grounds that the current situation
merely encourages piracy, and ruins honest members of the trade
who buy their copies lawfully. It is suggested that there is no need
for time limits on such ownership, and there is a mere nod towards
the title of the Bill in the suggestion that the prevalence of piracy
discourages the publication of learned works.

In the event, much of what the trade wanted was granted by the
House of Commons. The Bill was given its Second Reading without
123
difficulty, but at the Report Stage on 25 February various
124
amendments made committee were accepted.
in Most of the
changes were minor, adding dates, sizes of fines, additional deposit
libraries, and the like. Two amendments, however, were both long
and significant, and clearly reflect the success of the trade's
lobbying and petitioning. The first deleted all references to authors
in the preamble, which now read simply:
Whereas Printers, Booksellers, and other Persons have of late

frequently taken the Liberty of Printing, Reprinting, and Publishing, or
causing to be Printed, Reprinted and Published Books, and other
Writings, without the Consent of the Authors or Proprietors of such
Books and Writings, to their very great Detriment, and too often to the
Ruin of them and their Families . . .
Nothing is left about the 'undoubted Property' of the authors, the

'good Consideracons' for which they sell their rights to booksellers,
or about the obligations of 'Civilized Nations' to protect and
encourage learning. The preamble was now concerned only with
protecting a piece of property which was not actually described in
the Act itself.
Some of this was perhaps verbiage, but the second major
amendment suggests that the concern was not merely stylistic. The
original third paragraph of the Bill ran as follows:
61
ing, Piracy and Politics
That where any Author shall hereafter compose or write any book or
books and shall reserve to himself ye Copy or Copies of Such book or
Books share or shares thereof Or any Bookseller printer or other person
who hath already purchased or acquired or shall hereafter purchase or
acquire ye Copy or Copies of any book or Books Share or Shares
therefore in Order to print or reprint ye same That in any or either of
these Cases from and after the Tenth Day of April, One thousand seven
hundred and ten . . .
[there shall be protection and penalties].
Every word of this from 'where any Author' to 'any or either of

these Cases' was deleted, for those words were anathema to the
trade. The Bill clearly envisaged that authors might retain some or
all of their rights, and thus continue to enjoy them after publica-
tion. That might still be possible, but so explicit a statement struck
at the root of the prosperity of the whole legitimate London book
trade.
The trade had one final victory; its 'saving clause', which had
exercised the minds of the Assistants on 13 January, was there.
There was to be none of Defoe's scheme for compulsory imprints.
The Register was to be the official record of copy ownership, and
entry was, apparently, to be required as a precondition of claiming
and defending rights. It was in this form that the Act for the
Encouragement of Learning received the Royal Assent on 4 April
1710, and came into force on 10 April. It was the first English
statute concerned solely with the ownership of copies, and has
come to be regarded as the first copyright act. 125
The trade had not won on every point. The price controls, if they
could be enforced, were potentially irksome, and, more import-
antly, there were time limits prescribed in the Act, exactly as there
had been in the original Bill. All new copies were protected for
14 years, with a second 14-year term if the copy were re-registered;
existing copies were protected for 21 years. But in 1710, this seemed
too far in the future to be a matter of concern.
Nevertheless, in general, this was a very satisfactory outcome for
the book trade in several respects. Most importantly, it had gained
recognition of rights in copies, and a means of legal redress against
pirates.At the same time, it had succeeded in watering down the
original proposals to the point at which authors had their existence
acknowledged but their rights undefined or ignored. It was even
more significant for the future that it had also managed to avoid any
precise statements about the nature of rights in copies. This is,
indeed, one of the oddest features of the whole debate. At no stage
does anyone involved seem to have asked exactly what it was that
62
the trade and law sought to protect. Nowhere does the 1710 Act
define 'copies' or 'books' or 'rights'; it merely assumes an
understanding of them.
That assumption was, of course, wholly accurate so far as the
principal supporters of the final version of the Act were concerned.
The leading members of the book trade who had led the support
both for a law and for a particular form of law had no real interest in
precise definitions. They knew exactly what traditional rights and
practices were being protected. Indeed, they considered that the
only form of protection which their historic common-law rights
needed was some easier means of recourse to the courts in order to
act against pirates. For the trade, the 1710 Act represented a simple
continuation of legal and commercial practices which had de-
veloped since the middle of the sixteenth century, but which had
been under challenge in the absence of any statutory authority
since 1695. Certainly the Stationers' Company was satisfied. On
18 April, the Court of Assistants appointed a committee (which
included six of the 1707 petitioners) to make arrangements for
keeping the Register properly, and on 1 Mayagreed that the

Company and the Sharers in the English Stock should bear equally
126
the costs incurred during the Bill's progress.
In all important matters, the trade thought it had what it wanted,
yet this apparent victorywas to prove chimerical. The 1710 Act was
fraught with problems because of its very imprecision. Not
everyone shared the trade's complacent and conservative
interpretation of what it said, what it meant and what it implied.
Above all, perhaps, the world outside and around the book trade
J was changing. Authors were expecting to be paid more, and to .
some extent their expectations were being met. The book trade was
booming, and there were plenty of people in it who had little
interest in, or respect for, its customs, conventions and historic
forms. To a large extent, the concern for copyright was a concern of
a small group of copy owners in London. It is true that they had a v
dominant position in the trade, but they were, perhaps, just a little
too confident about the strength and permanence of that position in
1710. During the next half-century, their confidence was to be
undermined by attacks from many quarters: authors,- pirates,
printers in Ireland, Scotland and Holland, lawyers and even
readers. The 1710 Act, far from being the end of a story, as the
trade must have hoped, was in fact the beginning of another equally
complex sequence of challenging events.
63
3 Defining the Law
1710-1800
The 1710 Copyright Act has been seen as a landmark in the history
of copyright law, and in the history of the book trade, in Britain.
This is indeed the case, but it was an unintended consequence of the
actions taken by those who had promoted the legislation. The Act
had been evolved from two overlapping and sometimes conflicting
groups of interests. On the one hand, there was a sense among
some politicians that the lapse of licensing in 1695 had been a
mistake which ought to be rectified. On the other, there were copy-
owning booksellers who sought to protect their existing properties
against the alleged depredations of pirates. The latter hung on to

the coat-tails of the former for as long as they could. Only when it
became clear that pre-publication censorship was no longer achiev-
able did they begin to fight for themselves and openly admit their
objectives. Even then, they surrounded themselves with the cloak
of respectability embodied in the phrase 'the encouragement of
learning'.
As
a result, the 1710 Act was to prove to be a thoroughly
unsatisfactory piece of legislation. Although it was treated as a
1
Public Bill, it was, in effect, a law designed by its promoters to
defend a group of property rights vested in a small number of
owners and shareholders. It lacked in definition, especially of the
key concepts of copies and rights, and, despite the amendments
introduced as the Bill passed through the Commons, still left many
loopholes for the ingenious. It was an essentially conservative
measure, promoted by men whose interests were in preserving the
status quo. Indeed, it was so conservative that it took little account
of developments within the book trade itself, in some of which its
promoters were active participants. Above all, it wholly ignored
the authors of books, and certainly was not intended to confer any
additional rights upon them. All of this was to prove costly for the
trade throughout the rest of the eighteenth century.
64
Defining the Law 1710-1800
At the beginning of the eighteenth century, the book trade was

changing rapidly. This was, in part, a result of the lapse of licensing.
After 1695, there were no restrictipnsjon printing in either London
or the provinces. The London printing trade became rather more
competitive, and at the same time a few printers began to go to
work in the larger provincial towns. They, however, presented an
opportunity rather than a threat to the London trade. The
provincial printers produced weekly regional newspapers, and their
distribution networks formed the basis for a larger, more active and
better financed network of provincial bookshops than had ever
existed before. The London publishers thus had easier access to
provincial markets, which they were able to develop and exploit as

the provincial towns themselves became more prosperous through-
2
out the century.
An associated change was the development of new methods of
wholesaling. The conger system, which had begun to develop in the
1680s, may have been, in origin, a part of the copy-owning
booksellers' response to the lapse of the Printing Act in 1679.
3
A
4
group of 'tradeing booksellers', between six and eight in number,
worked together to market their books. All of them were copy
owners, and some copies were owned jointly by two or more in the
5
group. This group, which came known as the
to be 'conger', was
trying to protect its common interests. The books in which they
owned copies were marketed through the conger and thence into
the retail trade. All the members of the conger thus had a strong
interest in preventing the piracy of any of the copies belonging to
any of them, since this represented a potential loss of trade. The

wholesaling conger continued to operate, in various forms, until
the middle of the eighteenth century; at the height of its operation,
in the first decade of the eighteenth century, it was handling some
20,000 books a year, worth about 5,000, a figure comparable with

6
the turnover of the English Stock at that time. Almost all of the
7
1707 petitioners were active in the wholesaling conger, which, by
was a major player in the London book trade.
that time,
The wholesaling conger represented a means by which the copy-
owning booksellers could protect their property regardless of the
law. It was a simple but effective commercial device, but it assumed
that leading members of the trade, however much they might be in
competition with each other in some ways, could work together for
their mutual defence. The same protectiveness can be seen in
another practice which developed at about the same time, and
which was to play a critical role in the development of copyright
65
during the eighteenth century. Shares in copies had been known

since the beginning of the seventeenth century, and were common
8
after the Restoration. They were an inevitable development as the
ownership of copies descended through the generations, and
became the subject of commercial transactions. Under the Sta-
tioners'Company's own regulations, such shares could be owned
only by members of the Company and transactions relating to them
9
had to be entered in the Register, but it is unlikely that this
practice was sustainable after 1660, and after 1695 it was imposs-
ible. This opened up the possibility of ownership of copies outside
the book trade,and the apparently inevitable intrusion into the
trade's capital base by 'outsiders'.
The mechanism which evolved to prevent this was the
understanding among the principal copy owners that they would
only sell shares to each other. These transactions took place at
private auctions, known as 'trade sales', of which catalogues survive
from 1718 onwards. 10 Once a bookseller had been admitted to the
sales, he was required to sell any copies which he bought there at a
similar sale, a rule which also bound widows and other heirs if they
wished to dispose of copies which they inherited. Since most of the
really valuable copies were divided into shares, almost all of them
passed through the trade sales during the eighteenth century, and
contributed to the general pattern of a small group of booksellers
who dominated publishing through their ownership of copies and
the system of bookdistribution through the wholesaling conger.
Although three of these developments - the growth of the

all
provincial trade, the development of the wholesaling conger, and

the evolution of the trade sales of copies - can trace their origins to
the lapse of the Printing Act and the reaction to that of some
members of the trade, all of them took place independently of
formal changes in the law. The copy owners and conger members
who were involved in 1707 and again in 1710 seem to have regarded
the new law as little more than confirmation of existing rights, and
may even have seen it as merely one part of a multi-faceted
campaign to maintain their own profitably dominant position in the
London (and increasingly national) book trade. None of these
commercial developments is even hinted at in the 1710 Act, and yet
every member of the trade who was involved in promoting that Act
knew of them, and many were active, indeed leading, participants.
The omission can only be deliberate, and strongly suggests the
it was seen from
essentially supplementary nature of the Act as
within the inner circles of the trade.
66
Another group who were to be vitally concerned with the 1710

Copyright Act were excluded even from any part in framing it: the
authors. Defoe had raised the notion of their rights in his Essay on
the Regulation of the Press in 1704, but only as a peripheral issue to
the 'encouragement of the learning'. Since even that was margin-
alized in the content (as opposed to the title) of the 1710 Act, it is
hardly surprising that authors had little more than a nod to
acknowledge their existence, and that what might have been a

stronger law to protect their interests was actually watered down in
Committee under pressure from the trade. 11 The legal position and
status of authors was as vague after 10 April 1710 as it had been
before.
In this sphere also, however, there had been evolutionary change
which was not reflected in the Act. The rights of authors had been ,
12
implicitly recognized before the Civil War, and after the Res-
toration the payment of authors for their copy was an established
fact and a normal practice. This led to the formalization of the
relationship between author and publisher, and the evolution of the

practice of defining that relationship in a contract. The earliest
contract of this kind which is still extant is apparently that between
John Milton and Samuel Simmons for the publication of Paradise
Lost, dated 27 April 1667, which, despite the strictures of earlier
gave Milton the generous sum of 20 for a long and obscure
critics,
poem by a regicide who had escaped the scaffold only because of his
13
blindness.
The arrangements between authors and publishers gradually
took on a fairly standard form. Broadly speaking, the author sold
the rights in the copy to the publisher, although there are variations
on this theme even in the late seventeenth and early eighteenth
centuries. Whatever the details, the mere existence of such
contractual arrangements clearly acknowledged the origin of the
rights with the author; yet those rights were still seen as being
transferred to a bookseller and then of no further concern of the
author. The sums of money involved were typically small. When
Dryden sold a work to Tonson for the first time in 1679 (his version
14
of Troilus and Cressida), he, like Milton, received 20.
By 1710, the payment of authors was an established fact, and the

normal assumption among all of those involved. Like the book
trade's commercial arrangements, this was not recognized in the
law, which merely assumed that a copy was in existence when it
came into the hands of a bookseller. The law was for the benefit of
the 'proprietors', not the creators, of books.
67
From the beginning, members of the book trade behaved as if the

law meant what they wanted it to mean, and ignored those parts of
it which
they found inconvenient. The attempt to regulate book
prices was probably always a vain one, and was abandoned without
15
enforcement ever having been attempted in 1739. Similarly, the
clauses requiring the deposit of copies of books in certain libraries
16
were widely and successfully evaded. Copy owners continued to
trade in shares, and to buy new copies from authors, apparently
without any sense that the law had made their property imperman-
17
ent. The pre-1710 copyrights were due to expire in 1731-32, but
shares in such authors as Shakespeare, Milton, Bunyan, Stanhope
and Dryden continued to change hands at high and increasing
prices. Eventually, this was to exacerbate the problem, for with the
total value of copyrights spiralling into many thousands of pounds,
thebook trade was in danger of becoming fatally dependent on the
permanent popularity of these books and the absence of competi-
tion in reprinting them.
The copy owners were concerned with commercial investments,
not with legal niceties, but they were always prepared to go to law,
even if reluctantly, in their own defence. The late seventeenth-
century cases had been largely concerned with English Stock
copies, and provided few precedents for judgments on ordinary
18
trade copies, although there were a few exceptions. In practice,
however, the courts were moving into new pastures with cases
relating to trade copies, and sought their precedents in the common
law relating to sale and property. (The 1710 Act, if anything,
obfuscated rather than clarified the
situation}
As
a general rule, actions were initiated by the copy owner
against an alleged pirate, seeking an injunction to prevent the
printing or distribution of the piracy. A
typical example is that of
Thomas Corbett's Account of the Expedition of the British Fleet to
Sicily,published by Jacob and Richard Tonson in 1739. The book
19
was popular enough to be reprinted in the same year, and to be
20
pirated. The pirated edition was not difficult to identify; it had the
imprint:
London: Printed and sold by the Booksellers

in Town and Country.
Such modest anonymity is an almost infallible indicator of an

irregular edition.
The pirate was a printer named Mechell, and on 20 April 1739
21
the publisher filed a suit against him in the Court of Chancery.
68
From the surviving papers in the case, the complex story behind
these editions can be reconstructed. The copy was based on the
22
papers of the late Admiral George Byng, and dealt with his
command of the Mediterranean Fleet in the early part of George I's
reign. Corbett had sold the copy to the Tonsons on 27 August 1738,
and they had entered it in the Stationers' Register on 24 September.
It was argued that there was no doubt of Corbett's right to sell the
copy, nor of the Tonsons' right to buy it. Mechell and his unnamed
associates had, on the other hand, printed their edition with no
such rights. The plaintiffs therefore asked the Court to prevent
Mechell from selling his edition. The case is unreported, but it is
fairly clear that the law was on the Tonsons' side. There was,
however, apparently no need to refer to the 1710 Copyright Act in
order to establish that fact.
The Tonsons, through three generations, were never averse to
going to law, for they owned some of the most valuable copyrights
in the trade. Two other occasions included an injunction obtained
in 1722-23 to prevent Francis Clifton from pirating Steele's
23
Conscious Lovers, and the defence of the rights in Gay's Fables
24
by Jacob Tonson III in 1745. The courts invariably found for the
plaintiffs in copyright cases, provided that they could prove
ownership. The documents adduced in proof might include con-

tracts, letters and other papers, but the 1710 Act was rarely
introduced as part of the legal argument. Certainly, there was never
any suggestion that any of the properties under consideration had
their existence in any way truncated or restricted by the Act. For
the Chancery lawyers and judges, a copy was simply a piece of
property, inviolable and permanent.
Even so, the statute law had its uses, and was not entirely
ignored. Its broader implications did not escape all of those whom
it concerned. Alexander Pope, for example, when he granted rights
in his works to Bernard Lintot in 1717, did so in a contract which
specifically grants those rights for as long as Pope could do so by
25
Act of Parliament, that is, for the 14-year term specified in 1710.
This is, however, a rare, perhaps unique, example, of an overt
reference to the Act in such a document, and was made by an

author already very conscious of his rights, and of the potential
26
offered by the Act for exploiting them. Nevertheless, the law did
exist, and it contained a potentially devastating time-bomb in the
apparent limitations which it imposed on the existence of

copyrights.
69
There were two such limitations: copies already printed before

1710 were protected for 21 years, and those first printed after
10 April 1710 were protected for 14 years, with the possibility of
a further 14-year term thereafter. In theory, therefore, statutory
copyrights began to expire in 1724, but the critical date, from the
trade's point of view, was 1731 when the pre-1710 copyrights were
apparently due to expire. This would have put Shakespeare,

Milton, Bunyan, Dryden, and substantial parts of the works of
Addison and Steele (including the perennially popular Spectator),
along with hundreds of other copyrights, out of reach of the statute
law.
Even so, the fatal date passed without notice, and nothing might
have happened had it not been for another piece of legislation
which attracted considerable interest and drew attention to the
whole issue of copyright. Early in 1735, the artist William Hogarth,
along with George Vertue and other named and unnamed artists
and engravers, petitioned the House of Commons for protection
27
against the unauthorized copying of their engraved prints. The
artists' petition made specific reference to the fact that they sought
similar protection to that already afforded to others 'as the Laws

now in being have preserved the Properties of the Authors of
28
Books'.
That perception is of interest in itself, but, in fact, the artists were
asking for something rather different. Above all, it was the artists
who were asking for legislation, not the printers or printsellers. In
effect,they were seeking to protect their artistic designs, as well as
the commercial property which those designs embodied. This
established a distinction between literary and artistic works which
29
persisted in English law until almost the present day. In other
respects, however, the artists did indeed follow the patterns
established in the 1710 Act, not least by proposing a 14-year period
of copyright protection. It was perhaps the latter which attracted
the attention of the book trade.
The engravers' petition was presented to the House on
7 February 1735, and its substance accepted by a Committee
appointed to investigate it a week later.
30
A
Bill based upon it had
its Reading on 4 March, and passed through both Houses with
First
31
little difficulty, receiving the Royal Assent on 15 May. The
booksellers had a less easy passage. A petition from them was
tabled in the Commons on 3 March; in it they argued that because
of the prevalence of piracy the value of their property had
diminished. Specifically, they asked for legislation to ban the
70
import of books, and also for other appropriate, but unnamed,

measures.
32
A
Committee was appointed to report on this petition,
and it reported back to the House on 12 March. 33 It was agreed that
34
a Bill should be prepared, but this did not appear until 1 May.
The preamble to the Bill followed the booksellers' petition in one
35
important respect. This was in drawing attention to the import of
books and stating that this was detrimental to the British book
trade. There was certainly a serious problem. It was almost
impossible to prevent the import of English books from Holland

and Ireland, where they could be legally reprinted without the
permission of the copy owners, or even from Scotland, where it was
illegal to reprint them. The trade may have exaggerated the
36
problem, but it was a real one. One petition on the Bill made the
point that the foreign pirates not only did not have to pay for rights
in the copy, but also even added insult to injury by keeping their
costsdown yet further by using the cheapest paper. 37
The question of imports was considered at some length by the
Committee on the original petition in February and March 1735. 38
The witnesses were selected by the petitioners, that is the copy-
owning booksellers, but they also brought along some authors to
support their case. The trade witnesses produced some specific
examples of imported reprints. Charles Rivington, for example,
testified thathe and the author were the joint owners of the copy in
Philip Miller's Gardeners' Dictionary, but that he had bought an
Irish reprint in a bookshop in York for only 22s. Qd., whereas his
own, legal, edition cost 25s. Qd. One witness actually produced
copies of books which he claimed were Dutch piracies. The type
was identified as Dutch by James Bettenham, a printer. Thomas
Ward gave evidence that he had the rights in Burnett's History of
His Own Time, which was one of the books, and testified that no
one else had printed it in England. Further evidence followed to
show that paper was more expensive in England (because of import
duties), and that both the Dutch and the Irish could therefore
undercut the English on the costs of book production. Finally,
James Crockatt, another London bookseller, said that he had been
in a bookshop in Preston in Lancashire when a parcel of books had
arrived from Ireland which had included reprints of English copies.
All of this was telling enough, but the case became even stronger
when the authors began to give their evidence. The Committee was
told of 29 authors who had had their works pirated, and then some
living examples were paraded in front of them. Philip Miller was

produced to support the statements of his publisher, Rivington.
71
John Clarke, Dean of Salisbury, reported that he had recently

edited and published the collected sermons of his late brother,
Samuel, a philosopher, which he had sold to James Knapton for
1,000. Knapton's plan had been to print the book in ten volumes,
and to sell it at 2 per volume in sheets. The whole work had been
reprinted in Ireland in two volumes, selling at 1. 65. Od. To add to
the respectability of a Dean came one of the most distinguished
scholars of the age, Robert Ainsworth. He told the Committee that
he had spent twenty years in compiling an English-Latin diction-
ary, which was now almost ready for the press. He had sold the
copy to his publisher for 500, and would receive a further 300 if
and when there was a second edition. The 6,000 copies which were
planned would cost 3,000 to produce, and were to be sold at
105. Od.; therefore there would be no profit until the second
edition, which could not be expected for some time, and protection
for this investment was clearly necessary. Finally, the Committee
heard from Thomas Mangey, a canon of Durham, who said that he
had spent 400 in preparing an edition of the works of Philo
Judaeus, but feared that after publication it would be reprinted
abroad for about one-third of the English price, because paper was
so much cheaper in Holland.
These were carefully selected examples of divines and scholars.
Clarke and Ainsworth were both being well-paid for their labours,
and all three were clear examples of the encouragement of learning
by the protection of property. The witnesses and evidence pro-
duced by the booksellers may, however, have had an unexpected,
and, from their point of view, undesirable effect, in drawing
attention to the authors as a party to the trade's affairs. When the
Bill finally reached the House in May, the second point in the
preamble was that authors were obliged to sell their books to

members of the trade in order to have them published. The
statement is ambiguous; it could be interpreted to mean that the
Bill was intended to protect authors, while the booksellers could
take it as a recognition of the financial value of their investments in
copies. In either case, this second strand in the argument for the
Bill introduced the authors as a factor by raising the question of the
value of the property of which they were the originators.
By the middle of April, before the Bill had been published, the
affair was already attracting some public attention, and led to the
publication of a number of broadsides and pamphlets. Some of
these appear to have emanated from the trade, or to have been
heavily influenced by trade views. One of these is almost certainly
72
A Short State of the Publick Encouragement Given to Printing and

39
Bookselling in France, Holland and Great Britain, in which it was
argued that a new and stronger law is needed to replace the 1710
Act, especially in giving protection against imported reprints of
English books. According to this anonymous author, it was 'well
known' that similar laws were vigorously enforced in France to
prevent the import of books into that country, and that in both
France and Holland privileges in individual copies were regularly
40
granted and renewed.
The booksellers did not, however, have the field to themselves.
The anonymous author of A Letter to a Member of Parliament
concerning the Bill now Depending in the House of Commons
argued that the booksellers' case for the patriotic encouragement of
learning and commerce was merely a cover for their own self-
41
interest. He
based his argument on his understanding of history,
claiming that before 1710 there was no law of copyright and that the
1710 Act was designed to remedy the grievances of authors about
42
this. This was unsustainable as an interpretation of history, but no
doubt it had some polemical force. On somewhat safer ground, the
author suggested that the booksellers, in asking for a further 21
on top of what the law already afforded to them,
years' protection
were seeking unprecedented generosity, which was to be compared
43
with the much more
limited terms given to inventors. This is the
first mention of a proposed 21 -year extension of the term of
copyright; presumably it was one of several ideas which were in the
air to give substance to the booksellers' generalized request for
further protection.
Even the spurious history in this pamphlet found some support.
One writer who agreed that there had been no such thing as
copyright before 1710 suggested that legislation had been necessary
then to protect authors and publishers because it was in the late
seventeenth century 'when Pyrating of Books first began to be
44
practised'. What was needed was an even stronger law, since
piracy was on the increase, especially in prescribing penalties and
mechanisms for enforcement. Some of these points were reiterated
in a second pamphlet, apparently, by the same author, published a
45
few days later.
The Bill which finally reached the Commons on 1 May took
account of some of these points. It gave an additional seven years'
protection to all existing copies, and seven years to all books
published in the future, presumably with the intention that the law
would be renewed in seven years' time. 46 Various provisions were
73
also made in relation to penalties for breach of copyright, and for

the deposit of books in libraries and the control of book prices.
After some debate and various procedural manoeuvres, the Bill
seems to have passed through all its stages in the Commons, 47 and
was duly sent to the Lords. There it was given its formal First
Reading on 6 May, but the Second Reading was twice postponed,
and the Bill was lost at the end of the Session. 48
This Bill is of less interest for itself than for the issues which were
raised in its wake. It was no longer possible to pretend that the
rights of authors were not at stake. Indeed, one author deliberately

drew attention to the deficiencies of the law in a way which was
designed to influence Parliament. This author was Alexander Pope
who colluded with Edmund Curll to publish a 'pirated' edition of
his own letters; Pope then sued Curll. It is a complicated episode,
which does little credit to any of the parties involved; its relevance
here is was an attempt to force Parliament to recognize the
that it
claims of authors and the need to give them real protection against
49
the depredations of unscrupulous booksellers. After 1735, it was
never again entirely possible to exclude some consideration of the
rights of authors when copyright law was under discussion.
A
second and even more complex issue was, at least implicitly,
raised in the same debates. In comparing books with inventions,
the author of A Letter to a Member of Parliament was inviting
consideration of the nature of the property which was being
discussed, and in particular its origin. As authors' rights were
asserted, it became ever clearer that the only logical answer to this
- the -
question lay in the assumption that the property copy was
created by the author at the time of writing. Indeed, at least one
other pamphlet published in April 1735 starts from this assump-
50
tion, although the theory was later to be the subject of much
ingenious legal argument in the courts of both England and
51
Scotland.
Some of this was indeed considered during the debate in the
House of Commons. We know something of what happened there
from the brief notes of Thomas Carte, a non-juring antiquary who
had himself been the victim of Irish pirates. 52 Carte regarded a
single term of 21 years as being the appropriate period of copyright,
not least because he was persuaded by the logic of Robert
Ainsworth's evidence to the Committee that some books needed to
go into a second edition before they could begin to show a profit.
Carte also considered, however, that authors needed to have their
rights explicitly protected, since only the unspecified 'proprietors'
74
seemed to have rights under the 1710 Act. Carte, however, like
many of his contemporaries, did not have a completely clear view

of these matters. In particular, he toyed with the idea that, since
they were a form of property, copies subsisted in perpetuity, and
could not be limited in their existence. This was yet another issue
which was in the air in 1735 and which was to reappear several times
in a more acute form during the next forty years. All the difficulties
really arose from the fact that copyright was still a relatively
unfamiliar concept, ill-defined and ill-understood, but nevertheless
now quite clearly beyond the private sphere of the book trade. The
authors had become major players in the game, and neither they
nor the questions which their participation had raised were going to
vanish.
In the parliamentary session of 1735-36, another Bill was
prepared and printed, and this was unambiguous about its pur-
53
pose. The preamble stated bluntly that the 1710 Act 'has proved
ineffectual to prevent the Publication and Sale of surreptitious
Editions, and impressions of Books .' The solution
. .
proposed
was indeed a radical one, and it took considerable account of the
rising tide of opinion in favour of authors. The term of protection
was to be the author's lifetime and a further eleven years thereafter.
If the author died within ten years of publication, protection was to
be for 21 years from the date of death, and for posthumously

published works there would be protection for 21 years. It was,
apparently, this Bill which was brought into the House of Com-
mons on 11 February 1737. 54
Complications began almost at once. There was a technical issue
about the payment of the stamp duties on paper by the university
55
presses which threatened to obscure the more central points.
Even so, the issue was not entirely irrelevant, for it was an attempt
to 'encourage learning' by reducing the cost of scholarly works,
which was, after all, one of the alleged intentions of the 1710 Act.
The point is taken up in one of the broadsides published in support
56
of the Bill, in which it was argued that in France and Holland the
stateencourages the book trade, but in England it taxes paper.
In general, however, it was the .trade which
leapt upon this Bill,
which was, it seems, not to its liking. Abroadside which clearly
comes from the copy owners was quite explicit about their wishes. 57
Stating that the trade has invested more than 150,000 in copies, it
declares thatit is
necessary to give more 'durable' protection to this
property, like that given to other property owners. The emphasis
on the rights of the booksellers, as opposed to the authors, is
75
reinforced by a further reference to the need to prevent the import

58
of Dutch piracies. The Farther Reasons reinforce these points,
reiterating some of the arguments from two years earlier about the
need for long-term investment, and hence long-term protection, if
learned works were to be published in England.
One other point also begins to emerge again in both Reasons
and, particularly, Farther Reasons: the history and nature of rights
in copies. Before 1710, it is argued, rights were both absolute and
permanent. In that year, the trade conceded some abbreviation of

their rights in order to achieve better legal protection for them in
the form in which they continued to exist. What they are now
is an extension of that provision. What they did not add,
asking for
however, was the logical conclusion that this involved recognizing
the inherent perpetuity of property rights in copies. Again this was
to be a key issue during the next forty years.
The 1737
Bill was lost; it progressed as far as its Second Reading
59
in the Lords, but then never emerged from Committee. The
events of 1735 and 1737 proved to be a transient intrusion by
the authors into the legislative process in the eighteenth century.
The trade, however, still had pressing concerns. In April 1738, a
further Bill was promoted, which had but a single objective: to deal
with the ever-growing number of imports of foreign reprints of
English books. This Bill was rejected on its Third Reading in the
Lords, but a similar Bill was reintroduced in the next Session and
^
received the Royal Assent on 14 June \ 739. This Act forbade the
import into Great Britain of any book written, printed or reprinted

tfierewithin the previous twenty years, with the exception of books
in Latin, Greek or the 'northern languages' (i.e. Anglo-Saxon, Old
Norse and so on). The effect of this should have been straight-
forward: it prevented the import of reprints of books which still had
some commercial value. It provided the trade with sanctions
against importers of such reprints, and they worked actively to
ensure that these sanctions were enforced. By 11 September 1739
the Clerk of the Stationers'Company had reported that he had
been touch with the Commissioners of the Customs, and that
in
61
they were working on the enforcement of the new law.
The Import of Books Act was the last piece of eighteenth-century
legislation which even indirectly affected the law of copyright, but it
is merely the prologue to the story of the transformation of the law
in practice. In 1710, and to a lesser extent in the 1730s, the trade
had succeeded in suppressing any discussion of the rights of
authors, but this was a position which could not be sustained in the
76
long term. The bills of 1735 and 1737 had both provoked debates,
which partly arose out of contemporary events elsewhere in the
book world, which could no longer be stifled. In particular, there
were authors who were prepared to assert their rights, and even a
few who saw ways of using the 1710 Act to their advantage. The
most important of these was Alexander Pope.
Pope was not the first author to take an intense interest in the
62
publication and printing of his work, but he was the first to do so
with some semblance of statutory authority to support his claims.
He was deeply interested even in the typography of his works, 63
but, in general, he sought to protect both his financial and literary
interests by retaining as much control as possible over the printing,
publication and dissemination of his books. He made extremely

careful contracts with his publishers and printers, often giving them
only the right to print a single edition of a specified size and format.
As early as 1713/14, Pope negotiated a very profitable and
favourable contract with the bookseller Bernard Lintot for the
64
publication of his Iliad. Even the great Tonson had to submit to
the wishes of Pope. In 1723, the two signed a contract for Pope's
Works under which the author retained the right to reprint anything
he wished, and were he to do so, Tonson's only compensation
would be a copy of the reprint. 65 Even this was not enough. In the
late 1720s,Pope became deeply involved in the book trade himself,
although one remove through the printer John Wright and the
at
bookseller Lawton Gilliver.
It is impossible to resist the inference that Pope established
Gilliver and Wright in business, although there is no absolute
66
proof. It is certainly clear that Pope dominated the relationship
between himself and example, he and
his publishers. In 1732, for
Gilliver signed a contract under which Pope granted Gilliver the
right to print such of Pope's poems as Pope permitted for a period

of one year after their entry in the Stationers' Register, in return for
67
a payment of 50 per poem. In this remarkable document, Pope,
in effect, retained all the rights, and merely granted Gilliver a very
limited and rather expensive licence. This was indeed a potent
demonstration of the power of a famous and successful author.
Pope did not, however, confine himself to the privacy of
contracts in protecting his rights. He also went into the broad
daylight of the courts. The most famous of several cases is that in
which he tried to protect The Dunciad against piracy, through a suit
68
in the Court of Chancery. In his submission to Chancery, Gilliver,
as plaintiff, stated that he had bought The Dunciad on or about
77
1 March 1729, and had entered it on the Stationers' Register on

69
4 April in the same year. That Gilliver was slightly wrong is less
important than the legal arguments which were then developed out
of his statement. In effect, Gilliver based his claim to the
initial
rights in the copy on the

fact of entry in the Register, 'pursuant to
70
the Act', that is, the 1710 Copyright Act, which does indeed state
that:
. .
nothing in this Act contained shall be construed to extend to subject
.
any Bookseller, Printer, or other Person whatsoever, to the Forfeitures

or Penalties therein mentioned, for or by reason of the Printing or
Reprinting of any Book or Books without such Consent, as aforesaid
[from the proprietor of the copy], unless the title to the Copy of such
Book or Books hereafter Published shall, before such Publication be
71
entred in the Register-Book of the Company of Stationers . . .
This clause was to provide a number of difficulties throughout the

rest of the century and beyond.
In the present case, the defendants, James Watson, Thomas
Astley and John Stagg, replied in two ways. First, they argued that
the Gilliver edition was published before the copy was entered in
the Register, and therefore that the conditions in the Act had not
been met. This was apparently straightforward, and, if true,
irrefutable. Unfortunately, it was actually as uncertain as almost
72
everything else in this affair. This was also the case with their
second, and rather more obscure, line of defence, which was that
they did not know that Gilliver had bought the rights, and that in
any case he was not qualified to enter them in the Register. Despite
all the difficulties, Chancery did actually grant the plaintiff an
injunction to prevent the distribution and sale of the pirated

73
edition. The general significance of Gilliver v. Watson and others
is that it seems to be the first time that the 1710 Act was cited in
court to support a case for breach of copyright.

Pope used the Act again on at least three other occasions. One
was in 1743 when he sued Bernard Lintot, who claimed a one-third
74
share in The Dunciad, and a second in the same year, when he
sued Jacob Hive for pirating part of the same work. 75 A third
occasion was in 1744, when he sued the engraver George Bickham
76
for an edition of the Essay on Man. The first of these is the most
interesting, since, once again, it raises questions about the meaning
of the 1710 Act. Gilliver had sold a one-third share in The Dunciad
to John Clarke, who subsequently sold it to John Osborne, who, in
his turn, sold it to Lintot. Lintot
bought this share in January 1740,
78
and in December 1740 he bought the remaining two-thirds from

Gilliver. On thathe printed an edition, but Pope sued on the
basis
grounds that under the Act the rights had reverted to him, as
author, when fourteen years had elapsed after publication, that is,
at the end of 1742. In his response, Lintot simply denied that Pope
had any residual rights. There the matter rested; it was still
undetermined when Pope died in 1744.
Pope's cases are of interest in themselves, because they begin to
highlight some of the key issues which arose out of the 1710 Act. At
the same time, they remind us that authors were becoming more
assertive, and that relations between authors and publishers were
changing. By the middle of the eighteenth century, it was possible
to make a decent living from writing, certainly if that writing
77
included regular work for the newspapers and magazines. Patron- /
age was no longer essential even to literary authors, and the idea of
the author as a participant in commercial activity was beginning to
78
be accepted. At the same time as authors were becoming more
overtly mercenary, there was also developing a more elevated idea
of the author as artist or creator. The very concept of 'originality',
in the sense of an 'original work' of art or literature, is an
79
eighteenth-century idea. It is perhaps most famously located in
Edward Young's Conjectures on Original Composition, published

in 1759, but Young was actually giving popular expression to ideas
that werein fairly widespread circulation in literary and intellectual
80
circles. Such ideas inevitably had consequences for the business
of literature, and for the commercial relations between authors and
the book trade. Those relations were defined, in legal terms, by the
law of copyright, since it was the rights in the copy which were the
subject of the commercial transactions. As ideas of authorship
changed, so too did ideas about copyrights.
Some authors tried to circumvent the conventional channels of
the trade, as indeed Pope had done by finding himself tame
booksellers and printers. Subscription publishing, which was also
used by Pope, was one method, and was fairly common for certain
81
kinds of learned books, or books of local or particular interest.
Some authors came together in a sort of cooperative in the 1730s to
form the Society for the Encouragement of Learning, a name which
82
clearly reflects the 1710 Act, but the venture was short-lived. It
failed, according to one contemporary, because the trade refused

83
to distribute the books which it produced. Frustrated by the
complexities of the law, one author, Samuel Buckley, even
obtained a private Act of Parliament in 1734 to protect his edition
79
84
of Thuanus's History, but this was clearly not a practical
proposition for the majority. Authors were exhorted to take their
affairs into their own hands; Ralph wrote: 'Combine! And perhaps
you will need neither Patrons nor Establishments.' 85 But this was
an impossible dream for so long as the booksellers controlled the
trade through their stranglehold on copyrights, production facilities
and distribution. Even the provincial booksellers were unable to
86
compete with them, except on a very local basis.
Despite this, however, the status of authors did change, at least
in a monetary sense, for the better. Professional authors were
reasonably well-paid by the middle of the century. At one end of

the scale, Samuel Johnson, although sometimes short of cash, was
able to survive entirely by his pen, and to attain the utmost
87
respectability while doing so. At the other, the hacks employed
by John Nourse in the 1750s and 1760s received modest but
adequate rewards for their labours. Sometimes they received a
single payment for the copy, sometimes they were paid by the
printed sheet, sometimes they shared in the profits, and occasion-
ally they were paid in kind with free copies of the book. Sometimes
they had to agree to undertake revisions for subsequent editions
without extra payment, and in one or two instances other con-
ditions were imposed. In general, however, the author sold his copy
outright to the publisher, who then did with it as he wished. These

88
agreements seem to be fairly typical of the middle of the century.
The dependence of authors on publishers was frustrating;
equally frustrated were those in the book trade who were not
involved in the business of the publishing and distribution of books.
The trade sales ensured that the most profitable copies, however
much they might be subdivided, remained within a comparatively
small group of owners. The copy-owning booksellers effectively
controlled the wholesaling and distribution system, even though
the congers had vanished as organized operations. Authors whose
books were not published through the usual channels of the trade
could expect neither wide distribution nor, more importantly to
many of them, an adequate income. In the same way, members of
the trade found it extremely difficult to break into the national
distribution system unless they were allowed to do so by those
already engaged in that part of the trade.

This was particularly irksome for those who worked in the two
other flourishing centres of the book trade in the British Isles,
Ireland and Scotland. The Dublin booksellers were, indeed, in a
comparatively favourable position. The 1710 Act did not apply to
80
them, and they could reprint as much as they liked provided they
did not attempt to sell in Great Britain. Some did so, as was pointed
89
out in 1735, but others worked in a rapidly expanding domestic
90
market, or exported their books to North America.
The Scots, however, were in a far less satisfactory position. The
Act did apply in Scotland, so they could not even reprint for their
domestic market. They did indeed print for export, both to North
America and to continental Europe, but the real prizes were to be
won at home, and by the late 1730s Scottish booksellers and
printers were beginning to flout the law and to justify their actions
on patriotic grounds. 91 Inevitably, this led to attempts at retribu-
tion by the London trade, whose incursions into the Scottish legal
system were eventually to precipitate one of the most significant

developments in the history of British copyright law.
The early cases heard in Scotland concerned the reprinting in
Edinburgh or Glasgow of copies claimed by London booksellers. In
most cases, the reprints were of copies whose protection had
apparently expired under the terms of the 1710 Act. The Scots
courts were uncertain about the Act, and reluctant to reach
decisions, but their very indecisiveness exacerbated the situation.
By the middle of the 1740s, Scottish reprints were widely sold
throughout the north of England, as well as in Scotland itself, and
there seemed to be little done about it. 92
that could be
In 1743, however, a case began which was indeed to reach a
momentous resolution. Daniel Midwinter and other London
booksellers sued a number of Scottish printers and booksellers for
reprinting Ephraim Chambers's Cyclopaedia, which they had first
published in 1728, and other books. The suit was brought under
both the 1710 and 1739 acts. The case was that the reprints were
protected by copyright, and that in any case their import into
England was illegal. The defence was, essentially, that the copy-
93
rights had expired under the time limits imposed in the 1710 Act.
To counter this, the plaintiffs (the London booksellers) argued that
the Act imposed time limits on the penalties for breaches of its
provisions, but not on the existence of the copyright itself, a point
which had, indeed, been made in 1735 when new legislation was
94
being discussed. Eventually, the Court of Session reached a
decision which, in effect, represented victory for the defendants. It
held that the 1710 Act did not apply at all in this case, because the
book had not been entered in the Stationers' Register. 95
The Scots were even more successful in a related action in which
Millar and others sued Alexander Kincaid and a large number of
81
Edinburgh and Glasgow printers and booksellers for reprinting

Locke, Burnet's History of the Reformation, Fielding's Joseph
Andrews and other books. 96 This time, the verdict in the Court of
Session was devastating for the London trade. The Court ruled that
no action could be brought under the 1710 Act when more than ten
months had elapsed after the offence; that actions depended upon
entry in the Register; and that damages could not be awarded. The
plaintiffs then appealed to the House of Lords, and the defendants
97
published a full version of their case.
This document lays out in detail the arguments of the Scottish
trade, both commercial and legal. The commercial case was
essentially that the Londoners were merely using the cover of the
law to protect their own monopoly 'now that by cheapness of
Work, and great Diligence, the Scots Printers are gaining Ground
98
upon them . ,'
. The legal arguments turn on two points. First,
recalling no doubt the earlier views of the Court of Session, the
defendants point out that unless copies are entered in the Sta-
tioners' Register, they are not protected at all, precisely the case
thathad been made in Gilliver v. Watson and others in 1743."
Because the Act is specific on that, they argued:
. . . there must be established a praesumptio juris et de jure, that every

new Book which is not thus entered in Stationers Hall is abandoned to
the Publick, and a lawful Subject of Commerce for every man to deal
in ...
Secondly, they point out that the Act confers rights for a limited
period only. It was the first of these arguments which had indeed
convinced the Lords of Session, in their declaration that 'no Action
liesupon the Statute, except for such books as have been entered at
10
Stationers Hall' The House of Lords found for the Scots in 1751
.
,
although on technical grounds, which left open the possibility of

10
further actions on the main issues of copyright.
Despite the failure to reach an absolute legal resolution, these

two cases were a major blow for the London trade. It was clear that
the Scottish courts would do nothing to protect them against the
Scottish reprinters. The Scots were rapidly gaining in confidence.
In 1754, Robert Foulis, the Glasgow printer who had been one of
the defendants in both cases, wrote to the Attorney-General
complaining of:
. . . the new doctrine by which Authors are supposed to be vested with

a property, not only antecedent to all acts of parliament, but even such
82
a one as claims indefeasibility, and refuses to be limited by the highest

national Authority.
With this, he enclosed that opinion of an Edinburgh lawyer,

Ronald Craufurd, to the effect that the copyright '. is only . .
personal, to the Author himself, but not to his Executors or

102
Assignees'. Such views as this, if they were to be upheld in the
courts, would undermine the whole basis of the London trade, for
this was a challenge not merely to the law of copyright as it was
embodied in the 1710 Act, but to the protection of the rights in the
works of all dead authors.
Such an extreme argument was never accepted, but there can be
little doubt that the London trade was seriously rattled by what had
happened and by the continued activities of the Scots. The London

trade now tried another tack, by turning their attention to the
English provincial booksellers who were the main channels of sale
for the Scots reprints south of the border. In April 1759, the leading
London booksellers subscribed over 3,000 to enable them to take
action against the sale of the reprints. One of their number, John
Whiston, then wrote an open letter to John Merill, a bookseller in
Cambridge, intended for wide circulation, in which he stated their
intention to prosecute, under the 1739 Act, any English bookseller
whom they found to be selling Scottish reprints. Once again, Millar
actually lay behind this initiative, despite the fact that it was in
103
Whiston's name.
In fact, the letter exposed the fundamental weakness of the
position of the London copy owners. They demanded that the
provincial booksellers should hand over to them any Scottish or
Irish reprints in their shops, but they offered to replace them with
the authentic London editions. In itself, this would probably have
absorbed much of the 3,000, and was clearly something which
could not be done on a regular basis. The truth was that the
Londoners had no way of policing the provincial trade, and were
unable to prevent the penetration of their markets by the
reprinters. All the evidence, from the 1730s to the 1750s, suggests
that Scottish and Irish reprints were widely sold in the provinces,
especially, but not solely, in the north of England.

This episode cannot be seen in isolation. In the following year,
another attempt was made by the London trade to have the law
clarified in the courts. In 1760, Jacob Tonson sued Benjamin
Collins, a bookseller in Salisbury, for selling a Scottish reprint of
The Spectator. The case is surrounded with suspicion, for Collins
83
was an eminently respectable tradesman, closely associated with

the London trade, and one of the few provincial booksellers with
104
substantial shareholdings in London copies. Following, as it did,
the 1759 letters and the verdicts in Midwinter v. Hamilton and
Millar v. Kincaid, seems more than likely that the action was
it
brought in collusionbetween the plaintiff and the defendant, in an

attempt to get an authoritative decision on the state of the law.
The case came on in King's Bench in 1760, with Lord Chief
105
Justice Mansfield on the bench. The question was: 'Whether
copy-right subsists in authors, as a valuable property, independ-
ently of the Stat. 8 Ann.' In the lower courts, the jury had been
unable to reach a verdict, and it was now for King's Bench to
resolve the issue. For the plaintiff, it was argued that 'The words
"for fourteen years and no longer", extend only to the accumulat-
iveremedy by penal action'. The point was directly refuted by the
defence; in the event Mansfield reserved his judgment.
The significance of this first hearing of Tonson v. Collins,
however, lies as much in the general thrust of the arguments as in
the specific legal points. The plaintiffs counsel, Alexander Wed-
derburn, based his case largely on the common law of property,
arguing that the law is the 'guard of property' and that copyright is a
property like any other which the law can and does protect. He
employed a certain amount of historical ingenuity in showing that
copyright had been recognized since the sixteenth century, but
eventually admitted that the precedents were unhelpful, partly
because they all related to privileged copies or the English Stock,
and partly because they were badly reported. Defence counsel,
Edward Thurloe, took his stand on different ground. He revived
the old argument about the public good not being served by a
monopoly, and then argued, in very simple terms, that the 1710 Act
limited the time during which the monopoly could subsist in the
case of copyrights. Under the Act, no author can assign a copy for
longer than 14 years, and therefore at that point the rights cease to
exist. Like Wedderburn, he rejected precedent, but he was more
specific, concluding that 'This is the first action ever to be brought

upon this head of property.' Strictly speaking this was not true, for
Pope's cases also seem to have been based upon it, but they never
came to court, or were not reported. 106 Two conflicting views of
copyright were now clearly emerging; on the one hand, there was
the view that it was a simple property with a permanent existence,
while on the other hand it was held that, although it did exist, it did
so in terms of the limitations of time imposed in the 1710 Act.
84
The case returned to King's Bench in the following year, when

Wedderburn was replaced by Blackstone as counsel for the
107
plaintiff. Blackstone made the case for perpetual copyrights on
two grounds: first, the common law of property, and secondly,
unlike Wedderburn, historical precedents. On the first ground,
Blackstone argued that the plaintiffs case was 'founded in reason',
by which he meant the law as it related to the ownership of
property. He argued that in buying a book, the purchaser does not
buy the right to copy it, any more than he can copy an opera ticket
which he has bought, or make a copy of a coin. Turning then to the
other pillar of his case, Blackstone argued that perpetual copyright
was 'supported by law'. He cited a number of cases, both before
and after 1710, to lend weight to his contention that the courts had
generally recognized the permanent rights of the legitimate owner
of a copy. He referred to a series of cases from the 1730s which, he
claimed, established the legality of perpetual copyrights.
In rebuttal, Joseph Yates said that this so-called property could
not be shown to exist, that the very act of publication made it
impossible to restrict the ideas and words thus published, and that
the law depended upon the 1710 Act which tried to protect those
ideas and words for a limited period of time. The positions seemed
irreconcilable. Mansfield adjourned the case to Chambers, and
refused to reach a verdict because he suspected collusion designed
to establish a precedent, but the editor of the official report
believed that 'in so far as the Court had formed an opinion, they all
108
inclined to the Plaintiff'.
Despite the failure to reach a resolution, Tonson v. Collins is a

case of somesignificance. The argument which were
lines of
deployed very clearly expose the nature of the debate about

copyright which was taking place in mid-eighteenth-century
Britain. /The case for perpetual copyright was that the rights in a
copy were simply as a piece of property like any other, whereas the
opponents of that view took the line that the statute law over-
rode this common-law approach. The legal and constitutional
implications were wide-reaching, and the lawyers dug deep into
their armoury of both law and precedent to support their cases.
The understanding of the law of property was of particular
importance, and underlies much of the argument in court both in
Tonson v. Collins and in other cases. The general view, and one
which was broadly endorsed by Blackstone, was that the property
derived from natural rights, having originally been created by the
labour of its owner. This theory had been developed during the
85
seventeenth century, and reached its fullest expression in the works

of Locke, who allied it to his theory of the contract between the
state and the people which was, to him, the foundation of civil
government. Blackstone broadly followed this view, including its
logical rider that individuals (including writers) could create new

property by their own efforts, although he also inclined to the view
that the state could abrogate or extend property rights as part of the
109
contract between governors and governed. All the key writers
who had developed the natural law theory of property - Grotius,
-
Selden, Pufendorf and Locke were cited in support of perpetual
copyright.
To some extent, the natural rights theory conflicted with
the traditional English concept that all property was vested in the
Crown and derived from it. This was, in the eighteenth century, the
normal conservative line, to be found, for example, in the writings
of Hume and Paley, and, at the end of the century, in Burke. 110 It
was this theory which had generally been applied by the courts in
the seventeenth-century copyright cases, and which sustained the
defence of the privileged copies and the English Stock. By the
middle of the eighteenth century, however, the courts were taking a
far less inclusive view of the royal prerogative. In one of his
interventions in Tonson v. Collins, Mansfield dismissed the relev-
ance of the precedents relating to the privileged copies on the
grounds that The Crown has no rights over books in general;
therefore the patents could have no effect [as binding
111
precedents]'.
The gradual exploration of the meaning of the concept of
copyright was therefore caught up in a wider debate about the
nature of property itself. On the one hand, there was the prevalent
view that property was a natural right, partially ceded to the state,
which could be created and, having been created, existed in
perpetuity. On the other, there was the view that all property
derived from the Crown, and was therefore subject to the authority
of the Crown and its agents, including laws made by the
Crown-in-Parliament .
If Tonson v. Collins were indeed a collusive action designed to

establish unambiguous precedents, it had failed miserably; it had,
however, helped to clarify the issues in legal as well as commercial
terms. It was perhaps inevitable that the courts had not heard the
last of the matter, which was eventually brought to a head by an act
of deliberate provocation. The provoker was Alexander Donald-
son, an Edinburgh bookseller who had built a large and profitable
business on reprinting.He was far from satisfied with his Scottish

and northern English market, and was determined to break into the
book trade in London. In 1764, he fired his opening salvo by
accusing the London trade of terrorizing the provincial booksellers,
112
and publishing the 1759 letters to prove his case. He concluded
that the London trade had entered into an 'illegal conspiracy' to
protect its own interests, a view supported by an eminent Scots

lawyer, Lord Dreghorn, who cited Midwinter v. Hamilton to
sustain his opinion that 'after a certain Number of Years was
113
elapsed .
any Person might print who had a mind'.
. . In 1769,
Andrew Millar once again went to law to prove that Dreghorn was
wrong.
114
In Millar v. heard in King's Bench on 20 April 1769,
Taylor,
the plaintiff sued Robert Taylor for printing an edition of James
Thomson's poem, The Seasons, of which he claimed to own the
copyright. Taylor had printed an edition in 1766, when the 28-year
term expired, and Millar immediately entered his suit. The case
reached King's Bench, for what was apparently to be a landmark
verdict. As the official reporter put it, this was an 'old and oft-
litigated question ... [of which this case was] the first . . .
determination which the question ever received, in this Court of

115
King's Bench'. The judgment was delivered by Mansfield and
three other justices, Willes, Aston and Yates, the last now elevated
116
to the Bench.
Willes, the junior Justice, was the first to speak. He reviewed at

length the history of copyright cases both before and after 1710. He
noted in particular that Chancery had continued to uphold
copyright on the basis of pre-1710 common law, and that it would
'have been in error, if the whole right of an author in his copy
117
depended upon this positive Act, as introductive of a new law'.
He concluded that it was not, that even the 1662 Printing Act
118
'supposes an ownership at common law', and that 'there is a
common-law right of an author to his copy not taken away by
. . .
119
the 8th of Anne'. He found for the plaintiff.
Aston, who spoke next, concurred, although on different
grounds. He based his argument on the theory of the natural origin
of property, defining property as anything which can be assigned in
law to a lawful owner, which is clearly the case with copyright. He
accepted, therefore, that the author created the property at the

time of writing, but he also argued that the property only took on a
value, and therefore became defensible, when it was published, for
'without publication, 'tis useless to the owner . . .
[Publication is]
87
necessary ... to render this confessed property useful and . . .
120
profitable'. He concludes from this that the property, by
definition, cannot be renounced by publication, since publication is
the essential act of completing its creation. The 1710 Act merely
prescribed methods for protecting the property and means of

securing redress against those who infringe on it.
The case was formidable, but Yates, who had been counsel for
the defence in Tonson v. Collins, dissented. He admitted to some
with the theory, but argued that the author changes the
difficulty
nature of the property by the act of publication. He did not really
pursue whatever logic suggested this to him, but turned, perhaps
with some relief, to historical and statutory issues. First, he
dismissed the Stationers' Company's private practices as having
become irrelevant in 1710, m
and then came to the nub of his case:
The Legislature may indeed make a new right. The Statute of Queen
Ann. has vested a new right in authors for a limited time: and whilst
that right exists, they will be established in the possession of their
199
property.
He added that There is not one clause, one expression . . . that

hints at a prior exclusive right in authors to an eternal mono-
123
poly'. In effect, Yates rejected the natural rights theory which
sustained the case for perpetual copyright, in favour of an updated
version of the conservative view, which vested the right to create
forms of property in the Crown-in-Parliament. He found for the
defendant.
Both Yates and Aston were attempting to define a concept which
still had no name, but which would later be called intellectual
property. "They both recognized, although reaching different
conclusions from their recognition, that what an author created had
to be distinguished from the form in which it was disseminated, and
that ownership, if any, was vested in the creation and therefore the
creator. The difference between them was about the moment at
which that ownership was made manifest, and how it was to be
secured. Neither, however, doubted the existence of such property,
or the fundamental ability of the English law to deal with it.
Mansfield engaged in no such speculations. He took a firm
historically based view that all the precedents, both in Chancery
and in King's Bench, supported the existence of property rights
before publication. He concluded from this that the property
continued to exist after publication, since if it did not, it would not
have been property in the first place. So far as he was concerned,
88
the 1710Act was irrelevant to this, since it dealt only with a limited
range of temporary protections for a permanent right. Thus by a
majority of three to one, King's Bench decided the point which the
London copy owners claimed they had never doubted: that rights in
copies were merely a form of property, and like all property they
existed for ever. An appeal under a Writ of Error was rejected, and
the final injunction against Taylor was granted to Millar in the early
124
summer of 1770.
It was at this point that Alexander Donaldson resumed his career
as a provocateur. He reprinted Thomson's Seasons, the very copy
for which Taylor had been injuncted, and put it on sale in his
bookshop in London, under the noses of Millar and the other copy-
owning booksellers. The latter, now led by Thomas Becket, filed a
Bill of Complaint in Chancery on 21 January 1771, elaborating the
history of the shares in the copy, and asking for an injunction to

prevent Donaldson from selling his present edition or printing any
more. Chancery, not surprisingly in the light of its own precedents
and that newly established in Millar v. Taylor, granted the
injunction on 16 November 1772. 125
Donaldson had to respond. The whole position of the Scottish
trade was becoming impossible in the aftermath of Millar v. Taylor.
The authoritative verdict of King's Bench had already been cited as
a precedent by at least one Scottish judge in hearing a case in the
Court of Session, with the rider that there was no conflict in the
126
matter between English and Scots jurisdictions. If that were to
stand, and there was no obvious reason why it should not, the Scots
would lose everything which they had won in Midwinter v.
Hamilton and Millar v. Kincaid, for the courts in Scotland would
have to recognize perpetual copyright just as the English courts did.
Donaldson therefore appealed to the House of Lords, which, at
last, reached a fully authoritative verdict on the 1710 Copyright
Act and the place of copyright in English law.
Donaldson's lawyers had based their case in Chancery on several
points, all of them familiar, although with differences of emphasis.
First, they argued that natural-law property rights are assumed to
exist as a matter of 'public Utility',, but in the case of copyright they
would create a commercial monopoly, which was never the
intention. Secondly, they rejected the historical precedents. They
dismissed the relevance of the private arrangements of the Sta-
tioners' Company, and all Chancery rulings before 1710, on the
grounds that they were superseded by Act of Parliament. It was

argued that the 1710 Act was 'not declaratory of the Common Law,
89
127
but introductive of a New Law . . ,' This was intended to protect
authors and their families, and they cited the parallel example of
the protection afforded by Parliament to engravers in 1735. They
asserted that all the alleged precedents for injunctions for breach of
copyright were within the 28-year term, with the single exception of
Millar v. Taylor. This was both learned and ingenious, although
somewhat flawed, especially in the last part. Many cases, including,
for example, Pope v. Lintot, had been argued on the basis of the 14-
year term of copyright, rather than 21 years, and it was going to be

very difficult to evade the arguments of three out of the four judges
in Millar v. Taylor.
Counsel for Becket seems to have been confident. He rehearsed
the natural law theory of property, accepting it, and arguing that in
'Reason and Natural Justice' there is an 'implied agreement' not to
reprint a copy when it is owned by someone else. On the historical
front,he contented himself with the argument that Parliament has
recognized such rights, that they were also embodied in the crown
patents and the English Stock, and that the 1710 Act merely
provided some support for the booksellers by imposing penalties on
the perpetrators of unauthorized reprints under certain conditions.
When the case came to the House of Lords, the same arguments
were repeated. Thurloe, for Donaldson, argued that the 1710 Act
was a new and quite specific law giving protection for a specific
period of time and for no longer. He largely avoided legal theory,
but he did argue that only property which could be defended could
have an existence, and that this could not be done with literary
property, because, having no physical existence, it could not be
occupied. Finally, he returned to the firmer ground of precedent,
and invited the House to consider the verdict in Midwinter v.
Hamilton, commending the common sense of the Court of Session
in trying to 'emancipate [the booksellers]
. . . from such an . . .
odious Oppression'. Thurloe's junior, Sir John Dalrymple, was

more blunt. He argued that the 1710 Act created a new right and
vested it in authors and booksellers; there was nothing to suggest
that it was confirming existing rights, or that the rights which it
created subsisted beyond the periods of time specified in the Act.
The Lord Chancellor now put three questions to the twelve
128
judges, to which Lord Camden successfully moved the addition
of two more. The five questions were:
1. Whether at common Law, the Author of any Literary composition

had the sole first Right of printing and publishing the same for Sale,
90
and could bring an Action against any Person for publishing the
same, without his consent?
2. If the Author had such right originally, did the Law take it away
upon his printing and publishing the said literary composition, or
might any Person reprint and publish the said literary composition,
for his own Benefit, against the Will of the Author?
3. If such Action would have laid at Common Law,
is the same taken
away by the statute of Anne? Or is an Author precluded by such

Statute from any Remedy, except on the foundation of such Statute?
4. Whether the Author of any literary Composition, or his assigns, had
the sole Right of printing and publishing the same in perpetuity by
the Common Law?
5. Whether this Right is in any way impeached, restrained or taken
away by the 8th of Anne?
Camden's two questions (the last two) encapsulated, as they were
meant to do, the whole problem, for it was they which dealt with
the central issue of the rights of authors and the meaning of the 1710
Act.
The eleven judges then gave their views on these five questions,
and, not surprisingly, they were neither unanimous nor unambigu-
ous. The actual votes varied considerably between questions (see
Table 3.1) and on the crucial issue of the existence of perpetual
rights (Question 4) they were equally divided with one abstention
besides Mansfield. On the other questions they were somewhat
clearer. There were clear majorities both for the creation of rights
by the author (Question 1) and for the partial loss of those rights on
publication (Question 2), and a majority also for the view that the
author can only seek legal redress under the 1710 Act (Question
129
3), so that the Act was indeed held to change the nature of the
author's rights.
Table 3.1
Becket v. Donaldson: the Law Lords' opinions
Question Yes No
number
1
In fact, the judges were rather more decisive than some of the
more ambiguous responses might suggest. In general, all agreed
that the 1710 Act superseded whatever common law might have
existed before that time. All agreed, again in general terms, that
authors had rights, although there was a genuine division of opinion
on the extent of those rights. however, some very
There was also,
sensible understanding of the background to the case, and a
recognition that the House was dealing with a commercial as well as

a legal issue. Thisbecame almost explicit in the views of Lord de
Grey, the Chief Justice of Common Pleas. He held that even
though Chancery had never actually managed to decide what the
law was (he did not refer to Millar v. Taylor, a King's Bench case),
in fact the Act was quite clear about it. It made no reference to
existing rights, and must therefore be presumed to have created
new ones, which it then proceeded to limit to 14, 21 or 28 years
according to circumstances. De Grey, however, thought he
detected a reason for all the legal activity of the previous forty
years; he said, The truth is the Idea of a common Law Right in
Perpetuity was not taken up till after that Failure [in 1735-37] in
procuring a new Statute for the Enlargement of the Term'. In that
he was absolutely right, and he discerned the very essence of the
problem: the almost frantic desire of some members of the London
book trade to protect their investments in copies.
A debate followed, in which Camden argued passionately
against confirming what he regarded as a monopoly. Mansfield, to
the surprise of many, remained silent. At the division, the House
overwhelmingly supported the reversal of the Chancery decree.

Donaldson had won. Perpetual copyright was ruled not to exist,
and the 1710 Act to mean what it said.
The case had aroused a good deal of interest in literary circles
and in the press. Indeed, in the minds of some writers, including
Catherine Macaulay, it raised far larger issues of the freedom of the
press; she saw copyright as simply another means of restricting the
130
circulation of ideas. More generally, however, the public resolu-
tion of the copyright issue lent support to those writers who wanted
to make strong claims for their rights. Most famously, perhaps,
Samuel Johnson pronounced that The Judgement of the Lords was
131
. .
legally and politically right'.
.
If the decision was generally welcomed in literary circles, the
same was not true of some members of the London book trade.
92
When the case was over, the trade made an attempt to restore what
they had lost. On 28 February 1774, only six days after the Lords'
decision, the booksellers petitioned the Commons against the
'hardship' which would be caused to them by the verdict. In effect,
they were seeking an Act which would reverse the verdict by giving
unambiguous statutory authority to perpetual rights in all copies,
both new and existing. 132 A Committee was appointed to look into
the petition, and it reported its findings to the House on
133
24 March. The Committee heard two witnesses on behalf of the
London trade. The first was William Johnson, who had been in
business since 1748, and was a large-scale owner of copies. He
testified that he had invested his money on the understanding that
he was buying a piece of perpetual property, and that he had never
seen a contract or assignment in which fourteen years was
mentioned. He argued that if a new law were not passed, the value
of copies would be reduced, and the market flooded with cheap
reprints which would devalue existing stocks of books. John Wilkie,
the second witness, who had served for many years as the clerk at
the trade sales, testified that at least 50,000 had changed hands in
13 '
buying and selling copies since 1755.

The very real fears of the trade were exposed here, especially by
Johnson. The effect of the verdict in Becket v. Donaldson was to
open the market to unlimited reprinting of any copy more than 28
years old, and perhaps of any copy not entered in the Stationers'
Register. Even the former would be bad enough, for many of the
shares bought and sold at the trade sales were in copies far older
than that. There was a vast collectively owned corpus of 'rights' in
the standard works which sustained the London trade, and which
was now thrown onto the open market. The trade was convinced
that ruin was staring it in the face, and so perhaps it was.
These arguments had some force. Leave was given to bring in a
Bill, but it
provoked a storm of protest. The Edinburgh book-
sellers, not surprisingly, were in the forefront of this, arguing that
the Bill would damage their trade, and any case, Scots law
that, in
had never recognized perpetual copyrights. 135 This was followed by
a further petition from English provincial booksellers and some of
those members of the London trade who were not in the inner
136
circles of the copy owners, and from Alexander Donaldson
137
himself. The copy owners went into action, but their arguments
were difficult to sustain. In The Case of the Booksellers of London
and Westminster, 138 they tried to maintain that the Lords had taken
away common-law rights which the 1710 Act had carefully sought
93
to This astonishing piece of effrontery was easily

maintain.
139
refuted. Some
of the trade's other arguments were equally ill-
conceived, even if they were more accurate. When a group of
major copy owners published their accounts to show how much
they had spent on the encouragement of learning, it was inevitable
that the response was along the lines that however many thousands
they had spent on improving books, they had made thousands more
140
by selling them.
The trade lobbied hard for this Bill, spending some 1,500 in
promoting it, including over 1 ,000 raised by the Stationers' Company
141
from a general subscription. The Bill had no hope, however, and
never proceeded any further in the Commons. No further attempt
was made to assert the claim to perpetual copyright.
The book trade was transformed by Becket v. Donaldson, in a
way which was, in part, intended by the reprinters and their
supporters. The opening up of the trade copies to all comers
created a new trade in low-priced reprints, while the copy owners
were forced to find new books to publish, and to exploit them to the
full during the limited term of copyright which now existed. This
gave authors a far stronger position vis-a-vis the trade, and enabled
them to begin to make new demands. No longer satisfied with
outright sales of their newly defined rights, authors began to look
for profit-sharing arrangements, or even for income related to the
number of copies sold. Out of this there emerged two recognizably
modern groups: publishers and professional authors.
Publishers, firms which specialized in the publishing of books,
and which were not involved in the retail book trade (or only
marginally so), were a product of the last quarter of the eighteenth
century, and developed because of the need to exploit the market
for new books rather than for old ones. Publishing could no longer
depend on the safety of reprints, but became the high-risk

entrepreneurial enterprise which characterized the book trade of
the nineteenth and twentieth centuries. In this more overtly
commercial environment, authors too could assert their rights, for
they were now established as the creators of the products from
which the publishers were making their profits. Both the book trade
and the relationships within it were fundamentally and irreversibly
changed by the chain of events which began in the House of Lords
142
in February 1774.
In the immediate aftermath, the trade was unpopular, and the
accumulated resentment against the monopolistic copy owners
came quickly to the surface. The law patent came under attack, and
94
so too did the almanac monopoly, which was now the mainstay of
143
the English Stock. The almanacs had been the subject of piracy
throughout the century, and it was increasingly difficult for the
Stationers' Company to police its claim to a monopoly of all
almanacs, new and old, throughout Great Britain. Thomas

Carnan, a well-established and successful London bookseller who
had strong provincial connections, deliberately flouted the Com-
pany's claims for many years, and finally provoked them into action
in 1773. The timing of Company of Stationers v. Carnan could not
have been worse. It came to Chancery for determination in May
1775, and it was, inevitably, decided in Carnan's favour. The
almanac monopoly, and with it much of the income of the English
Stock, vanished at a stroke. The truth was that the age of the book
trade monopolies was over. In only one matter did Parliament
agree to protect perpetual copyrights; an Act which protected those
belonging to the universities, Eton and Winchester colleges and
144
Westminster School received the Royal Assent on 22 May 1775.
That was all that remained of two hundred years of continuous
attempts, by the Stationers' Company and by less formal groups of
booksellers, to establish a monolithic control over the publishing of
books in London.
After these tumultuous events, a period of comparative quiet
followed, as the trade settled down to new ways of working. Yet the
issues which arose out of the 1710 Act had not yet been fully
resolved. After Becket v. Donaldson there could no longer be any
doubt about the legal basis of copyright as a property, or about the
time during which it subsisted, but many others remained, and new
issues emerged as the book trade became more complex and more
capitalistic, and as modes of publications became more varied.

Indeed, some of these issues had already arisen. As early as 1766,
King's Bench had determined in Tonson v. Waller that Thomas
Newton's notes on Paradise Lost were the subject of a separate
145
copyright from that in Milton's poem. In the nineteenth century,
this was cited as the authority for sustaining copyright in an edition
146
of a text in public domain. The equally tricky question of
14
abridgements had also been addressed in the eighteenth century,
with the courts reaching the view that an abridgement was a 'Work
of Judgement', and therefore had its own copyright. 148
Even more fundamental was the beginning of an attempt to
define copyright as a concept rather than simply as a piece of
property. The key case here was that of Trusler v. Murray, in which
the author John Trusler sued John Murray the publisher for alleged
95
breach of the copyright in his Chronology: or a concise view of the

annals of England, first published in 1769, and many times
149
reprinted. Trusler's case rested on the fact that Murray had
published a chronology very similar to his, but the court held that
the facts contained in the chronology were not protected by the
law, and that, provided the form of presentation had not been
substantially followed, no offence had been committed. basic A
rule thus began to emerge towards the end of the century: that
piracy occurred only when the words were reproduced in such a

way that a book was, in effect, a copy of a previous book by another
150
author.
Bythe end of the eighteenth century, copyright was well-
established, and reasonably well-understood. It depended, how-
ever, upon the 1710 Act, which, despite clarification by the courts,
was still the same fundamentally unsatisfactory piece of legislation
which it had always been. British copyright still betrayed its dual
and conflicting origins as an exercise of the royal prerogative and as
a commercial monopoly. The procedures of the law had been used
to some effect to sharpen the definition of the law, but practice had
far outstripped the law itself. Changing relationships between
authors and book trade, and changing perceptions of the very
nature of authorship, could no longer be contained within an early
eighteenth-century statute designed to embody late seventeenth-
century practices. Moreover, new ideas of copyright were in the air,
blowing from revolutionary America and revolutionary France.
They were not to appeal to the British Parliament for so long as
France was an enemy, but when copyright again became a matter of
political and public concern in the second decade of the nineteenth
century, new men and new ideas were to make a new law.
96
4 The Legal Deposit
of Books
By the beginning of the nineteenth century, British copyright law

was thoroughly unsatisfactory. The law had always lagged behind
practice, but now there was an accumulation
of statute, precedent,
trade practice and cultural assumptions which was becoming
extremely difficult to use at all. The need for reform and codifica-
tion would soon become apparent, but before that could be
undertaken, there was a strange episode in the history of copyright
law which was, in theory, wholly separate from it, and yet delayed
the reform of the law by perhaps as much as twenty years.
The 1710 Act had dealt with three separate and largely unrelated
issues: rights in copies, the regulation of book prices, and the
deposit of copies of certain books in specified libraries. By the end
of the eighteenth century, the courts had gone a long way towards
defining rights in copies, and significance of those parts of the Act
which dealt with them. The attempt to control book prices had
been predictably futile, and was quietly abandoned in the Import of
Books Act of 1739, apparently without ever having been enforced. 1
There remained, however, the question of the libraries.
The presence of legal deposit clauses in the 1710 Act was an
historical accident, arising out of the Printing Act of 1662. That Act
had required that copies of all new books, or new editions of old
books, should be deposited in the Royal Library, in the Bodleian
Library at Oxford and in the University Library at Cambridge. The
copies were to be sent to Stationers' Hall, and thence, by the Clerk,
2 3
to the libraries. Like everything in the 1662 Act, the intention was
to promote the control of the press; there is no evidence of
benevolence towards the libraries.
There were a number of precedents for this legislation. In
England, there was no example in law, but in 1610, Sir Thomas
Bodley had negotiated an agreement with the Stationers' Company
under which a copy of every new book printed by a member of the
97
Company had be sent to Oxford for the use of the Library. The
to
idea had originated with Thomas James, the Librarian of the
Bodleian since its foundation in 1598, but it was the influence of
Bodley which secured the consent of the Stationers. The deed was
sealed in Congregation at Oxford in February 1610, and received
4
by the Court of Assistants in March. After various experiments
with sending the books to Bodley 's own house in Fulham, and
thence to Oxford, it was agreed that the Clerk of the Stationers'
Company should receive them, and be responsible for their
onward transmission. Although the agreement was by no means
universally respected by the London book trade, a very consider-
able number of books were indeed sent to the Bodleian under this
arrangement, which, in theory, subsisted until it was superseded by
5
the 1662 Act.
This English precedent was an unofficial private arrangement
between two private corporations, the Stationers' Company and
the University of Oxford. There were, however, continental
examples of the deposit of books being required by law, the earliest
being that of 1537 in France, under which all French printers were
required to deposit a copy of each book they produced. The books
went to the Bibliotheque Royale, partly certainly to augment its
holdings, and perhaps in part to ensure that they were duly licensed
and published. 6
The 1662 Act was, however, a new departure in English law;
although it was to prove difficult to enforce, it did have some effect.
There was, however, a serious administrative problem; the law
required the books to be sent to Stationers' Hall, but made no
arrangements for their onward transmission to the libraries. This
was corrected in the 1665 renewal of the Printing Act, which also
introduced fines for failure to deposit, the first time that such
penalties had been imposed. 7 The Stationers' Company was
actually in a very difficult position. The Court of Assistants seems
to have been assumed to be responsible for the effective operation
of the deposit clauses, but all it could actually do was remind
members to sendbooks to Stationers' Hall. This it did on several

occasions in the 1660s and early 1670s, often under pressure from
the libraries. In November 1663, the Royal Library complained
that it was not receiving itsbooks, and the Vice-Chancellor of
Oxford wrote a letter to the same effect in February 1664. 8 The
Court reminded members of their obligations, but could do little
more. Both universities experienced endless difficulties in claiming
The Legal Deposit of Books
theirbooks, and even joint efforts between them often led

9
nowhere.
When the Printing Act lapsed between 1679 and 1685 and again
after the deposit clauses obviously lapsed with it. In
1695,
November 1695, Oxford tried to revive the original agreement
between Bodley and the Stationers' Company but the attempt,
10
perhaps inevitably, failed. Richard Bentley, Librarian of the
Royal Library, had complained in 1698 of the difficulty in obtaining
11
his deposit copies; at that time, of course, he had no such right,
but perhaps did not understand the implications of the lapse of the
Printing Act.
when there seemed to be a realistic hope of
In 1707, however,
some new book trade legislation, 12 libraries in Oxford and else-
where tried to find a way to take advantage of it. In particular, there
was a small group of men gathered around Arthur Charlett, Master
of University College, Oxford, from 1692 to 1722, who were
interested in attempting to restore the Bodleian's deposit privil-
13
ege. They had already persuaded a few booksellers to make
voluntary donations to the Library, but clearly a legal obligation
would be far more effective in the long run. 14 Charlett himself
never had a formal connection with the Bodleian, but the Librar-
ian, John Hudson, was a Fellow of University College, and had
been one of Charlett's strongest supporters when he had been
elected to the mastership. This link was to prove of vital import-
ance, for Charlett conducted a vast correspondence, not least with
the University's two M.P.s, Sir William Whitelock and William
Bromley.
On 17 March 1707, Bromley wrote to Charlett, enclosing a copy
of the Bill then before the Commons, in which there was a deposit
clause. He hoped that the Bill would be:
... to the Satisfaction of those learned Bodies and answer the Desires
of our Librarian so far as I have understood them from the
Applications
he has made to others, which however I have endeavoured to
accommodate. 15
From this, it seems that Hudson had been lobbying other M.P.s, as
own University representatives, and had done so to some
well as his
effect. Oxford was not alone in such activities. A reliable tradition
records that Thomas Tenison,
the Archbishop of Canterbury, was
instrumental in having Sion College added to the list of deposit
libraries, and that one of the City of London M.P.s had put the
16
alternative case for the Library of St Paul's Cathedral.
99
Alas, these efforts were all in vain, for as Thomas Hearne,

another supporter of Bodleian deposit privilege, noted in his diary
on 20 March: 'Sir William Whitelock and Mr Bromley have written
17
to Dr Hudson signifying the Miscarriage of the Bill for Printing.'
That, however, was not the end of the matter. When the next Bill
came to Parliament in 1710, the deposit clauses were still there.
Originally, these made arrangements for Oxford, Cambridge and
the Royal Library, but, during the committee and report stages,
Sion and the five Scottish universities (St Andrews, Glasgow,
Edinburgh, and King's and Mareschal Colleges, Aberdeen) were
added to the list. When the 1710 Act received the Royal Assent,
18
there were thus nine deposit libraries in the United Kingdom.
In the first few years after the passage of the Act, most of the
libraries made some attempt to obtain their books. The Bodleian
was assiduous at first, as might have been expected, 19 and so was
20
Edinburgh University. Glasgow University was forced to look for
a new building to house the books thus obtained, but in fact the
flow of books into the Library was very limited in the early
21
eighteenth century. Others, however, were either less fortunate
or less persistent; it was estimated that the books sent to Sion
22
College were worth barely five pounds a year. All these efforts,
however, were short-lived, and the London trade was distinctly
uncooperative.
By the end of the eighteenth century, the Bodleian was receiving
almost no books at all, and, incidentally, failing to catalogue almost
23
all of those which it did receive. At St Andrews, there had been a
few rumblings of discontent in the 1760s because so few books were
being sent down from London, but nothing was done to remedy the
24
situation. Evidence from Glasgow suggests that claims were
25
rarely made, and when they were they were often late, while, by
the 1760s, Edinburgh was obtaining almost all of its books from
26
other sources. The deposit clauses were a dead letter. When the
1801 Act added Trinity College and King's Inn, Dublin, to the list of
27
deposit libraries, not a voice was raised in protest. After the
summer of 1801, therefore, there were eleven deposit libraries,
28
none of them particularly interested in exercising their rights.
This complacency was soon to be shattered. The troubles began
in Cambridge. In 1805, Basil Montagu, a Cambridge graduate and
a barrister, discovered that the University Library did not have a
recent volume of law reports which he wished to consult. Annoyed
by this, he wrote a pamphlet in which he called for a stricter
enforcement of the law, aiming his criticism principally at the
100
29
apparent indolence of the University Library itself. In the
following year, the same cause was taken up by another barrister
who had also been frustrated by the inadequacy of the same
Library. Edward Christian, who was apparently an indifferent
lawyer and seems to have been personally rather unpopular, was
Downing Professor of the Laws of England at Cambridge. Like
Montagu, he found the University Library's holdings of recent law
reports to be deficient. In 1807, he too went into print on the
deposit question, in a pamphlet which marks the real beginning of
30
the long campaign for the enforcement and reform of the law.
Christian argued, much as Montagu had done, that the law
conferred unambiguous rights on the universities, but that these
rights were also obligations, and that they were ignoring these
obligations to the detriment of their members. He also, however,
adduced another important legal argument, which was to prove of
31
importance. In Beckford v. Hood (1798),
critical King's Bench
had held that an author could sue for breach of copyright even if the
pirated book were not entered in the Stationers' Register. The
immediate intention was to clear up yet another ambiguity or
omission of the 1710 Act. It had, however, another effect,
according to Christian. The Act could be read to mean that only
books entered in the Register were liable for deposit, and indeed
the 1801 Act was specific on the point in relation to the Irish
libraries. Christian, however, claimed that the 1801 Act was based
on a misunderstanding of the law, as clarified in Beckford v. Hood,
and that that case supported the contention that all books had to be
deposited, whether they were entered or not. To round off his
argument, Christian added that the law applied to revised and
augmented editions as well as to new books. If nothing else, he had
raised issues which clearly needed to be clarified.
On 16 June 1808, the House of Commons gave permission for a
32
Bill to be brought in which would indeed clarify the law. The main
proposal in the Bill dealt with the mechanisms of legal deposit. It
required that copies of all new books and reprints should be sent to
the Warehouse Keeper of the Stationer's Company before publica-
he could send them to.the libraries. This was to be done
tion, so that
regardless of whether the book had been, or was intended
subsequently to be, entered in the Stationers' Register. Almost as
an afterthought there was also a clause which extended the term of
copyright.
After a brief debate, this Bill was given its Second Reading on
33
17 June, but when it reached its Committee Stage serious
101
differences of opinion began to emerge. The Committee ignored

the rather sensible suggestion that the Bill should be divided into
two separate measures, one dealing with the term of copyright and
the other with legal deposit. Indeed, the two issues were almost
inextricably linked, partly because Christian thought that he had

persuaded the sponsor of the Bill to reach an agreement with the book
trade. An amendment was accepted which extended the term of
34
copyright to 28 years, which, as Christian understood the position,
meant that the trade would not oppose the deposit clauses. In fact,
something had gone wrong. The Bill's sponsor was John Charles
Villiers, M.P. for Queenborough, a Tory reformer who was disillu-
35
sioned with Pitt and later a strong supporter of Canning. Not for the
last time, the whole issue took on a political complexion dictated by
the wider political interests and reputations of those involved in it.

The misunderstandings between Villiers and Christian were
about the discussions which the former had had with the book
trade. Christian believed that there had been an agreement that the
trade would not object to the proposed deposit arrangements
provided that the term of copyright was extended. That was
36
certainly Christian's recollection some ten years later, but, even if
his memory was accurate, he may have misunderstood Villiers at
the time, or Villiers himself may have been confused. Whatever the
explanation, it was the deposit clause which aroused the most
serious opposition in the debate of 22 June, and the trade lay
behind this. C. W. Williams Wynne, M.P. for Montgomeryshire,
said bluntly that the trade objected to the deposit proposals, and
that the Bill ought to be withdrawn. Sir Samuel Romilly gave
whole-hearted support to the extended term of copyright, but
regarded deposit as being objectionable on principle, as an
infringement on the property rights of the publishers. Both men
were supporters of reform, Romilly actively so. 37 In their objec-
tions we can see Whigs of various shades, together with some
moderate Tories, beginning to question the propriety of interfering
in the freedom of trade and the inviolability of private property by
taking books from their 'rightful' owners. The proposal to divide

the Bill into two parts was a ploy by Villiers to rescue something
from this debacle, but it came to nothing. The Bill never re-
appeared in the House, and was lost at the end of the Session.
If there had been some negotiations with the trade, Wynne was
certainly right to claim that they had not led to unanimous support
for the Bill. Two or three days after the debate in the Commons, an
anonymous pamphlet was published which laid out the details of
102
the objections of at least some publishers, and possibly a consider-

38
able number of them. The author based his case on two
arguments. The first was an appeal to the House's sense of fair play.
The Bill, he wrote, had been brought in late in the Session, without
warning and without proper preparation or discussion: '[The Bill]
was never heard of by many of them [the book trade] till the day
39
before.' It was argued that the matter was not urgent, and that if
the Bill were to be delayed valid and important arguments could be

mustered against it.
The writer's second point was both more substantial and
potentially more damaging. He argued that, although the Bill was
designed to help both authors and libraries, in practice it helped
neither. So far as the libraries were concerned, the works 'thus to be
extorted from their proprietors' would include many which the
universities could not possibly want such as school-books and
40
The danger to authors is less clearly explained, but
similar trivia.
it suggested that publishers will be less willing to publish
is
expensive books if eleven copies are to be extracted from them for

the eleven libraries.An example is given; John Sibthorp's Flora
Graeca, then in course of publication, would eventually cost 200
guineas a copy, a cost to the publishers of 2,310 for the deposit
copies. In such circumstances, it is argued, such books will not be
published at all. The Postscript expands on the point; while authors
will not really benefit from the extension of copyright, but the
41
proposal 'would eventually injure the Printers'.
The themes which run through the anonymous Strictures of 1808
were to become very familiar during every discussion of the issue
until it was resolved in 1837. On the one hand, the libraries would
be overwhelmed with rubbish; on the other, authors would not be
helped by an extension of the term of copyright. Moreover, both
developments would harm the publishers and printers. It was, of
course, this rider which was the real concern of almost all of the
objectors, and which provided them with their most potent political
argument. The anonymous pamphleteer of 1808 said bluntly that
deposit was a 'violation of private property', and to a parliament of
property owners that was a very forceful argument indeed.
The failure of this Bill did not deter Christian or other would-be
reformers. He pursued the matter further through the courts, and
at lastpersuaded the authorities at Cambridge to join forces with
him in a matter which was, after all, in their interest as well as in his.
After some abortive attempts, in 1811 the University began
proceedings against Henry Bryer for failing to deposit a copy of a
103
book which he had recently printed for the publishers Johnson and
Ridgeway of London. The London book trade formed an ad hoc
committee to assist Bryer in his defence, for they too recognized
the importance of what was happening. The test case of Cambridge
University v. Bryer came to King's Bench for an authoritative ruling
in November 1812, and was unanimously decided in favour of the
42
University. As in Beckford v. Hood, the court held that entry in
the Stationers' Register was irrelevant, and that the 1710 Act
applied whether or not this had been done. Christian had been
vindicated in full, but the trade was faced with a very serious
problem.
A
committee of London booksellers and printers took action in
December 1812, by petitioning Parliament to ask for legislation
which would neutralize the effects of Cambridge University v.
Bryer. Specifically, they wanted expensive books and books
published in very small print runs to be exempt from the deposit
requirements. According to the petitioners, some publishers would
lose thousands of pounds a year if the law were not changed, and
once again it was argued that this would be a deterrent to publishing
43
certain kinds of books, a discouragement to learning. Nothing
happened immediately as a result of this petition, but on 11 March
1813 the matter was revived by a petition from the printers of
London and Westminster, supporting the publishers' petition of the
previous December, and asking for a 28-year term of copyright to
44
encourage both authors and their assignees. The arguments of
1808 were emerging once again, and once again it was the question
of legal deposit which was to dominate the debate.
The printers' petition was presented to the Commons by Davies
Giddy, M.P. for Bodmin, who was to be a key figure in the
parliamentary history of copyright in the next few years. He was a

friend of Wynne, the opponent of the 1808 Bill, but, unlike him,
was an active supporter of the Liverpool government and therefore
a man with rather more political influence than either Wynne or
45
any of the other members involved in the events of 1808. This
influence was indeed to be critical. When he presented the printers'
petition to the House, Giddy moved that a Select Committee

be appointed to examine both the petition itself and copyright law
in general. He argued that recent decisions in the courts had
created a situation which was unfair to the publishers, and arose out
of the lack of clarity in the 1710 Act. The time had come, he argued,
to investigate the whole subject.
104
There was some debate after Giddy 's speech, including contribu-
tionsfrom Wynne and Romilly. The latter supported a 28-year
period of copyright, but the whole question of copyright was now
being swamped by the deposit question. Wynne bluntly described it
as a taxon publishers, and, like Romilly, supported the establish-
ment of the Select Committee. J. H. Smyth, one of the M.P.s for
46
Cambridge University, who had doubtless been briefed by some
of his constituents, tried to suggest that an extension of the term of
copyright was a reasonable quid pro quo for the confirmation of the
law as it had been
interpreted by King's Bench in Cambridge
University v. Bryer. This evoked no response at the time, but a
Select Committee was indeed established along the lines suggested
47
by Giddy.
The Select Committee met on ten occasions between 24 March
and 16 June 1813, hearing witnesses at six of those meetings. Nearly
all of the witnesses were from the trade. The first of them was
Henry Parry, speaking on behalf of the petitioners and other

48
publishers. His key point was that book prices would rise by an 1
average of 5 per cent if eleven copies were required of every book 7
which was published. This statement was supported by some
statistical information. Essentially, Parry based his conclusion on
two grounds: first, that eleven copies represented a disproportion-
ately high percentage of the print run of small editions; and
secondly, that slow-selling books would not be profitable in a
reasonable period of time if eleven copies had to be given away.
The first part of this was easily demonstrated; the eleven copies
were one-quarter of 1 per cent of an edition of 5,000, but 22 per
cent of an edition of^ZSO. The second point, depending as it did
upon a negative, was less easily proved. The example which was
offered was interesting and pertinent, but the argument somewhat
specious. Isaac Reed's edition of Shakespeare had, according to
Parry, cost 5,875 to produce when it was published in 1803. It took
nine years to sell the edition, and this had yielded a net profit of
375. 16s. Qd. if eleven copies had been deposited, this profit would
;
have been reduced to 6s. Qd. From this Parry argued that the book
could not have been published except at a much higher price than
its actual one. He concluded by suggesting what presumably
seemed to him and his fellow publishers to be a compromise

solution. The important point was to reduce the number of deposit
copies (although he was not specific about numbers), but he also

suggested that for those which remained there should be a small
charge (of say one-third or one-quarter of the retail price), that
105
expensive books and books printed in editions of less than 250

should be exempt, that copies on cheaper paper should be
acceptable to the libraries, and that copies should only be deposited
ifthey were demanded.
Not all of this was to prove very helpful to the trade, as became
clear during the examination of the next witness, Thomas Norton
49
Longman. Longman was the head of a firm which was already
almost a century old, and which had been one of the most successful
in adapting to the new ways of publishing in the late eighteenth
century. By 1813, Longmans was one of the giants of the book

trade, dominating large parts of the market in school-books, as well
50
as publishing a vast range of both fiction and non-fiction.
Longman could speak with massive authority, as a successful

publisher. No longer was the trade represented by committees, and
certainly not by its historic guild, but by such men as him, who were
wealthy, influential and substantial businessmen.
Longman was with the Committee for the better part of two
days, during which he gave them an elementary, but immensely
51
detailed, lesson in the economics of publishing. Although he
made some general statements about copyright, he concentrated
almost entirely on the question of legal deposit. He first explained
the general principle on which he based his case: some books take
many years to go into profit, and sales would be further reduced if
the prices of books were increased. This was particularly true of
small editions, which might not be economic at all at a higher price;
on the other hand, it was these which were 'conducive to the
diffusion of literature', because the choice was between a small
edition or no edition at all. Such arguments had indeed been heard
during the eighteenth century, but they were now being presented
rather differently. Longman made little pretence of concern for the
encouragement of learning; he was interested in profits, and would
publish only those books which were profitable.
The members of the Select Committee, however, were not
passive auditors of all of this. Longman argued that giving eleven
copies to the libraries would necessarily increase the price of the
book and thus affect its sales; when he was challenged, however, he
could not give an actual example of sales being reduced by higher
prices, nor could he suggest what the effect might be of the 5 per
cent increase postulated by Parry. He might have felt himself on
rather more solid ground when he was pressed to explain why the
price would increase if eleven copies had to be deposited, but even
then he was not wholly convincing. He denied that printing the extra
106
77)6 Legal Deposit of Books
eleven copies (if that was what it amounted to, as the Committee
tended to assume) merely entailed extra paper, but was unable to
explain what other costs were involved. He was continually pressed
on this issue, but could not explain the difference between selling
989 copies of a book and selling 1,000, or indeed how eleven copies
could make such a vital difference in what everyone agreed was a
very hazardous trade. In the end, he did indeed produce some
concrete figures, but only to the effect that depositing eleven copies
of every book he had published would have cost him 1 ,800 a year
over the last three years.
The other trade witnesses added little of substance to what Parry
and Longman had said. All argued, in one way or another, that a
requirement to deposit eleven copies of every book they published

would deter them from publishing certain kinds of books. Joseph
Mawman claimed that books published for charitable purposes (of
which he gave no examples) would be badly affected, as would
52
learned works. Richard Taylor said that it would badly affect the
publication of translations of foreign works, and William Davies
that it would affect exports of British books because prices would
53
be higher.
Some of the evidence was perhaps slightly more telling. John
Nichols testified that some of the deposit libraries subscribed to his
Bibliotheca Topographica Britannica, and that he would suffer
serious losses if they did not do so and he also had to deposit the
books in all eleven libraries. 54 The implication was that the libraries
could afford the books which they really wanted. J. G. Cochrane, a
partner in the long-established firm of White's in Fleet Street, also
adopted a slightly different approach. He introduced himself as a
publisher of expensive illustrated books (as indeed he was) to
whom the cost of the eleven copies would be at least 300 a year, or
450 if copies on the best paper were required. In effect, he argued,
some of these books could not economically be published if such a
law were to be enforced.
To support his case, Cochrane produced a letter from an author
who was compiling and publishing a major work of scholarship.
The writer was Rogers Ruding, who was in the process of
completing his Annals of the Coinage of Great Britain (3 vols. 1817- ,
19 and subsequent editions), which he intended to publish by

subscription. A 55
prospectus had been issued, but the project was
now indoubt because of the uncertain state of the law. Ruding
wrote to Cochrane that the decision of the House 'is of considerable
importance to me, as upon it will depend certainly whether I shall
107
printany large paper copies, or not; and possibly whether I

. . .
56
be able to print at all'. Cochrane read this letter to the Select
shall
Committee 57 as evidence of how a deposit law would adversely
affect scholarly publishing. According to him, in a letter to Ruding
a few days later, it 'produced the strongest effect upon the minds of
58
all the members'.
Ruding was not the only author to support the publishers' case.
The bibliographer, Thomas
Frognall Dibdin, appeared before the
Select Committee, in his capacity as a scholar who published his
own books by subscription. He said that it would have cost him
about 120 to deliver eleven copies of his Typographical Antiquities
59
to the libraries, or 300 if large paper copies were required. He
did not add, as he might have done, that his profit on this book,
^
published in 1810, had been about 600. Dibdin also revealed that
some of the libraries had subscribed to his Bibliotheca Spenceriana,
but under questioning he was actually rather evasive when pressed
to say whether he would have been deterred from publishing any of
61
his books he had indeed been obliged to deposit eleven copies.
if
Parry, Longman and Cochrane, with the implicit support of the

other trade witnesses, had argued that the deposit law was an unfair
tax on the book trade, which would positively deter the publication
of good books. In a pamphlet published in the late spring of 1813,
Cochrane developed this point at length and also raised other
62
important issues. Perhaps the most telling of these, which had
already been aired in 1808 and was to recur constantly, was that the
libraries did not need all of these books, and that some of them did
63
not even deserve a place on their shelves. Cochrane also added,
both in the pamphlet and in his evidence to the Select Committee,
that the libraries had some funds for buying books, and should
make use of these to buy selectively, not failing to adduce the
examples of other libraries which had no deposit claims and were
64
therefore obliged to use their own money. This brought Cochrane
to the nub of the matter as he saw it: the 1710 Act was intended to
encourage learning, but he questioned whether this was achieved

by taxing the book trade on behalf of a select group of libraries.
This was merely using the law to take private property from its
65
owner for the benefit of other private bodies.
This line of argument was pursued by others, once Cochrane had
suggested it. Richard Taylor, another of the Select Committee
witnesses, wrote a pamphlet in which it was propounded at
66
length. Sharon Turner, the last witness to appear before the
Select Committee, on 6 April 1813, also took up the point; both
108
there and in a pamphlet, he argued that libraries encouraged

learning by buying books, not by taking them from their rightful
67
owners.
It fell to Turner to lay the trade's requests systematically before
the Select Committee. They were a judicious blend of demands and
concessions.The trade agreed to five deposit copies, one each for
England, Scotland and Ireland, and for Oxford and Cambridge;
they would concede a greater number if any additional libraries
would pay one-third or one-quarter of the retail price. They asked,
however, for exemption from the deposit requirement if the author
waived the copyright, if the book were for private circulation only,
if it were
printed in colour, if it cost more than ten guineas, or if it
were published by subscription, and also for all prints, newspapers,
music and reprints of foreign books. To protect the libraries'
interests, they suggested that all books should be registered at
Stationers' Hall, and to protect the authors, the term of copyright
68
should be extended to 28 years.
Turner's proposals make it clear that, whatever else it might
concede, the trade was not going to succumb without a fight on the
eleven copies, butwhen the Select Committee reported on 17 June,
69
it was very point which they had not accepted.
this While
admitting that there had been 'great changes ... in the literary
system of this country' since 1710, the Select Committee saw no
reason to change the principles of the law. They did propose some
modifications, but these were minor. All eleven libraries were to
retain their deposit rights, but only the British Museum (as the
'National establishment') was to have a copy on the best paper,
delivery was to be on demand only ('after due and proper notice
... of the publication'), and editions subsequent to the first need
all. On two key points, the Committee
not be deposited. That was
made no firm recommendations; they suggested that the House
should consider the implications of the verdict in Cambridge
University v. Bryer (which some might have felt to have been their
raison d'etre in the first place), and that the term of copyright
should be extended beyond fourteen years (but without suggesting
what this might be). When Giddy opened the debate, he tried to
present the results as favourable to the trade, but his ingenuity was
not equal to the task.
In fact, the trade had not lost as badly as it might. For the
immediate future it was safe enough, because it was almost the end
of the Session, and the House merely received the Report and took
no action upon it. In the longer term, however, the book trade
109
witnesses had actually contrived to shift the whole ground of the

debate about copyright. By concentrating almost entirely on the
principle and practice of legal deposit, they had distracted attention
from copyright itself, and such potentially embarrassing matters as
registration, terms of copyright and the rights of authors.
In the following year, the matter was raised once more, and again
by Giddy, who introduced a Bill on 10 May 1814 which, as he said,
dealt with the two problems of copyright and deposit. Copyright
was to be extended to an unconditional 28 years, which cleared the
ambiguity in the 1710 Act about the second 14-year term. On
deposit, the eleven copies remained, and they had to be delivered
to Stationers' Hall for distribution to the libraries within six months
of publication; the only concession to the trade was that subsequent
editions need not be deposited unless there were 'material addi-
70
tions'. The Bill was given its First Reading on 12 May.
The Committee Stage began on 18 May, and was to drag on for
the better part of two months. During its first two days, some very
71
significant amendments were made to Giddy's original Bill. The
first was that all books were to be entered in the Stationers'
Register within one month of publication, unless the author and

publisher were willing to waive their claim to copyright, which
would also, apparently, exempt them from the deposit require-
ment. Secondly, all the libraries except the British Museum were to
be required to pay one-third of the retail price of their books.
Finally, the libraries were forbidden to sell the deposit copies
within seven years of receiving them. These proposals were far
more favourable to the trade than anything recommended by the
Select Committee of the previous year, but they underwent further
change as the House considered them on Report Stage. The option

to waive both copyright and deposit was accepted (on Giddy's own
motion), provided that the British Museum was to receive a copy in

any case. It was also agreed that the best paper should not be
required. The Bill was recommitted for these changes to be
incorporated.
The Bill's troubles, however, were only just beginning. At last
the other libraries seem to have realized that Cambridge had been
trying to defend and promote their common interests, and recog-
nized that the Bill in its amended form was greatly to their
advantage, unlike the original proposal from Giddy, or indeed the
recommendations of the 1813 Select Committee. On 6 June, Trinity
College, Dublin, petitioned for the privilege of giving evidence in
favour of the Bill, followed by Edinburgh University and the
110
Faculty of Advocates on 13 June, Glasgow and St Andrews

universities on 15 June, King's College, Aberdeen, on 20 June, and
72
Cambridge itself on 24 June. The flavour of all these petitions is
doubtless conveyed by Glasgow's response to the booksellers'
original petition in the winter of 1812-13, in which it was argued
that deposit was beneficial to the nation as a whole, by preserving its
literary heritage,and that the real cost of this to the book trade was
73
minimal. But the response was not unanimous. Oxford and
Aberdeen both petitioned to be heard against the Bill when the
proposal to make the libraries pay for their books became public, as
74
Cambridge had done on the same grounds in the previous year. In
the meanwhile, the petitions from booksellers and authors in
favour of the extended term of copyright was lost in the general
75
melee about the libraries.
By now the whole affair was thoroughly confused. During a
further attempt to complete the Committee and Report stages on
12 July, Giddy actually offered to withdraw the Bill, now appar-
ently hopelessly mangled and under assault from all sides, until the
76
next Session, but was persuaded not to do so. Behind this lay a
personal tragedy. Giddy was severely depressed following the
death of his son a few weeks earlier, and was showing little interest
in any of his parliamentary business; the Copyright Bill was the
77
principal victim of this understandable neglect. The Bill survived,
but it was by no means certain that it would pass.
Only two days afterGiddy had agreed to continue, Sir Egerton
Brydges presented to the House a petition from John Valpy, which
was intended to revive all the arguments about deposit which the
trade had presented to the Select Committee in the previous year.
Valpy's petition informed the House that he had collected a
subscription of 18,000 for a new edition of Estienne's Thesaurus,
but that if he had to give eleven copies to the libraries, this would
cost him 290 and delay publication while he raised the extra
money. Brydges, who had served on the Select Committee in the
previous year, and was a firm supporter of the trade in this matter,
put the case perhaps too vigorously, for his speech was not
78
well received by the House. Despite this, however, Valpy's
petition caused yet another delay, and another tissue of discourse in
the growing confusion. Twice more, the Report Stage was
resumed, but even when it was, at last, concluded on 18 July, there
was still dissent about the deposit clauses. The opponents of deposit
seem to have been determined to wreck the Bill, and up to the last
111
minute were proposing schemes to undermine the effect of the

79
deposit requirements.
The Bill was at last sent to the Lords, by now in a thoroughly
unsatisfactory condition. The peers made their own contributions

to the rising tide of contradiction, by making amendments to the
proposed term of copyright. The critical amendments were that

there should be an additional fourteen years' protection for any
book whose author died within fourteen years of publication, and
that, if the author were still alive at the end of the 28-year term, the
author or the assignees (that is, presumably, the publishers) should
80
retain the copyright until the author's death. There had been no
real discussion of this, and yet it was a crucial innovation, linking
the subsistence of copyright for the first time to the lifetime of the
author. The Commons amended the detail, but accepted the
substance.
81
The Bill received the Royal Assent on 29 July 1814. 82
After this tortuous passage through Parliament, it is hardly
surprising that the 1814 Copyright Act emerged as a thoroughly
83
unsatisfactory law, with at least as many ambiguities and incon-
sistencies as the 1710 Act which it was intended to clarify and partly
replace. The authors had, the last minute and largely by
at
accident, done quite well out of it. Protection was to be for 28 years,
or the lifetime of the author, whichever was the longer. The Lords
had, in effect, transformed copyright from a publisher's right to an
author's right, a matter which was to be of great significance in the
84
future, although largely ignored at the time. On the deposit
question, the libraries had won: the eleven copies were to be sent to
Stationers' Hall within a year of publication, and the only
exemption was for unaltered reprints. All in all, the trade had not
done well in its dealings with politicians between 1808 and 1814. Its
main objective had been to persuade Parliament to reverse the
verdict in Cambridge University v. Bryer, and this it had signally
and conspicuously failed to do. Its evidence to the 1813 Select
Committee, disingenuous as some of it may have been, had not
been without some force, and yet had been completely ignored.
The vested interests of the universities, the unfortunate indisposi-
tion of Giddy, and the passionate but foolish advocacy of Brydges
meant that the battle of the 'library tax' had to be fought all over
again.
The libraries, having been made more aware of their rights by the
attempt to remove them, became more active in trying to enforce
the Act. They also recognized that they had common interests. The
Scottish universities jointly paid George Greenhill, the Warehouse
112
Keeper of the Stationers' Company, to collect their books and send

them to Scotland. 85 More generally, in March 1816, the represent-
atives of all the libraries met at Sion College, and agreed to work
86
together for mutual benefit in enforcing the law. This seems to
have been the first time that the libraries had tried to cooperate in
this way, so that in the immediate aftermath of the 1814 Act we can
see the remote origins both of the employment of a London agent by
the out-of-town libraries, and of their regular meetings to discuss
matters of common concern. In fact, the flow of books to the libraries
greatly increased after the summer of 1814, as indeed did the number
of registrations at Stationers' Hall. From 1811 to 1814, only 1,235
books had been entered on the Register; from 1815 to 1818, there
were 4,353 entries. 87 Between May 1816 and May 1817, some 1,500
items were sent to Cambridge, where many were rejected, and a
88
similar number to Oxford, where almost everything was kept.
It was inevitable that all this activity by the libraries should
provoke a response from the trade. Once again, the publishers

found their champion in Sir Egerton Brydges who, on 19 June 1817,
moved in the House of Commons to amend the 1814 Act. His
motion was lost by a single vote in a division of 115 members. 89 The
closeness of this vote was, in itself, a danger signal for the libraries.
Even more ominous, perhaps, was the line of argument which was
beginning to be followed during the debate. Brydges had begun by

repeating the oft-heard contention that the need to deposit eleven
copies inhibited the publication of worthwhile books because it
meant that many of them could not return a profit to their authors
and publishers. He added, however, that he knew that he had 'a
90
powerful and widely extended body to deal with', an obvious
reference to the lobbying power of the universities. The theme was
taken up by another speaker, Henry Brougham, who had already
made a name for himself as a promoter and supporter of radical
91
causes. He argued that the Act did nothing to encourage learning;
92
it
merely gave free books to 'rich and well endowed bodies'. In
fact, Brougham's interest in the matter was one of general political
principle rather than a particular concern for the issue itself. He

was a strong advocate of free trade, and also of the freedom of the
press. He regarded copyright as being a limitation on both, and the
requirement to give books to libraries as an intrusion on private
93
property rights. He was supported on all of these grounds by an
even more radical free-trader, Sir Francis Burdett, who bluntly told
the House that a man should be allowed to enjoy the 'fruits of his
labour', and not have them stolen from him by the universities. 94
113
Nothing further happened in 1817, but feelings were too strong,

and the issues too contentious, for the matter to be forgotten. In
March 1818, after various preliminary skirmishings in the House of
Commons, Brydges was given leave to bring in a Bill. This he duly
did on 16 March. It was concerned with deposit only, and simply
proposed to reduce the deposit copies to a number not yet

95
specified. He now mounted a formidable campaign aimed at the
vested interests of the libraries and the universities.Of course, he
had the support of the trade, but he also attracted more overtly
political interests by deploying to great effect some of the argu-
ments which had first been heard in the previous year. Brydges,
Brougham and Burdett between them contrived to link the deposit
question to the freedom of the press, free trade and the inviolability
of private property. Deposit was represented as being in conflict
with all three. It was merely an outmoded and unwelcome survival
of the attempt to control the press in 1662, in which the deposit of
books had first been required by law. It was an invasion of
property, by giving books to the universities which rightly belonged
to others. It was a restraint on trade and on the market forces
which, alone, should regulate it. The systematic statement and

96
repetition of this position made a formidable case.
The libraries swung into action. A petition was received from
Oxford on 4 March, before the Bill had even had its First Reading,
followed by others from Glasgow (16 March), Cambridge
(6 April), the Faculty of Advocates (15 April), Sion College
(28 April), Edinburgh (4 May), Trinity (13 May), Aberdeen
(14 May), St Andrews (18 May) and another from Glasgow
97
(19 May). All were to the same effect. When Parliament had
thoroughly discussed the matter in 1813 and 1814, it had reached the
conclusion embodied in the 1814 Act and there was no need for any
further consideration. This, however, was not a view shared by the
trade. Almost all of the leading firms in the London trade were
involved in petitions for reform, led by Longmans for the well-
established publishers and Lackingtons for some of the more recent
98
firms on 6 April, and Cadell and Davies two days later. Within a
week, booksellers, printers, authors and engravers had all added
their voices to the chorus calling for a change in the law, and on
13 April the House ordered that the Minutes of Evidence from the
99
1813 Select Committee should be reprinted. The Bill was given its
Second Reading on 17 April, but, before it could begin its
Committee Stage, which had been scheduled for 27 April, a Select
114
Committee had been appointed to investigate the whole business

10 *
yet again.
The 1818 Select Committee was even more thorough than its
predecessors of five years earlier. This time, however, the trade did
not have the field to itself, and the libraries made a much more
public case for the retention of their privileges. They had indeed
good cause to be worried. The issue at stake was clear: it was
deposit, and deposit alone, for copyright itself was not raised at any
stage. The trade had assembled a formidable case and formidable
supporters, and had Brydges to help them to present the former
and to orchestrate the latter. 101 The petition from Lackington and
his partners set the tone. They gave six examples of books 'of
which they are engaged in the publication' and of the cost of
depositing eleven copies of each of them, which they claimed would
be 2,454. Is. 6d. The examples were very carefully chosen. All
were learned works of the very kind which the 1710 and 1814 Acts
were allegedly designed to encourage. To refer to Philip Bliss's new
edition of Wood's Athenae Oxoniensis, which had been appearing
since 1813, was a particularly cruel blow aimed at the
102
universities.
The Select Committee began its work on 27 April, 103 and even its
composition seemed to favour the trade over the libraries. Of the 21
members, three, Brydges, Wynne and Giddy [now Gilbert], had
been advocates of reform since 1813 or even 1808. Others could be
relied upon to support them and therefore the trade. Joseph
Butterworth was no radical, but since 1793 he had been the
proprietor of the publishing house which had inherited the remains
of the law patent; he was a major force in legal publishing, and also
104
active in the public affairs of the trade. Across the political
spectrum was the Whig author, Sir James Mackintosh, a regular
contributor to The Edinburgh Review, an outspoken defender of
105
press freedom and a man with a wide range of literary interests.
In addition, there were at least five others who, from a generally
Whig or radical stance, might be expected to support the pub-
106
lishers' case if it were reasonably well-presented. One of them,
John Lambton, was close to Brougham, and had important links
with the press as one of the intermediaries between the Whig
leadership and the London newspapers, and it was indeed he who
107
presented the booksellers' petition to the House on 9 April 1818.
On the other hand, there were some hard-line Tories who
108
opposed change of any kind as a matter of principle, but also,
crucially, six men with direct links with the libraries. Henry
115
Bankes, M.P. for Corfe Castle, was a Trustee of the British

Museum. 109 There were no fewer than
five university members on
the Committee: William Scott and Robert Peel (Oxford), Lord
Palmerston and J. H. Smyth (Cambridge), and William Plunkett
110
(Trinity). Smyth had been active in the cause of Cambridge
University Library 1813-14, but the most politically significant
in
among them was Peel, who had already made his name as Chief
Secretary for Ireland. Clearly the trade was not going to have an
unchallenged passage.
Most of the first five days on which the Committee sat were taken
up with hearing witnesses from the book trade. Their well-
presented evidence had clearly been coordinated in advance. Much
of what they said was familiar, merely adding to the examples
adduced in 1808, 1813 and 1814 yet more cases of expensive and
learned works whose profitability had been, or could have been,
fatally affected by the deposit laws. They concentrated on the effect
of the 1814 Act which, they claimed, had made matters worse.
111
A
more original reinforcement came from the antiquary, Samuel
Lysons, a distinguished scholar of Roman Britain who, among
other achievements, published the first adequate account of the site
112
at Woodmanchester. His masterpiece, however, was Reliquae
Britannico-Romano, originally published in two volumes in 1801
and 1817, with a three-volume edition published between 1813 and
1817. This lavish and elaborately illustrated book was published in
113
only 50 copies, at a price of 48. 6s. Od. Lysons testified that
several libraries had subscribed before 1814, but that now the book
had to be deposited they no longer did so. As a consequence, he
proposed to have the large-paper copies printed abroad so that he
114
did not have to deposit them and thus lose income. At last the
trade seemed to have produced a witness who could actually prove
that he had lost money because of the legal deposit laws.
A whole succession of witnesses laboured the same point,
although less convincingly. Specialist publishers in fields as dif-
ferent as law and architecture claimed that their businesses had
been damaged, and it was argued that the trade in general had
suffered very badly since 1814. The case seemed formidable,
assuming that it was possible to ascribe all of these undoubted ills
to the 1814 Copyright Act in general and to legal deposit in parti-
cular.The trade's position was eloquently summarized by Brydges:
'.. this Tax then is a blight to production.
. It nips the most
115
valuable fruits of literature in the bud.'
116
The libraries, however, did not neglect their own defence, and
they were able to benefit from their experience of working together

since 1814. Their arguments were as predictable as those of the
trade, although slightly less familiar since they had not formally
presented them in 1813. In general terms, they claimed that good
libraries were a benefit to the public in general and scholars in
particular. William Webb, Vice-Chancellor of Cambridge, Thomas

Gaisford, Regius Professor of Greek at Oxford, and H. H. Baber,
Keeper of Printed Books at the British Museum, all played
116
variations on this theme. All of them took some trouble to
prepare their cases; Oxford discussed the matter with Peel, and
Webb even went into print to recall the alleged agreement between
the trade and Villiers in 1808, a recollection which Villiers
117
confirmed in his evidence to the Select Committee. Several
library witnesses emphasized the extent to which the libraries were
used, and the deposited books therefore useful to scholars and the
general public. None of this really answered the trade's case, except
perhaps in making public statements that the libraries appreciated
the books, and that they were indeed used. The latter point was
supported by a few independent witnesses, one of whom was
111
Edward Christian who, in a sense, had started the whole affair.
Christian, the last witness, was heard on 8 May 1818, but it was
not until 5 June that the Select Committee took its Report to the
House. It was not the definitive and conclusive document which
might have been expected after such a detailed investigation;
indeed, it reflected rather the fundamentally divided membership
119
of the Committee itself. There were three straightforward
recommendations. First, deposit was not to be required if copyright
were waived by the author and the publisher. Secondly, plate books
(that is, books consisting wholly or largely of engraved plates) need
be sent only to the British Museum. Thirdly, printers were no
longer required to keep the copy formerly required under the
Seditious Societies Act of 1799. None of this, of course, addressed
the central issue of the eleven deposit copies, and when it came to
consider that matter the Select Committee was unable to make a
single recommendation. Instead, it suggested alternatives. It was
proposed either that only the British Museum should be a deposit
library, and the other libraries should receive an annual grant
instead of their books, or that deposit should be limited to the
British Museum, the Bodleian, Cambridge University and Trinity
College, Dublin. The Select Committee had been hopelessly and

irreconcilably divided. Smyth revealed during the subsequent
117
debate in the House that all of the resolutions had been carried by
120
small majorities, and one by Chairman's casting vote. The
elephant had laboured to bring forth a mouse. The House received
the Report and then ignored it
completely.
The fiasco of 1818 perhaps more significant for the long delay
is
which it
probably caused in the reform of the law of copyright than
for its place in the history of legal deposit. To those in the book
trade who truly believed that the 'library tax' was a serious
inhibition on
their businesses, the Report was, no doubt, a
devastating blow. On the other side, the libraries could take little
comfort; they had almost certainly been saved by influence rather
than by the strength of their case. Bad relations between the two
sides continued. In 1819, the Booksellers' Committee, the repres-
entativebody of the leading members of the London book trade,
was unsuccessful in its attempt to persuade the House of Commons
121
to reopen the matter, and had to content itself with harassing the
122
universities about their printing privileges. The 1826 Royal
Commission on the Scottish universities suggested that it would be
to their advantage to accept money instead of books, but nothing
was done. 123 Great issues were in hand, and these matters were of
little
general importance.
By the mid- 1830s, however, the political climate had changed.
Apparently immutable institutions, including the House of Com-
mons itself, had been reformed, and the most venerable of bodies
were no longer exempt from the pressure for change. The English
universities, in particular, with their accumulated wealth and
apparent power, were well within the purview of the reformers. In
1836, the House of Commons once again turned its attention to the
question of legal deposit. Again, the initiative came from the
radical side. The motion to introduce a Bill was proposed by James
Silk Buckingham, M.P. for Sheffield, one of the seats created in the
/ Reform Act of 1832. He was a social reformer and a temperance

advocate; he was also strongly identified with the cause of the freedom
of the press and with the long campaign to abolish the stamp duties on
124
newspapers. In raising the question of legal deposit in the House on
28 April 1836, Buckingham linked it with the other 'taxes on
knowledge', not yet abolished but drastically reduced just a few weeks
earlier.He urged complete abolition of legal deposit, arguing that the
nation was 'rich enough to buy the books it requires'. Opposition was
feeble. Spring Rice, the Chancellor of the Exchequer, gave his
support for a scheme to offer financial compensation to the

libraries. A
Bill was brought in and given its First Reading.
125
118
The first version of the Bill did indeed abolish legal deposit
altogether, and this provoked some protests. It was duly amended
126
in Committee, but still emerged as a fairly radical measure. The
amended preserved the deposit privileges of the British
Bill
Museum and the English universities, but abolished those of the
other libraries. By way of compensation, each library was to receive
an annual sum equal to the average annual value of the books which
127
they had actually received in the years 1833 to 1836. After some
minor problems with the compensation clauses, there were no
further difficulties in Committee. The Faculty of Advocates and
Trinity College, Dublin, were, however, restored to the list of
deposit libraries during the last days of the Committee Stage. It was
thus in this form that the Bill reached the Lords, who dealt with it in
128 129
three days. received the Royal Assent on 20 August 1836.
It
The 1836 Act set the pattern for British legal deposit for the '
future, and also cleared the way for a serious reconsideration of the
law of copyright itself. The last phase of the battle of the library tax
was as quiet had been noisy. In 1836, the trade
as the earlier phases
was, apparently, silent, while the universities were supine. This was
not indolence. Buckingham argued the case on grounds which were
fundamentally different from those put forward in 1808, 1814 or
1818. The 1836 Act is merely one part of the whole process of the
reform of the British state in the middle decades of the nineteenth
century. Even the British Museum and the English universities
were not ultimately to escape from these changes. For the radicals,
the reform of the law of legal deposit was one small part of a far
larger campaign for political, social and economic change.
In theory, there was no reason why legal deposit should not have
been treated as a separate issue from copyright since 1836, and
indeed to a large extent it has been. Traditional associations were
strong, however, and when the ljiw_of copyright was, at last,
re^pmed_inj.842, legal deposit was, without 13
controversy, con-
firmed there, and incorporated into the Act. Throughout the rest
of the nineteenth century, the issue rarely surfaced. When it did so,
it was always in the context of the further reform of the law of
copyright. This was especially so during the sittings of the Royal
131
Commission on Copyright in 1875, and subsequent events. In its
Report, the Commission actually recommended that deposit
privileges be withdrawn from all the libraries except the British
Museum, but when the abortive Bill to give force to the Commis-
sion's recommendations appeared in 1878, all five libraries had
132
reappeared thanks to effective lobbying.
119
that time, although there was still some resentment from

By
publishers, for the most part legal deposit was widely accepted and
generally obeyed. In the early 1850s, Sir Anthony Panizzi, the
formidable Director of the British Museum, made a serious and
sustained effort to enforce the Museum's rights under the 1842 Act,
and was largely successful. 133 Support came from the Bodleian, 13
'
and all the libraries eventually benefited from the vigilance of these
two. Shortly afterwards, the Copyright Agency was established
with the help of Panizzi, so that the other four libraries had a
permanent representative in London as a channel for obtaining
135
their books.
Despite the apparently smooth operation of the system during

the second half of the nineteenth century, and the comparative ease
with which the spectre of abolition had been vanquished in 1875-
78, the libraries (other than the British Museum) were always in a
slightlyvulnerable position. Whenever copyright law was under
consideration, the whole question of legal deposit might be raised
again. This happened in 1910-11, when the proposals which
136
became the 1911 Copyright Act were under discussion. The
problem arose out of the anomalous position of the National
Library of Wales which had been established in 1907, and for which
137
the deposit privilege was now claimed by its Trustees. Sydney
Buxton, the President of the Board of Trade, who was responsible
for the Bill,was unsympathetic, but a long memorandum argued
138
the case in detail. The issue of the National Library of Wales
reopened the whole question of legal deposit, and some of the
publishers leapt upon it. The Joint Copyright Committee of the
Publishers' Association, the Society of Authors and the Copyright
Association objected specifically to the addition of a sixth lib-
139
rary, but others went further, and it was only after active
lobbying from both Oxford and Cambridge that a revived proposal
to remove the privilege from all the libraries except the British
140
Museum was defeated.
Under the 1911 Act, which is substantially unamended in this
respect and is the basis of the current legal deposit law in the United
Kingdom, the British Museum has an absolute and automatic right

to a copy of every new book, or revised edition, in the 'best' version
(i.e. on the best paper, with coloured illustrations, etc. where
141
relevant), to be delivered within one month of publication. The
other five libraries must claim their copies within six months of
publication. Until the late 1970s, as a result of a compromise
reached in 1911, the National Library of Wales could only claim
120
material in Welsh or of Welsh or Celtic interest. The most striking

anomaly is that Trinity College, Dublin, is still a U.K. legal deposit
library, despite the fact that it has not been part of the United
Kingdom since 1922. By way of reciprocation, Irish publishers are
142
obliged to deposit copies at the five U.K. libraries. Some minor
modifications have also been made about the kind of material
covered by deposit law, but otherwise it has remained substantially
unchanged. Two historic names have, however, vanished. The first
was in Edinburgh. After the National Library of Scotland was
established in 1926, it took over the deposit privilege of the Faculty
of Advocates (except for law books) partly because the Faculty
143
could no longer afford to maintain its library on such a scale. The
second change was in London. When the British Library was
formed out of the library departments of the British Museum and
various other libraries in 1973, it took over the deposit privilege
which the Museum itself had inherited from the Royal Library on
its own foundation in 1754.
For a few years in the early nineteenth century, legal deposit was
a critical, although negative, factor in the development of copyright
in Britain. From 1808 to 1836 it occupied the centre of the stage
whenever copyright was discussed in the press or in Parliament. By
an historical accident the two were linked, and the link has never
been entirely broken. Deposit was, however, never again to be the
major issue which it became during the first three decades of the
nineteenth century. Once it was settled, it was possible to turn to
the ever more urgent matter of devising a law of copyright which
was appropriate for a prosperous industrial society with a world-
wide empire and an international language. It was that task to
which the legislators turned when the battle of the library tax was,
effectively, brought to an end in 1836.
121
5 The Reform of the Law
1800-1842
At the beginning of the nineteenth century, the United Kingdom

had a pragmatic, but ambiguous, law of copyright. In the ninety
years which had elapsed since the only substantive piece of
copyright legislation had been approved by Parliament, a series of
decisions in the courts had established a body of precedent in the
interpretation of the law which made it broadly acceptable to most
of those involved with it .(The general understanding of copyright
was that it was a means
by which the owner of a piece of property
could protect that property from the depredations of anyone who
sought to steal it. It was also understood that, although copyright
was created by an author, it was normally exercised by a publisher
to whom the author had granted the right to do so in return for
payment. In one respect only did copyright differ from other

property rights: it ceased to exist when 14, or in some circumstances
28, years had elapsed from the first publication of the work, and
then became common property which could be freely used by
anyone?)
The conservative legal position, however, has to be put in a
broader context. The decision of the House of Lords in Becket v.
1
Donaldson was more than merely a landmark in legal history. It
reflected a (growing awareness of the author as the creator of
'literary property' and as a partner with the publisher in the

ownership of it. Nevertheless, it is the social role of the author, and
the social usefulness of literature, which is constantly emphasized.
The 'encouragement of learning' may have originally been little
more than a blanket of respectability to cover the naked commer-
cialism of the late seventeenth- and early eighteenth-century
booksellers, but it had become the core of the argument about
literary property by the mid- 1770s. Even so, copyright remained, as
it had always been, an important property right because of its
commercial value\The changes in the book trade in the late
122
The Reform of the Law 1800-1842
eighteenth and early nineteenth centuries merely emphasized that

importance, and made authors more aware of their role in the
creation of valuable properties. As authors became more powerful,
they too began to take an interest in copyright matters.
In the eighteenth century, a few authors had indeed exploited the
2
law. They were exceptional, but far more writers began to benefit
from the exertions of these few, as the relationships between
authors and publishers changedCBy 1800, the mutual dependence
of authors and publishers was recognized on both sides, for in the -V
aftermath of Becket v. Donaldson the publishers needed a constant
stream of new books if they^were to continue to make profits from
works protected by the law?) At the same time, the phenomenal ^/*
growth of circulating libraries, the further development of a
nationwide network of bookshops, and the continuing growth of
newspapers and of the periodical press created a huge market from
which authors and publishers alike could benefit. Moreover,
(publishers could take advantage of, and indeed had to exploit,
wide-ranging technological developments both within and beyond t>-
the book trade) The harnessing of steam power to printing, which
began in the second decade of the nineteenth century, was a major
influence in reducing the price of books while vastly increasing their
numbers. At the same time, machine-made paper became available
in huge quantities, and at prices far lower than its hand-made
predecessor. From the 1830s onwards, like all distributive trades,

the book trade was further transformed by the opening of the
railway network, and the infinitely greater ease of both distribution
and travel which that allowed. 3 As the book trade became more
4
prosperous, authors sought their share in its prosperity.
Even the legal theorists recognized the justice of the authors'
claims. Robert Maugham, lawyer and legal journalist, was the
author of one of the first English books to deal with the law of
5
copyright. His Treatise on the Laws of Literary Property, published
in 1828, took a very conservative view of both law and practice.
Maugham could see no reason to distinguish between literary

property and any other kind, and regarded the decision in Becket v.
Donaldson as an unwelcome innovation. 6 When he comes to 'the
principles of the laws', this conservatism becomes even more overt.
His premise was that copyright was in words, not in ideas, a point
7
already accepted by the courts. But common ownership must be
carefully defined, for which he used a homely metaphor: The wells
of literature are open to all, but no one has the right to use the
8
bucket of another.' While conceding the need to allow reprinting
123
of old books which are in constant demand, Maugham could see no

reason for depriving authors and their families of income for the
sake of a legal theory: 'Authors are not a peculiar race of men able
9
to live on the air.'
By the time that Maugham wrote those words, the law had
already accepted the role of the author in the creation of literary
property. The Copyright Act of 1814 had extended the term of
copyright to 28 years or the lifetime of the author, whichever was
the longer, and thus put the author at the very centre of the whole
10
arrangement. Because this change had been buried in the
seemingly endless and introspective arguments about legal deposit,
there had never been a full public debate on the principles
involved, and it was perhaps inevitable that there should be.
By the mid- 1830s, there were those who felt that the time had
come to change the law, and that the general climate of opinion
would favour such changes. There was, indeed, some evidence for
that. In 1833, the Dramatic Copyright Act had, for the first time,
given protection for the performance as well as for the publication

11
of a text. The basic provision was that the owner of the rights (the
dramatist or other legal owner) had to give permission, and by
implication receive payment, for every performance which took
place within 28 years of the first performance, or during the
dramatist's lifetime, whichever was the longer. The derivation of
the Act from the 1814 Copyright Act is obvious and was deliberate.
In effect, it created a second set of rights in a play, for the author
could now sell the performing rights to a producer as well as the
copyright to a publisher. The Act had passed, with little opposition,
within a year of the first formal proposal.
The relatively easy acceptance of the Dramatic Copyright Act of
1833 an important reminder that the principle of attaching
is
copyright to the author, and indeed to his lifespan, was no longer

questioned. The issue was a rather different one, which extended
yet further the principle that authors had a right to enjoy the fruits
of their labours. Even the conservative theorist, Maugham, implied
this, although it was in an example upon which he did not expand:
The author's and bookseller's interests are inseparable Archbishop

. . .
Tillotson died in mean circumstances, and if it had not been for a copy
of his sermons sold to the booksellers, his family might have been under
12
the necessity of perhaps applying in vain for relief to their country.
Maugham's implication was clear: it was a case for the posthumous

survival of the author's rights, perhaps as close as he dared to come
124
777 Reform of the Law 1800-1842
to making a case for the restoration of perpetual copyrights for

which he seems to have hankered.
Posthumous rights were first proposed in 1837, and became the
central issue in the debate for the next five years. The campaign was
publicly opened by T. N. Talfourd, M.P. for Reading, who, on

18 May, was given leave by the House of Commons to bring in a Bill
to extend theterm of copyright. The proposed extension was radical
indeed. There were two elements in it. The first was that all new
books, and all existing books by living authors, were to be
13
protected for the author's lifetime and for 60 years thereafter.
The second proposal was perhaps even more radical, for it was that
the copyrights in books by living authors which had been assigned
to others (normally, of course, a publisher) were to revert to the
author after the expiry of their 28-year protection under the 1814
Act, and thereafter to be protected as other books were now to be,
that is for the author's lifetime plus 60 years. Between them, these
two proposals left no room for doubt that copyright was an author's
right, and that it was a right for his family and heirs as much as for
the author himself.
This was indeed a remarkable proposal, and it was the work of a
remarkable man. Thomas Noon Talfourd was a lawyer who was
successful enough in his profession to become a judge, but whose
14
real passion in life was literature. He was an author himself, and
enjoyed a brief celebrity with his tragedy, Ion, in 1835. More
significant in this context, however, was his admiration for Charles
Lamb, which verged upon hero-worship. This brought him into
Lamb's literary circle in the 1820s and 1830s, and thus into contact
with many of the leading writers of the day. They respected him. By
the time he became involved in the copyright question, he was
15
already regarded by Carlyle as a 'most polite and humane man',
and by Wordsworth as 'my friend Serjeaunt Talfourd'. 16 These
connections, forged through his work on Lamb's literary remains,
were to prove crucial throughout the copyright campaign.
As an author and a friend of authors, Talfourd was surely aware
of the growing concern about copyright in the literary world, a
concern which was particularly marked in Wordsworth. Indeed, it
seems likely that it was Wordsworth who was the immediate
inspiration for the 1837 Bill and therefore for the agitation which
followed. Certainly, he was a key figure in the events of the next
17
five years. Wordsworth's concern about the rights of authors was
of many years' standing. As early as 1808, he had written that:
125
The law, as it now stands, merely consults the interest of the useful
drudges of Literature, or of flimsy and shallow writers real men of . . .
power . . . are deprived of all hope of their families being benefited by

18
their exertions.
The 1814 Act did not satisfy him; in 1819, he still felt that The
wrongs of literarymen are crying out for redress on all sides. It
appears to me that towards no class of his Majesty's Subjects are
19
the laws so unjust and oppressive.' Others might have disagreed
in the year of Peterloo and the Six Acts, but there was no doubting
the strength of Wordsworth's feelings.
As he grew older, these feelings became even stronger, and even
more overtly mercenary, as one expression of his general worries
about financial matters and what would happen to his dependants
after his death. Towards the end of 1836 he had written to his
publisher, Edward Moxon, that 'the state of the commercial world

20
does not leave me free from anxiety'. Looking back on his own
career, he was able to see how long it had been before he had an
established reputation and a reasonable income. In 1835, nearly
40 years after the publication of Lyrical Ballads, his income from
his books was just 200, although over the next three years this
actuallywent up to about 500 a year. One of the reasons for not

publishing The Prelude during his lifetime was that he wanted its
21
posthumous publication to guarantee some income for his family.
The proposal for a 60-year posthumous term of copyright was a
solution to the very problem which was of such concern to
Wordsworth, and, given his association with Talfourd, it is
impossible to believe that he was not privy to it. Indeed, when

successseemed possible (fleetingly, as we shall see) in 1838, he
wrote, may claim some credit
'I . . . for the pain which I have
taken for many years, to interest men in the H[ouse] of C[ommons]
22
in the extension of the term of copyright'.
Certainly, when he introduced his Bill to the House, Talfourd
concentrated in his speech on the very preoccupations which were
23
of such pressing concern to Wordsworth. First, he argued that the
existing law, whose history he recounted at some length, was unfair
to authors, because it prevented them from making proper
provisions for their families, or even for their own old age.
Talfourd, like Maugham, took a deeply conservative line on the
theory of copyright law; he regarded the limited term, however
extended the limitation might be, as an infringement of the natural
rights of the property owner, what he called, in a revised version of
126
the speech published shortly afterwards, a 'limitation of the ancient

24
rights of authorship'. Secondly, Talfourd argued that the law
encouraged writers to go for short-term success rather than long-
term merit, another matter about which Wordsworth was increas-
ingly adamant. In the Preface to the published version of his
speech, Talfourd was explicit about how he proposed to redress this
grievance: '. one object of the Act is to secure to the descendants
. .
of authors . the benefit of their works beyond the subsisting

. .
25
term.' If Wordsworth was seeking a champion, it seemed that he
had found him.
Talfourd was later to claim that this Bill failed to become law only
because of the unexpected dissolution of Parliament caused by the
death of William IV on 20 June. This, he said, gave the opponents
of his proposals time to muster their forces and marshall their
26
arguments by the time that the new House returned to the matter.
This may have been a little disingenuous, for the opposition was
already vociferous when the Bill was given its Second Reading on
27
28 June, just before the dissolution. If it had been truly
uncontroversial, it could have been rushed through in the dying

days of the old Parliament, but the book trade had already gone
into action,and it was clear that no such Bill could have an easy
passage.
The first publisher who openly attacked Talfourd's Bill was
Thomas Tegg, whom the supporters of copyright law reform were
to come to regard as the symbol of opposition. Tegg was an
interesting and successful, but by no means typical, publisher, who

had built a business which could not survive the sort of extension of
the term of copyright now proposed. He was a Londoner by birth,
but was largely brought up in Scotland. He had tried various
unsuccessful enterprises in the newspaper and book trades there,
but returned to his native city, and established himself as a
bookseller and publisher in Cheapside in 1805. In his new shop he
built, at last, a successful business. He was a publisher of cheap and
popular books, allegedly publishing some 4,000 titles during a long

28
career. His trade was particularly dependent on reprints and
abridgements; the reprints were, in their turn, dependent on the
existing law of copyright which allowed him to publish public
domain copies while they were still of interest to the book-buying
public. A
massive extension of the term of copyright, and
particularly the proposal for a retrospective post mortem term,
would have killed the most lucrative part of Tegg's trade at a stroke.
127
Naturally enough, this was not quite how Tegg presented his case
when he responded publicly to Talfourd's Bill in the early summer
of 1837. In a pamphlet dedicated to Peel he put the case in terms of
29
'public advantage, not private reward'. In essence, he argued that
cheap reprints, such as those which he published, were generally
beneficial, especially at a time when a more educated public was
looking for more reading matter. Coleridge and Wordsworth, and
their like,he argued, were for the 'enlightened few', not the masses
30
whom he and others sought to serve. He could see no evidence
that the existing law was in any way inhibiting creativity, or indeed
the publishing of new books. Certainly, he wrote, no one had
complained to him that there were not enough new books being
published, despite the alleged discouragements to literature in the
existing copyright law. Talfourd may have been supported by a few
authors, but he 'was not backed by petitions from Circulating
Libraries and Book Societies, complaining of the paucity of new
31
books'. The mild irony emphasized the strength of his case.
32
Talfourd's proposal is 'a great injustice to all booksellers', who
carry all the risks of publication, and are now to find their
investments taken from them by authors.
It was good polemic, and not without force, but the dissolution of
Parliament meant that Talfourd did not have to reply at once. By

the following year he was, perhaps, better prepared to face the
mounting opposition to his proposals.
When new Parliament met, Talfourd was, in due course,
the
given leave to bring in a new Bill on copyright. This he did on
33
14 December 1837. In its main provisions, it was the same as the
Bill which had been lost in June, although it was now confined to
books, and no longer concerned itself with plays, engravings and

other printed matter. This point, for some reason, particularly
commended itself to Peel, who was one of the speakers in the
34
subsequent debate. The essence of the Bill was, however,
unchanged from 1837. The key point was that copyright in both
new and existing books was to subsist for the author's lifetime and
60 years thereafter. If a copyright were assigned by the author to
someone else, the assignment was for the author's lifetime or for
28 years, whichever was the longer. There was one important, if
complicated, new proposal: five years after the author's death, or
five years after the expiry of the 28 years if the author were still
alive, anyone could apply to the Court of Chancery for permission
to reprint the work. Talfourd never explained the purpose of this,
but it was presumably intended to answer those critics who argued
128
that the effect of the reversion of copyrights, and of the 60-year

term, was to restrict the reprinting of books which were in demand
and thus increasetheir prices. Other clauses confirmed the existing
deposit laws, made rules for registration at Stationers' Hall,
provided for penalties against the import of foreign piracies,

brought performing rights into line with the copyright proposals by
conferring them for the writer's lifetime plus 60 years, and
extended British law to all British overseas dominions.
The debate in the House cannot have been much to Talfourd's
liking. His own arguments were, of course, much as they had been
in the previous summer, but another issue now raised its head
which was a complicating factor. Two members, one of whom was
the novelist Bulwer-Lytton, spoke of the need to prevent the
import of French piracies of British books, a matter of considerable
concern to both authors and publishers at this time. Indeed, it was
quite possibly of greater general interest in both the trade and in the
literary world at large than was Talfourd's proposal to extend the
term of domestic copyright. The need to restrain such piracies was
to lead to legislation in the following year, with none of the
difficulty which attended the reform of the domestic law. It was a
35
matter in which Talfourd had little interest. The support for his
Bill, meanwhile, was only a little more helpful than these foreign
diversions; Peel was, at best, ambiguous, and Disraeli, the only

other speaker, although he was inordinately proud of his speech,
36
still carried little weight as a
politician. Nevertheless, leave was
given to bring in a Bill, and it was given formal First Reading on
a
37
28 February, with the Second Reading fixed for 11 April; it was
not an impossible timetable.
Long before April, however, the whole proposal had run into
very serious difficulties both inside and outside the House. The
book trade took concerted action to oppose the Bill in every
particular. As the date of the Second Reading approached, the
House found itself confronted with a number of petitions against
the Bill, and they continued to come in throughout April and May.
Almost all of them were from printers, both masters and men, and
they came from all over the country. Printers from London,
Wolverhampton, Carlisle, Leicester, Glasgow, Edinburgh, Shef-
field, Aberdeen, Worcester, Liverpool and Oxford were among
those who contributed to this torrent of paper. On the day of the
Second Reading, postponed eventually to 25 April, came the
38
largest of all, from dozens of London and provincial printers.
129
The outpouring of opposition from the printers was no coin-

cidence. It was carefully coordinated lobbying designed to kill
Talfourd's proposal once and for all. On 5 April 1838, the

committee of the Association of Master Printers met under the
chairmanship of Andrew Spottiswoode to prepare and sign a
petition to the House. This Association was of recent origin. It had
been formed in 1836, largely for the purpose of negotiating with the
newly founded London Union of Compositors about rates of pay
for journeymen. Nevertheless, it included among its objectives 'the
purpose of protecting the general interests of the trade', and proved

a useful vehicle for opposing the Bill at a time when the publishers
had no comparable body of their own. 39
The Association's petition, which was that tabled on the day set
for the Second Reading debate, denied that any reform of the law
was needed. The law, according to the Master Printers, was
intended to encourage the publication of good books, and this Bill
would actually inhibit that objective by causing the increase in
prices which is the inevitable consequence of any monopoly. The
extension of the term in the 1814 Act is dismissed as a mere device:

'an attempt (though an unsuccessful one) by the Universities to
reconcile the London booksellers ... to the contribution of eleven
40
copies'. The perception is more important than the historical fact,
for it allowed the petitioners to argue that the existing period of
protection was adequate, and already twice as long as that for

From this, they concluded that the Bill would merely
inventions.
createan expensive monopoly, which would, in turn, cause
unemployment in their trade, without conferring any benefit on
authors.
This, at least,was the public presentation of the printers' case.
Privately, they were less circumspect. In a document circulated to
members of the Association with the text of the petition, the case
41
was amplified and presented rather differently. There is little
pretence of public interest. In the view of the writer, the Bill is
fundamentally unjust, giving 'an additional endowment to
Authors' at the expense of publishers, printers and booksellers.
This, he says, has happened at a time when the printing trade is
under great pressure. Technical innovations, especially machine
printing and stereotyping, have changed the economics of printing,
to the disadvantage of printers, but 'from these inventions the . . .
Public reaped immediate and much advantage', presumably

because of the cheaper books which they made possible. He puts
the case for competition rather than monopoly:
130
The judicious and proper publication of any one particular book is as

much a personal invention as the manuscript of the book itself; and if
two or more Publishers can compete in their inventions, will not the
Public reap the benefit?
He concludes that
if Talfourd's Bill passes in its present form,
many of the cheap reprints and abridgements will be illegal, 'thus

sadly reducing the number of cheap and really readable books'.
There was a good deal of self-interest here, but also an element of
truth. Books had indeed become significantly cheaper in the last
few years, largely as a result of the new technologies to which the
42
anonymous author referred. It was, no doubt, tactically wise not
to publish this document more widely, but it vividly illustrates the
fact that strength of feeling was not confined to one side as the
issues in the copyright debate were adumbrated during the next
four years.
The opposition to Talfourd was not confined to the printers.
Various lines of argument were deployed. Robert Mudie, a hack
43
writer who was argued that great writers did not
to die destitute,
write for money, but for the sake of literature, and, more
pertinently, that a book was worthless to an author until he had
found a publisher to publish it for him. This, he claimed,
invalidated Talfourd's claim for the natural rights of authors, for
those rights cannot exist until he has sold the manuscript. In effect,
Mudie wrote, Talfourd was proposing the transfer of a monopoly
from one group of people - the publishers - to another, the
44
authors. It is possible, of course, that Mudie was put up to this by
the publishers for whom he worked, but nevertheless his argument

is not without interest. It is a variation on a theme which had
already been played in the House of Commons in 1837: that

Talfourd was being driven by a handful of literary authors, whose
concerns were quite different from those of the vast majority of
writers who produced the books which appealed to large numbers
of readers.
Mudie's case was certainly thought worthy of refutation. The
author of Areopagitica Secunda substantially accepted Talfourd's
argument, and which was also Wordsworth's contention: '. the. .
of the merits of a book, which is eight-and-twenty years, is

trial
much too short for the attainment of the ends of literary justice.' 45
An anonymous 'Friend to Authors' went much further. He
countered Mudie by arguing that authors were obliged to use
publishers whether they wanted to or not, and that proper
131
them and their families will encourage the writing of

protection for
books. The 'Friend' indeed goes rather further than Talfourd was
ever prepared to do in public, by advocating the restoration of
perpetual copyright, so that his work, too, reveals some of the more
extreme parameters of the developing discourse. 46
The political dimension of this discourse was also being revealed
more clearly than it had been in 1837. 47 Talfourd was aware of the
growing partisan opposition to his proposals, and of the source of
it. He wrote to Wordsworth as
early as 21 March 1838 that 'the
48
Doctrinaire party are inclined to support' the book trade. The
'Doctrinaire party', the free traders and radicals, were indeed to be
consistent opponents of the extension of copyright. The main-
stream Whigs, however, were also under pressure. Yet another
49
anonymous pamphlet from 1838 was explicit on this point. It was
dedicated to Lord John Russell, and begins by arguing that since
the Bill will create a new monopoly, the author is surprised to find
such reforming Whigs as Spring Rice, the Chancellor of the
Exchequer (who had seconded Talfourd's motion in the spring of
1837), supporting it. The free trade case is made forcefully and
without disguise:
The descendants of authors can have no right to reclaim any successful

authorship which may have been produced by a deceased relative, and
formerly sold at its marketable value, and published at the expense and
50
risk of another.
The rights of property owners and the claims of authors were, once
again, presented in conflict with each other.
It was against this background of mounting opposition, public
and private, commercial and political, that Talfourd approached

the Second Reading. Wordsworth had been quietly confident
during the winter, although not inactive. In a letter of 4 January
51
1838, he acknowledged that Bulwer-Lytton and others had
identified a genuine problem about the foreign piracies, and says
that he has indeed spoken to some M.P.s about this, including Peel.
It was, however, his view that piracy could wait until the extension
of the term of the domestic copyright had been dealt with. This
lordly complacency was not punctured for some time. In a
postscript to a letter to his publisher, Edward Moxon, on
5 February 1838, he wrote, almost casually: 'Have you any reason
for believing that Sergeant Talfourd's motion will meet with any
- 52
opposition in the House at all formidable.' Moxon may or may
not have known the answer to Wordsworth's question, but after
132
'
receiving Talfourd's letter of 21 March, Wordsworth himself can

53
have been left in no doubt. On 23 March he wrote to two other
M.P.s seeking their support. One was Gladstone, still a Tory at that
time, and the other was Sir William Gomm, an influential army
officer with a wide range of connections in both the literary and the
54
political worlds.
By mid- April, Wordsworth was, at last, aware of the enormity of
the storm which he and Talfourd had unleashed. Perhaps uncon-
sciously echoing his earlier letter to Moxon, he wrote to Dorothy
that there was 'formidable opposition' to the Bill, adding, perhaps a
little petulantly, that 'if other persons . . had done half as much as
.
55
I had, it would be carried to a
certainty'. The same petulance can
perhaps be detected in a letter to Peel, a supporter, if a lukewarm
one, at about the same time: '. .if the bill do not pass ... I shall
.
be aggrieved in the most tender points.' 56 That letter was written on

18 April, between the original and newly set dates of the Second
Reading, and by that time the dangers were only too obvious. Even
so, Wordsworth drew back from what might have been thought to
be the obvious course of action: to petition Parliament himself.
What he did do was to make his views public through the medium of
an open letter, printed first in The Kendal Mercury, and then
51
reprinted as a separate pamphlet as The Law of Copyright.
Wordsworth was actually responding to the printers of the
58
newspaper, who were themselves opposed to the Bill. In an open
covering letter to Talfourd, he explained that he was working on
behalf of all authors, not merely himself, and that this is why he has
been reluctant to make 'this public declaration of my judgment'.
He now does so because of the importance of the issue. He points
out that Coleridge died a poor man, that even Southey has made
little money, and that he himself is not rich. He admits that 'the
probably all that most authors can hope for,

profits of a season' are
and indeed are all that most books deserve. On the other hand,
books of real worth deserve more than 28 years of protection, and
authors and their families have a claim in natural justice to enjoy
the profits, such as they are, of their works. The tone is un-
ashamedly elitist; it is little wonder that, in a letter to Southey two
weeks later, Wordsworth admitted that he had little desire to 'fall
prey to Mr Tegg'. 59
When the Second Reading debate was finally held on 25 April,
the worst fears of Talfourd and Wordsworth were not immediately
realized. This was undoubtedly partly because, for once, Talfourd
made a good speech. In general, he was not a particularly inspired
133
speaker, and it seems that he rarely commanded the full attention

of the House, but in 1838, he rose to the occasion which he had
created. He argued the case, as he always had, on the grounds of
natural justice, and in doing so revealed yet again his inherently
conservative approach to copyright law. He did, however, make
some concessions to the rising tide of opposition inside and outside
Parliament, by trying to present the Bill as an attempt to introduce
greater equity into the relationship of publishers and authors, by
sharing profits between them. At the core of his argument,
however, was the need to help authors: The question is not one of
reward - it is one of justice ... On what principle is Mr Tegg to
60
retain what was denied to Sir Walter?' He found a number of
supporters, including Peel and Disraeli, but there was the in-
evitable opposition. As Talfourd had predicted, the most virulent
came from the 'Doctrinaire party', led on this occasion by Joseph
Hume, M.P. for Aberdeen, who argued that authors were well-
rewarded already, and that there was no reason to favour them
more than inventors. His view of Wordsworth was little short of
contemptuous; dismissing him as 'indolent', he could not resist
referring to his other source of income as a Distributor of Stamps
for Westmorland, the poet as tax collector.
Hume's economic argument, for such it was, was not generally
deployed. The real debate centred around the legitimacy of the
monopoly apparently conferred by copyright. This certainly wor-
ried Disraeli, althoughhe convinced himself that, while this was
indeed a monopoly, it was a legitimate one if it protected authors.
The present law, he argued, merely protected publishers, and thus
he supported Talfourd's Bill. Disraeli's somewhat convoluted logic
commanded little assent. One member dismissed literary property
and therefore needing no law, new or old; perhaps
as 'fictitious',
more authoritatively, the Attorney-General opposed the Bill on
the grounds that copyright was a commercial monopoly, and that,
even in Talfourd's version, it protected owners rather than authors.
Gladstone, despite Wordsworth's request, did not speak. He did,
however, vote for the Bill, one of 39 who did so. This was a very
close division indeed; 34 voted against, and the subsequent motion
to send the Bill into Committee was only slightly better received,
passing by 38 to 31. The danger was clear, both in the closeness of

the divisions and in the small number of members who troubled to
vote at all. The Bill had aroused little general interest; it had few
enthusiastic supporters, and some very determined enemies.
134
Talfourd and Wordsworth had few reliable allies, and not all of
these were particularly desirable. Chief among them was Sir
Robert Inglis, teller for the ayes in the divisions on 25 April. Inglis
was one of the members for Oxford University, and an extreme
reactionary. He had opposed Catholic relief in the 1820s and
parliamentary reform in the 1830s. Later he was to oppose the
removal of the civil disabilities of Jews, church reform in both
England and Ireland, public funds for Irish education and the
repeal of the Corn Laws. Such a man was hardly likely to convert
the 'Doctrinaire party', but that was probably impossible in any
case given the way in which they saw the issue. Inglis had, however,
made for himself a more serious enemy. In 1829, he had felt so
strongly about Catholic emancipation that he had taken the
Chiltern Hundreds so that he was free to stand against Peel in the
latter's attempt to be re-elected for Oxford University. He took
Peel's seat from him by a majority of nearly 150 in a poll of 1,364
61
electors. Little wonder that Peel's support for Talfourd's Bill was
apparently reluctant, when its promoter had such friends as Inglis.

Within days of the Second Reading, Peel's doubts were becoming
stronger; he had not voted in the division on 25 April, and by 3 May
Wordsworth was worried. He wrote to Talfourd that 'we have cause
to fear about Sir R. Peel', who had written to him taking up Hume's
point to the effect that it would be fair to treat authors and

62
inventors in the same way. Wordsworth wrote to Peel himself on
the same day, trying to answer this very point. He argued, perhaps
somewhat speciously, that many people might have invented a
particular article, but that only one person could write a unique
work of literature. 63 Peel was unconvinced. The Bill had lost its
most senior and potentially most influential supporter, and had lost
him, moreover, on a point of political and economic principle.
Wordsworth was now desperate; the high hopes of the winter had
vanished. He wrote to everyone he could think of to solicit support,
but he admitted to Lockhart that he feared that the Bill would
indeed be lost because the Utilitarians (who 'do not deserve the
64
name') are putting pressure on M.P.s to vote against it. This was
particularly poignant for Lockhart, for he had written to Words-
worth some weeks earlier, to say that 'unless [Talfourd's] Bill is
carried he considers the emancipation of Abbotsford all but
65
hopeless'. It does not seem surprising that on the same day, Mary
Wordsworth wrote to her friend Isabella Fenwick that the house-

66
hold was 'fully occupied in the Copyright cause', for Wordsworth
himself admitted that his 'mind was full of the subject', and his
135
claim that he had written 'scarcely less than fifty letters' seeking
67
support seems only too credible.
The Bill went into Committee on 9 May, but even that was
achieved only after another division; the vote (116 to 64) was
perhaps a little healthier, but procedural manoeuvring by the Bill's
68
opponents, which is what it was, was hardly the best start. To
make matters worse, on the same day, the House received a
petition from 'persons interested in ... literature and science' in
69
Dublin, who were opposed to the Bill. In the debate on the
motion to commit, Thomas Wakley moved the adjournment of the
Committee for six months, which, if carried, would have been
the end of the matter. He argued that the smallness of the House
for the Second Reading, and the closeness of the division, indicated
that there was no real approval for it. He then reiterated some of
the arguments: the Bill interferes with natural property rights, it
willmake books more expensive, and there is, in any case, no
evidence that authors need any more help. The only other
significant contributor to the debate was another radical, Henry
Warburton, who gave notice that he intended to question every
70
clause.
Wakley and Warburton were typical of the political opposition

which Talfourd's Bill was now attracting. Wakley was a prominent
man. A physician by training, he founded The Lancet in 1823, and,
as M.P. for Finsbury from 1835, he was a committed supporter of
reform at every level. He sought to alleviate the iniquities, as he
saw them, of the Poor Law of 1834 and the workhouses which it
created. He was an outspoken supporter of trade unions and of the
Tolpuddle martyrs. He was favourable to most of the demands

made by the Chartists. 71 Two years earlier, he had been one of the
most fervent advocates of the repeal of the newspaper duties, and
had shared a public platform with Hume and with George Grote,
both of whom had spoken against the Copyright Bill on its Second
72
Reading. He was an exceptional man, but the many political traits
which he showed typified much of the radical opposition: copyright
was seen as an entrenched right, a commercial monopoly, and,
worst of all, restrained the freedom of the press.
The opponents led the Bill into a procedural jungle, and there it
was lost. The first meeting of the Committee was duly reported to
the House, and it was agreed to reconvene the following week. A
few minor amendments had been made, but there was no real
73
progress. In fact, on 15 May, the date which had been arranged,
the meeting of the Committee was postponed, and no date was
136
74
fixed for its With the Session drawing to its close, it
resumption.
was becoming clear that the Bill was lost. On 20 June, Gladstone
75
'suggested the postponement of the Copyright Bill', and Talfourd
bowed to the inevitable. Both he and Wordsworth analysed the
failure, trying to learn some lessons from it. Both men now saw
Gladstone as the key figure. Wordsworth wrote to thank him for his
76
support, and to ask him to try to win back Peel for the cause.
Talfourd too was learning a lesson in political reality. He wrote to
Gladstone on 8 July:
I have some idea of printing in a compact form my speeches on the

- the Act as it will be introduced next Session with
Copyright question
notes shewing the object and reason of each of the clauses - and some
communication from Wordsworth on the subject - to distribute before
the next Session. Should I do so, will you permit me the honor and
77
gratification of inscribing it to you?
In seeking to dedicate his proposed book to Gladstone, Talfourd

was hoping to link his name indissolubly to the cause of copyright
law reform.
On 12 February 1839, Talfourd was given leave to bring in yet
another Copyright Bill, which duly received its formal First
Reading; it was identical in all essentials with the amended version
78
of the Bill which had been lost in the previous Session. Neither
Wordsworth nor Talfourd had been inactive during the autumn and
winter. Wordsworth was now very anxious indeed, appreciating at
last the extent of the opposition which the proposals had aroused;
his letters have a pessimistic tone. He wrote to Moxon in December
1838, apparently close to despair: 'If Sergeant Talfourd's bill should

not pass I know not what will come of poor Authors and their
79
Works.' At least Wordsworth now realized that his role had to be
public as well as private. By 28 January, he had his own petition to
the House in draft, and showed it to Henry Crabb Robinson.
Robinson, however, was not completely happy about it; he found it
rather egotistical, suggesting (in the privacy of his diary) that

Wordsworth: 'is too desirous to express his own impressions and
80
cares too little about the impressions it will excite in others'. No
doubt he was still making distinctions between writers of great
literary merit like himself, and those for whom 'the profits of a
season' were the just and reasonable reward. A
few weeks later,
Robinson, according to his own account, 'took charge of Talfourd's
Copyright Petition' and organized the signatures of large numbers
81
of authors.
137
In the meanwhile, Wordsworth, presumably oblivious of Robin-

son's opinions and welcoming his help, continued to solicit help
from his other friends. These included Southey, who shared both
Wordsworth's concern about copyright and his reluctance to
petition Parliament. In December 1837, Southey had written to Sir
Henry Taylor, a utilitarian contributor to The Quarterly Review, to
explain his own position, which was, in its way, even more
precarious than Wordsworth's:
Were I to die before Talfourd's Bill passes, the greater part of my

poems, and no part of my prose, would be seized immediately by
little
some rascally booksellers ... It is true that ... I secure a new term of
copyright by the corrected edition But those fellows would publish
. . .
from the former copies. 82
Despite he was reluctant to make a public statement, not least

this,
since his name hadso often been mentioned in the debate, and he
did not wish to be thought to be acting simply in his own interests.
In any case, he had some doubts about the precise form of the
proposals in the 1838 Bill, and felt unable to support them in their
83
entirety. Wordsworth's persuasion worked, for Southey was, in
due course, one of the authors who petitioned the House.
The Second Reading was scheduled for 27 February, but neither
Wordsworth nor Talfourd achieved all that they had planned
before that date. Talfourd seems to have been uncertain about his
best course of action. Gladstone had agreed to be dedicatee of the
proposed pamphlet explaining the Bill, but it remained unwritten

on the advice of some other supporters, as he explained to
Gladstone in early February:
The hope which you permitted me to cherish, when I last saw you, of
associating my humble efforts in Cause of Literature with your name,
has been deferred in consequence of the opinion of some of the more
practical ofmy supporters that it would be injudicious to cause
discussion by a publication previous to the renewal of the struggle in the
House of Commons; but I still look forward to the time - 'when the
battle's lost and won' - when I may record some of the attempts which
have been made to obtain justice for the noblest aims of industry and
genius, under your auspices. I purpose to move for leave to bring in the
Bill at the earliest convenient day; and hope, before the second reading,
to obtain Petitions from those who also much need and much deserve
84
such a measure, in its favour.
The petition, despite Wordsworth, and largely thanks to Robinson,

was indeed prepared, and was tabled on the day of the Second
138
85
Reading. This long-expected document was signed by a large
number ofauthors, including Carlyle, Harrison Ainsworth,
G. P. R. James, Douglas Jerrold and H. H. Milman, but Robinson
had actually been only moderately successful; no doubt this was
partly because he was short of time, but some people whom he had
86
approached, including Arnold, had refused his request for help.
Some authors sent their own petitions, including Wordsworth
himself. His was indeed typical, in arguing that almost all of his
copyrights will be in public domain by the time that he dies, and

87
that he wants to protect the interests of his family and heirs.
The others were along much the same lines, and there can be
little doubt that there had been a coordinated campaign, presum-
ably organized by Wordsworth, Robinson and Talfourd himself.

They revolved around two essential points: the need for long-term
protection to justify the expense in works of learning, and the need
to protect the families of dead authors. The Scottish historian, Sir
Archibald Alison, for example, revealed in his petition that his
History of Europe During the French Revolution, published in ten
volumes between 1833 and 1842, had cost him 4,000 to write over
88
a period of twenty-five years. To his publisher, Alexander
Blackwood, Alison wrote privately that 'if Sergeant Talfourd's Bill
passes it may .
prove the same benefit to you and your heirs as it
. .
89
will to me and mine'. Other academics joined in this chorus,
90
including professors from Glasgow and St Andrews. Like the
general petition of the English authors organized by Robinson, it
was an impressive display of support, which at least showed that
Wordsworth was not isolated and that Talfourd was arguing a real
case, but it was unlikely to convince anyone to whom the same
arguments had been unconvincing only twelve months earlier.
So indeed it proved. Talfourd moved the Second Reading, and
Hume opposed it. The former said that the opposition arose from
self-interest in the book trade; the latter countered that, although
authors might indeed deserve some protection, the extension of the
term was meaningless for most of them. This did indeed shift
the ground a little, and suggested a possible way forward, for if the
objection was to the length of the term, rather than the principle of
post mortem copyright, there might even be room for compromise.
The point was taken up by the Solicitor-General, who perhaps
justified Wordsworth's earlier reluctance to become publicly
involved, for he argued that the poet's case was a special one
because of his longevity, his current eminence and his early literary
history, and should not form the basis of a new law. Eventually in a
139
division of 110 members, the Bill was given its Second Reading by a
91
majority of 36.
The were torpor and indifference. Far less passion
real victors
was aroused than The trade, perhaps aware of the strength
in 1838.
of the political opposition to the Bill, which had defeated its
predecessor, did little. There were two isolated petitions against it,
and another in its favour, during March and April, but no more
92
organized lobbying by the book trade. The authors were not
entirely inactive, and Talfourd was still looking for support in the
literary world. Dickens, through the agency of John Forster,
persuaded Carlyle to petition the House in his own name, as well as
93 94
signing the general petition. Carlyle was reluctant, but he did
eventually relent: 'Here, after all, is a Petition, since you have set
me on it; of a very wonderful nature, for which you are respons-
95
ible.' The 'very wonderful nature' of this document can only be
conveyed in Carlyle's own prose, perhaps at its most characteristic
when he writes that he is asking the House:
... to forbid all Thomas Teggs and other extraneous persons ... to
steal from him his small winnings, for a space of sixty years at shortest.
After sixty years, unless your Honourable House provide otherwise,
96
they may begin to steal.
This document, along with one from Hartley Coleridge and others
from other writers, was tabled on 1 May. 97
That was the date set for the Committee Stage of the Bill, which
had been postponed from 10 April. The events on that occasion
were ominous indeed, for the House had been inquorate, as
Gladstone recorded in his diary: 'We failed in making a House for
the Copyright at 4 - only 28 present.' This was a humiliation, and
98
Wordsworth knew it; he told Talfourd that he was 'mortified . . .
you should have had so much trouble and made such a sacrifice, to
meet so unworthy a House of Commons'. 99
The House was only a little more worthy on 1 May, for, once
again, the opponents of the Bill used every possible procedural
device to obstruct it. The business was not reached until late in the
evening. When it was taken, Warburton, who had threatened to
oppose every clause in the previous year, moved to defer it yet
100
again. This motion was lost on a division by 127 to 24. The House
then went into Committee, but Warburton, seconded by Wakley,
immediately proposed the adjournment. This was lost by 9 votes to
132, a further motion by Warburton to defer the Committee Stage
was defeated by 7 to 119, and a second adjournment motion failed
140
by 9 to 91. By now it was far into the night, and Warburton and his
small group of radical allies had succeeded both in wasting precious
time and in ensuring that the House was thinning out as members
went home, thus once again raising the spectre of inquoracy. When
the Committee at last reached the substantive business, there were
no fewer than fourteen divisions on various motions and amend-
ments. Although, as Gladstone, who faithfully supported the Bill
throughout these weary hours, noted in his diary, 'the majority
101
triumphed', it was all very time-consuming. Some of the votes,
moreover, were alarmingly close, and betrayed some divisions of

opinion even among the Bill's supporters. The 60-year term of
copyright was approved by a majority of 12, and by that time the
House was down to 82. The Committee adjourned as dawn was
breaking, having dealt with just four out of more than twenty
clauses.
In the circumstances, this was little better than outright failure.
Subsequently, the Committee Stage was deferred on twelve

occasions, without any progress being made. The Bill had few
active supporters other than Talfourd himself; its opponents,
equally small in numbers, were simply better organized in the

House. It was this which wrecked Talfourd's efforts; all his petitions
from the luminaries of British learning and literature counted for
nothing in the face of the unreformed procedures of the House of
Commons. When the Committee Stage was deferred again, for
102
three months, on 8 July, the Bill was dead.
It is difficult to see what more Talfourd could have done. He had
learned one lesson from his earlier failures, and had mobilized the
support of the literary and learned worlds. But he had not, and
perhaps he could not, overcome the political opposition of the
'Doctrinaire party'. The issue was a marginal one, even to many
authors, and Talfourd carried too little political weight to force it
through the archaic procedures of the House of Commons. The
failure of 1839, after all the efforts which had been made, had
broken the spirit of many of Talfourd's literary supporters. Even
Wordsworth, although he retained a strong interest in the matter,
was never again to be so active a. campaigner. Yet Talfourd would
not admit defeat.
In the next Session, he tried again. He was given leave to bring in
a Bill in February, and the delaying tactics started again; no fewer
than 228 petitions were tabled from the printers and publishers
103
against the Bill. Failure was inevitable. If anything, this was
worse than the failures in 1838 and 1839, for there had not even
141
been a proper debate on the issues involved. Talfourd's attempt to

arouse public support by publishing the book which he had
postponed in 1839 had precisely the opposite effect, as he had
104
feared, of provoking opposition from the trade.
Talfourd, however, was nothing if not persistent. In 1841, he
once again moved for leave to bring in a Bill, this time on the first
day of the Session, and, following a division on the inevitable
motion of opposition from Warburton, was given leave to do so. 105
After so many failures, Talfourd was, at last, beginning to learn
some lessons and to make some concessions. In his speech on the
Second Reading, he took up a point which had been raised two
years earlier, and suggested that the 60-year term was not, in itself,
essential; what he sought was an endorsement of the principle of
extending the term of copyright, and, by implication, that of post
106
mortem protection.
That display of reason and compromise on Talfourd's part might
have been successful, had it not been for the eloquence of a new
and formidable opponent of the Bill in its present form. This was
Macaulay, addressing the House on this subject for the first time.
Macaulay was dismissive of theoretical arguments. He swept aside

the idea of natural rights, as being something which could be
expressed in the law in many different ways. For him, this was a
practical issue, and he simply thought that 60 years was too long,
and would impose a 'tax on readers for the purpose of giving a
107
bounty to writers'. In any case, he considered that it would be
publishers, not authors, who benefited from the extended term.

Not surprisingly, Talfourd was hurt and angry; even Macaulay's
official and adulatory biographer noted that 'Talfourd, in the
bitterness of his soul, exclaimed that Literature's own familiar

friend, in whom she had trusted, and who had eaten of her bread,
had lifted up his heel against her'. 108 It was certainly not Macaulay's
finest hour; his speech lacked in logic, and actually concealed his
view that there was a case in principle for post mortem copyright;
it was the
length of time to which he objected, not the concept
itself. Harriet Martineau certainly thought that Macaulay had
been talking nonsense, and said so. 109 Whatever the quality of
Macaulay's argument, however, there was no doubt of the rhetori-
cal quality of his speech. He did indeed, as his biographer wrote,
110
'induce a thin House to reject the bill by a few votes', deferring
the Second Reading for six months by 45 to 38.
m
As had been the
intention, and Macaulay's objective, it was never seen again.
142
This disaster was Talfourd's swan-song in his efforts to reform the

law of copyright; indeed, it was his swan-song in the House, for he
lost his seat in the General Election of 1841, and thereafter
concentrated on his legal career. Why had he failed? Primarily, he
was a limited and inexperienced politician in every sense. He was
unbending when compromise was needed. He was innocent of the
ways of the House of Commons. He was a poor and unconvincing
speaker in an age when the House could be swayed by oratory, and
expected to hear it. This was not all, however. There were conflicts
of principle, of which copyright law was a small and insignificant
part, and they consumed all Talfourd's efforts to reform the law.
Justice for authors was, no doubt, a battle cry which was
appealing to Wordsworth and his friends. Indeed, as Maugham had

argued, natural law and natural justice were regarded by legal
theorists as the basis of the legal concept of copyright. Such
theories, however, were no longer universally accepted, especially
by the radicals. Talfourd's most committed political opponents
belonged to the one faction in the House of Commons in the 1830s
which was reasonably well-organized, and had a more or less
consistent political philosophy against which they tested individual
measures and proposals. This was the 'Doctrinaire party' which he
had, quite rightly, identified at a very early stage as being his main
problem. Talfourd was sitting in the first two parliaments elected
under the 1832 Reform Act, and, although the social composition
of the House was not unlike that of its unreformed predecessor, it
was nevertheless changing. The new influx of Whig, liberal and
radical members in the 1830s had brought into the Commons men
who took their duties seriously. The radical free traders, in
particular, the core of the 'Doctrinaire party', were close to being
professional politicians in the modern sense. Their mere presence
made party divisions more marked, and tended to give a political
dimension to every issue. The radicals soon learned how to exploit
the unreformed procedures of the House to their own advantage.
Talfourd was one of their victims. 112
The radicals disliked Talfourd's proposals on two theoretical
grounds. First, itcould be argued .that copyright restricted the free
operation of the market, and was therefore inimical to free trade,
to which they were wholly committed. Secondly, it could be argued
to be a constraint on the freedom of the press, to which they were
equally strongly committed. Neither of these points was ever really

answered by Talfourd and his supporters, despite the fact that they
were the factors which motivated their principal opponents. Even
143
Macaulay, an old-fashioned Whig rather than an advanced liberal,

subscribed to both views in hisown way.
The discourse had moved away from the literary into the political
arena, and Talfourd was unable to pursue it there. He laboured
under three disadvantages. First, there was his inexperience and
ineptitude. Secondly, his supporters in the House of Commons
were neither so well-organized nor so wholly committed as his
opponents. Thirdly, his supporters outside the House were not
always as helpful as they might have been to his (and their) cause.
Talfourd's own political failings could have been overcome if he
had had more help, but Gladstone, the only major politician who
consistently supported him, was already marked out for greater
things, and had many other preoccupations. Talfourd was a Tory in
a House which never had a clear Tory majority, and frequently had
a Whig one, and he simply could not command it. What was worse
was that his supporters sometimes gave comfort, unwittingly, to his
enemies. Wordsworth was easy enough to portray, as Hume had
done, as a curmudgeonly old reactionary looking to his bank
balance under the pretence of supporting literature. It was only too
easy to suggest that the cause of copyright law reform was a Tory
cause, a reactionary cause, a cause which did not deserve the
support of the growing liberal consensus of early Victorian
England.
When lost his seat in the summer of 1841, he was
Talfourd
and perhaps bitter. His last words on the subject with
disillusioned,
which he hoped to make his political name, and which had perhaps
instead destroyed his political career, were in a letter to Leigh
Hunt:
I have no reason to Whigs] for myself I desire

feel grateful to [the ;
nothing but justice & the Cause of Literature which I had undertaken;
113
and I found nothing but hollow profession or bitter and unfair enmity.
To the very end, Talfourd did not understand the power, or even
the nature, of the forces which he called up against himself.
It is not clear whom Talfourd was accusing of 'hollow profession',
although Peel has to be one possibility. Certainly, it cannot have

been Gladstone, who never wavered on the matter, and despite all
the other calls on his time, studied it carefully. In February 1840, he
had read John Lowndes's newly published Historical Sketch of the
Law of Copyright, an authoritative work of history which con-
cluded with the case for extending the term of copyright to at least
114
forty years. Another consistent supporter was Lord Mahon,
144
son of the fifth Earl Stanhope, who had served in government in

115
1834. Both men were safely returned in the 1841 election, and
they now sat on the government side of the House following the
Tory victory. Indeed, Gladstone was to join the Cabinet for the first
time in 1843, as President of the Board of Trade. Both, but
especially Gladstone, were in a far stronger position personally
than Talfourd had ever been. Politically, too, they had far more
influence than they could have had in the Whig and radical
dominated House of the late 1830s. The new House was not only
Tory; it was perhaps more reasonable and better disciplined than its
116
predecessor.
Mahon now took the initiative on copyright law reform. He was
not only in a more favourable position than Talfourd, he was also
temperamentally better suited to the task: he was willing to
compromise. The opposition of the radicals might now work in
favour of the reformers in a Tory-dominated House, and there
seemed to be a very real hope of achieving some measure of
reform. All that was needed was to find out what was generally
acceptable, and then to settle for it. On 3 May 1843,when Mahon,
supported by Gladstone and Inglis, introduced anew Bill, the spirit
117
of compromise was already in the air. The principle which
underlay Talfourd's bills was still there: there was a term of post
mortem copyright. Mahon, however, made provision for this to be
118
25 years, rather than the contentious 60. Even Wakley, one of
the most vociferous of Talfourd's enemies, did not reject this out of
hand, although he did say that he expected to hear a good case
119
made for any change at all.When the Bill was given its First
Reading on 4 March, both Wakley and Macaulay indicated that
they were willing to discuss it in Committee on the basis that it
120
might be acceptable to them. The Second Reading debate, on
16 March, was equally calm when compared with the traumas of
Talfourd's experiences. Lord John Russell, speaking for the Whigs,
went out of his way to compliment Mahon on his willingness to
make changes and to listen to reasoned arguments, and Mahon
121
accepted the compliment gracefully.
The Committee Stage began on 23 March, and a few minor
technicalamendments were made without difficulty. 122 When it
was resumed on 6 April, there was a little more trouble. Wakley
recanted on his earlier attitude, saying that he had not heard the
convincing arguments which he had demanded, and that he would
no longer support the Bill. Macaulay also opposed it in its present
145
form, although for different reasons. he said, opposed He was not,

in principle to post mortem copyright; thiswas true, although it may
not have been apparent to all those who had heard his speech on the
subject in 1841. He then proposed a period of 42 years from the
date of publication, regardless of whether or not the author was still
alive. This was accepted by Mahon, as were associated proposals
which had the effect of giving the same term if the author died
within 7 years of publication, and protecting the rights of assignees
in a limited way. All these amendments were accepted by the
House on substantial majorities.
Macaulay was triumphant. His nephew recalled that 'he enjoyed
the satisfaction of having framed according to his mind a Statute
123
which may fairly be described as the charter of his craft ,' . .
Carlyle took a less charitable view of Macaulay 's conversion:

'. . .Mr Macaulay too finds that his last year's excoursion was on
the wrong tack; that even at the risk of smelling of the shop he had
124
better take the common one . . .'
Macaulay 's own description of
the events, and of his part in them, is in a letter to Macvey Napier,
written the day after the debate:
We had a field-day in the House of Commons yesterday. The question

was . . . the Copy right Bill. modifying Mahon's plan to a
I succeeded in
great extent: and I really hope that you will be of the opinion that what
I proposed is a far greater boon to literature than his measure would
have been. I am really inclined to think that we shall settle the matter to
125
general satisfaction.
He was not seriously exaggerating what he had done. In 1841, he

had killed the reform of the law of copyright; in 1842, he had made
it
possible.
Macaulay did indeed, in the same letter, pay tribute to Mahon's
willingness to compromise (and, incidentally, added that it was
'lucky that both Talfourd and Warburton are out of the way'), and
thereafter it was plain sailing. There was a brief debate at the
Committee Stage in the Lords on 26 May, when Brougham tried to
shorten the term of copyright, while not objecting to any of the
126
principles involved. He found no support. The Lords did,
however, make one amendment of some significance, which had
the effect of giving longer post mortem protection in many cases. If
the 7-year term expired before the end of the 42-year term which
would have subsisted had the author still been alive, there was to be
127
protection for the full 42 years from the date of publication. This
146
and some other minor amendments were accepted by the Com-

mons, and on 1 July 1842, the Copyright Bill received the Royal
128
Assent.
The Copyright Act of 1842 129 was to remain the basis of British
copyright law until 1911, and was to exercise immense influence
throughout the world. The impetus to reform the law had begun
with an elderly author seeking to protect his descendants, and that
wish was, to a large extent, satisfied. At the same time, the book
trade was not alienated, for the law was indeed a compromise
which both protected investments in copyrights and opened up the
possibility of reprints of public domain copies when they were still

of interest to the public.
The basic term of copyright was built around Macaulay's
compromise figure of 42 years. Normally, copyright would subsist
for the author's lifetime, and for 7 years thereafter. If, however, 42
years had not elapsed since publication when the author died, the
full term of 42 years could apply. Copyrights assigned to members
of an author's family enjoyed exactly the same rights as if the

author had retained them. This was an exception, for rights
assigned to anyone outside the family enjoyed the first period of
protection only, that is for no more than 7 years after the death of
the author. Thus, if an author published a book in 1842, it was
protected until at least 1884; if the author were still alive in 1884, it
continued to be protected until 7 years after his death. Under no
circumstances, whoever owned the rights, could the work be in the
public domain before 1884. This was the effect of Macaulay's
compromise and the Lords' amendments, and it produced a law
which commanded general acceptance.
Other parts of the Act were less contentious. All copyrights had
to be registered at Stationers' Hall, and no action would lie under
the Act if this were not done. For books which were properly
protected, there were penalties for both domestic piracy and the
import of foreign reprints. Not only books were protected; similar
protection was afforded to contributors to periodicals, encyclo-
pedias and collectaneous works. Finally, automatic deposit was
required only at the British Museum; the other libraries had to
claim the books which they wanted.
Much of this detail served to clarify and rationalize the law. For
the first time, there was a statute which precisely defined the term
of copyright and the means of obtaining it. The law was based on
the clear assumption that copyright originated with the author, but
that, because the author could only use the property thus created if
147
itwere shared with a publisher, the publisher was also afforded

some protection. The public good was served by ensuring that a
book of enduring value did not become a permanent commercial
monopoly after its creators and publishers had had a reasonable
opportunity to recoup their investments of time and money.
All this was clear, but problems remained. The law was still
essentially a law about books, despite the provisions about
contributors to magazines and the like. It did not deal with
dramatic or musical performances, or with works of art, industrial
designs and similar matters. It was still clearly derived from a law
promoted by the book trade over a century earlier in its own
interests, which essentially protected commercial rather than
intellectual property. The rule that ideas could not be copyright was
still there; only words were protected, and, very largely, words as
they appeared in printed books. Ideas expressed in graphic or

diagrammatic form, or as a theatrical performance or musical notes
or steps in a dance, were wholly outside the province of the law.
The 1842 Copyright Act gave reasonable satisfaction to those
who had promoted it. It offered protection to the authors of books
in the United Kingdom, and some protection to their families. It
did not infringe too far on the historic privileges of the book trade.
But it could be argued to have done nothing to address the issues of
the mid-nineteenth century, new media, new commercial relation-
ships, and a new concept of creativity and authorship.
148
6 Copyright in Britain
and the World
The protection afforded to British authors and publishers by the

1842 Act was, for both parties, a marked advance on the previous
position. By the time that Mahon's Bill was enacted, however, the
issue which Wordsworth had raised and which Talfourd had so
stubbornly pursued was beginning to fade into the background.
The authors who took the lead in pressing for domestic copyright
law reform in the 1830s were primarily the writers of an older
generation, Wordsworth himself, Southey and the heirs of Scott
and Coleridge. All had started their careers slowly, all had made
their name as poets, and all their families or dependants were or
would be affected by the loss of copyright after their deaths. The
writers of a new
generation, emerging at the very time of the
copyright agitation of the late 1830s, were in a very different
position.
The most important of these was Dickens, established by the -
publication of Pickwick Papers in 1837 as the leading novelist of his
generation, and already a best-selling author with everything he
wrote by the time that the 1842 Act was passed. He was always
aware of the importance of the copyright campaign; Pickwick
Papers, in the 1837 edition, was dedicated to Talfourd, as:
... a and most inadequate acknowledgement of the inestimable

slight
services you are rendering to the literature of your country, and of the
lasting benefits you will confer upon authors of this and succeeding
generations, by securing to them and their descendants a permanent
1
interest in their works.
Dickens's real involvement with the issue, however, lay elsewhere;

even the Act of 1814 gave adequate protection to a young man
whose books sold in huge numbers. His interest was in editions ,
from which he could make no profits at all: editions published in the^

United States. The American piracy of his books concerned and
149
indeed infuriated Dickens almost from the very beginning of his

2
career, and intermittently throughout his life. Indeed, he was to
become closely identified with the campaign to persuade the
governments of both the United Kingdom and the United States to
take action against the problems which piracy posed.
Foreign piracy of British books was not a new issue in the early
nineteenth century, but it was becoming more acute. During the
seventeenth century, Dutch printers were infringing the patents of
the King's Printer by printing the English Bible for import into
England, an activity in which they were helped by rebel members of
the London book trade like Michael Sparke. 3 In the decade leading
up to 1710, therewere many complaints about piracy, although the
legal position was uncertain, and most of the pirates were in
4
London rather than abroad. The 1710 Act, for all its imperfec-
tions, went some way towards clarifying the position, but neither it,
nor the Import of Books Act of 1739, could prevent unscrupulous
booksellers from bringing in reprints from Ireland and the contin-
5
ent. Scottish 'piracy' was brought under control, by recognition of
6
its legality under the 1710 Act, in 1774, and reprinting protected
copies became illegal in Ireland when that country was incorpor-
7
ated into British copyright law in 1801. At the beginning of the
nineteenth century, therefore, the position was comparatively
clear. No book which was protected under the 1710, 1801 or 1814
Act could be reprinted in the United Kingdom, or imported into
the United Kingdom if reprinted abroad, without the permission of
the copyright owner. In other words, such protection as the law
afforded to authors and publishers was domestic, and did not
extend outside the United Kingdom itself.
Towards the end of the eighteenth century and into the first
decades of the nineteenth, three developments introduced new

factors into this situation. First, the English language came to be>
more widely known on the continent, and more English people
travelled there. This created a demand for English books in
Germany, Italy and France, which was largely met by local printers
8
reprinting fashionable English works. The market for English-
language books in continental Europe was small, but it was a
development of great significance for the future.
Secondly, the American market underwent important changes.
Until the 1820s, the United States, like the colonies from which it
had evolved, imported British books on a large scale, but, as the
population grew and scattered, the economic base of the American
book trade was enlarged. The demand for British books was now
150
Copyright in Britain and the World
large enough to justify reprinting them in America rather than

importing the British edition. This entailed the partial loss of a
significant export market for British publishers; 9 more signific-
antly, however, it also presaged the continuous growth of the
American market for books by British authors.
Thirdly, in the aftermath of the French and American revolu-
tions, other countries developed copyright laws of their own to
protect their own citizens. Until 1789, such copyright protection as
existed in France and in most other continental countries derived
from mechanisms originally developed to control the press. In
France and in many German states the licence to print was not
unlike that in early seventeenth-century England. The licence to
print was a privilege granted in the name of a particular printer or
publisher who thereby acquired the 'rights' in the book. This
form of protection open to authors and
usually represented the only
publishers. was thoroughly unsatisfactory, especially in the
It
10
multitude of German states, where it afforded no real protection
at all. After their respective revolutions, however, both the United
States and France developed copyright laws of their own. In the
United States, this was largely based on current English practice,
although did
it
give the specific recognition which was still denied in
Britain to the role of the author. The first U.S. Copyright Act,
passed in 1790, enlarged on the general provision in the Constitu-
tion by giving citizens and residents a copyright for fourteen years, /
x
renewable for a further fourteen if the author were still alive.
Although clearly based on the 1710 British Act, American law went
11
further in specifically recognizing the rights of the author. In
France, successive laws and constitutions gave firmer recognition to
copyrights, protecting authors and at the same time recognizing the
social utility of their works; the latter was the revolutionary
12
equivalent of the encouragement of learning.
The effect of these social, political and legal cr^iges was
twofold: first, the market for English books was greatly increased, /
and with it the potential income of British authors and publishers;
and secondly, the idea of copyright protection came to be
incorporated in the jurisprudence and legal practice of many of
those countries where that market existed. It was the first factor
which created the recognition of the need for some sort of
protection for British books outside the United Kingdom, and the
second which made it possible. The problem was how to develop
and enforce such laws. The crisis developed, almost simul-
taneously, in relation to both France and the United States.
151
When the long war between Britain and France ended in 1815,
for the firsttime in a generation the continent was open to British
travellers and indeed to British cultural influence. A number of
Paris publishers, most notably Galignani, Baudry and Bailliere,
became deeply involved in the reprinting of English books, which
13
they did on a large scale. At first, Galignani, who was the most
active of the three, was principally intending to sell his books to
British travellers in France, but during the 1820s both he and his
competitors widened their horizons. The French reprints were

exported to the United States in some quantity. Individual copies
were, inevitably, brought into the United Kingdom by returning
travellers. The latter was perhaps of little significance, but the
American sales were damaging the export potential of British
publishers, at the very time when American publishers were
beginning to compete in their own domestic market.
Even that, however, was of little importance when set beside the
sale of the French reprints in London and elsewhere in Britain,
which began to happen in the mid-1830s. In 1830, Bailliere, one of
Galignani's principal Parisian competitors, opened a branch in

London, through which he imported foreign books; in itself this
was a perfectly legal branch of the book trade. 14 By 1834, however,
the London branch of Bailliere was also engaged in importing
French reprints of English books, a distinctly illegal activity which
15
encompassed smuggling as well as breach of copyright. The case
which was pursued in the courts involved two novels, Ayes ha by
James Morier, and Maria Edgeworth's Helen. The British publisher
and copyright owner, Richard Bentley, successfully sought an
injunction from the Court of Chancery to prevent the sale of these
16
editions, and, in due course, Bailliere settled out of court. Other
cases emerged during the next few months, and were pursued with
vigour by Bentley, who, as the major novel publisher of the period,
was the rjtfncipal victim of the pirates and smugglers. 17 His actions
put an end to the immediate problem, but it helped publishers
rather than authors.
Until this unfortunate episode, relations between some British
authors and some of the French publishers had been good.
Galignani, in particular, had made a serious effort to obtain the
permission of British authors or publishers to reprint their works,
and in some cases had even gone to the lengths of asking them to
check the texts for authenticity. By the 1830s, Galignani was also
regularly publishing French translations of new English books,
including the works of G. P. R. James and the early novels of
Dickens. Some authors were paid for this. Theoretically, the
152
British authors could register for French copyright, but in practice

few, if any, chose to do so. They were, therefore; dependent on the
goodwill of their French 'publishers' forN any recompense for the
reprinting or translation of their works ^ a position which could
easily break down under strain.
The same situation applied in other European countries. After
1815, the long-established practice of reprinting English books in
Germany was resumed, especially at Leipzig in Saxony. In the
1820s, the Leipzig firm of Zwickau reprinted Byron, Scott and
other English authors, and from the mid- 1830s onwards Zwickau
had competition in the city from the house of Fleischer, which
18
included Bulwer-Lytton, Dickens and Marryat in its list. There is
no evidence of the export of these books to Britain or the United
States on a commercial scale, but they, too, were eating into the
small, but potentially lucrative, market for English books on the
continent. Neither Zwickau or Fleischer seems to have troubled to
The Leipzig rival of these two
contact British authors or publishers.
firms, and the future doyen of the whole continental trade in
English books, was more ethical. This was Christian Bernhard
Tauchnitz, who began to publish his celebrated Collection of British
Authors and within a year was consistently seeking the
in 1841,
19
permission and cooperation of those whose works he reprinted.
The continental reprinting of British books, developing rapidly
during the twenty years after the end of the Napoleonic War, posed
a real problem for both authors and publishers. So also did the
parallelgrowth of similar practices in the United States, for by
1830, the practice of reprinting British books and periodicals was
widespread in the American book trade. The market there was far
larger than that in Europe, and the book trade itself perhaps more
competitive than in Paris or Leipzig. Some American publishers,
notably Carey and Lea of Philadelphia and Harper Brothers of
New York made ex gratia payments to British authors), but there
20
was certainly no
legal obligation to do so. Where there was some
sort of arrangement with the British copyright owners, the normal
practice was to send copies of the printed sheets of the book to

America, where they were then, reprinted. In the 1840s, this
practice was gradually replaced by sending either stereotype plates
or the moulds or flongs from which they were made. Whatever the
method used, rapid publication of new British books in the United
States depended upon either a degree of cooperation between the
British and American publishers, or some surreptitious agent in
Britain acting on behalf of the American firm.
Respectable firms like Carey and Lea or Harper Brothers were,
153
however, only a part of the problem, and not the most important
part. Although the British authors did not gain financial benefits on
the scale which they might have expected from the extent of their
American sales, they did at some income, and they had
least get
some control over what was actually printed. This was not so with
the genuinely piratical reprints which abounded in the late 1830s as
the American book trade tried to survive a depression which^
ravaged it as much as it did other parts of the American economy.
One consequence of this desperation was a proliferation of cheap
magazines and newspapers which indiscriminately reprinted books
by foreign authors without even the pretence of acknowledge-
21
ment. There was, in law, no reason why any American publisher
should seek permission to reprint a British book. It is important to
recognize that the reprinters, despite the fact that British authors
and publishers always referred to them as 'pirates', were not acting
illegally in their own country. Some American reprints were
imported into Britain, which was illegal, but the scale of the
22
operations was very small. For British authors and publishers, the
American problem was similar to the continental problem: per-
fectly legal reprinting was eating into potential profits, by virtually |
eliminating major export markets and thus depriving them of

potential income from the foreign sales of the legitimate British
editions. Moreover, it should be added that some British publishers
were equally unscrupulous in reprinting American books without
permission, a trade in which George Routledge was deeply
involved. Some American authors, notably Washington Irving,
Harriet Beecher Stowe and Joel Harris, lost a great deal by this
when their books became popular in Britain. Some tried, in vain, to
23
obtain British imperial copyright by moving to Canada. The
whole position was thoroughly unsatisfactory.
The only redress in English law was against smugglers and British
booksellers who dealt in the smuggled piracies. The customs /
officers did their best, but there was systematic evasion, which led
to deep suspicions among the British book trade about the
efficiency and perhaps even the probity of the officers. But, in

general, the perception was that foreign publishers were trying,
illegally, to compete in Britain.
24
A book trade newspaper in 1842
opined that a notorious fact that Foreign editions are printed
'It is
purposely for the English market; the Foreign demand alone being
25
far too limited to repay the cost'. Whether any of these suspicions
was justified was of less importance than the general belief in
widespread underhand dealings. There was a growing feeling that
154
there was a real need for some sort of regulation of international

transactions in the book trade, based upon a law of copyright which
would protect British books outside the United Kingdom.
That was easy to say, but far less easy to achieve. In the late
1830s, Talfourd's attempts to reform domestic copyright law had

run into serious parliamentary and political trouble, and had
26
aroused radical opposition to the whole idea of copyright.
International law, however, might be different. It could be
presented as a matter of patriotic pride and duty rather than a
restraint of trade, and as a means of preventing the exploitation of
British geniusby two recent ex-enemies, the United States and
France. This was precisely the line which was taken, and the
comparative ease with which the first international copyright law
was passed by the British Parliament stands in stark contrast to the
appalling problems confronted by Talfourd and his supporters.
Significantly, the proposal which came to the House of Commons
on 20 March 1838 was from the government, not from a private
member. Indeed, it was to be a characteristic of all subsequent
British law on international copyright that it was regarded as a
matter of public policy rather than private interest. The Bill was
presented by C. E. Poulett Thomson, the Whig member for
27
Manchester, who was President of the Board of Trade. In
introducing the Bill, Poulett Thomson cleverly presented it as a
moderate but nationalistic proposal. First, he distanced himself
from Talfourd, by simply saying that he did not wish to enter into
the question of domestic copyright at all. The government's
objective was simply to give some
assistance to British subjects, so
that authors could be protected as inventors already were. There
was, in his view, an urgent need for this. It was, he said, 'a matter of
notoriety that works were pirated abroad as soon as they made
28
their appearance at home'. He was well-primed with examples;
Frances Trollope's Travels in America had been printed in Paris in
an edition of 15,000 copies 'without the slightest benefit to the
author', and he had 'been informed, that there was not a village of
2,000 inhabitants in the United States in which several copies of a
pirated edition were not to be found'. Poulett Thomson was also,
however, careful not be too overtly and- American. He argued that
an Anglo-American copyright agreement would be of benefit to
American as well as to British authors, citing Noah Webster's \/
sufferings from the depredations of British pirates who had

29
reprinted his Dictionary.
The Bill which Poulett Thomson introduced in this way was
indeed a modest and sensible measure. Above all, it recognized
155
that because the law varied so much between different countries, it

was essential thatany British law would have to be as flexible as
possible if it were to offer the greatest possible protection for
British authors. The key proposal, therefore, was to authorize the .7
government to act by Order-in-Council to make reciprocal agree-

ments with countries which were willing to give copyright protec-
tion to British authors under their own domestic law. This was
important, because other countries were moving in the same

direction. In the previous summer, Prussia had enacted a very
similar law, under which foreign works were protected there if the
state of origin of those works gave similar protection to works of
30
Prussian origin. At about the same time, the British and French
governments had entered into negotiations on the possibilities for
31
reciprocal copyright laws. Most important of all, perhaps, the7
United States Congress was considering a proposed law which
would give copyright protection to foreign nationals. 32 In effect,
Poulett Thomson's case was that the British government should
position itself so that it could respond to these or any other
initiatives by foreign states, as well as taking initiatives of its own.
There was some opposition. No one who had followed the
tortuous recent history of copyright legislation could have been
surprised that Warburton, Wakley and Hume all spoke against the
Bill. them concentrated on the monopolies allegedly
All three of
enjoyed by the publishers, and on their exploitation of the public
through high prices. Warburton particularly laboured this point,
not failing to play his own patriotic card by adding that if Talfourd's
bill passed (he obviously could not resist the side-swipe) foreign
authors would be better protected in Britain than would British

33
authors abroad. Hume was also suspicious of the publishers,
saying that:
. . .there were certain matters in the book trade and the mode in which
it was conducted which must be inquired into before any means could be
34
adopted to remedy the defects in the law of international copyright.
Wakley favoured a Select Committee to investigate the whole

matter before the Bill was even formally brought to the House,
because he would 'like to learn what literary man had ever lost
anything, or had complained that his interests had suffered, by his
works having been pirated'. 35 In the circumstances, Wakley's claim
to ignorance was unconvincing; it was merely a delaying tactic.
The radicals were in a minority. Other speakers were more
concerned about the practical difficulties of enforcement. Sir
156
Robert Inglis and Lord John Russell both argued that the govern-
ment ought to negotiate bilateral treaties rather than make a
general law, and Henry Goulburn, a Tory, also foresaw difficulties,

although he does not seem to have been against the principle
36
involved. Even Lord Mahon, the man who was eventually to
carry the reform of domestic copyright law in 1842, saw the lack of
international agreements as a greater problem than the lack of
37
British legislation. In replying to the debate, Poulett Thomson
acknowledged the problems, but argued that they ought at least to
38
try to address them. His view prevailed, and the House gave leave
for the Bill to brought in. It was subject to no further debate in
39
either House, and received the Royal Assent on 31 July 1838.
The International Copyright Act of 1838 attracted little attention
or disagreement as it went through Parliament, in contrast to the
various proposals to reform the domestic law. It proved modestly
useful. Its basic principle was a very simple one, expressed in the
preamble:
... it is desirable to afford protection ... to the Authors of Books first
published Foreign Countries, and their Assigns, in Cases where

in
Protection shall be afforded in such Foreign Countries to the Authors of
Books first published in her Majesty's Dominions . . .
This was to be achieved by the Order-in-Council to validate such

agreements with foreign countries. Thereafter books from such
countries, provided they were registered at Stationers' Hall and
copies were deposited at the British Museum, would be protected
in exactly the same way as a British book under the 1814 Act then in
force. The Act, however, more than provide an enabling
did no ./
framework. Agreements still had to be negotiated with foreign
states, and this, as speakers in the debate in the Commons had
predicted, was no easy matter. Monckton Milnes had probably
identified the root cause of the problem: 'Everyone knew that the
circulation of English books in France was much more extensive
than that of French books in England ..' This was true, but the
.
prophecy was to prove less acute than the analysis, for he added
that 'He was of the opinion that the experiment should be first
made with some such country as America, because there, there
40
could be comparatively no difficulty to contend with'. The 1838
Act provided a basis for action, but, in itself, had no effect.
The American troubles, so lightly dismissed by Monckton
Milnes, were only just beginning. The late 1830s and early 1840s
were the high-point (or the low-point) of American reprinting of
157
/ British books as the book trade there tried desperately to combat

41
the effects of the depression. It could not have been a worse time
to try to enact a new copyright law designed to protect foreign
authors, and yet that is exactly what was attempted. American
copyright law was based on the principle of protecting both citizens
and residents. The provision for protecting foreigners resident in
the United States was comparatively generous, but it did not
protect anyone not living in the U.S.A. In the late 1830s, an
attempt was made to extend the provisions of the law to protect
non-resident foreign writers.
The initiative came from a group of British authors, led by
J Harriet Martineau, who, in the autumn of 1836, prepared a petition
to Congress asking for a law to protect their interests. Their cause
was taken up by Senator Henry Clay of Kentucky, who presented it
to the Senate in February 1837 and arranged for it to be presented
to the House of Representatives at the same time.
42
A Bill was
introduced, but it aroused great opposition from some sections of
43
the American book trade, although there was also some support.
In an attempt to circumvent that, Clay introduced a provision
which was to bedevil the American position in international
copyright for the rest of the century and beyond. Clay's new
proposal made the granting of copyright to foreign authors
dependent upon their books being manufactured in the United
States. Even this was not enough to satisfy the opposition. Clay
encountered opponents as stubborn as those encountered by
Talfourd in Britain, and despite persistent attempts, he never
succeeded in persuading Congress to enact a law.
This was the situation when Charles Dickens arrived in America
for the first time on 13 February 1842. In retrospect, this can be
seen as the beginning of what is perhaps the most famous episode in
the history of Anglo-American dealings on copyright, although by
no means the most important. 44 There is no doubt that Dickens had
suffered from the pirates, and that he felt very strongly on the
subject. Indeed, one of his motives for this first visit was to make
45
trouble about the copyright issue. Later in the year, he was to
write to one of his new American friends, John Pendleton
Kennedy:
... I have always felt, and do always feel so keenly the outrage which
- the
the existing piracy inflicts upon flagrant injustice which
writers
Law Makers suffer to be committed upon them that I cannot
. . . . . .
discuss the question as one of expediency, or reason it as one of

National profit and loss . . .^
158
Indeed, it was precisely Dickens's inability to be rational on the

subject which was to be such a problem. He contacted Clay and
others in Washington, but he found he had little influence. Worst of
all, he completely failed in his efforts to interest American authors
in the cause.
Dickens's own view of the effects of his public intervention in
American politics was rather more optimistic. In a letter to Forster
in February 1842, he wrote that:
The effect of all this copyright agitation has at least been to awaken a
great sensation on both sides of the subject; the respectable newspapers
and reviews taking up cudgels as strongly in my favour, as the others
have done against me. 47
In a sense, this was a reasonable assessment, although it seriously

underplays the importance of five years' work by Harriet
Martineau and Henry Clay. What is certain, however, is that
Dickens did not help his cause when he abandoned the comparative
privacy of letters and lobbying and assaulted the American book
trade, and indeed the United States, in print. Anti-British senti-
ment always played some part in the political opposition to changes
48
in copyright law, and Dickens probably exacerbated it. Martin
Chuzzlewit and American Notes, both published in the aftermath of /*
this first visit to the U.S.A., reflect the frustration and anger which
Dickens felt at what he saw as the theft of his work by 'the
vagabonds', as he described the pirates in the same letter to Forster.
Almost as soon as he had returned home, Dickens had issued a
49
printed Circular, entitled To British Authors and Journals, in
which he called upon both to boycott the American pirates. The
trouble was that he made little attempt to distinguish between the
vagabonds and the rest of the trade, an omission which inevitably
alienated potential American sympathizers.
Despite this, however, some American publishers and authors
continued in their efforts to persuade Congress to introduce some
sort of international copyright law. In particular, William C.
Bryant, editor of the New York
Evening Post, one of the
'respectable newspapers' to which Dickens referred, took up the
cause. He was one of the founder-members of the American
Copyright Club, which was formed in 1843 to lobby Congress and /
indeed to attempt to influence the book trade, which was still

generally opposed to any change in the law. Nothing was achieved,
however, despite nearly a decade of repeated attempts, partly
because so few American authors would lend their names and their
159
50
weight to the Club. By the end of the 1840s, efforts to change the
law of copyright in America seemed to have come to a dead end.
From the point of view of British authors and publishers this was,
. in practice, less catastrophic than it might have been. An increasing
* number of American publishers were indeed willing to pay for the
right to publish the first American edition of new British books. By
what was known in the United States as the 'courtesy of the trade',
American publishers, or at least the respectable ones, did not pirate
each other's British books once they had been acquired and
published from British publishers. This was, at best, a tenuous
arrangement, and not a satisfactory permanent solution. The real
answer, if some protection were to be given to foreign authors, lay
in the possibility of bilateral agreements, but that required an
American equivalent of the Act passed by the British Parliament in
1838. There was no indication that Congress would ever agree to
such a proposal. Other means therefore would have to be sought if
international copyright protection were to be strengthened.
In the meanwhile, during the late 1840s and early 1850s, the 1838
Act was proving itself to be quietly useful in Europe. It was slightly
amended in 1844 to bring it into line with the new domestic law of
51
1842. The principal change in the 1844-Act was that it incorpor-
ated the other rights which were a part of the 1842 Act, such as
all
/performing rights and the rights in the dramatization of novelsj^lt

also extended application to the whole of the British Empire. Jf
its
Under this Act, the British government signed conventions with a

number of German states, beginning with Prussia in 1846. Similar
conventions were soon being negotiated all over the continent,
between Austria-Hungary and Sardinia, for example, and between
52
France and The Netherlands. The interaction of these various
conventions meant that there was gradually developing a network
of reciprocal copyright protection which covered much of Europe.
One outstanding issue, however, was that between the United
Kingdom and France, which had, in a sense, first brought the whole
issue into the public arena. There had been negotiations between
the two countries even before 1838, and indeed the progress of
these negotiations had been one of the reasons given by Poulett
Thomson in urging the House of Commons to support his proposed
international copyright law. The negotiations, however, came to
nothing in the 1830s, and seem to have fallen by the wayside during
The stumbling-block was precisely the problem stated by
the 1840s.
Monckton Milnes: there was far greater demand for English books
in France than for French books in Britain, and there was no
160
intention of including translations (which were in demand in
Britain) in the 1838 Act. Consequently, there was no incentive for

the French government to pursue the negotiations seriously.
Meanwhile, piracy continued, although after 1844 the British
customs were assiduous in seizing any which were being imported
into the United Kingdom, and it was rather easier to prosecute
53
offenders.
It was not until 1851-52 that the Anglo-French situation was
finally resolved. Once again there was a Whig-Liberal government,
keen to complete the work of giving Britain a free trade economy.
The President of the Board of Trade, who was responsible for this,
was Henry Labouchere, who had briefly succeeded Poulett Thom-
son in the office in 1839 when the latter had gone to Canada as
54
Governor-General. In 1847, Labouchere returned to the same
post in the newly formed government; he instituted a series of
major reforms in Britain's commercial legislation, dismantling the
lastremnants of mercantilism and protectionism. It was in this spirit
that he renewed negotiations with the French about a copyright
convention, and in November 1851, agreement was, at last,
reached.
The treaty took account of the all-important point about
translations. The solution was complicated, but practical, and a
compromise was reached between the blanket protection for

translations demanded by the French and the distaste of the British
55
for any such protection at all. It was agreed that the author could
reserve the rights of translation for five years after original

publication, provided that the work was deposited within three
months of publication, and that a declaration of the reservation of
the rights was printed on the title-page. Registration was to be at
the Bureau de la Librairie at the Ministry of the Interior in Paris as
well as at Stationers' Hall in London. Apart from that, the Anglo-
French Copyright Convention was like those signed between the
United Kingdom and other countries, giving full reciprocal rights to
all books first published in either country. In the following year, a
French law unilaterally extended the benefits of its domestic

copyright law to all works published abroad, even if France did not
have reciprocal agreements with the country of publication, a far
more generous provision than any in Britain. 56
Indeed, no such generosity was even proposed in Britain, but the
Anglo-French Convention did, nevertheless, necessitate a change
in British law. This was because of the clause about translation
rights, which had specifically been omitted from the 1838 and 1844
161
Acts. Labouchere introduced an appropriate Bill in February 1852,

and it received the Royal Assent on 28 May. 57 At no stage, in either
House, was there any opposition, and the measure was discussed
only when Labouchere introduced it and asked for leave to bring in
the Bill. He explained the need to modify the 1844 Act to
accommodate the translation clause, describing it as a 'sort of
complement to the measure of 1844'. Only one other member

spoke, butit was
wholly appropriate that he should. Lord Mahon,
in what is apparently his last public utterance on copyright,
welcomed the proposal:
... he and Mr Justice Talfourd both felt [in 1837-42] they could not
complete the subject in a satisfactory manner without the aid of a treaty
respecting international copyright. He rejoiced to see that some progress
58
had been made . . ,
The Anglo-French Convention was an important part of the jigsaw

of agreements which now covered much of western Europe. A
Franco-Belgian treaty later in 1852, and an Anglo-Belgian agree-\/
ment in 1855, solved the problem of Belgian piracy of French
books, which had been, for the French, a running sore as annoying
59
as France had been for England. Far to the east in Leipzig, Baron
Tauchnitz was another beneficiary of the Convention, for his
editions, authorized by their authors, and protected by the Anglo-
Prussian agreement of 1846, to which Saxony had subsequently
adhered, were now the only legal editions in France and much of
60
Germany. The web was almost complete. 61
was still far from ideal. The imperfec-
British law itself, however,
tions, inadequacies and inconsistencies of the 1842 Act were
arousing more and more complaints in the middle decades of the
century. Various efforts were made to consolidate the law,
including international law, culminating in the Royal Commission
on Copyright which sat from 1875 to 1878. 62 In the international
sphere, two major outstanding issues (apart from the perpetual
problem of American copyright) needed to be resolved. One
related to the colonies, which, because these included Canada,
became a part of the Anglo-American issue. 63 The second, more
easily addressed, concerned the nationality of authors, and what
became known as 'priority of publication'.
The question of the relevance of the nationality of an author was
raised as early as 1839. In that year, Chancery held that a foreigner,
resident abroad, 'is entitled to the protection of the laws of this
country relating to copyright' provided that the book in question
162
was first published in the United Kingdom, and that publication

64
otherwise complied with British law. This decision was taken
under the 1814 Act, but was apparently confirmed in terms of the
1842 and 1844 Acts in due course. The leading case was Boosey v.
65
Purday (1849) one of a complicated series of actions concerning
,
the rights in the score and libretto of Bellini's opera La somnam-

bula. The Court of Exchequer cited Bentley v. Foster, and held that
'A foreign author residing abroad, who composes a work abroad,
and sends it to this country, where it is first published under his
authority, acquires copyright therein'. The arguments that 'the
legislature did notmean to confer a copyright on any authors but
British subjects ', and that The object of the legislature is not
. . .
to encourage the importation of foreign books and their first
publication in England but to promote the cultivation of the

. . .
66
intellect of its own subjects . .
.', patriotic as they were, were
completely rejected.
The courts did, however, draw some lines around the right of
foreigners. They refused to grant rights to the assignees of foreign
authors, even if the assignee were resident in the United Kingdom
67
at the time of publication. Even so, the boundaries were
generous, and there was no doubt that, by the middle of the
nineteenth century, foreign authors could acquire British copyright
by first publishing their works under the protection of the 1842 Act.
That was to introduce yet another complication into Anglo-
American copyright affairs, when American authors began taking
68
day trips to Montreal!
These decisions showed that British law could accommodate
change, but its failings were sharply exposed when the British
government began to explore the possibility of joining with other
countries in a general agreement on international copyright. By the
early 1880s, the network of bilateral agreements was as complic-
ated as it was comprehensive, and there was clearly a case for some
sort of codification in a general treaty. The first impetus came from
the authors themselves, working through their own international
body, the Association Litteraire et Artistique Internationale,
founded in 1879 to promote the interests of authors throughout the
world. At itsown conference in 1883, the Association drafted the
text of an international multilateral Convention which would give
69
reciprocal protection to authors in all signatory states. The Swiss
government was persuaded to take up the cause, it duly and
summoned intergovernmental conferences in Berne in 1884 and
1885. These conferences eventually agreed a revised version of the
163
original proposal, and produced a draft Convention which was

politically acceptable while meeting most of the demands of the
authors. In 1886, delegates from five European governments came
together again in Berne to discuss the issues and possibilities. There
was, however, a clear intention to ratify the agreement reached in
the previous year. The five participants were Germany, France,
Belgium, Spain and Italy; they were soon joined by the host
country, Switzerland, and also by Liberia, Tunis and Haiti. Japan
and the U.S.A. were present as observers.
The British government hesitated. The initiative was eventually
taken by the authors, who apparently drew the attention of the
Prime Minister, Gladstone, to the matter in January 1886. 70
71
Through the newly formed Society of Authors, which already had
links with the international Association, they were better organized
than on many previous occasions. They sent a delegation to meet
A. J. Mundella, the President of the Board of Trade, in March, and /
persuaded him, and through him Gladstone, that the United
72
Kingdom ought to be involved in the Berne conference. The
government agreed, and British diplomats joined the delegations
which gathered in Berne. Some modifications would be needed to
British law before the government could agree to the proposals. A
Bill to allow the United Kingdom to enter into the Convention was
introduced in the House of Commons by Mundella on 29 March,
and received the Royal Assent on 25 June. 73 It was largely a
74
technical measure. Almost the only discussion during its passage
through Parliament concerned the implications for the colonies,
but that was significant. In proposing the Second Reading,
Mundella explained that the colonies could join the proposed
Convention through an Order-in-Council, but only by their own
consent. He also pointed out that, for the first time, there would be
fullreciprocal copyright within the British Empire for any colonies
which did accede to the Convention. 75 With this matter apparently
out of the way, the British delegation was able to go to Berne with
plenipotentiary powers.
The Berne Convention was signed by all the states present,
except the two observers, on 9 September 1886. It was to come into
force on 5 December 1887, following formal ratification, which was

76
duly given by all the signatories except Liberia. The essence of the
Berne Convention was that it
gave copyright protection in any
member state to the nationals of all the other member states on the
same basis as it did to its own nationals. Some disagreements which
had arisen in 1884 and 1885 were still apparent, however, in the
164
final text. The initiative had come from the French "
originally
authors who dominated the Association Litteraire et Artistique
Internationale, and their demands regarding translations had not
been fully met. They wanted full terms comparable with those for
original works. In fact, protection for translations was closer to the
British position of a limited period following a declaration of the
77
reservation of the rights by the original author. One other clause
was to prove to be of great importance. The Convention required
that copyright had to be acquired by the mere fact of authorized
publication in any member state. The significance of this was that
signatories could not require formal registration in order to obtain
or confirm copyright, and that there could be no law which required
authors to publish their works in a particular country in order to
establish and protect their rights. This was inconsistent with
American law, and, consequently, the United States was unable to
sign the Berne Convention.
Indeed, the Berne Convention served to emphasize the isolation
of the United States from the rapidly growing network of inter-
national copyright protection. Some Americans were aware of the
anomaly of their country's position, but a political solution was still
very difficult to find. From the British perspective this was still the
problem which it had been since the 1840s, a position which was
only exacerbated in the middle decades of the century by the
development of mutual protection between European states.
Trollope, for example, contrasted the American publishers ('dis-
78
honest beasts') with Tauchnitz who always buys my novels'. The
lack of copyright protection in the United States was a grievance
among British authors and publishers of all sorts, from Trollope

and Blackwood on the one hand, to Benjamin Jowett, the
translator of Plato, and the Oxford University Press on the other. 79
The root of the legal problem lay in the inherent conflict between ^/
the laws of the two countries. There were two essential elements in
this conflict. Under the Copyright Act of 1842, copyright was
acquired in the United Kingdom by the fact of authorized

publication and subsequent deposit of a copy at the British
Museum. Registration at Stationers' Hall was just a record of the
fact of publication and deposit. It was significant because it was the
only record which would be accepted by the courts in the event of a

legal action concerning the rights in a work. Copyright, moreover,
was assured by the same actions and records in all countries with
which the United Kingdom had bilateral conventions, and, after
1886, in all signatory states of the Berne Convention. With some
165
exceptions, the law also applied in all British colonies and self-
governing dominions in the same way as it did in the United
Kingdom. The fundamental principle of American law was quite
different. Under the 1790 Federal Copyright Act, and its successor
of 1831, copyright could only be acquired by registration, with the
Register of Copyrights in Washington, before publication; this was
achieved by the deposit of a copy of the title page with the Register,
followed, after publication, by a copy of the book itself being sent
to the Library of Congress.
The second area of conflict between British and American law
concerned the nationality of the author. By 1840, the British courts
had established that a resident foreigner who first published a work
in Britain was entitled to the protection of the British law. This was
not changed by the 1842 or 1844 Acts. The provision was extended
to residents in a British colony by a ruling in the House of Lords in
80
1868. The Americancourts took a far more limited view,
regarding the rights of resident non-citizens as being limited to
those who had formally applied for citizenship; even the recruit-
ment of an American collaborator in writing or editing a work did
not guarantee that copyright could be secured in the United
81
States. Against this legal background, and the long history of
cultural conflict, suspicion, disputeand bitterness between British
and American authors and publishers, it began to seem that no
agreement would ever be reached between the two countries. In
the event, some measure of Anglo-American amity on copyright
matters was achieved by limited changes in American law, although
these failed to meet the international norms embodied in the Berne
Convention.
The story resumed in the early 1850s. There had, briefly, been
some hope of a resolution of the issue at that time. From 1849 to
1851, the British Minister in Washington was Henry Lytton Bulwer,
82
the elder brother of Bulwer-Lytton the novelist. His nephew,
Robert, the novelist's son, joined his staff in the autumn of 1850,
and took up his father's interest in Anglo-American copyright. He
also began to learn the devious ways of American politics. When
Bulwer was forced by illness to resign in 1851, his nephew stayed on
to work with the new British Minister, John Crampton, who
became equally adept in the corruption of ante-Bellum Wash-
ington. realized that only by the exercise of influence
Crampton
through lobbying and bribery was there any hope of pushing an
international copyright Bill through Congress. He and young
Lytton set about this with a will.
166
Through their contacts the Washington lobbyists, they

among
persuaded Edward Everitt, the Secretary of State, to support the
cause, and he, in turn, influenced President Fillmore. group of A
leading American publishers was persuaded to offer their support,
although others in the trade were still bitterly opposed. In 1852,
Crampton was authorized by the Foreign Office to negotiate a
treaty modelled on the Anglo-French Convention which had just
been concluded. He and Lytton realized that large sums of money
would be needed to ensure the continuing support of the lobbyists
and congressmen without whom no legislation was possible. Lytton
returned home, and his father tried to raise the money - said to be
2,000 - which would apparently be necessary to push the proposed
treaty through Congress. Many of the British authors had moral
scruples about this, quite apart from more practical considerations,
but, in the meanwhile, a treaty was indeed negotiated.
This treaty was actually signed in February 1853. It was based on
the same general principles as the Anglo-French Convention and
the other bilateral agreements between European states: reciprocal
recognition of the rights of each other's writers and publishers in
each other's countries. It foundered, however, in the political
shoals of Washington. Franklin Pierce, who succeeded Fillmore as
President in March 1854, signed the treaty, and sent it to the Senate
for ratification, but he had little interest in the matter and was
certainly not committed to this initiative by the previous adminis-
tration. The opposition from some of the publishers and book- v/
sellers was now fierce, and the bill to ratify the treaty never
emerged from the committee to which it was sent by the Senate.
Negotiations involving publishers, authors, congressmen and dip-
lomats continued, but they were in vain. The treaty was never
ratified, and with it died what was to be the last hope of an Anglo-
American copyright agreement comparable with those which
Britain was successfully negotiating with her European neighbours.
The gap between the two sides was as wide as ever, and the
grievances felt by both were equally strong.
Repeated efforts were made to revive the idea of a treaty both
before and after the American Civil War. In 1867, Dickens and /
v
Trollope went to the United States to help in the business, and
there were various petitions from British authors and publishers
during the 1860s and 1870s. Failure followed failure. The American
publishers were entrenched in their opposition to international
copyright, and showed no inclination to change as the market for
167
reprints of English books became ever more lucrative. It seemed

83
that no progress was possible.
The exclusion of the United States from the Berne Convention,
made necessary by its own domestic law, finally provoked some
American authors and publishers into action. The American
Copyright League was founded in 1884 by a group of publishers
to press for reform of the law, both domestically and inter-
nationally. It became more active after 1887, and began to lobby

vigorously and effectively for changes. A succession of bills was
considered by Congress between 1886 and 1890, but all fell to the
opposition of the Democrats. Their supporters, especially in the
south, were bitterly antipathetic to any measure which would open
up American markets to foreign competition, or, coincidentally,
increase the price of books, as many feared that it would. The
opposition was not only political. The publishers of cheap reprint
series were against it, and so too were the increasingly powerful
trade unions in the printing industry who feared loss of work if the
copyright in imported books were protected under American law.
It was a concession on the last point which finally allowed a bill to
pass, but the same concession caused the continued exclusion of the
United States from the growing international consensus on copy-
84
right protection.
The Chase Act of 1891^ as it is known from the name of one of its
sponsors, Senator Henry Chase, at last made some of the provi-
sions for which British authors had been calling for half a century.
Non-resident authors were now protected in the United States on
exactly the same terms as residents, which, under the 1891 Act, was
for 28 years, with a 14-year renewal if the author were still alive at
the end of that time. Although this fell far short of the terms which
were now common in the Berne Convention countries, it was an
85
important advance, and was welcomed as such by British authors.
There were, however, some serious complications. Two were
particularly disadvantageous to foreign authors, and both arose out
of the concession which had had to be made to the printing workers'
86
unions. First, to claim copyright protection in the United States, a
book had to published there no later than it was published in its
country of origin. Secondly, it had to be printed in the United
States, or printed from type set in the United States or from plates
made from type set in the United States. The manufacturing clause
had come back to haunt American international copyright affairs
yet again, and resulted in the continuing absence of the United
States from the Berne Convention.
168
From a British point of view, however, the Chase Act was better
than nothing. British authors and publishers soon learned how to
make use of the Act to secure their copyrights in the United States.
The young Bernard Shaw had predicted in 1885 that 'if an
International Copyright Treaty [i.e. the Berne Convention] be
concluded . . . authors . . . will deal directly with publishers in
87
America . . ,' He was wrong in two respects: the Americans did
not sign the treaty, and, in general, British authors used their
publishers to deal with American rights rather than doing so
themselves. Indeed, Shaw himself told Grant Richards that he
wanted 'to secure the American copyright' in The Perfect Wagnerite
in 1898, which Richards proceeded to do by negotiating (at Shaw's
88
suggestion) with the New York publisher, Herbert S. Stone.
Indeed, one of the unintended longer-term consequences of the
Chase Act was that and American publishers began to work
British
together more was in the decade after the passage of the

closely. It
Act that we can first detect American capital beginning to be
89
invested in the somewhat ailing British publishing industry. While
the Chase Act certainly did not solve all the problems of Anglo-
American copyright, it did create a climate in which authors and
publishers could cooperate across the Atlantic.
It also, however, brought to a head another issue which had been
smouldering, with increasing intensity, for much of the time since

the passage of the 1842 Act in Britain. This was the question of
copyright in the British colonies and dominions. For the most part,
this was uncontentious. After some minor modifications to the law
relating to the Customs, books which were protected under the

1842 Act were protected throughout the British Empire. Some
British publishers, notably John Murray, took advantage of this
and began to issue 'Colonial' editions or libraries specifically for
90
sale in the British possessions outside the United Kingdom. The
problems arose, however, in connection with Canada, which both
legallyand culturally was in a unique position. Legally, Canada
became a self-governing dominion in 1867, with its own Parliament
empowered to pass its own legislation. Culturally (and indeed
economically), it was increasingly influenced by the United States,
and was, for the export market of great
latter country, a potential
importance. From the perspective of an American publisher,

Canada was an English-speaking market on the doorstep, where
the writ of the British government did not entirely run.
As early as the 1840s, Canadian booksellers, and indeed the
Canadian public, were looking for ways to buy cheap books from
169
the United States rather than expensive ones from Britain. One
solution was smuggling, and this certainly happened on a large
scale. Another course of action was to change the law, and,
remarkably, this also happened. In 1847, Gladstone, at that time

Colonial Secretary, addressed the issue under pressure from the
Canadians themselves. A Bill was introduced of which the effect
was to suspend the 1842 Act in any colony which made adequate
provision to pay British authors for books published or sold in that

colony. The Act would come into force in a particular colony when
an Order-in-Council was made to implement it, which, in effect,
would happen when the British government (represented by the
Board of Trade or the Colonial Office) was satisfied with the
arrangements which had been made. This Bill passed through
Parliament with no opposition and became law, as the Foreign
91
Reprints Act, on 22 July. The Canadians acted promptly to take
advantage of this Act, which had slipped through the British
y
Parliament without any opposition, and without even arousing the
interest of British authors and publishers, who presumably djtfnot
realize its implications. They were to have their eyes opened. The
first Canadian proposal would, in effect, have granted Canadian
copyright to British authors only if their works were printed and

published in Canada; this was squashed, but the agreement which
was eventually reached was little better from the British point of
view. In 1851, a Canadian Act was accepted as the basis for an
Order-in-Council in terms of the British Act of 1847. The 1842 Act
was indeed suspended in Canada. An excise duty, not exceeding
20 per cent, was to be charged on the import of books from the
United States, of which the proceeds were to go to British copyright
owners. The Act was a farce; no serious attempt was made to
enforce it. British publishers received almost nothing, and cheap
American reprints of British books were on sale throughout the
92
British territories in North America.
Worse was to come, from the British point of view. The leading
case of Routledge v. Samson Low, determined on appeal to the
House of Lords in 1868, was at the heart of the problem. 93 The
Lords had held that the 1842 Act applied to foreigners resident in
any British territory. They also decided, however, that where the
1842 Act had been suspended by an Order-in-Council under the
1847 Foreign Reprints Act, the copyright acquired by publication in
that territory did not extend to the rest of the Empire. This
conundrum was not even solved when the United Kingdom signed the
Berne Convention, for this still allowed self-governing dominions to
decide for themselves whether or not to adhere to it, which Canada

94
did not do until 1928. Reduced to its simplest form, the effect of
all this was that American reprints of British books could be sold in
Canada, and that British publishers could not even protect

themselves by authorizing Canadian reprints of their own because
that could undermine their rights elsewhere in the Empire. The
really significant fact for British publishers was the effective loss of
the Canadian market to the Americans. The Chase Act, by
providing a means by which British copyrights could be secured and
rewarded in the United States, eased the situation a little, but even
so, from the middle of the nineteenth century onwards, Canada was
no longer a part of the cultural empire of the British publishing
industry.
European, American and colonial copyright problems prolifer-
ated throughout the nineteenth century. The various attempts
made to address them were pragmatic rather than idealistic. Within
Europe, treaties and conventions provided a relatively simple
mechanism which reached its
for reciprocal protection, a practice
zenith with the signature of the Berne Convention in 1886. No such
agreements were possible with the United States, and British

authors and publishers were forced to take what advantage they
could of the very limited protection afforded to them by domestic
legislation. In the rapidly expanding British Empire, the most
advanced country, Canada, provided difficulties of its own;
although the concept of 'imperial copyright' was established by the
1842 Act, the 1847 Foreign Reprints Act provided a means of
undermining that very concept almost as soon as it was recognized.
By the end of the nineteenth century, international copyright was
generally accepted in legal, literary and publishing circles. Provi-
sions might vary, but there was a broad recognition that an author
or other copyright owner was entitled to some form of protection of
rights in any country in the world. Despite the reluctance of the
protectionist United States, and even of some of Britain's own
more recalcitrant overseas territories, the principle itself was barely
open to challenge. Even in practice, protection was widespread and
effective. One consequence, however, was that British copyright
law could no longer be considered in a purely national context. In
the United Kingdom after 1886, any revision of the law had
international implications which legislators would have to take into
account. Moreover, the great copyright debates of the nineteenth
century, both domestic and international, had made authors
171
everywhere more aware of the economic power which grew out of

their artistic talents. It was in this ethos that the 1842 Act operated
in the United Kingdom, and in which it gradually came to be seen to
be somewhat less ideal than its proponents had hoped.
172
7 Challenge and Change
1842-1988
first American tour, Dickens wrote to his friend

In the turmoil of his
and future biographer, John Forster: The effect of all this
copyright agitation has at least been to awaken a great interest on
both sides of the subject ..'* That interest,
.
however, soon
subsided, and for long periods even the search for an Anglo-
American copyright agreement lay dormant or was pursued
through quiet diplomacy or covert bribes. The international
question, at least in relation to the United States, did, from time to
time, arouse some public debate, although more often because of
its patriotic dimensions than because of the literary or legal issues
which were at stake. Domestic copyright was of almost no concern
whatsoever, except to a very few; those few were a minority even

among authors and publishers. To them, it was a crucial issue, and
there have indeed been four brief periods since 1842 when their
concerns became more general and more public. In general,
developments in domestic law have been driven as much by
international necessity, in making British law consistent with
international conventions to which the United Kingdom wished to
adhere, and by rapid and continuous technological change, as they
have by the wishes and views of authors and publishers.
The Copyright Act of 1842 had fulfilled at least one of the
ambitions of its progenitors. The most important provision for
authors was that the period of copyright had been significantly
lengthened. At worst, there was lifetime protection for the author,
with a 7-year post mortem term, and 42-year protection for
posthumous works. The compromise which had enabled Mahon to
succeed where Talfourd had failed was not ideal, but it provided a
reasonable level of protection for authors and their families. In
many other respects, however, the Act was unsatisfactory. When
copyright was investigated by a Royal Commission in the late
2
1870s, the Commissioners observed of the Act that 'The first
173
observation ... is that its form, as distinguished from its substance,
seems to us bad'. 3 They went on to use such words as 'incomplete',

'obscure' and 'ill-expressed', referring largely to the wording of the
Act, but also, from time to time, to its contents as well.
The truth was that the 1842 Act was, like its predecessor of 1710,
designed to solve a specific problem. As a result, it created other
problems in its wake, because its authors had failed to identify or to
address some other important issues. In 1710, Parliament had
legislated for the booksellers; in 1842 it legislated for the authors.
In particular, it had legislated for the authors of books. The Act had
little to say, although it
implied much, about the authors and
editors of periodicals, and nothing at all about such matters as
performance rights, rights in music and lyrics, and rights in works of
visual art. Other laws dealt with some of this, but there were gross
inconsistencies between them, and there were some formats and
media, and some creative or imitative activities, which were not
covered at all, or whose coverage was ambiguous and imperfect.
The 1842 Act was a rather backward-looking piece of legislation,
which protected the classic form of the late eighteenth and early
nineteenth centuries - the printed book - while almost entirely
ignoring the proliferation of reproducible and marketable formats
and manifestations which already existed even as early as the 1840s.
The diversification of media is an essential part of the history of
copyright in the nineteenth and twentieth centuries. It has its roots
in technological change, in itself an alien concept in the book trade
in the year 1800. At the beginning of the nineteenth century, book
production had barely changed in the 350 years since the invention
of printing. Printing itself was the only medium of reproduction
which could be used for text; its ability to reproduce pictures
accurately and effectively was very limited. It was a hand-craft
process; typesetting, printing and binding were all done by hand.
All the ancillary arts and processes were in the same state; these
included the various graphic processes, which involved engraving
or cutting in wood or in a metal plate, and even the manufacture of
the basic materials of the craft itself, paper, type and ink. Within
lessthan half a century, almost all of this changed.
The details of the changes are not important for the present
purpose, but the consequences and the chronology are. The

invention (or perhaps more accurately, the re-invention) of stereo-
typing came first; this process, which allows an exact copy to be
made of a page of type, was used commercially from about 1800
onwards, and reduced both the time and the cost of reprinting. It
174
Challenge and Change 1842-1988
was no longer necessary either to reset the type, or to keep large

quantities of type made up (or 'standing' in the printers' termino-
logy) in order to reprint a text. The plates (or moulds from which
the plates were made) could be stored easily, used many times,
and, when they were worn, easily reproduced for continued use.
Stereotyping was the process which made cheap reprinting possible
on a previously unimagined scale. 4
The second great development was the invention of the paper-
making machine. The inventor was Louis Robert, a Frenchman,
but its practical development took place in England with the capital
of the Fourdrinier brothers, who were wholesale stationers in
London. The Fourdrinier machines, whose principle still remains
essentially unchanged, displaced hand papermaking for commer-
cial purposes very rapidly, after their first introduction in 1807.
Much machine-made paper was of a lower quality than its hand-
crafted predecessor, but the sheer quantity that could be produced
5
inevitably brought down the price. This was a major contribution
to the cheapening of printed matter.
The third innovationwas in printing itself. Iron displaced wood
as the material from which printing presses were made from 1800
onwards, which made the press more efficient, and increased the
speed of production. The revolutionary change, however, was in
the application of steam power to printing from 1814 onwards.
Although the steam presses were at first used almost entirely for
newspapers, by the 1840s nearly all books were being printed by
steam-driven presses. Printing was easier, faster and cheaper as a
6
result. The mechanization of typesetting was less easily achieved,
and the problems which it presented were not solved until almost
the end of the century, when, in the late 1880s and early 1890s, two
7
similar systems, Linotype and Monotype, were introduced.
Graphic processes underwent equally important, and even more

radical, change. The traditional hand processes survived until the
end of the nineteenth century and into the twentieth, but there was
one important nineteenth-century addition to the range. This was
lithography, which allowed for far more detailed and accurate
drawings and diagrams, and was particularly useful for printing
8
maps and music as well as representational illustrations. From the
1840s onwards, however, all the hand processes were under
continuous and growing challenge from the wholly new process of
photography. Indeed, with photography, we move away from
technical innovations in printing towards more general develop-
ments in communication media, although techniques were indeed
175
developed for reproducing photographs as part of the printing

9
process.
New media, and new means of reproduction, transmission and
*"
communication, have revolutionized the world of books and
information since the middle of the nineteenth century. Recorded
sound was first heard in 1877, moving photographic pictures were
first made in 1887, and the two were linked as 'talkies' in 1926.
Before that, signals had been transmitted by cable (1844) and by

wireless telegraphy (1896), and commercial broadcasting for enter-
tainment and other purposes had begun in Britain in 1922.
Television followed in 1936. After World War Two, the pace of
innovation was, if anything, even faster. The use of small-format
photographic film, with high-quality lenses, made microform
reproduction easy and widespread by the late 1940s. Photocopying,
in a primitive form, existed by the 1870s, and the plain-paper dry
copying processes were also under development by 1940. Sound

recording on magnetic tape had been invented in the 1920s, but
tape recorders were not commercially available until the mid-
1950s. All the time, equipment was becoming more sophisticated,
and, in real terms, cheaper. During the good economic times of the
1950s, the ownership of televisions, tape-recorders and record-
players soared in Britain, while libraries equipped themselves with
microfilm and microcard readers. By the mid-1960s, the photo-
copier was ubiquitous in libraries and offices alike.
All of this made reproduction cheap and easy. Photocopiers
allowed anyone to make a copy of anything on a piece of paper, text
or diagram, manuscript or printed. Tape recording made it possible
to copy the sound from radio broadcasts or from gramophone
records. It was hard to sustain traditional ideas about the inviolabil-
ity and
integrity of reproducible works in such conditions. Later
developments exacerbated the situation. Video recording made all
television programmes (which included many cinema films) vulner-
able to virtually uncontrollable copying. New communications
systems, especially satellite television broadcasting, made it vir-
tually impossible to control transmission and reception outside a

single jurisdiction. Above all, computers transformed the informa-
tion world.
The first computers were built as code-breaking devices during
World War Two. They began to be used for complex mathematical
calculations in the late 1940s, and spread slowly but pervasively in
the scientific world during the 1950s. By the mid-1960s, computers
were in use for handling textual data, but they were expensive and
176
difficult to use, and were largely confined to universities. Gradu-

ally, they spread into business and industry, as the multiplicity of
uses with which we are now familiar were developed from the late
1960s onwards. The development of the microprocessor - the
'silicon chip' - in the 1970s brought a second computer revolution
before the first was complete. Computers joined photocopiers in
every office, and televisions in many homes, as the visible symbol of
the information society. The vast industry which has developed
around the computer is creating products which are perhaps more
easily reproducible than anything else ever invented. The software
which drives a computer, and the stored data which it contains, can
be reproduced without error and, almost instantaneously, in a form
which is virtually indistinguishable from the original. Even more
than photocopying, this presents a challenge to the very idea of
copyright, and one which is still not fully answered.
Against this background, the cosy world of books which pro-
duced the 1842 Copyright Act has changed almost beyond recogni-
tion. Indeed, even in 1842, it was changing. That law was devised at
the very time when steam printing, stereotyping and machine-made
paper had brought the price of books, in real terms, to unpreceden-
tedly low levels. Other innovations in transport and communica-
tions, and in commercial systems such as wholesaling and banking,
tended towards the same end. Moreover, as books became
cheaper, the market for them increased. Rising literacy rates, the
increase of leisure time, and the development of both commercial
and public libraries all created new markets for the book trade. The
trade itself was transformed. It was increasingly dominated by a
small number of publishers and an even smaller number of
wholesalers, with a vast and diffuse network of bookshops and
circulating libraries through which the public obtained their books.
The chain of supply was long, and many people along it were
looking to makea profit out of their transactions.
Books no longer stood alone in the trade. Newspapers had, of
'
course, been familiar since the late seventeenth century, and
magazines since the early eighteenth, but cheap printing allowed

both to proliferate in the nineteenth century. The reduction, and
eventual abolition, of taxation on newspapers brought them within
reach of virtually the entire population, and by the end of the
century, the popular press was well-established and highly profit-
able. For authors, the newspapers and magazines were a major new
source of income in the nineteenth and twentieth centuries,
10
rivalling and perhaps often superseding the writing of books.
177
Journalism, at whatever level, was not, however, the only new

source of income. All the new media of the late nineteenth and
twentieth centuries provided new outlets for creative work. Music
had to be composed before it could be recorded, and scripts written
before talkies could be made. Radio and television both showed an
apparently inexhaustible appetite for writing of all kinds, whether
original material, or adaptations of existing books. Old simplicities
vanished. A
novel written in 1891, by an author who did not die
until 1940,could have been published originally in a magazine, in
both Britain and the United States, reprinted as a book in both
countries, in special editions for Canada and for other parts of the
British Empire, and subsequently as a cheap edition for the
domestic market. It could also have been dramatized for the stage,
read in whole or in part on the radio, adapted either from the novel
itself or from the stage version for dramatization on radio or
television, and used as the basis for a cinema film. The history of the
transformation of Shaw's Pygmalion from play to film to musical to
film of the musical shows that this is not far-fetched. At every stage
new income was generated as new outlets were
in the process,
created bynew technology and by social change.
The Copyright Act of 1842 was still in force when much of this
innovation began. Indeed, throughout the nineteenth and twen-
tieth centuries, the law has failed to keep up with the pace of
change, even when it has tried to do so. Instead, practices have

developed within the law, supported by it if they were tested, which
have become commercial relationships between the various
producers and distributors of created works. The law of copyright
has underpinned some of these developments, and sometimes
provided a context for them, but, more often, it has had to be
changed to accommodate practice rather than being an active
driver of change.
The changing between the writers, publishers and
relationship
sellers of books was around the increased importance of
built
money in determining how they worked together. During the

eighteenth century, as authors had begun to assert some of the
powers accidentally conferred upon them in 1710, they had been
n
able to forge new kinds of agreements with publishers. In essence,
these involved the publisher buying the copyright from the author,
on conditions which were agreed between them which might
include payments to the author based on length, sales, revision for
new editions, and so on. In the early nineteenth century, the
outright sale of the copyright to the publisher was still normal, and
178
was alleged to be popular with authors. A few publishers even

made subsequent ex gratia payments if a book was particularly
successful.For most writers, however, outright sale represented
the only form of income from their work, and they were thus paid
12
once only for each book. This could lead to great complications,
for an author lost both financial and artistic control of his or her
works, and a later collected edition would often involve complic-
ated transactions with anumber of parties. 13
Gradually, outright sale came to be replaced by other methods,
most of which were more favourable to the author. The earliest
were the profit-sharing agreements under which the author and
publisher shared the profits when the expenses of the edition had
been covered. The usual division of the spoils was 50:50, and the
system consequently was known as 'half-profits'. From the 1830s to
the 1860s, this was probably the most common form of payment for
most authors. It certainly was for novelists, the producers of the
dominant literary form of the period. 14 The system was, however,
fraught with difficulties. It depended on the existence of mutual
trust between author and publisher, and especially on the author's
willingness to accept the publisher's accounting procedures and

results. Too often, such trust was lacking, and it was, indeed,
15
occasionally misplaced.
In the second half of the century, a second kind of agreement
began to be reached, which was, eventually, to displace all the
others almost entirely. This was the royalty agreement, under
which the author was paid an agreed percentage of the publisher's
income from the book. The percentage was usually of the order of
10 to 12V2 per cent. It was normally paid on the trade price, and
continued however many editions were published so long as the
book remained in copyright. Some publishers began to pay on a
royalty basis in the 1860s, and it was probably normal by the
16
1880s. The author thus gained a continuing interest in the book,
and some control over it.
The 1842 Act made no attempt to define copyright, but, by partly
associating the term of copyright protection with the author's life,
at least implicitly recognized that it was essentially an author's
right. The evolving new forms of agreement between authors and

publishers also implicitly acknowledged the author's role as the
creator of the property. The point which had caused so much
trouble to the eighteenth-century lawyers was thus settled pragmat-
17
ically in thenineteenth century. The assertiveness of authors was
not only financial; they also began to claim the right to control their
179
property in an or literary sense, by controlling the forms and

artistic
versions in which was disseminated. It was these claims which lay
it
at the root of the difficulties which were to arise about translations,

dramatizations and abridgements, and even about the publication
18
of cheap editions of the whole of the original text.
Eventually, the authors began to come together to defend their
interests,and indeed to promote them. In 1883-84, twelve writers ^/
formed the Society of Authors and quickly persuaded many others
to join them. The prime mover in the Society was Walter Besant, a
novelist and journalist; the first group of members included
Matthew Arnold, Wilkie Collins and Charlotte Yonge, all recruited
as Vice-Presidents, and, in Besant's greatest coup, the recently
19
ennobled Tennyson as President. The Society's main interests
were in the relations between publishers and authors, and with*/
copyright law reform, both domestic and international, but espe-
20
cially with the still festering issue of
Anglo-American copyright.
The foundation of the Society of Authors was one of the ways in
which the authors professionalized themselves. Some, especially
among the younger generation, were beginning to use agents to
represent their interests in dealings with their publishers, much as
they might have used a solicitor. The first of the great agents, A. P.
Watt, was active by the mid- 1870s, and, despite the suspicions and
hostility of some of the more traditional publishers, literary agents
21
soon became a familiar part of the London book world. The work
of the Society of Authors and the activities of literary agents both
made authors more aware of their interests, their status and their
rights. The generation of Arnold Bennett and H. G. Wells were
very clear that, however much they might love literature and wish
to serve the republic of letters, they also expected to earn a
reasonable living as a reward for their talents and achievements.
It was not only the authors who became more professional and
more commercial at the end of the nineteenth century. Throughout

the century, there had been intermittent attempts among both the
booksellers and the publishers to form societies and associations of
22 v/
various kinds. These organizations had failed, but in the 1890s
new organizations were founded on both sides of the trade which
were to prove to be permanent. 23 The immediate cause of the
foundation of both the Associated Booksellers of Great Britain and
Ireland (later to become the Booksellers' Association) in 1895, and
of the Publishers' Association in 1896, was the need for represent-
ative bodies in the discussions which led to the formulation of the
Net Book Agreement in 1900. 24 Indeed, once that Agreement was
180
concluded, both bodies policed the trade to ensure its enforcement.

The Publishers' Association also assumed a larger role in represent-
ing the interests of its members in a wide range of matters,
including copyright. The Net Book Agreement itself was important
to the authors in a quite unintentional way; by allowing publishers
to determine the minimum retail (or 'net') price at which a book
could be sold in the United Kingdom, it provided a touchstone
against which royalty percentages could easily be measured without
the ambiguity inherent in considering trade prices.
The technological and commercial changes in the book trade
were all ultimately dependent on the market for books. This/X
expanded throughout the century, as education and literacy spread
down the social scale. To provide for the needs of a diverse and
multi-layered market, the trade developed its own norms and
practices, especially in the publication of novels. Scott established
the convention of three-volume publication, and the 'three-decker'
became the standard format of the mid-nineteenth-century novel. 25
The typical three-decker was sold at the considerable price of
31s. 6d. (one-and-a-half guineas), far beyond the reach of many
readers, and expensive even for the middle classes in search of light
entertainment. In fact, the three-deckers were almost entirely the
preserve of the circulating libraries, which, from humble origins in
the late seventeenth century and through a period of fashionable
popularity in the eighteenth, became one of the great institutions of
mid-Victorian Britain. The two great national libraries, Mudie's
and Smith's, came to dominate the market. They demanded three-
deckers (because they charged by the volume for loans), and the
26
publishers provided them. When, in 1894-95, Mudie's changed
their policy and refused to accept three-deckers, the form vanished
overnight, and was never revived.

The libraries provided a safe market for the expensive first
editions of novels, but, for the bookshops, the mainstay of the trade
was the cheap reprint in one volume, typically priced at 6s. Qd.
Some of these were in series, others were not; whatever the case, it
was the cheap editions, containing the full authorized text, in which
the Victorian novelists, both greater and lesser, reached the mass
market. Cheap reprints became the flagship of the public con-
science of the publishing industry, with its claims to serve all classes
27
of society at prices which they could afford. They also, of course,
provided additional income, and, for authors, additional royalties.
Even the demise of the three-deckers did not kill the reprints.
Indeed, in the early twentieth century, they proliferated, with both
181
copyright and public domain texts being issued in such series as

Nelson's Sixpenny Classics, Everyman's Library and World's
Classics, a pattern of publishing which reached its climax in the
work of Allen Lane in the 1930s when he founded Penguin
28
Books.
against this complex history of social, economic and cultural
It is
change that the development of copyright since 1842 has to be

considered. Perhaps the most important difference from earlier
periods was the greater prominence of the authors. This was partly
a direct consequence of the 1842 Act, but authors, individually and
collectively,were also more willing and able to use the law, and to
demand that it be changed for their benefit. At the same time, the
publishing industry and the book trade had become a vast network
of interlocking interests, with massive capital investments and ever-
growing costs. Finally, throughout the period, the book, and even
the printed word itself, was under continuous challenge from an
ever-increasing number of technological marvels, each one more
accomplished than its predecessor and some displacing the art of
reading itself as the prime means of human communication through
time and space.
The 1842 Act was ill-designed to cope with these changes, for
that had not been its purpose; yet it had to do so. Ideas about such
basic concepts as 'copying' and 'plagiarism' were themselves
becoming more complicated, and the practical application of the
law to the socially unacceptable was less easy as a consequence. 29
The move to change or augment the Act, however, was not driven
principally by perceptions of its conceptual inadequacy. On a
purely practical level, authors and publishers alike were concerned
J with international copyright as much as with domestic law.
Especially after 1886, they wanted the United Kingdom to play a
full and active part in the growing arena of international copyright
protection. More than anything else, especially in the first half of

the twentieth century, it was the demands of the international
conventions which provided the driving force for reform.
Domestically, the forces at work were somewhat different.
Authors and publishers alike were interested in a clear and >
enforceable law, which required better definitions of rights and ^

penalties. As time went on, however, their interest shifted towards
the growing number of subsidiary rights, and the need to protect
the integrity of literary properties against the adapters, abridgers
and translators, and later the recordists and cinematographers.
I
Apparently clear distinctions between the written and the spoken
182
word, and between publication and performance, were blurred in

the face of technological innovation* To confront this was a law
largely written at the instigation of a few old men who wanted to
protect their families' claims to the income from their writings,
together with a multiplicity of statutes, going back to Hogarth's Act
of 1735, which sought to offer some form of protection to other
products of the human brain. In this morass, there was not even an
adequate definition of copyright itself.
The need for consolidation and codification of the law was

apparent even in the 1840s, but it was not until 1857 that a Bill was
brought forward which would have had this effect. The Copyright
Acts Consolidation Bill of that year would have repealed and
replaced Hogarth's Act, the 1842 Act, the Dramatic Performances
Act of 1833, and a host of other legislation, to give a 42-year term
for everything, and a wide range of protection of rights. After a
formal First Reading in the Commons, it was withdrawn by its
30
sponsors. The problem remained, however, and the need for a
solution was becoming ever more urgent. A similar Bill was
introduced in 1864; this went to a Select Committee after its Second
31
Reading. The Select Committee held five meetings in the spring
and early summer of 1864, and recognized the confused and
conflicting law in the field, but concluded that they were 'not
prepared to recommend any amendment or consolidation of the
32
Law of Copyright . .'
. The Times rightly took this to indicate that
they found the matter too difficult, and it was unimpressed by their
proposal to refer it to another Select Committee in the following

33
Session. In fact, eleven years were to elapse before Parliament
returned to the question of domestic copyright, and the immediate
upshot even then was no more than some minor modifications to
34
performing rights.
The Performing Rights Act of 1875, however, provided the
occasion for a general debate on domestic copyright in the House of
Commons, apparently for the first time since 1842. In the course of
that debate, Edward Jenkins, a recently elected Liberal member,
declared himself disappointed with the narrow scope of the
proposal, and indicated that he hoped that a future Bill would come
35
closer to addressing the key issues of copyright law. In the
following Session, he returned to the matter, and took an active
part in trying to force a change. Jenkins, the Talfourd manque of
36
copyright law reform in the late 1870s, was an interesting man. He
was born in Canada, and educated there at McGill University
before coming to London to be called to the Bar of Lincoln's Inn in
183
1864. He was a Liberal in politics, but an early example of the

imperialist faction in the Liberal Party, strongly favouring
measures which tended towards the unity of the British Empire,
especially imperial preferences. This put him in a very different
camp from his notional leader, Gladstone, but also in a position to
attract some cross-party support. To Jenkins, copyright was
primarily an imperial issue. He wanted to consolidate domestic and
imperial law so as to have a uniform copyright regime throughout
the British Empire, including the self-governing dominion of which
he was a native.
In the spring of 1875, Jenkins was active in promoting the
copyright issue. He was at a meeting held (significantly) at the
Canadian Agency in London on 1 March 1875 at which a number of
authors and others formed an organization which was to be known
as the Association for the Protection of the Rights of Authors. The
main business of the meeting was actually to hear an address on
the present state of copyright law, especially in relation to the
37
colonies. The group, however, also discussed Jenkins's proposal
for a SelectCommittee on copyright, and, in that way, took a more
38
general interest in reform. At first little happened, but during
Prime Minister's Questions on 10 May, Jenkins asked Disraeli
whether the government would appoint a Select Committee on
copyright. Disraeli replied, somewhat anodynely, that he had
received a delegation on the matter that morning, and regarded
their representations as being of 'a grave character and deserving
the consideration of the government'. The matter of the Select
Committee was not yet, however, decided. 39
The question was not unexpected, and nor was the reply. Jenkins
knew all about the delegation, because he had been a member of it,
as had Charles Reade, the novelist, Charles Dickens the younger,
Charles August Sala, Blanchard Jerrold and other writers and
writers' heirs and assigns. In fact, the delegation was from the
Association for the Protection of the Rights of Authors, in whose
40
formation all of these men had played a part in the previous year.
Jenkins raised three issues with Disraeli, all of which concerned the
members of the delegation. These were: first, the need for an
inquiry into British domestic copyright law; secondly, the particu-
lar issue of the dramatization of novels without the consent of the
author of the novel; and the state of imperial law on
finally,
copyright. W. May Thomas, a lawyer who had been helping
the Association, elaborated on all three points, particularly on the
need to clarify the law on some specific issues, including the
184
copyright in newspaper articles (which was in dispute between

authors and proprietors), the effect on the ownership of U.K. rights
if a book by a British subject were first published abroad, and the
question of stage adaptations. Disraeli was rather overwhelmed by

the detail, but he was not unsympathetic; he was reported as
saying:
... I will give the most active attention to what is before me, and I will
endeavour to take such a course as I think will remove some of the
burdens, annoyances and vexations that now exist . . .
Perhaps the memory of that early self-proclaimed parliamentary

41
triumph inspired him, for he did indeed agree that a committee of
inquiry was the best way forward.
In his parliamentary question that afternoon, Jenkins did not go
into detail on the issue; indeed parliamentary custom would have
precluded this. The only specific matter he raised was in relation to
the 'new' Canadian copyright Act, which was indeed causing a good
42
deal of worry to authors and publishers in Britain. This Act, if it
had come into full force, would have granted to Canadian

publishers the right to pay a fixed royalty to the owners of out-of-
print British copyright books and then to reprint them freely.
Although there were some safeguards against the export of these
books, and against the import into Canada of unauthorized
reprints, this was a very large step towards the recognition of a
Canadian copyright which was distinct from that in the United
Kingdom, while also giving wide-ranging rights to Canadian
43
reprinters. For Jenkins, a Canadian and an imperialist, the real
issue was the need to maintain uniformity of legislation through the
Empire.
In the event, a Royal Commission was established, after some
delay, and Earl Stanhope was designated as its Chairman. There
could have been no man more appropriate for the job, for
Stanhope was in fact Lord Mahon, the author of the 1842 Act. He
never served in this office, however, for he died within weeks of
his appointment, and his successor, Lord James Manners, the
44
Postmaster-General, was not appointed until March 1876. Only
then did the Commission begin its work.
The Royal Commission of 1875 was the first of four great
inquiries into copyright law between the 1870s and the 1970s, and in
many ways it was both the most thorough and the least conclus-
45
ive. It sat for almost three years, heard dozens of witnesses, and
deliberated for hundreds of hours. It produced a report which is the
185
most thorough analysis which has ever been made of the late-
nineteenth-century law of copyright in Britain, but it had almost no
46
practical effect. The members of the Commission were repres-
entative of the literary and legal world, as well as of the political
interests involved. They included Jenkins, of course, but also
Anthony Trollope, SirLouis Mallet, now serving at the India
Office, but formerly at the Board of Trade (which was the parent
Department of the Commission), Farrer Herschell, Liberal M.P.,
barrister and future Lord Chancellor, J. A. Froude, the historian,
and Fitzjames Stephen, a lawyer and future judge who belonged to
one of the great intellectual clans of late Victorian England. 47 Their
v combined intellects, however, were unable to reconcile the differ-
ences between competing interest groups, and unable, in the end,
to propose a course of action which was generally acceptable.
The Commissioners were unequivocal in their view of the law:
The first observation ... is that its form, as distinguished from its
48
substance, seems to us bad ,' . The 1842 Act, in particular, was
.
badly arranged, 'incomplete', 'obscure' and 'ill-expressed'; the

whole body of copyright law was riddled with inconsistencies, and
was in urgent need of codification. 49 To that extent, no one
acquainted with the law would have disagreed with their conclu-
sions. The concerns of the Commissioners were, like their brief,
wide-ranging; the Terms of Reference left them with unlimited

scope, for they were charged 'to make Inquiry with regard to the
Laws and Regulations relating to Home, Colonial and Inter-
50
national Copyright .',. and they did indeed look at all three of
.
these, and also at the problems of copyright or similar protection

for forms other than the printed word. In the course of their work, a
whole series of issues arose, both general and specific. At the most
basic level, they were forced to consider what copyright actually
was, and indeed its purpose. They found themselves embroiled in
issues of free trade and protectionism. They had to adjudicate on /
the apparent conflict between private rights in works and the public
benefits which resulted from the availability of cheap books. At a
more specific level, they confronted, among many other matters,
the length of the term of copyright, what were not yet called
subsidiary rights, imperial and colonial issues, and the rights,

status, income and contractual position of authors. All of this was
/ compounded by the views of composers, musicians, actors, artists
and architects, as well as authors, publishers, newspaper editors,
economists, lawyers and politicians. The Commissioners were, for
186
the two years during which they sat, very busy men. Perhaps it is no
surprise that, at the end of it all, they could not agree.
The Commissioners heard evidence from a great variety of
witnesses and was their preoccupations which largely determined
it
both the agenda and the conclusions of the Commission. On the

largest question of all, the nature of copyright, witnesses and
Commissioners alike were reluctant to commit themselves. John
Blackwood, the head of the distinguished Edinburgh publishing
house, flatly refused to enter into what he called 'an abstract
question about property'. He seems to have regarded copyright as a
unique and almost self-defining form of property, denied that it was
even comparable to patent law, and clinched his argument with the
statement that 'No other man [sic] could invent an "Adam
Bede" '. 51 Neither of the other major publishers who testified, John
Murray and William Longman, entered into the question at all,
and, of the other witnesses, only the scientist T. H. Huxley really
came to grips with it. Even he concluded, in a pragmatic way, that
he regarded his books as being pieces of property which had 'the
52
same right to be protected as any other kind of property'.
In their report, the Commissioners made no serious attempt to
define copyright, even though they themselves rightly noted the
confusion in the law, and argued that it arose, in large part, from
the very lack of definition. Indeed, whenever it tried to deal with
the more abstract issues, the Commission found itself confronted
by conflicting views, and divided among itself. In the most
significant of the several minority reports, Mallet dissented in
principle from the assumptions which underpinned the majority
view. Heasserted that he regarded ideas as a public good, not as a
piece of private property. He took a minimalist view of the role of
the law in protecting that public good. To Mallet, the only
legitimate role of a law of copyright was to give an incentive to
authors. His theoretical position seems to have been that these
incentives could still be achieved if monopoly copyrights were /
l
abolished and works went into public domain; authors would

all
then be paid a compulsory royalty by whomever chose to publish

53
their works. Mallet's ideas commanded little or no support
among his fellow Commissioners, although his implicit contrast
between public benefits and private monopolies was one of the
underlying themes of their discussions.
Perhaps the most influential of all the witnesses on these general
issues was T. H. Farrer, Permanent Secretary of the Board of Trade
since 1865, and destined to remain so until his retirement from the
187
Civil Service in 1886. He was a vastly experienced public official

who had been Board since 1842, and was an unassailable
at the
supporter of free trade. Like many Victorian free traders, he had a

generalized dislike of the extension of the power, or, as he saw it,
the interference, of the state in any area of commercial or economic
54
life. Farrer was called several times, not least to explain to the
Commissioners the present state of the law. Gradually, however,
the tone of his evidence changed. At first he was the expert
interpreter, although even on the first occasion on which he met the
Commission he was expressing strong views on such matters as the
55
extension of the term of copyright, which he opposed.
On his third appearance, however, he came into the open. While
not opposed to the idea of a law of copyright, he wanted one which
would be of benefit to individual authors, not to the abstraction of
'literature', and certainly not to publishers. In his view, the
interests of authors and the public alike were best served when the
largest possible number of books was sold at the lowest possible

price. On these grounds he supported the royalty system, sub-
sequently also espoused by Mallet, as being most likely to
56
encourage authors to write more books. When, in his final
appearance, Farrer was asked to summarize his views and his
recommendations he did, at last, make an explicit statement of his
position: 'I assume that copyright, as the right to prevent other /
persons from making copies, is conferred upon authors for the
purpose of securing remuneration to them, and thus encouraging
them to write for the public.' 57 There were few, if any, members of
the Commission who would have disagreed with that, and few of
the witnesses would have done so openly; the problem was how to
achieve the protection of such rights without interfering with the
free flow of trade driven by the demands of the market.
As opposing views began to emerge on how best to give
incentives to authors, a parallel argument developed about the
price of books. It was agreed that it was in everyone's interests to
maximize the sales of books, and there was a strong view that this
was best achieved by selling them at low prices. Here the publishers
inevitably took a different view from that of some of the other
witnesses. This part of the debate began on the very first day
on which the Commission heard evidence, when Sir Charles
Trevelyan, Macaulay's nephew who had had a distinguished career in
the Indian Civil Service, argued that cheap books were a necessity in
the colonies, where there were few circulating libraries. To him, the
58
issue was not so urgent in Britain itself. Although his particular
188
view was swamped in subsequent arguments about the price of

books in the domestic market, the theme continued to be heard.
Blackwood dealt with it at some length. He took the view that book
prices were determined by the willingness of people to pay; the
circulating librarieswere willing to pay for three-deckers, so 'We
naturally publish in the form that we think best for the authors and
for ourselves'. He added that he wished that people bought books
instead of borrowing them, although it was not clear whether he
thought that this would be the cause or the result of reducing prices.
In any case, Trollope demolished his arguments, and finally forced
him to admit that circulating libraries 'have arisen. because they
. .
have served the wishes and ways of the people'. 59 Farrer again took
a different view in due course; in discussing the problem of
American and Canadian copyright, he sympathized with the views
of both countries that there was no reason why they should be
forced to import expensive British books when they could publish
60
cheap reprints of their own. Book prices also became part of the
complex tangle of arguments about free trade and protection.
The great issues of the nature of copyright, its philosophical
justification and its economic consequences were not, however, the
principal preoccupations of the Commission. They spent far more
of their time, and of their Report, dealing with the mundane
practical problems which the 1842 Act had either generated or
ignored.
Inevitably, the length of the term of copyright loomed large
among the interests of Commissioners and witnesses alike. Among
the publishers, both Longman and Blackwood wanted an exten-
sion. Longman, who had 'found that the existing Copyright Act
works extremely well', was unspecific, but Blackwood suggested
the author's lifetime and 50 years after his death, or 30 if 50 were
61
not acceptable. Both argued that this would be beneficial to
authors, but John Murray, the third of the great publishers to
testify, was less certain. He did not openly object to the idea of a
longer term, but he was clearly reluctant to advocate it when
pressed. In truth, he doubted what benefits it would really bring to
anyone since, in his view, few copyrights were of any real value for .
more than a few years after first publication. 62 Murray, however,

was in a minority, for, on this issue at least, authors and publishers
were generally agreed. The composer Arthur Sullivan, an eloquent
witness, supported the idea of the author's lifetime and 50 years
thereafter, as did Huxley, although both saw this as being the lesser
of two evils. Sullivan said that he:
189
. .could never quite understand why that high moral tone should be
.
taken about the right of the community to brain work, so that the
63
benefit of it to a man's family should cease after a certain time.
Huxley argued for perpetual and absolute rights for the author and
'
the author's heirs, could not understand why he should be

'debarred from making any bargain I please', and regarded a long
post mortem term as being a poor substitute for an author's natural
64
rights in equity.
There was, however, another side to the argument. Farrer was
unhappy about the idea of extending the term at all. It was not a
topic on which he spoke at length, but in the end he recommended,
perhaps in a rather reluctant tone, a minimal period of protection
for the monopoly. He suggested an initial 28 years, followed by a
further 14 if the author were still alive, or a single term of 14 years,
or the author's lifetime and 7 years thereafter. His real, if implicit,
J preference
was for the shortest possible single term; both his first
and third options were attempts at politically acceptable comprom-
65
ises. Other witnesses were less extreme, but there was a view
which favoured shorter terms, expressed, among others, by one of
the Commissioners, F. R. Daldy, who argued for a single 28-year
66
term. One very authoritative voice argued for limitations and
against post mortem copyright. This was Sharon Turner, a lawyer
and one of the leading authorities on copyright law, whose father
67
had been involved in the As Secretary
debates in 1813 and 1814.
of the Copyright Association, a group of lawyers and publishers, he
argued against any extension of the present 42-year term in any
form. Trollope challenged him on this, as did other members of the
68
Commission, but he would not change his mind.
The debate about the term of copyright was important, onlyif
because introduced, for the first time in public, the possibility of a

it
long period of protection after the death of the author. Despite the
extreme positions represented by Farrer on the one hand and
Huxley on the other, the real battle in the centre was being fought
between the existing system and automatic post mortem rights. The
latter was an idea imported from Germany, as was pointed out by
one witness who advocated it. 69 The Commission ultimately
accepted the thrust of the argument, and, with some dissentient
70
voices, accepted the principle involved.
The argument about the length of the term of copyright, like the
discussions ofbook prices and of the very nature of copyright,
raised many issues in relation to authors. The 1842 Act had been
190
intended to help them, but they seemed less satisfied with it than
the publishers were. Huxley and Sullivan were not alone in making
greater claims for their rights than authors had felt able to do
before. In the earlier stages of the Commission's work, both
Longman and Murry explained how they dealt with their authors.
Both normally used half-profits agreements, and Longman added
that 'successful authors are not in the habit of selling their
71
copyrights'. Matthew Arnold confirmed the last point, saying that
he always retained his copyrights, and would sell them only 'under
72
the pressure of a most extreme necessity'.
For the most part, it seems to have been accepted that half-
profits agreements were the normal terms on which authors dealt
with their publishers, as, for the most part, it probably was. 73
Towards the end of the Commission's work, however, which was
when they heard the evidence of the authors, some new ideas began
to emerge. One of the key witnesses here was the philosopher
Herbert Spencer. He told the Commission that he generally
published his books at his own expense, and that only now, after an
active writing life of some twenty-five years, was he beginning to
show a profit. He advocated a system of royalties, under which the
author would reserve all the rights in his books, and allow
publishers to issue them on a percentage basis, but without giving
them sole rights. 74 The idea had been raised earlier, but not in so
stark a form, and when Farrer followed Spencer in front of the
75
Commission, he admitted that he was influenced by him.
This little episode was not the Commission's only brush with
royalties. Indeed, the issue, in various forms, seems to have been
bubbling under the surface of many of the discussions of authors'
76
rights and terms. The matter is somewhat confused by the fact
that the word was used to describe two different systems of
payment. On the one hand, there were the royalties envisaged by

Spencer and others as part of a licensing scheme, perhaps combined
with perpetual authors' rights, or the de facto abolition of copyright
as a special form of property and, on the other, there was some
discussion of the system of payment by percentage of publisher's
income in the sense in which the word is now generally used. The
latter was rejected by George Routledge, another publisher
witness, as 'an unfortunate thing for an author', although Trollope

77
strongly disagreed with him. The rights of authors were raised in a
number of contexts during the sittings of the Commission, and not
only in financial terms. One issue, raised by Turner at an early
191
stage, was that of the right to control the adaptation or dramatiza-

tion of a work, while John Murray and others were concerned
about the problem of unauthorized (but currently legal) abridge-
ments of copyright works. 78 The overt concern here was in
protecting the integrity of the property of the copyright owner, and,
in general, it was indeed expressed in commercial terms. There
was, apparently, no explicit statement that the author's artistic or

literary integrity was in any way impugned by adaptation of his
work without his consent or cooperation, although this was, in due
course, to be a matter of great concern.
The questions of subsidiary rights naturally merged into issues of
the protection of performing rights in both plays and music. Both
John Boosey and Thomas Chappell, two of the leading music
publishers in London, advocated a stronger law to protect their
particular interests. Boosey was specially concerned with the
problems of protecting the scores and libretti of operas, a matter
which had already caused him great difficulty. 79 The basic problem,
as Boosey saw it, was that the rights in the music, the rights in the
lyrics and the rights to perform either or both were different and
80
irreconcilable. Chappell's views were similar, although he was
also concerned with other issues, including the unauthorized
adaptation of copyright songs, the difficulty of enforcing perform-

ing rights, and the practical problems of collecting fees and
81
royalties. On the last issue, John Palgrave Simpson, Secretary of
the Dramatic Authors Society, founded in 1832 to support and
subsequently enforce performing rights, told the Commission of
the very real difficulties which his organization encountered in
82
trying to enforce the existing law. Sullivan went further than any
of them, and argued for the right of the composer to control
performances of his works, the nearest approach to the explicit
advocacy of the moral rights of the author which was heard from
83
any of the witnesses.
The evidence and discussions about royalties, subsidiary rights
and performing rights, and the implicit debate about the moral
right of the author to control the use as well as the dissemination of
his work, reflect the increased complexity of the issues which were
beginning to surround copyright by the middle of the nineteenth

century. Sharon Turner introduced a further complication, when
he pointed out to the Commission that new technical processes of
reproduction, such as photography and lithography, also had
implications for the law and needed to be considered.
84
A whole
succession of witnesses argued the case for new laws to protect
192
85
designs, works of art, sculptures and architecture. In between,
there were lengthy arguments about international and colonial
copyright, which had, of course, been the starting-point of the
whole investigation, 86 and about such matters as whether the
register of copyrights should be kept at Stationers' Hall (as it was
under the 1842 Act) or transferred to the British Museum, as was
advocated by several witnesses. 87 The latter inevitably raised the
question of legal deposit, on which several witnesses expressed
88
their views.
Confronted by evidence on such a range of topics, it is not
all this
surprising that the Royal Commission took so long to reach its

conclusions, and had difficulty in achieving unanimity. In February
1877, The Times reported that they were 'still engaged upon the
cheerful occupation of taking evidence' and had not even begun to
89
think about how to write a report. In the event, it was not until
1878 that the Commission was able to report to the President of the
Board of Trade, and even then ten of the fifteen Commissioners
submitted minority reports on one or more aspects of their
recommendations. Nevertheless, they had arrived at some recom-
mendations, even if these did sometimes represent the lowest
common denominator of compromise.
On the key issue of the length of the term of copyright, only
Mallet dissented from the view that the principle of the author's
lifetime plus a fixed post mortem term should be adopted, with a
recommendation that this should be either 30 years or some agreed
90
international standard. They also recommended the standardiza-
tion of terms of protection for various formats and media, including
performing rights. Abridgements, translations and adaptations

should be protected. There were some minor exceptions;
all
photographs were exempted from the 42-year protection, and the

copyright in a work of fine art was agreed to belong to the purchaser
91
not the artist. It was all very logical, if rather crude.
In turning to the issue of registration, the Commission enun-

ciated an important general principle, which did not really arise out
of the evidence laid before it. Under the 1842 Act, registration at
Stationers' Hall was required as proof of ownership of the
copyright, a codification of existing practices. This was, in its turn,
based upon the long-standing principle of the English law that, as
theCommission expressed it, 'copyright attaches upon production
and publication, and that registration is only a legal preliminary to
the enforcement of the right against a wrongdoer'. 92 To the
Commissioners, this was unsatisfactory, and they recommended
193
compulsory registration (at the British Museum) as the means of

93
establishing the ownership of rights.
This recommendation raised a number of issues with which the
Commission had not dealt, and with which it did not attempt to deal
in its Report. In particular, it seemed to equate the acquisition of
copyright with the fact of publication, and thus raised the question
of the rights in unpublished works. It also began to suggest a
distinction, to become more explicit in twentieth-century juris-
prudence, between copyright as a means of forbidding certain acts
of copying, imitation, adaptation, and so on, and copyright law as a
means of permitting some of these things under certain circum-
94
stances and in return for certain considerations. None of this was
pursued in the Royal Commission's Report, and leaves a very
visiblegap in the logic of its recommendations.
Finally, the Report dealt with legal deposit and with colonial and
95
international issues.
The Royal Commission was the most thorough investigation of
copyright in the second half of the nineteenth century, and yet it
was ultimately unsatisfactory. The Commissioners seem to have
been almost overwhelmed by the size and complexity of the subject
which they had been called upon to analyse. They tried to be
pragmatic. They sought simplicity in a field which was too
complicated for simple solutions to be found. The consolidated and
consistent law which they sought, especially for the terms of
protection, was an attractive solution, but one which conflicted /
with too many vested interests of publishers, authors, artists,
composers, performers and theatrical managers. They did not
really come to grips with the central intellectual issue, carefully

avoiding any attempt to define the nature or theoretical justifica-
tion of the rights with which they were concerned. When they did
so, in looking at the very practical matter of registration, they
raised more questions than they could answer or even properly
articulate. The Commissioners, like almost all of the witnesses,
were practical men, civil and successful authors,
servants, lawyers
who wanted a law which was itself practical and which would,
/ without infringing the almost sacred canons of free trade, afford
some protection and encouragement to authors and other creative
In the end, they did not succeed, because, in their search for
artists.
a practical solution, they failed, or were perhaps unable, to

formulate a conceptual approach which might have guided their
pragmatism towards the uniformity and consistency which they so
genuinely desired and so painstakingly sought.
194
The Report was published in the summer of 1878, and in the next
Session an attempt was made to transform its recommendations
into law. Jenkins himself, frustrated by the failure of the govern-
ment to bring forward a Bill, introduced his own in December, but
withdrew it in February when Manners, as President of the Board
96
of Trade, promised that there would be a government Bill. No
Bill appeared until July 1879, was a provisional
and even then it
97
document. In introducing it to the House, Manners announced
that it followed the recommendations of the Commission, including
the proposal to extend the term of copyright to the author's lifetime
plus 30 years, rejecting only the proposals about the restriction of
legal deposit to the British Museum, and the removal of registra-
tion to the Museum from Stationers' Hall. The sting in the tail,
however, was that the Bill was placed before the House 'not with
the object of becoming law this session', but only for consultative
purposes, so that it could be circulated during the recess, and
98
discussed in detail with the colonial governments. There, effect-
ively, the matter came to an end. The Bill reappeared in 1881, but
99
progressed no further than its formal First Reading. There was
100
some public debate, but none in Parliament. Copyright law was
not a priority for the government, and there was no reason why it
should be so. There was little real public interest, and, as had been
clear from the proceedings of the Royal Commission, the pub-

lishers, who might have formed the most powerful lobby, were
broadly satisfied with the 1842 Act. The authors had not yet formed
their own lobbying group, and when they did so, their first concern
was with international rather than domestic issues.
When the issue arose again, towards the end of the century, the
situation was very different. The United Kingdom's accession to
the Berne Convention in 1886, and the passage of the American
Chase Act in 1891, seemed to solve the international issues which
had dominated the copyright debate ever since 1842. 101 In the
meantime, both the authors and the publishers had formed their
own professional bodies, and were beginning to act collectively in
their various interests. The law was no better in 1895 than it had
been in 1875, just twenty years older. The difference was that, this
time, it seemed that there were enough interest groups to ensure
that some sort of change might be possible.
Copyright was not a political issue in a party sense by the end of

the century. It could never entirely escape from the revived debate
about free trade and protectionism, but it was essentially non-
partisan. Although any legislation would almost certainly require
195
government support, it was unlikely to arise from a government

initiative. It was because of this that such bodies as the Society of
Authors and the Publishers' Association found for themselves a
public role in the reform of copyright law. In 1895, the issue of
Canadian copyright arose yet again because a Canadian Act of 1889
had included a manufacturing clause similar to that which was to
102
appear in the American Chase Act of 1891. The effect of the new
Canadian law was that no work would be copyright in Canada
unless an edition was manufactured in that country within one
month of its original publication; if no such edition was published,
the work would be in public domain. The Act had received the
Royal Assent, but it still required a proclamation from the
Governor-General before it could be put into effect. It was this
possibility of deferment which allowed the flurry of activity in
London in the first half of the 1890s.
The Society of Authors was particularly active in lobbying both
in the Colonial Office and in Canada itself; it successfully prevented
the implementation of the law. Another body, the Copyright
Association, chaired by Frederick Daldy, who had been a member
of the Royal Commission, also busied itself in the same cause, and
began to work closely with the Publishers' Association when the
new body was founded in 1896. Both the Society of Authors and the
Copyright Association drafted bills, with help from the Publishers'
Association, which were introduced into the House of Lords in the

Session of 1897. The House established a Select Committee to
103
consider both of them. The Select Committee, unlike the Royal
Commission of twenty years earlier, worked quickly; it heard only
four witnesses. All were, essentially, representatives, although
they were also individually distinguished. Daldy appeared as the
chairman of the Copyright Society; C. J. Longman spoke as
President of the Publishers' Association; C. J. Thring was the
spokesman for the Society of Authors; and Bram Stoker was there
as the manager of the Lyceum Theatre and a representative of the
104
theatrical world.
There was little general discussion of the law. In fact, almost all
of the evidence centred around three issues: translations, rights in
newspaper articles, and dramatizations. The translation issue, as
presented by Daldy, was little more than a technicality arising out
of the Berne Convention. This protected English works abroad,
and even the translations of works whose original was in the public
domain, but the 1842 Act did not appear to offer any protection to
105
the English translations of foreign works published in Britain. As
196
for newspapers, Daldy sought to protect them on the same basis as

books, so that articles could not simply be copied without
permission from one to another. In the case of dramatizations,
Daldy argued that there was a need for greater precision to define
the extent to which a dramatist could use the plot taken from a
novel. Longman, Thring and Stoker did little more than endorse
Daldy 's views.
Nothing happened, but the Lords returned to the subject in the
following session when another came before them. This was a

Bill
more ambitious affair, of Daldy 's drafting, which was an attempt to
consolidate the law along the lines recommended in 1878. Con-
sequently, the Select Committee which considered this Bill was
more wide-ranging, and the evidence more generalized. 106 Once
again, the witnesses were essentially representatives. John Murray
was now the chairman of the Publishers' Association's own
committee on copyright matters, and he supported, on their behalf,
the idea of a consolidated law. They wanted a proper definition of
such basic concepts as what he called an 'original literary work', as
well as a 30-year post mortem term, and clear resolutions of issues
relating to the expiry of copyrights in works with joint authorship,
the rights in essays first appearing in collectaneous volumes, the
right to use quotations in works of criticism and analysis, and rights
in music and opera libretti. The range of Murray's remarks is in
itself testimony of the complexity of the publishing industry and

associated activities by the end of the nineteenth century. It also
reflects more systematic thinking about how some of the issues
107
might be resolved.
None of the other witnesses was as wide-ranging as Murray, but
they were cumulatively very impressive. C. F. M. Bell, the manager
of The Times, explained the issues involved in copyright in
newspapers, and especially in the news itself, which, he explained,
can only be printed, in the first instance, by those who have
expended time and money in collecting it. Arguing that this was
analogous to the creative work of an author or composer, he
proposed a substantial extension of the law to cover news as well as
108
the 'literary' form in which it appeared. Thring, for the Society of
Authors, was perhaps a rather disappointing witness. He had no
real ideas, and simply wanted a law which would sort out some of
the anomalies which had arisen in such matters as works of joint
109
authorship. Others were more imaginative. Henry R. Clayton,
who worked for Novello, the music publishers, and was also the
current chairman of the London Chamber of Commerce, told the
197
perhaps rather bemused peers about the need for copyright to

protect musical versions of plays, songs in revues and the like.
Bulmer Howell introduced them to another aspect of the modern
world, speaking as legal adviser to the Photographic Copyright
110
Association.
In the end, this initiative also came to nothing. The Select
Committee reported that it had been 'unable to complete the
inquiry', having opened Pandora's Box. When the issue was raised
for a third time, in the Session of 1899, the conclusion was that the
House should not proceed with the Bill, and the attempt to
consolidate the law should be abandoned in favour of new
legislation which would treat artistic and literary copyright separ-
111
ately. There seemed to be insufficient reason to embark on the
complexities of copyright law reform, and neither the authors nor
the publishers could exert enough influence to provide such a
reason. The same remained true in the new century and the new
reign. Despite the promise of copyright reform in Edward VII's
speech from the throne in opening his first Parliament, nothing was
112
done. The publishers were absorbed in other matters, and the
authors alone were not sufficiently influential. In the end, it was an
external event which was to force the government to take action,
and, at last although perhaps unwittingly, to take a course of action
which was to lead to the end of the 1842 Act.
The external event took place in Berlin in 1908, when the
member states of the Berne Convention met to discuss possible
113
changes to its The conference produced a number of
provisions.
very significant amendments, some of them on subjects which had
exercised British publishers and authors for thirty or forty years. By
far the most important of these was the agreement in principle that
the term of protection should be the author's lifetime plus 50 years
after his or her death. Although this was not made mandatory
* accommodate the United Kingdom's outmoded
(partly in order to
provisions under the 1842 Act), it was nevertheless a vitally
important step towards international uniformity. Other changes
included provisions relating to choreography, photographs and
translations, all of which were in conflict with British law. For the
first time, the delegates also addressed the issues arising out of
sound recording and commercial cinematography. The proposals
on the former were confused, but on the latter clearly extended
protection to this new medium. Finally, there were some technical
changes, including a requirement that works should acquire
copyright automatically without any need for formal registration.
198
The Berlin amendments to the Berne Convention were a

triumph for the French and German view
of copyright and its
associated rights as essentially deriving from the creator, and being
vested in a producer only as a temporary measure to permit
reproduction and dissemination. The mere fact that their views
could be expressed in these terms showed how far British law had
slipped behind international practice. The need to catch up, in
order to ratify the Berlin amendments and thus continue to ensure
international copyright protection for British authors, was exactly
the incentive which had been lacking, and which was now to lead to
the reform of the law.
In fact, the government acted very quickly, and in 1909 the
President of the Board of Trade, Sydney Buxton, asked Lord
Gorrell to chair a departmental committee on the subject. The
terms of reference were explicit; the Gorrell Committee was to
'examine . the revised International Copyright Convention
. .
signed at Berlin . . . and to consider . . . whether the law should be

altered so as to enable His Majesty's Government to give effect to
114
the Revised Convention'. The literary and artistic world was well
represented on the Committee, which was less dominated by
lawyers and politicians than the 1875 Royal Commission had been.
From the literary world,the members included Walter Raleigh, the
firstProfessor of English Literature at Oxford, and the popular
novelist Anthony Hope. The theatre was represented by Harley
Granville-Barker, art by Lawrence Alma-Tadema, music by the
publisher William Boosey and the book trade by Frederick
Macmillan. Indeed, the Gorrell Committee was probably the most
artistically and intellectually distinguished body of its kind which
has ever considered the law of copyright in Britain. The evidence
which they heard, and their report, ranged far more widely than
might have been expected from their very specific brief. The
Committee soon discovered, as some of its members well knew,*"
that the British law was wholly inadequate even for domestic
purposes, without even taking into account the United Kingdom's

international obligations.
Both authors and publishers were among the witnesses, but there
was little serious disagreement between them, and little more than
differences of emphasis in the arguments which they presented. For
the Publishers' Association, John Murray simply recommended
that the Berlin amendments be accepted as a whole and immedi-
ately. Significantly, however, he added that he thought that the

government should take the opportunity to codify and to clarify
199
British copyright law in general, especially in relation to some of

the long-standing ambiguities about colonial copyright, unpub-
lished manuscripts, abridgements and adaptations. Murray, like
virtually every other witness, supported a period of copyright for
the author's lifetime and 50 years thereafter, the international
115
standard agreed at Berlin.
On behalf of the Society of Authors, E. J. MacGillivray, a
barrister and a member of the Society's Copyright Sub-Committee,
took almost exactly the same line, arguing that the provisions of the
1842 Act could sometimes be disadvantageous to authors, while the
50-year post mortem term and the other Berlin amendments would
meet all their needs and wishes. 116 The Society's Statement of
Evidence reiterated these points, and in particular emphasized that
its members 'attach great importance to ultimate uniformity in
117
copyright legislation'.
This display of unanimity was, no doubt, very welcome to the
Committee, which readily accepted the views of both the authors
and the publishers. Indeed, it was easy for them to do so, since they
were essentially asking the government to do what it wanted to do
118
in any case, that is, to ratify the Berlin agreement. Other issues,
however, persisted in raising their heads. Some were echoes of the
past. Both MacGillivray and Murray were keen to emphasize that
the revised term of copyright would not affect the publication of
cheap reprints, and both pointed out that in fact the majority of
cheap editions were actually of works which were still in
119
copyright.
George Bernard Shaw, who appeared on behalf of the Dramatic
Sub-Committee of the Society of Authors, added his voice to this
chorus. Shaw told the Committee than he was 'a writer whose
success, in the commercial sense, came rather late .', and as a
. .
result his early works were no longer protected under the 1842 Act.
This was a little disingenuous; the essence of it was true, but since
he was actually born in 1860, only those works which he had
published before he was eighteen were no longer in copyright.
Nevertheless, his point was a real one, and his concern was that, as
his works came out of copyright, American publishers would not be
interested in the works in public domain because he could no longer
give them sole rights. As a result, '. the derelict book has been
. .
shunned as dangerous; and the one thing that will bring the book to
the public is copyright.' He added that 'the great majority of books
are dead in eighteen months The fifty years will apply in
. . .
120
practice only to books of exceptional vitality.' No doubt these
200
included Shaw's own, but his evidence was of more than personal
Shaw was arguing the protectionist case for
interest. In effect,
copyright against the rapidly vanishing remnants of Victorian free-

trade dogma. He was supported by William Meredith, who had
inherited the copyrights of his father, the novelist George
Meredith. He explained the difficulties of the operation of the Act
for an author's heir, who was, of course, precisely the person whom
Wordsworth, Talfourd and Mahon had sought to protect. Copy-
rights expired at different times; the fixed term after death would
ensure that all of an author's copyrights expired simultaneously,
and thus the whole situation would be greatly simplified. 121
Shaw's evidence, however, was important from another point of
view, for he raised the whole question of subsidiary rights. He
wanted protection for both sound recording rights and film rights in
plays, and he wanted them reserved to the original author, the
122
dramatist. So far as plays were concerned, this was still a mere
cloud on the horizon, for this was the age of the two-reel silent, but
for the musical community, there was already a major issue here.
Probably to the surprise of the Committee, its hearings were in fact

dominated by the question of sound recording. This raised a range
of issues which had simply never been considered before The most
.
basic was that of performers' and composers' rights. It was argued

that composers should have the right to control, by a licensing
system, the mechanical recording of their works, and that some

benefit should accrue to them for this. It was, however, a vastly
complicated matter, for performers, engineers, producers and the
owners of studios were involved, and some of these were also the
owners of patents or licences in particular recording systems. The
details are irrelevant to the history of copyright, but the domination
of the proceedings of the Gorrell Committee by this subject is not.
The new recording media in all their variety from shellac discs to
pianola rollswere beginning to determine the direction which the

law would take. The issue of the right of the creator of an artistic
work could not be ignored if that right was to include some control
over the recording of the work, and, logically, that had implications
for the rights of the authors of literary works.
Unlike their predecessors in 1878, the members of the Gorrell
Committee did not shrink from the enormity of their task, and they
approached it with both firmness and subtlety. They started from a
simple premise, from which no one could seriously dissent; they
wished to resolve 'the confusion which prevails' in the law of
copyright and associated rights, and considered that 'It would be a
201
great advantage if the British law were placed on a plain and

123
uniform basis . . ,' In essence, they recommended that the whole
of the Berlin agreement should be incorporated into British law,
but that it should be done in the context of a general codification of
the multitude of existing statutes. They addressed some of the most
contentious issues of the previous three-quarters of a century in
recommending full protection for translations, abridgements and
adaptations, and the reservation of the author's right to control
them. Finally, they recommended a licensing system for sound
recording, with the rights reserved to the composer, the one point
on which there was dissent. 124
Buxton brought a Bill to the House of Commons within weeks of
the publication of the Gorrell Report. It gave effect to all of their
recommendations, and seemed unlikely to raise any serious
opposition. It was given its formal First Reading following a brief
125
introductory speech by Buxton; then disaster overtook it.
Parliament was dissolved when the House of Lords rejected Lloyd
George's radical budget proposals for increased taxation and an
extended social security system. The Liberals lost their majority in
the subsequent election, and were thereafter dependent on the
Irish and Labour members to sustain them. The new Parliament,
when it met, had to deal first with a major constitutional conflict
between the Lords and the Commons, and then with the budget. In
the midst of all this Edward VII died, and was succeeded by the
well-meaning but politically inexperienced George V. Once again,
it seemed that
copyright law reform might vanish in the political
undergrowth.
That it did not can almost certainly be explained by the
government's desire to ratify the Berlin amendments. When the
same Bill was reintroduced by Buxton, who kept both his seat and
126
his job in 1910, he emphasized the international dimension. The
same point was picked up in The Times, which reported that the
measure was 'primarily' intended to incorporate the Berlin Con-
127
vention into British law. Buxton emphasized the consensus
which lay behind the proposal. There had, he said, been no
objections in principle when the previous Bill had been published,
and he could see no reason for any now. Reassuring the House that
the extension of the term would have no effect on the availability of
cheap books, and that the colonies would be consulted on matters
which affected them, he hoped for an easy passage.
He was to be disappointed. In the debate which followed, a
number of issues were aired which would have been familiar to
202
anyone who had read the debates of almost a hundred years earlier.
Sir Gilbert Parker, who moved the amendment to defer the Bill for
six months, which would effectively have killed it, described
copyright as 'a restriction of a natural right', although whether of
128
authors, publishers or readers is not clear. William Joynson-
Hicks, a lawyer who specialized in the field and had been a member
of the Gorrell Committee, was also unhappy, especially about the
proposed 50-year term. He saw no need for this, and regarded it as
a result of packing the Committee with authors, artists and
129
publishers. It was a powerful speech by an authoritative speaker,
which was potentially very damaging. In general, however, there

was support for the principle of the Bill, and it was, eventually,
130
given its Second Reading without a division.
At the Committee and Report Stages in the Commons, and again
during its passage through the Lords, the Bill was subjected to a
number of technical amendments, but none affected the basic
principles or interfered with the main recommendations of the
Gorrell Committee. Indeed, almost as much time was devoted to
131
legal deposit as to the principles of copyright itself. The Bill
received the Royal Assent on 16 December 1911 ,
and became the
first general copyright law to be passed by the British Parliament for
132
seventy years.
The 1911 Copyright Act was to prove less long-lived than that of
1842, but was much better conceived. It incorporated a principle
which was wholly new which had long since been
in British law, but
accepted in almost other European countries. Copyright was

all
now firmly linked to the life of the author, and survived him or her
by a substantial period of time. Moreover, the author was explicitly
in control of the work; the rights of translation, abridgement,
dramatization, or any other form of adaptation, were clearly the
author's and only the author's. He or she might make contractual
arrangements about the use of those rights, but their origin and the
ultimate ownership were not in doubt. Indeed, for practical
purposes, authors had to reach agreements with publishers and
others for the production and distribution of their works, but the
fundamental rights which the Society of Authors, and individual
writers, had sought for so long were now firmly incorporated in the
law.
The new Act also recognized, for the first time, the wide range of
rights which could derive from intellectual products such as written
works or musical compositions. Although it was not wholly
satisfactory, it did address the problem of sound recording and of
203
cinematographic films, and clearly established the principle of the

rights of the primary creator over what was created. Ambiguities
remained, but they were comparatively insignificant at the time,
although the problems were to be compounded by technical
developments during the next thirty years. The success of the
Gorrell Committee and the framers of the 1911 Act can, however,
be judged by the fact that its basic principles still underpin the law
of copyright in Britain and that those principles have proved
broadly satisfactory to all the parties involved.
The long-sought reform of the law had, eventually, happened
only because of the pressures implicitly exerted on Britain by her
fellow signatories of the Berne Convention. In the early 1950s, this
was repeated. In 1948, the Berne
particular historical circumstance
countriescame together again, this time at Brussels, and again
133
proposed a series of amendments to the Convention. Few of
these affected the central issues of copyright in literary works, but *
there were many which had important implications for subsidiary
rightsand for rights in non-printed media. The primacy of the
author was reasserted, although the conference rejected a French
proposal that recognition of moral rights should be compulsory.
The most important proposals were that the ways in which
copyright works could lawfully be used should be more precisely

defined; and that the rights in public performances, broadcasts and
similar diffusions should be brought within the terms of the/
Convention. As in 1908, there was a need to examine British law to
see how it needed to be changed to allow the United Kingdom to
ratify the Brussels Amendments.
In 1951, Harold Wilson, as President of the Board of Trade,
appointed a Committee under the chairmanship of H. S. Gregory
to examine the issue. It was a technical affair, with none of the
literary or artistic glitter of
predecessor. itswas, however, very
It
businesslike, and within a year was able to report to Wilson's

successor, Peter Thorney croft, with a series of recommendations
134
for changes to the law. Almost all of its proposals were for
technical amendments to the 1911 Act in the terms of the Brussels
Amendments. Indeed, the Gregory Committee recognized that the
Act was 'an enormous advance', but felt that some clarification was
135
still needed. The main reason for this was made explicit in the
first paragraph: 'Our Report is inevitably discursive ... by reason
of our need to consider modern technical developments

k . . .'
These developments were in two key areas. One was broadcasting,

of which the entire history in the United Kingdom had taken place
204
since 1911, and the other was the emergence of new technologies
for copying of printed and written material.
Matters relating to sound recordings, films, broadcasting and
'sporting spectacles and performances of artistes' occupied the
greater part of the Committee's time, the longest section of its
137
Report, and nearly a third of its recommendations. The details
do not concern us, but all are based on the same general principle
'
owner of the copyright has the right to control, and be paid

that tjie
for, the use of the work in any format and any medium. The
difficulties arose in considering the copyright position of broadcast-
ing organizations, ultimately resolved by vesting in them the rights
if they had to pay other
in programmes which they originated, even
copyright owners for the materials which they used. Some of this
was certainly of interest to authors and publishers. During the
1920s, radio had become a small but significant source of income to
some authors, while the cinema had provided a larger income to a
much smaller number. 138 Television was still relatively insignificant
in Britain in the early 1950s, but it too was beginning to buy more
139
material.
For the publishers, however, the copying of copyright printed
matter was of far greater urgency. The Gregory Committee could
not avoid this issue even had it wished to do so. In the past, piracy
had involved the considerable capital costs of reprinting the work
which was being reproduced. Copying for personal use could be
done only by hand, and was not a viable means of reproducing a
work for sale. By the early 1950s, however, as Gregory noted,
'technical developments such as contact photography and micro-
photography have [created] means whereby
. . .
hand-copying
. . .
140
can be avoided'. The use of small-format film for document
copying had begun in the 1930s, and had reached commercial
viability with the foundation of University Microforms Inc. by
Eugene Power. Although it was largely used for copying rare
research materials, and books long in public domain, it did have
some potential as a comparatively cheap means of copying
copyright materials. The so-called microfilms (actually ordinary
35-mm monochrome roll films) thus created were, however,
dependent upon expensive equipment for both production and

reading, and, at the production stage, needed both skilled oper-
ators and extensive laboratory facilities.
Photocopying, which was first developed in the late 1930s, had

none of these disadvantages. It was cheap, quick and simple. It was
this, Gregory's 'contact photography', which was the real threat.
205
The Brussels Amendments had recognized that certain sorts of

copying could not be prevented, but had to be controlled. Gregory
/ found here real conflicts of interests. Publishers objected to a law
which would allow large-scale copying of copyright works for any
purpose; scholars wanted to be able to make copies for their own
use; librarians needed a clear law which would give them unequi-
vocal guidelines. Gregory considered the agreements already
reached with some publishers by the Royal Society, which had the
general effect of allowing scientists to make copies of articles in
learned journals for the purposes of 'private study'. The Commit-
tee recommended an extension of this principle, under some
general rules about 'Fair Dealing'. Fair dealing, unfamiliar enough
to be in quotation marks throughout the Gregory Report, was an
important conceptual innovation. Taking the long-established

understanding that passages could be quoted for review or criti-
cism, the Gregory Committee suggested that the law should allow
reproduction by mechanical or photographic means of extracts up
to a certain length for private study, and that these extracts could be
made either by the person who required the material or by a
librarian acting on that person's behalf. It was an ingenious
141
compromise, which the publishers eventually accepted.
Finally, the Gregory Committee addressed the question of moral
rights, the first time that any official body in the United Kingdom
had done so in a systematic way. At Brussels, the French had
proposed that they should be incorporated into the Convention,
but only a very modified version of the proposal was generally
142
acceptable. The British were particularly dubious, and Gregory
and his colleagues shared their doubts. The Report refers to moral
rights, again in quotation marks, as 'droll moral', not needing
therefore explicitly to condemn it as an inherently continental
notion. It was, they wrote, 'a term unknown to our jurisprudence
but ... a convenient phrase to describe certain questions which
143
arise out of copyright protection'. As the lawyers among them
must have known, it was far more than a 'convenient
phrase'; it was
the core of copyright in almost all European countries whose law
had developed from the Roman and Napoleonic traditions. It
declared that all the rights in the work belonged to its creator from
the momentof creation and that, thereafter, his or her control was
absolute. The effect was to prevent the use of material for purposes
of which the creator did not approve; thus, for example, a piece of
music, even if the copyright and performing rights had been sold to
a publisher, could not be used in a film or a television advertisement
206
(if such had existed in Britain in 1951-52) without the permission of

the composer.
The Gregory Committee would have none of this. There was,
they thought, some limited protection along these lines under the
144
Fine Art Copyright Act of 1862, and perhaps at common law,
but considered that this was a matter for contractual arrangements
between the author or creator and the publisher or disseminator
rather than for the law. 'In a field so vague and ill-defined it seems
to us to be impossible - even if it were considered desirable - to
frame legislative proposals to meet all possible problems. 145 The
'
Gregory Report was in general, as this suggests, conservative and

minimalist in its approach.
This was reflected in the Bill which was, eventually, brought to

Parliament in June 1956. In introducing it, Thorneycroft essentially
presented it as the embodiment of the Gregory Committee's
recommendations, as indeed it was. The measure he
proposed was,
he said, 'largeand complex', although not a subject of party
controversy. Nor wasit. It was
supported from all sides of the
House, and passed all its stages without difficulty. There was little
serious discussion, and almost none which showed any understand-
ing of the issues which were beginning to emerge. The fair dealing
proposals were accepted without any discussion at all, and nothing
was said about moral rights. In general, there was little interest in
the matter and little appreciation of it. The Bill became law at the
end of the Session. 146
The 1956 Act was as conservative as the 1911 Act had been
radical, perhaps suggesting that the political philosophy of the
party in power is not wholly irrelevant even to technical legislation
such as that on copyright. The fair dealing rules were a step in the
right direction, and broadcasts were given some protection, but /
there was advance for authors, artists or composers in the
little
provisions of the Act. Moreover, it was inflexible legislation. The

Gregory Committee's apparent determination to avoid enunciating
general principles, exemplified by their attitude to moral rights, left
the United Kingdom with a very specific law which was applicable
to the technological, economic and political situation of 1956.
It was almost twenty years before this
began to be remedied. In
1973, the Department of Trade (as the Board of Trade had now
become) established a committee under Mr Justice Whitford
'to consider and report whether any, and if so what, changes
are desirable in the law relating to copyright as provided in particu-

lar by the Copyright Act 1956 and the Design Copyright Act
207
147
1968 . . The Whitford Report was four years in the making,
,'
and the most thorough investigation of British copyright law and

practice for over half a century. The Committee was confronted
with an awesome task. Not only was the 1956 Act inflexible, it was
passed at a time when flexibility was about to be needed more than
ever before. In looking at an Act which had virtually ignored
television, Whitford and his colleagues had to consider satellite
broadcasting and domestic video recording, quite apart from all the
ramifications of computing. Above all, they sought to clarify the
law, and to produce proposals for a law which could cope with
continuing change.
The greater part of the Whitford Report is concerned with
matters other than copyright in printed matter, although, once
again, many of these had implications for the creators, owners and
publishers of printed material. In general, however, the basic
provisions of the 1911 Act were left intact, as they had been in 1956,
with a 50-year post mortem term to protect the interests of authors
and their heirs. Two of the Whitford recommendations were,
however, of interest to publishers and authors. For the former,
Whitford's proposed amendment to the fair dealing rules of 1956
were of particular significance. In essence, the Committee recom-
mended that photocopiers, by now a common feature of every
office, library and school, should be licensed, and that fees,
analogous to those paid to the owners of performing rights, should

148
be paid to the owners of the material copied.
Secondly, Whitford addressed the issue of moral rights, without
resorting either to French or to quotation marks. Noting that the
United Kingdom offered no protection of these rights which were
incorporated in the then current version of the Berne Convention,
the Whitford Committee recommended that the law should be
amended appropriately. Specifically, there were three proposals:
that the author had the right to claim 'paternity' of the work, that
the author can control the use of the work, allowing for 'reasonable,
modifications' (which must be minor), and that it is illegal to claim
work created by another person. 14
'
'paternity' of a
Eleven years were to pass before the recommendations of the
Whitford Committee found their way on to the statute book. The
subject was, as Thorneycroft had said in 1956, 'large and complex',
but the delays were not entirely without value. When a Bill was
brought to the House of Commons in the spring of 1988, it was the
result of a good deal of considered debate among lawyers, civil
servants, publishers, authors, librarians, broadcasters, designers,
208
industrialistsand many others who would be affected by it. The

1988 was no mere amendment to the Act of 1956, but an almost
Bill
wholesale replacement of it, founded on quite different principles.
Introducing it to the House of Commons, Kenneth Clarke drew an
implicit contrast with the Act it was designed to replace: The Bill
sets out to restructure the law on a more logical and consistent
basis . which takes account of the advances made in the last
. .
30 years . .
.', adding that 'we have tried to anticipate future devel-
15
opments . . .' Clarke was right. The Bill, despite the immense
complexity of its technical provisions, was indeed based on a
principle, and the principle was that of the moral rights of the
creator, which, as he rightly pointed out to the House, was now to
be incorporated into English law for the first time. This was to be
done in the context of a technological climate in which there were
media which were 'almost infinitely capable of reproduction'. 151
The Bill was generally welcomed, but in 1988, unlike 1956, there
was a great deal of informed and important debate both in the
House and in Committee. The range of subjects was as wide as the
provisions of the Bill itself, from the recording of folk songs to the
152
design of replacement parts for cars. There was, however,
almost no discussion of any matters of direct concern to publishers
and authors. The new fair dealing rules were accepted, and there
was never any serious challenge to making the moral right of the
creator the basis of the law. Copyright, the creature of the book
trade, had outgrown its progenitor.
The 1988 Copyright, Designs and Patents Act is the great
consolidated law which some have been seeking for over a century.
It is, as yet, young, for precedent would suggest that it will have to
serve for at least a generation. The lawyers themselves are still
feeling theirway around it, and even the standard work shows some
doubts and hesitations on its meanings. 153 These will, no doubt, be
clarified by the courts and by Parliament in due course. What is
clear, however, is that the law of the United Kingdom now
adequately protects the authors and the publishers of written

works, and of all the products of the human brain. Copyright law
has emerged out of a series of compromises between economic and
cultural factors, between creators and disseminators, between
producers and consumers. It will continue to evolve, as technology

and social circumstances change. The almost infinite capacity of
modern media for reproduction is, however, already calling into
question some of the most fundamental issues of all. The creations
209
of 'authors' can now be around the world without ever

distributed
taking any non-digitized form. Electronic journals, on-line data-
bases and CD-ROMs present the latest, and perhaps the greatest,
challenge to the law and practice of copyright.
210
Appendix
Statutes
The statutes cited in the text and references are listed here, together with
the short by which they are commonly known. It is not a comprehensive
title
list of British legislation on copyright and other intellectual property.
1624 21 James I c. 3 Monopolies

1662 13 & 14 Charles II c. 33 Printing
1664 16 Charles II c. 8 Printing
1665 16 & 17 Charles II c. 4 Printing
1685 1 James II c. 17 Printing
1693 4 William & Mary c. 24 Printing
1710 8 Anne c. 19 Copyright (Encouragement of Learning)
1734 7 George II c. 24 'Buckley's Act'
1735 8 George II c. 13 Engravings ('Hogarth's Act')
1739 12 George II c. 36 Import of Books
1747 20 George II c. 47 Import of Books
1767 7 George III c. 38 Engravings
1775 15 George III c. 53 Perpetual Copyrights
1777 17 George III c. 57 Engravings
1798 38 George III c. 71 Busts and models
1801 41 George III c. 107 Copyright (Ireland)
1814 54 George III c. 156 Copyright
1833 3 & 4 William IV c. 15 Dramatic Property
1836 6 & 7 William IV c. 59 Engravings (Ireland)
1836 6 & 7 William IV c. 110 Legal deposit
1838 1 & 2 Victoria c. 59 International Copyright
1842 5 & 6 Victoria c. 45 Copyright
1847 10 & 11 Victoria c. 95 Foreign Reprints
1862 25 & 26 Victoria c. 68 Fine Art Copyright
1875 38 Victoria c. 12 Performing Rights
1876 38 & 39 Victoria c. 53 Copyright (Canada)
1 & 2
1911 George V c. 46 Copyright
1956 4 & 5 Elizabeth II 74 Copyright
1988 Copyright, Designs and Patents
211
A Note on Sources
Primary sources
The primary sources used for this book are cited in the appropriate
references. In addition to manuscript material, the following are the main
printed sources:
1 the Journals of both Houses of Parliament, cited by volume and page
numbers, as LJ (House of Lords) and CJ (House of Commons) respectively;
2 the official records of debates, known as Parliamentary Debates (or,
colloquially, 'Hansard'), cited by series, volume and column numbers as PD;

3 the Sessional Papers of the House of Commons, the official published
version of papers tabled in the House or elsewhere by its orders, cited by
year, volume number and page reference as PP; for a full explanation of the
Cockton. Subject Catalogue of the House of Commons
citations, see Peter
Parliamentary Papers 1801-1900. 5 vols., Cambridge: Chadwyck-Healey,

1988;
4 statutes, cited in the official form by regnal year and chapter up to

11 Elizabeth II, and thereafter in the modern form; see also the Appendix;
5 the published records of legal proceedings, the Law Reports, cited from
the official versions, which, up to 1865, are cited by the name of the
reporter, preceded by the volume number and followed by the page

reference. Most of these will also be found in the series English Reports
(reprinted in 180 volumes, 1900-32);
6 calendars of documents in the Public Record Office, cited by key titles,
monarch, volume and page; the following key titles are used:
APC Acts of the Privy Council

CPR Calendar of Patent Rolls
CSPD Calendar of State Papers (Domestic series)
7 certain unpublished records of the Stationers' Company, especially the

minute books of the Court of Assistants (the 'Court Books'); with the
exception of the Court Books before 1640 (B and part of C), cited from
published editions (see item 8 below), these have been cited from the
212
A Note on Sources
originals using folio or page references as appropriate; the records are still
owned by the Company, and London, but are

are kept at Stationers' Hall,
also available on microfilm, published by Chadwyck-Healey, for which see
Robin Myers. The Stationers' Company Archive. An account of the records
1554-1984. Winchester: St Paul's Bibliographies, 1990;
8 published editions of manuscript documents, especially of the records of

the Stationers' Company; the principal series cited are:
Edward Arber. Transcript of the Register of the Company of Stationers of

London 1554-1640. 5 vols., Birmingham: the author, 1875-94, cited by
volume and page number as Arber, Transcript;
G.E. Briscoe Eyre. A Transcript of the Registers of the Worshipful

Company of Stationers from 164&-1708. 3 vols., London: the author,
1913-14, cited by volume and page number as Eyre, Transcript;
W. W. Greg and E. Boswell. Records of the Court of the Stationers'

Company 1576 to 1602. London: The Bibliographical Society, 1930, cited by
page number as Greg and Boswell, Records;
William A. Jackson. Records of the Court of the Stationers' Company 1602 to

1640. London: The Bibliographical Society, 1957 cited by page number as
Jackson, Records.
In addition, individual contemporary publications are cited, by author

many
[if known], and place and date of publication. These include, for the
title,
period up to 1800, many documents which, after that date, would have
appeared in the Sessional Papers. For particularly rare or obscure
documents, or documents with ambiguous or commonly used titles, a library
location is given for the copies used. The same practice is followed where a
bibliographical point is being made which involves the distinction between

editions or issues of the same book.
Secondary sources
A wide range of secondary sources has been used, and is cited in the
references. The full reference is given at the first citation in each chapter,
and thereafter references are by author, short title and [volume and] page
number. The full citation is repeated on the first usage in a subsequent
chapter.
Abbreviations
In addition to those noted above, the following abbreviations are used in the
references:
BL British Library
Bodl Bodleian Library, Oxford
213
A Note on Sources
DNB Dictionary of National Biography

PRO Public Record Office
SC Stationers' Company
STC2 A Short-title Catalogue of Books Printed in England, Scotland &
Ireland and of English Books Printed Abroad 1475-1640. Second
edition, revised and enlarged by W. A. Jackson, F. S. Ferguson and
Katherine F. Pantzer. 3 vols., London: The Bibliographical Society,
1976-91.
214
References
Introduction
1 This school of thought is particularly associated with the French critic,
Roland Barthes. His essay, 'The death of the author', is most easily
accessible in his Image, Music, Text, translated by Stephen Heath, Glasgow:
Fontana/Collins, 1977, pp. 142-8.
2 For a different approach, which is primarily a contribution to the history of
authorship, see David Saunders. Authorship and Copyright. London:
Routledge, 1992. Another recent study, Mark Rose. Authors and Owners. The
invention of copyright. Cambridge, MA: Harvard University Press, 1993, was
published after this book was completed. Again, the focus is on authors.
3 See Elizabeth Armstrong. Before Copyright. The French book-privilege
system 1498-1526. Cambridge: Cambridge University Press, 1990; and Jane
C. Ginsbury, Atale of two copyrights: literary property in revolutionary
France and America. Tulane Law Review, 64, (1990), pp. 991-1031.
4 For an overview, see Lucien Febvre and Henri- Jean Martin. The Coming
of the Book. The impact of printing 1450-1800 (Translated by David Gerard;
ed. Geoffrey Nowell-Smith and David Wootton). London: NLB, 1976,
pp. 159-66. On the gradual loss of anonymity, see E. Ph. Goldschmidt.

Medieval Texts and Their First Appearance in Print. London: The
Bibliographical Society, 1943, p. 116. For a closely argued particular case,
see Joseph Loewenstein, The script in the marketplace. Representations, 12
(1985), pp. 101-14.
5 For a general history, see John Feather. A History of British Publishing.
London: Croom Helm, 1988.
6 Donald W. Nichol, On the use of 'copy' and 'copyright': a Scriblerian
coinage? The Library, 6th ser., 12 (1990), pp. 110-20.
7 For the general history of authorship in this period, the two books by
A. S. Collins are still invaluable: Authorship in the Days of Johnson. Being a
study of the relation between author, patron, publisher and public 1726-1780.
London: Robert Holden, 1927; and The Profession of Letters. A
study of the
of author to patron, publisher and public 1780-1832. London:
relation
Routledge and Kegan Paul, 1928.
Chapter 1
1 Elizabeth Armstrong, English purchases of printed books from the
continent 1465 to 1526. English Historical Review, 94 (1979), pp. 268-90;
215
References
H. R. Plomer, The importation of books into England in the fifteenth and

sixteenth centuries. The Library, 4th ser., 4 (1923-24), pp. 146-50.
2 C. Paul Christiansen, Evidence for the study of London's late medieval
manuscript-book trade. In: Jeremy Griffiths and Derek Pearsall, eds. Book
Production and Publishing in Britain 1375-1475. Cambridge: Cambridge
University Press, 1989, pp. 87-108.
3 Konrad Haebler. The Study of Incunabula. New York: The Grolier Club,
1933, p. 192; Leonardas Vytautas Gerulaitis. Printing and Publishing in
Fifteenth-century Venice. Chicago, IL: American Library Association, 1976,
pp. 201 -21, 233-5.
4 Lucien Febvre and Henri -Jean Martin. The Coming of the Book. The
impact of printing 1450-1800 (Translated by David Gerard; ed. Geoffrey
Nowell-Smith and David Wootton). London: NLB, 1976, p. 241. On France,
see Elizabeth Armstrong. Before Copyright. The French book-privilege
system 1498-1526. Cambridge: Cambridge University Press, 1990.
5 Printed by Sir Walter Greg. A Companion to Arber. Oxford: Clarendon
Press, 1967, p. 165.
6 John Feather. A History of British Publishing. London: Croom Helm,
1988, p. 17.
7 Ibid.
8 The history of the privileges is obscure in detail, as
is ownership of
But the general principles are clear

individual rights at particular periods.
enough. There is a list of them, dating from the 1580s, in BL MS.

Landsdowne 48, ff. 180-1, 189-94; see Frederick Seaton Siebert, Freedom
of the Pressin England 1476-1776. Urbana, IL: University of Illinois Press,
1965, pp. 38-9. Probably the most comprehensive list of patentees is now
that in STC2, vol. 3, p. 195, supplemented by the lists in Appendices A-C,
ibid., pp. 197-8.

9 CPR Elizabeth I, vol. 2, p. 518.
12 CSPD Elizabeth I (1591-94), p. 179.
13 Leo Kirschbaum, Author's copyright in England before 1640. Papers of
the Bibliographical Society of America, 40 (1946), pp. 43-80.
15 Greg, Companion, p. 127.
16 Cyprian Blagden. The Stationers' Company. A history 1403-1959.
London: Allen and Unwin, 1960, a general history. For the early years,
is
see Graham Pollard, The Company of Stationers before 1557. The Library,
4th ser., 18 (1937-38), pp. 1-38. The Company's royal charter, the legal
basis ofits existence, is printed in Edward Arber. Transcript of the Registers
of the Company of Stationers of London 1554-1640. 5 vols., Birmingham:

The Author, 1875-94, vol. 1, pp. xxvii-xxxii; for this, see Graham Pollard,
The early constitution of the Stationers' Company. The Library, 4th ser., 18
(1937-38), pp. 235-60.
17 I am much influenced by a very important recent paper by Sheila
Lambert, State control of the press in theory and practice: the role of the
Stationers' Company before 1640. In Robin Myers and Michael Harris, eds.
216
References
Censorship & Control of Print in England and France 1600-1910.

Winchester: St Paul's Bibliographies, 1992, pp. 1-32. Although, as her title
suggests, Lambert is principally concerned with censorship, there is a close

relationship between that and copyright in the sixteenth and seventeenth
centuries, as we shall see. Lambert argues that the role of the Company in
the control of the press was far less important than book trade historians
have generally suggested; I would certainly now want to modify some of the
statements which I made in 'From rights in copies to copyright: the
recognition of authors' rights in English law and practice in the sixteenth and
seventeenth centuries'. Cardozo Arts & Entertainment Law Journal, 10
(1992), pp. 455-73, the paper on which this chapter is, in part, based.
18 The relevant clause of the Injunctions is printed in Alfred W. Pollard.
Shakespeare's Fight with the Pirates and the Problems of the Transmission of
His Text. Cambridge: Cambridge University Press, 1920, pp. 13-14. The
context, however, can be seen only by reading the whole document, printed
in P. L. Hughes and J. F. Larkin, eds. Tudor Royal Proclamations. 3 vols.,
New Haven, CT: Yale University Press, 1969, no. 460.
19 Lambert, State control of the press, p. 11.
20 Arber, Transcript, vol. 1, pp. 74-5.
21 Ibid., pp. 94-7.
22 Ibid., p. 45.
23 Ibid., p. 70.
24 T. F. Reddaway, The livery companies of Tudor London. History, 51
(1966), pp. 287-99.
25 Blagden, Stationers' Company, pp. 42-5.
26 Quoted in W. W. Greg. Some Aspects and Problems of London
Publishing between 1550 and 1650. Oxford: Clarendon Press, 1956, p. 4.
27 Ihave modified, in the light of Lambert's arguments (see note 17 above),

my statement in From rights in copies, p. 460.
28 Arber, Transcript, vol. 1, p. 239. Entries were not precisely dated until
1576; before that date they can only be ascribed to a particular year.
29 Ibid., pp. 274, 315.
30 Ibid., p. 93.
31 Ibid., p. 259.
32 Ibid., p. 329.
33W. W. Greg and E. Boswell, eds. Records of the Court of the Stationers'
Company 1576 to 1602, from Register B. London: The Bibliographical
Society, 1930, p. 9.
34 William A. Jackson, ed. Records of the Court of the Stationers' Company
1602 to 1640. London: The Bibliographical Society, 1957, pp. 217, 292. See
also Arber, Transcript, vol. 4, p. 377.
35 See, among many examples, Arber, Transcript, vol. 2, p. 336
(2 September 1578).
36 Ibid., vol. 5, pp. 529-30.
37 Ibid., vol. 2, p. 366. 'The Hall' is Stationers' Hall, situated just to the
east of St Paul's Cathedral, which was the Company's home in which it
transacted its business. The Master and Wardens seem to have sat, with the
217
References
Clerk, in the Hall itself in order to register copies and to undertake other
transactions. See Blagden, Stationers' Company, pp. 53-5.
38 Ibid., vol. 2, p. 390.
39 Ibid., p. 416.
40 Ibid., p. 421.
41 See Michael Treadwell, Printers on the Court of the Stationers' Company
in the seventeenth and eighteenth centuries. Journal of the Printing
Historical Society, 21 (1992), pp. 29-42.
42 Feather, History, pp. 35-40.
43 Feather, History, p. 36; Siebert, Freedom of the Press, pp. 38-9.
44 H. Anders, The Elizabethan 'ABC with The Catechism'. The Library,
4th ser., 16 (1935-36), pp. 32-48.
45 Greg and Boswell, Records, p. 7; Eiluned Rees. The Welsh Book-Trade
before 1820. Aberystwyth: National Library of Wales, 1988, p. xiv.
46 APC, new ser., 10 (1577-78), pp. 169-70, 188-9.
47 Feather, History, p. 37.
48 Harry R. Hoppe, John Wolfe, printer and publishers, 1579-1601. The
Library, 4th ser., 14 (1933-34), pp. 241-88.
49 APC, new ser., 10 (1577-78), pp. 277-8.
51 Siebert, Freedom of the Press, p. 73.
52 Lambert, State control of the press, pp. 12-15.
53 C. L. Oastler. John Day, the Elizabethan Printer. Oxford: Oxford
Bibliographical Society, occ. publ., 10, 1975, pp. 65-9.
54 Greg and Boswell, Records, p. 20.
55 Ibid., p. 21.
56 Arber, Transcript, vol. 3, pp. 42-4; Greg, Companion, p. 50; confirmed
in 1616: Arber, Transcript, vol. 3, pp. 679-82; Greg, Companion, p. 54. See
also Sheila Lambert, Journeymen and Master Printers in the early

seventeenth century. Journal of the Printing Historical Society, 21 (1992),
pp. 13-27, at p. 14.
57 Cyprian Blagden, The English Stock of the Stationers' Company: an
account of its origins. The Library, 5th ser., 10 (1955), pp. 163-85; Cyprian
Blagden, The English Stock of the Stationers' Company in the time of the
Stuarts. The Library, 5th ser., 12 (1957), pp, 167-86.
59 Jackson, Records, p. 31.
60 Arber, Transcript, vol. 3, pp. 288-9.
61 Arber, Transcript, vol. 3, p. 248.
62 The latter point is difficult to document, but there is no doubt that it was
a well-established practice; the note on Dexter 's copies, cited above (note
61), refers to the reversion taking place 'according to a former constitution
in suche cases'. It is not clear where, if at all, that 'former constitution' was
actually written down, but the practice is referred to as the 'Custom of the
Company' in 1626 (Jackson, Records, p. 188), and the 'antient Custome' in

1638 (ibid., p. 307).
63 See Lambert, Journeymen, p. 15, and the references in her note 4.
218
References

65 W. W. Greg, ed. Marlowe's Doctor Faustus 1604-1616. Oxford:
Clarendon Press, 1950, pp. 9-10.
66 Arber, Transcript, vol. 3, p. 210. I write 'never successfully challenged',
because there was some sort of problem with these copies. The entry was
made 'by Direction from the wardens under their handes: after yt had ben
agreed uppon at ij
last courtes'. Unfortunately, Register B (i.e. Greg and
Boswell, Records) has nothing to say on the matter. The two previous
meetings of the Court of Assistants had been on 8 May and 28 June, and,
apparently, the case was discussed at neither meeting. There are, however, a
number of minor errors and confusions in Register B in 1602 (ibid., pp. 86-
90) and some minutes may not have been properly written up in the Court
Book. It might be speculated that the discussion concerned the transfer of
ownership from the estate of their deceased owner, Cawood, to Leake,
rather than on the proof of Cawood's ownership, but this cannot be
substantiated.
68 E. K. Chambers. The Elizabethan Stage. 4 vols., Oxford: Clarendon
Press, 1923, vol. 3, pp. 291-2.
70 Information from Dr Maureen Bell, based on work done by her and
Professor John Barnard.
74 See above, pp. 11.
75 Greg, Companion, pp. 50, 153. The book is STC 23138. This was part of
an effort to introduce the cultivation of the silkworm into England.
76 Greg, Companion, pp. 51, 154.
77 Ibid., pp. 56, 162.
78 Ibid., pp. 51-2, 157. See also Sarah L. C. Clapp, The beginnings of
subscription publication in the seventeenth century. Modern Philology, 29
(1931-32), pp. 199-244.
79 R. A. Foakes and R. T. Rickert, eds. Henslowe's Diary. Cambridge:
Cambridge University Press, 1961.
80 Literary scholars have tended to assume that Shakespeare was unique in
a commercial as well as a literary sense; there is no evidence for this. There
is, of course, a vast literature on all of this, much of it of little relevance for
our purposes. The organization of the theatrical companies does, however,
have some bearing on the matter. Chambers, Elizabethan Stage, is the
standard, massively detailed and virtually unreadable authority. For a useful
summary, however, see Andrew Gurr. The Shakespearian Stage 1574-1642.
Cambridge: Cambridge University Press, 1970, pp. 19-59.
81 Foakes and Rickert, Henslowe's Diary, pp. 21-30.
82 Compare the titles in Foakes and Rickert (as cited in note 81) with
Chambers, Elizabethan Stage, vol. 3, passim, and with W. W. Greg. A
219
References
Bibliography of the English Printed Drama to the Restoration. 4 vols.,

London: The Bibliographical Society, 1939-59.
83 The period from the formation of the Company to the retirement of
Shakespeare.
84 See Chambers, Elizabethan Stage, vol. 3, passim; and Greg,
Bibliography, passim.
85 For an exhaustive study, see Peter Alexander. Shakespeare's Henry VI
and Richard HI. Cambridge: Cambridge University Press, 1929.
87 Ibid., vol. 3, p. 204.
88 W. W. Greg. The Shakespeare First Folio. Its bibliographical and textual
history. Oxford: Clarendon Press, 1955, p. 68.
90 Their reasons need not concern us; they relate to the preliminary stages
of assembling the First Folio. See Greg, Shakespeare First Folio, pp. 28-75.
91 The discussion began with A. W. Pollard. Shakespeare's Fight with the
Pirates and the Problems of the Transmission of his Text. Cambridge:
Cambridge University Press, 1920, pp. 42-4, and was most judiciously
ended by Greg, Aspects and Problems, pp. 112-22, where he gives a
measured account of these so-called 'blocking' entries in the Register and
related issues.
92 Chambers, Elizabethan Stage, vol. 3, p. 325.
93 This continued throughout the seventeenth century; see Harold Love.
Scribal Publication in Seventeenth-century England. Oxford: Clarendon
Press, 1993.
94 Percy Simpson. Studies in Elizabethan Drama. Oxford: Clarendon Press,
1955, pp. 186-92.
95 For James patents, see Arber, Transcript, vol. 5, p. Ivii; Siebert,
I's
Freedom of the Press, pp. 128-33.

% Greg, Aspects and Problems, p. 75; but see also Allan Pritchard, George
Wither's quarrel with the Stationers: an anonymous reply to The Schollers
Purgatory. Studies in Bibliography, 16 (1963), pp. 27-42; and Norman E.
Carlson, Wither and the Stationers. Studies in Bibliography, 19 (1966),
pp. 210-15.
97 J. E. Neale. Elizabeth I and Her Parliaments 1584-1601. London:
Jonathan Cape, 1957, pp. 376-93; and Conrad Russell. Parliaments and
English Politics 1621-1629. Oxford: Clarendon Press, paperback ed., 1982,
pp. 190-1.
98 21 James I c. 3.
99 Ibid., para. 10.

100 See below, pp. 37-40.
102 W. W. Greg. Licensers for the Press &c to 1640. Oxford: Oxford
Bibliographical Society (new ser. 10), 1958, p. 63.
103 The decree is printed in Arber, Transcript, vol. 4, pp. 528-36. See also
Blagden, Stationers' Company, pp. 117-25; and Lambert, State control of
the press, p. 22.
220
References
Chapter 2
1 See John Philipson, The King's Printer in Newcastle upon Tyne in 1639.
The Library, 6th ser., 11 (1989), pp. 1-9. For subsequent travels, see
William K. Sessions. The King's Printer at Newcastle-upon-Tyne in 1639, at
Bristol in 1643-1645 and at Exeter in 1645-1646. York: Ebor Press, 1982.
2 See W. M. Clyde, Parliament and the press, 1643-7. The Library, 4th
ser., 13 (1932-33), pp. 399-424; W. M. Clyde, Parliament and the press, II.
The Library, 4th ser., 14 (1933-34), pp. 39-58; Frederick Seaton Siebert.
Freedom of the Press in England 1476-1776. Urbana, IL: University of
Illinois Press, 1965, pp. 179-233.
3 Sheila Lambert, The beginning of printing for the House of Commons,
1640-42. The Library, 6th ser., 3 (1981), pp. 43-64.
4 This had been a problem for much of the seventeenth century, but was
certainly deteriorating in the 1630s; for a recent account, see David
McKitterick. A History of Cambridge University Press. Volume 1. Printing
and the book trade in Cambridge 1534-1698. Cambridge: Cambridge
University Press, 1993, pp. 195-6.
5 Cyprian Blagden, The Stationers' Company in the Civil War period. The
Library, 5th ser., 13 (1958), pp. 1-17.
6 Lambert, The beginning of printing, p. 43.
7 John Milton. Complete Prose Works. Volume II. 1643-1648. New Haven,
CT: Yale University Press, 1959, p. 570.
8 CJ, vol. 2, pp. 71, 79, 84.
9 LJ, See also Lambert, The beginning of printing, pp. 44, 47.
vol. 4, p. 174.
10 SC, Court Book C, f. 178. In using Court Books C and D, I am indebted
to R. P. Johnston, The Court Books of the Stationers' Company 1641-1679:
a complete index and selected entries. Victoria University of Wellington
M.A. dissertation, 1983.
11 CJ, vol. 2, p. 402.
12 Franklin B. Williams, Jr., The Laudian imprimatur. The Library, 5th
ser., 15 (1960), pp. 96-104; Jackson, Records, p. 234.
13 C. H. Firth and R. S. Rait, eds. Acts and Ordinances of the Interregnum
1642-1660. 3 vols., London: H.M.S.O., 1911, vol. 1, pp. 184-7.
14 On this practice, see N. Frederick Nash, English licences to print and
grants of copyright in the 1640s. The Library, 6th ser., 4 (1982), pp. 174-84.
15 G. E. Briscoe Eyre. A
Transcript of the Registers of the Worshipful
Company of Stationers from 1640-1708. 3 vols., London, 1913-14, vol. 1,
p. 66.
16 Ibid., vols. 1 and 2, passim.
17 Firth and Rait, Acts, vol. 1, pp. 1021-3.
18 Ibid., vol. 2, pp. 245-54.
19 See Joseph Frank. The Beginnings of the English Newspaper 1620-1660.
Cambridge, MA: Harvard University Press, 1961, pp. 199-267.
20 Firth and Rait, Acts, vol. 2, p. 251.
21 Ibid., vol. 2, pp. 696-9.
V
22 SC, Court Book C, p. 279 .
221
References
v
23 SC, Court Book D, pp. 11, ll . The relevant entry (to Leach) is,
apparently, Eyre, Transcript, vol. 2, pp. 33-4 (12 March 1656).

24 Eyre, Transcript, vol. 2, p. 62.
25 Ibid., vol. 2, p. 78.
26 Ibid., vol. 2, p. 119.
27 CSPD Charles II (1660-61), p. 189.
28 See Walker, The censorship of the press during the reign of Charles
J. II.
History, 25 (1950), pp. 219-38.

29 SC, Court Book D, p. 60V .
30 Ibid., p. 61.
31 CJ, vol. 8, p. 288.
32 See CSPD Charles II (1661-62), pp. 44-5.
33 CJ, vol. 3, p. 312 (25 July 1661).

34 CJ, vol. 8, pp. 313, 314.
35 Ibid., p. 315. For the amendment, see CSPD (Charles II), p. 57, a
document dated 3 August 1661.
36 Siebert, Freedom of the Press, p. 238.
37 a, vol. 8, p. 417 (10 May 1662).
38 13 & 14 Charles II c. 33. CJ, vol. 8, pp. 417 (1st Reading, 2 May), 418
(2nd Reading, 3 May), 434 (Report Stage, 17 May), 435 (Report Stage and
ingrossment, 19 May), and 436 (agreement to Lords amendments and Royal
Assent, 19 May).
39 Cyprian Blagden. The Stationers' Company. A history 1403-1959.
London: Allen and Unwin, 1960, p. 148.
V
40 SC, Court Book D, p. 76 the minutes of a meeting of the Court on
,
6 October 1662, records a payment to Mr Secretary Nicholas for two letters

which he had sent to Parliament in support of 'the Bill', presumably the Bill
which became the 1662 Act.

41 CSPD (Charles II), pp. 372-3, the petition of Richard Hutchinson and
others.
42 Cyprian Blagden, The 'Company' of Printers. Studies in Bibliography, 13
(1960), pp. 1-15.
43 Eyre, Transcript, vol. 2, p. 394.
44 McKitterick, Cambridge University Press, vol. 1, pp. 202-4, 347, 352;
Harry Carter. A
History of the Oxford University Press. Volume I to the year
1780. Oxford: Clarendon Press, 1975, pp. 78-80. For the long-running
disputes between Oxford and the Stationers in the late seventeenth century,
see John Johnson and Strickland Gibson. Print and Privilege at Oxford to the
Year 1700. Oxford: Clarendon Press, 1946, pp. 109-30.
45 This was the notorious pirate, Henry Hills. For this episode, see Bernard
Capp. Astrology and the Popular Press. English almanacs 1500-1800.
London: Faber and Faber, 1979, p. 40. For the almanac trade in general, see
Cyprian Blagden, The distribution of almanacs in the second half of the
seventeenth century. Studies in Bibliography, 11 (1958), pp. 107-16.
46 Stationers' Company v. Patentees of Roll's Abridgements (Michaelmas

Term, 18 Charles II) reported at Carter 89-92.
47 Stationers' Company v. Seymour (Trinity Term, 29 Charles II) reported
at 3 Keble 792.
222
References
48 Ibid.
49 Generally, see R. C. Bald, Early copyright litigation and its
bibliographical interest. Papers of the Bibliographical Society of America, 36
(1942), pp. 81-96.
V
50 SC, Court Book D, p. 191 .
51 The first use of this form of words which I have seen. See above,
p. 5.
52 Ibid., pp. 294-310.
53 Ibid., p. 317.
54 SC, Court Book E, p. 160.
55 Bald, Early copyright litigation,p. 87; Francis Mott Harrison, Nathaniel
Ponder: the publisher of Pilgrim's Progress. The Library, 4th ser., 15 (1934-
35), pp. 257-94, at pp. 270-5. See also below, p. 49.
56 Company of Stationers v. Seymour (Trinity Term, 29 Charles II) reported
at 1 Mod. 256-8.
57 Ibid.
58 See above, p. 11.
59 CSPD Charles II (1661-62), p. 52, for the grant.
V
60 SC Court Book D, p. 118 (Ogilvy: confirmed in 1667, ibid., p. 130); and
V
ibid., p. 85 (Fuller).
61 Eiluned Rees and Gerald Morgan, Welsh almanacks, 1680-1835:
problems of piracy. The Library, 6th ser., 1 (1979), pp. 144-63, at p. 144.
62 See Nicholas Temperley, John Playford and the Stationers' Company.
Music and Letters, 54 (1973), pp. 203-12.
1988, p. 61.
V
64 SC, Court Book D, p. 236 .
v
65 Ibid.,p.271 .
66 Feather, History, pp. 56-7, 101, and the references cited there.
67 Terry Belanger, Tonson, Wellington and the Shakespeare copyrights. In:
R. W. Hunt, I. G. Philip and R. J. Roberts, eds. Studies in the Book Trade
in Honour of Graham Pollard. Oxford: Oxford Bibliographical Society (new
ser., 18), 1975, pp. 195-209.
68 Timothy Crist, Government control of the press after the expiration of
the Printing Act in 1679. Publishing History, 5 (1979), pp. 49-77.
69 SC, Court Book D, p. 341 V .
70 Ibid., p. 236; and above, pp. 44-5.

71 See above, p. 46, and note 55.
72 Eyre, Transcript, vol. 3, p. 49; see also Roger Sharrock. John Bunyan.
London: Macmillan, 1968, p. 69.
73 On this period, see A. W. Pollard, Some notes on the history of
copyright in England 1662-1774. The Library, 4th ser., 3 (1922-23), pp. 97-
114, at pp. 103-7.
74 CJ, vol. 9, p. 729 (5 June 1685).
75 LJ, vol. 14, p. 71.
76 1 James II c. 17, s. 15.
77 For this period, see Raymond Astbury, The renewal of the Licensing Act
in 1693 and its lapse in 1695. The Library, 5th ser., 33 (1978), pp. 296-322.
223
References
78 Ibid., at pp. 300-3, and especially the contemporary sources cited in

notes 19 and 27. It should be noted that Astbury (like many others) relied
on Siebert, Freedom of the Press, rather more often than is sensible. But this
much of which is based on primary
certainly does not invalidate his paper,
sources.
79 Ibid., at pp. 309-11, and the sources cited in notes 65 and 66.
80 CJ, vol. 11, p. 228.
81 See J. A. Downie. Robert Harley and the Press. Cambridge: Cambridge
University Press, 1979, pp. 149-50; and Laurence Hanson. Government and
the Press 1695-1763. Oxford: Clarendon Press, 1936, pp. 8-10. Bills which
relate solely to the taxation of printed matter are excluded from my
calculation.
82 Astbury, Lapse, pp. 311-15.
83 P. D. G. Thomas. The House of Commons in the Eighteenth Century.
Oxford: Clarendon Press, 1971, pp. 60-4.
84 Downie, passim. For Harley 's notes on newspapers, one symptom of this
obsession, see J. M. Price, A note on the circulation of the press. Bulletin of
the Institute of Historical Research, 32 (1958), pp. 215-24; Henry L. Snyder,
The circulation of newspapers in the reign of Queen Anne. The Library, 5th
ser., 23 (1968), pp. 202-35; and Henry L. Snyder, A

further note on the
circulation of newspapers in the reign of Queen Anne. The Library, 5th ser.,
31 (1976), pp. 387-9.
85 Peter Fraser. The Intelligence of the Secretaries of State and their
Monopoly of Licensed News 1660-1688. Cambridge: Cambridge University
and P. M. Handover. A History of the
Press, 1956, pp. 39-56; London
Gazette 1665-1965. London: H.M.S.O., 1965, pp. 5-6.
86 John Feather, From censorship to copyright: some aspects of government
control of the press in England 1695-1775. In: Kenneth E. Carpenter,
ed. Books and Libraries in History and Society. New York: Bowker, 1983,
pp. 173-98.
88 SC, Court Book E, p. 217 V .
89 CJ, vol. 11, p. 289.

90 Ibid.
91 Ibid., vol. 11, p. 354.
92 Reasons humbly offer' d to the Consideration of the Honourable House of
Commons shewing the great Necessity of having a Bill for the Regulating of
Printing and Printing- Presses. [London: 1696]. (BL, 1887. b. 58. (7.)). This is
dated [1698?] in the BL catalogue, but there is no Commons business in that
year to which it could refer. The 1696 Bill reached the stage at which
petitions would have been tabled, and I therefore ascribe it to that year.
93 CJ, vol. 11, p. 706.
94 Ibid., vol. 14, p. 338.
95 BL, 816.m.l2.(37.).
% CJ, vol. 11, p. 765.
97 Harold Love. Scribal Publication in Seventeenth-century England.
Oxford: Clarendon Press, 1993, pp. 9-22.
224
References
98 I at length in John Feather, The book trade in

have discussed these cases
politics: themaking of the Copyright Act of 1710. Publishing History, 8
(1980), pp. 19-44, at pp. 25-9, the paper on which part of this chapter is
based.
99 Downie, Robert Harley, p. 55.
100 Ibid., pp. 57-79.
101 Published on 7 January 1704; see John Robert Moore. A Checklist of
the Writings of Daniel Defoe. 2nd ed., Hampden, CT: Archon, 1971, no. 68.
It was reprinted by the Luttrell Society in 1948, but references here are to
the 1704 edition.

102 Defoe, An Essay, pp. 4, 7.
103 Ibid., pp. 11-18.

104 Ibid., p. 18.
105 See, for example, Richmond P. Bond, The pirate and The Taller. The
Library, 5th ser., 17 (1963), pp. 257-74. See also Pollard, Some notes,
pp. 106-7.
106 On the King's Bench prosecutions, see Donald Thomas. A Long Time
Burning. A history of literary censorship in England. London: Routledge and
Kegan Paul, 1969, pp. 34-62.
107 W. A. Speck. Tory and Whig. The struggle in the constituencies 1701-
1715. London: Macmillan, 1970, pp. 98-109.
108 CJ, vol. 15, p. 313.
109 For the congers and the trade sales, see Terry Belanger, Publishers and
writers in eighteenth-century England. In: Isabel Rivers, ed. Books and the
Readers in Eighteenth-century England. Leicester: Leicester University
Press, 1982, pp. 1-25, at pp. 13-16. For the congers, see also Norma
Hodgson and Cyprian Blagden, eds. The Notebook of Thomas Bennet and
Henry Clements (1686-1719) with Some Aspects of Book Trade Practice.
Oxford: Oxford Bibliographical Society (new ser., 6), 1956, pp. 209-14. For
the trade sales, see also below, pp. 65-6.
V
110 SC, Court Book G, p. 138 .
111 CJ, vol. 15, p. 316.

112 See below, pp. 99-100.
113 See above, p. 45, and Carter, A History, pp. 157-78.
114 CJ, vol. 16, pp. 260-1.
V
115 SC, Court Book G, p. 173 .
116 SC, Wardens' Accounts, 7 Jan-6 Mar 1710; they spent \\s. 6d. 'at the
Kings head . . . when we came from Parliam ', and paid 5s. Qd.
1
for 'Coach
hire twice to Westminster'.
117 This is based on a manuscript copy in Bodl. MS Rawl. D. 922, ff. 380-
6, for which see below, pp. 61-2.
118 CJ, vol. 16, p. 291.
119 BL, 1887.b.58.(3.).
120 Bodl., John Johnson Collection.
122 Bodl., John Johnson Collection.
123 CJ, vol. 16, p. 294.
225
References
124 Ibid., p. 339. The manuscript version of the Bill (see note 117) derives
from the Report Stage, and has been amended by a Member as he sat
through the debate. It is the basis for this and the following paragraphs.
125 The Act is 8 Anne c. 19, conveniently printed in Harry Ransom. The
First Copyright Statute. Austin, TX: University of Texas Press, 1959,
pp. 110-17.
V V
126 SC, Court Book G, pp. 178 ,
179-179 .
Chapter 3
1 This statement is based on two aspects of the procedures adopted in the

Commons: (1) the petitions followed the tabling of the Bill, rather than
preceding it, as was the case for Private Bills; and (2) it went to a
Committee of the Whole House after its Second Reading, a Public Bill
procedure. By contrast, the 1707 Bill was Private. This may explain, in
parliamentary terms, why it failed. On procedural matters, see P. G. D.
Thomas. The House of Commons in the Eighteenth Century. Oxford:
Clarendon Press, 1971, pp. 51, 57-8.
2 See John Feather. The Provincial Book Trade in Eighteenth-century
England. Cambridge: Cambridge University Press, 1985, pp. 1-11, 44-68.
3 See John Feather. A History of British Publishing. London: Croom Helm,
1988, pp. 68-9; and Norma Hodgson and Cyprian Blagden. The Notebook
of Thomas Bennet and Henry Clements. Oxford: Oxford Bibliographical
Society (new ser., 6), 1953, pp. 78-9.
4 The phrase used by Richard Royston, who was one of them, in his will in
1686; Feather, History, p. 69.
5 See Stephen Parks. John Dunton and the English Book Trade. New York:
Garland, 1976, p. 207.
6 Hodgson and Blagden, Notebook of Thomas Bennet, p. 84.
7 See above, pp. 56-7 and Table 2.2, p. 58.
8 See above, pp. 18, 42 and 57.
9 See above, pp. 25-6.
10 See Cyprian Blagden, Booksellers' trade sales 1718-1768. The Library,
5th ser., 5 (1950-51), pp. 243-57; Terry Belanger, Booksellers' trade sales,
1718-1768. The Library, 5th ser., 30 (1975), pp. 281-302; and Terry
Belanger, Publishers and writers in eighteenth-century England. In: Isabel
Rivers, ed. Books and Their Readers in Eighteenth-century England.
Leicester: Leicester University Press, 1982, p. 15.
13 For a recent analysis, see Peter Lindenbaum, Milton's contract. Cardozo
Arts & Entertainment Law Journal, 10 (1992), pp. 439-54.
14 Kathleen M. Lynch. Jacob Tonson, Kit-Cat Publisher. Knoxville, TN:
University of Tennessee Press, 1971, p. 16.
15 In 12 George II c. 36, for which see below pp. 75-6, the clauses on price
controls were repealed.
16 See below, p. 100.
226
References
17 Belanger, Publishers and writers, pp. 16-17.

18 For Ponder v. Burrill, see above, pp. 46 and 49. See also Alfred W.
Pollard, Copyright in Josephus. The Library, 2nd ser., 8 (1917), pp. 173-6.
19 BL 593.C.20. is a copy of the first edition, and BL T. 1053. (4) is the
second.
20 Bodl. Vet. A5 e. 5045(2) is a copy of the piracy.
21 The papers are PRO Cll/2642/49.
22 The father of the Byng executed for cowardice in 1757. See DNB for
both men.
23 Shirley Strum Kenny, Eighteenth-century editions of Steele's Conscious
Lovers. Studies in Bibliography, 21 (1968), pp. 253-61.
24 PRO Cll/2558/47.
25 David Foxon. Pope and the Early Eighteenth-century Book Trade, rev.
and ed. by James McLaverty. Oxford: Clarendon Press, 1991, pp. 47-8.
26 For which see below, pp. 77-9. I can find no similar statements, for
example, among pre-1731 agreements listed in James E. Tierney, ed. The
Correspondence of Robert Dodsley 1733-1764. Cambridge: Cambridge
University Press, 1988, pp. 508-29; nor do there seem to be any in the
papers discussed in G. E. Bentley, Jr., Copyright documents in the George
Robinson archive: William Godwin and others 1713-1820. Studies in
Bibliography, 35 (1982), pp. 67-110; and there were none among the
contracts used in John Feather, John Nourse and his authors. Studies in
Bibliography, 34 (1981), pp. 205-26.

27 See David Hunter, Copyright protection for engraving and maps in
eighteenth-century Britain. The Library, 6th ser., 9 (1987), pp. 128-47, at
pp. 131-2.
28 CJ, vol. 22, p. 364.
29 The point is made by Hunter, Copyright protection, p. 133.
30 CJ, vol. 22, pp. 364, 380.
31 Hunter, Copyright protection, pp. 133-6.
32 CJ, vol. 22, p. 400.
33 Ibid., pp. 411-12.
34 Ibid., p. 482.
35 There are copies of this Bill in Bodl. MS Carte 114, ff. 391-6, and MS
Carte 207, ff. 31-5, 36-9, 40-3, and 44-7. A
different edition is at ibid.,
ff. 54-9. For Carte, see below,
pp. 74-5.
36 See M. Pollard. Dublin's Trade in Books 1550-1800. Oxford: Clarendon
Press, 1989, pp. 66-87, for a measured account of the real extent of the Irish
problem. For some aspects of the Dutch problem, see John Feather, English
books in the Netherlands in the eighteenth century: reprints or piracies? In:
C. Berckvens-Stevenlinck, H. Bots, P. G. Hoftijzer and O. S. Lankhorst,
eds. Le magasin de I'univers. The Dutch Republic as the centre of the
European book trade. The Hague: E. J. Brill, 1992, pp. 143-54.

37 ReasonsHumbly Offered to the Consideration of the Honourable House
of Commons, in support of a Bill for making more effectual an Act passed in
of her late majesty Queen Anne, intitled, An Act for the
the eighth year
Encouragement of Learning. [London: 1735]. Copy in Bodl. John Johnson

Collection.
227
References
38 See CJ, vol. 22, pp. 411-12; and the manuscript 'Draft Report of the
Committee' in BL 357.c.2.(39.).
39 [London: 1735]. Copy (printed) in Bodl. MS Carte 207, ff. 69-72.
40 So far as France was concerned was true, although somewhat
this
disingenuously expressed since the main purpose of French legislation was to

prevent the import of books not allowed to be published in France by the
censors, rather than to protect commercial interests. See Giles Barber,
French royal decrees concerning the book trade 1700-1789. Australian
Journal of French Studies, 3 (1966), pp. 312-30.
41 [London: 1735]. Copy (printed) in Bodl. MS Carte 207, f. 31.
43 Patents were protected for fourteen years only, under a law of 1623; see
C. H. Greenstreet, History of patent systems. In: F. Liebesny, ed. Mainly on
Patents. London: Butterworth, 1972, p. 7. There are some parallels in the
development of patent and copyright laws in the eighteenth century, for

which see Sir William Holdsworth. A History of English Law. 7th ed., 16
vols., London: Methuen, 1966-72, vol. 11, pp. 426-30.
44 A Letter from an Author to a Member of Parliament. Occasioned by a late
Letter concerning the Bill now depending in the House of Commons, for the
Encouragement of Learning &c. [London:] 17 April 1735. Copy in Bodl.

John Johnson Collection.
45 A Second Letter from an Author to a Member of Parliament, containing
some further remarks on a late letter concerning the Bill now depending in the
House of Commons, for the Encouragement of Learning, &c. [London: 23
April 1735]. Copy in Bodl. John Johnson Collection (with contemporary MS
date).
46 Fixed-term legislation was not unusual in the eighteenth century, as we
shall see with the Import of Books Act (see below, p. 76), and had
been used as a device since the Restoration; the Printing Act of 1662 was, of
course, an example.
47 CJ, vol. 22, p. 482.
48 LJ, vol. 24, pp. 543-4, 548, 550.
49 See Foxon, Pope, pp. 131, 244; J. McLaverty, The first printing and
publication of Pope's letters. The Library, 6th ser., vol. 2, pp. 264-80; and
Pat Rogers, The case of Pope v. Curll. The Library, 5th ser., 27 (1972),
pp. 326-31.
50 The Case of the Authors and Proprietors of Books. [London: 1735]. Copy
(printed) in Bodl. MS Carte 207, ff. 67-8.
52 For Carte, see DNB. His notes are in Bodl. MS Carte 114, ff. 19-20
('Reasons for amending an Act of Parliament made in the 10th [recte 8th]
year of the late Queen entitled an Act for the Encouragement of Learning
&c'), 21 ('Reasons for renewing the Privilege of the Term of 21 years in old
Copies'), and 22 ('reasons for granting authors Privilege for 21 years rather
than for 14'). See also Donald W. Nichol, On the use of 'copy' and
'copyright': a Scriblerian coinage? The Library, 6th ser., 12 (1990), pp. 110-
20, at p. 113.
228
References
53 There are at least two printed editions of the Bill. The first is reproduced
from the copy in Guildhall Library in Sheila Lambert, ed. House of
Commons Sessional Papers of the Eighteenth Century, Wilmington, DE:
Scholarly Resources Inc., 1975, vol. 7, pp. 266-81. There are copies of the
later edition, which incorporates amendments made in MS
in the Guildhall ,
copy in BL B.S.68/16(1), and Bodl. MS Carte 207, ff. 11-18.

54 a, vol. 22, p. 741.
55 For the stamp duties, see John Feather, The English book trade and the
law 1695-1794. Publishing History, 12 (1982), pp. 51-75, at pp. 52-6.
56 Farther Reasons Humbly Offered to the Consideration of the honourable
House of Commons. [London: 1737]. Copy in Bodl. MS Carte 207,
ff. 27-8.
57 Reasons Humbly Offered to the Consideration of the House of Commons,
in support of a Bill for making more effectual an Act passed in the eighth year
of the Reign of her late Majesty Queen Anne, infilled, An act of the
Encouragement of Learning. [London: 1737]. Copies in BL 816. m. 12. (51.)
and Bodl. MS Carte 114, ff. 338, 412.
58 See note 56, above.
59 LJ, vol.25, p. 81.
60 CJ, vol. 23, pp. 157, 320; LJ, vol. 25, pp. 242, 244, 251, 254, 255-6, 259,
362, 363, 368, 370, 372, 374, 395, 418-19. The Act is 12 George II c. 36; it
was renewed in 1747 as 20 George II c. 47, and again in 1754.
61 SC, Court Book I, pp. 271-4.
62 Congreve, for example, had done so; see D. F. McKenzie. The London
Book Trade in the Later Seventeenth Century. [Cambridge:] privately
circulated reproduction from typescript, 1976, pp. 35-54.
63 See Foxon, Pope, pp. 63-86.
64 J. McLaverty, The contract for Pope's translation of Homer's Iliad: an
introduction and transcription. The Library, 6th ser., 15 (1993), pp. 206-25.
65 BL. MS Egerton 1959, f. 1.
66 See J. McLaverty, Lawton

Gilliver: Pope's bookseller. Studies in
Bibliography, 32 (1979), pp. 101-24, based on McLaverty's study of John A

Wright and Lawton Gilliver, Alexander Pope's printer and bookseller.
Oxford University B.Litt. dissertation, 1974, where the available evidence
will be found. See also J. McLaverty. Pope's Printer, John Wright: a
preliminary study. Oxford: Oxford Bibliographical Society (Occasional
Publications, 11), 1976, pp. 11-28. Pope was apparently involved in helping
at least two other booksellers to establish themselves in the trade: Robert
Dodsley, to whom he lent 100 (George Sherburn, ed. The Correspondence

of Alexander Pope. 5 vols., Oxford: Clarendon Press, 1956, vol. 3, p. 346)
and perhaps Henry Woodfall (John Nichols. Literary Anecdotes of the
Eighteenth Century. 9 vols., London: the author, 1812-15, vol. 1, p. 300).
67 BL MS Egerton 1951, f. 9.
68 James R. Sutherland, The Dunciad of 1729. Modern Language Review,
31 (1936), pp. 347-53; D. L. Vander Meulen, The printing of Pope's
Dunciad 1728. Studies in Bibliography, 35 (1982), pp. 271-85; and Foxon,
Pope, pp. 108-14.
229
References
69 His memory failed him on this point, and indeed the history of the
assignment and entry of The Dunciad is even more complicated than Gilliver
recalled. See Foxon, Pope, pp. 110-12. The whole situation was very
confused, but the key points, so far as the present argument is concerned,
seem to be clear enough.
70 PRO Cll/2581/36.
71 Harry Ransom. The First Copyright Statute. Austin, TX: University of
Texas Press, 1959, pp. 111-12.
72 The confusion was largely created by Pope himself; see Sutherland, The
Dunciad; and Foxon, Pope, loc. cit.
73 PRO C33/351/284.
74 PRO Cll/549/39. See Foxon, Pope, pp. 249-50; and Howard P. Vincent,
Some Dunciad litigation. Philological Quarterly, 18 (1939), pp. 285-9.
75 PRO Cll/837/14. Foxon, Pope, p. 250.
76 David Hunter, Pope v. Bickham: an infringement of An Essay on Man
alleged. The Library, 6th ser., 9 (1987), pp. 268-73. Foxon, Pope,
pp. 250-1.
77 See Michael Harris, Journalism as a profession or trade in the eighteenth
century. In: Robin Myers and Michael Harris, eds. Author! Publisher
Relations During the Eighteenth and Nineteenth Centuries. Oxford: Oxford
Polytechnic Press, 1983, pp. 37-62.
78 See A. S. Collins. Authorship in the Days of Johnson. Being a study of
the relation between author, patron, publisher and public, 1726-1780.
London: Robert Holden, 1927, pp. 114-212.
79 See Raymond Williams. Keywords. A vocabulary of culture and society.
Rev. ed., Glasgow: Fontana, 1983, pp. 230-1.
80 See Mark Rose, The author as proprietor: Donaldson v. Becket and the
genealogy of modern authorship. Representations, 23 (1988), pp. 51-85, at
pp. 55-6; Mark Rose. Authors and Owners. The invention of copyright.
Cambridge, MA: Harvard University Press, 1993, pp. 154-8; and Martha
Woodmansee, The genius and the copyright: economic and legal conditions
of the emergence of the 'author'. Eighteenth-century Studies, 17 (1984),
pp. 425-48, at pp. 426-31.
81 P. J. Wallis, Book subscription lists. The Library, 5th ser., 29 (1974),
pp. 255-86.
82 Clayton Atto, The Society for the Encouragement of Learning. The
Library, 4th ser., 19 (1938-39), pp. 263-88.
83 James Ralph. The Case of Authors by Profession or Trade Stated.
London: Ralph Griffiths, 1758, pp. 59-60.
84 7 George II c. 24.
85 Ralph, The Case of Authors, p. '67' [recte 75].
86 Feather, Provincial Book Trade, pp. 109-21.
87 David Fleeman, The revenue of a writer. Samuel Johnson's literary
earnings. In: R. W. Hunt, I. G. Philip and R. J. Roberts, eds. Studies in the
Book Trade in Honour of Graham Pollard. Oxford: Oxford Bibliographical
Society (new ser., 18), 1975, pp. 211-30.
88 Feather, John Nourse, passim.
230
References
90 Pollard, Dublin's Trade, pp. 110-226; and Richard Cargill Cole. Irish
Booksellers and English Writers. London: Mansell, 1986, pp. 40-61.
91 Warren McDougall, Copyright litigation in the Court of Session,
1738-1749, and the rise of the Scottish book trade. Edinburgh
Bibliographical Society Transactions, 5 (1988), pp. 2-31, at pp. 9-22.
92 Ibid., pp. 4-6; Feather, Provincial Book Trade, p. 7.
93 McDougall, Copyright litigation, pp. 5-8.
94 Their statement was printed as Unto the Right Honourable the Lords of
Council and Session. The petition of Daniel Midwinter, William Innes, Aaron
Ward, and others, all of London Booksellers, and William Elliot Writer in
Edinburgh their Attorney or Factor, Partners. [Edinburgh:] 9 December
1747. In fact, the prime mover was probably Andrew Millar, who was
consistently active against the Scots reprinters; see McDougall, Copyright

litigation, passim; and below, pp. 87-9.
95 Henry Home, Lord Kames. Remarkable Decisions of the Court of
Session. Edinburgh: 1766, pp. 154-61.
% McDougall, Copyright litigation, pp. 7-8. This and the previous case
started as one, butwere apparently separated for procedural reasons.
97 Memorial for the Booksellers of Edinburgh and Glasgow, relating to the
process against them by some of the London booksellers; which depended
before the Court of Session and is now under appeal. [Edinburgh:] 1747.
98 Ibid., p. 3.
100 Memorial for the Booksellers of Edinburgh and Glasgow, pp. 10-11, 14.
101 McDougall, Copyright litigation, p. 8.
102 BL MS Egerton 1959, ff. 20-1, 23-4.

103 For this episode, see Feather, Provincial Book Trade, p. 8; Gwyn
Walters, The booksellers in 1759 and 1774: the battle for literary property.
The Library, 5th ser., 29 (1974), pp. 287-311; and Graham Pollard, The
2English market for printed books. Publishing History, 4 (1978), pp. 7-48,
at pp. 30-1. The letters and other documents are printed in Alexander
Donaldson. Some Thoughts on the State of Literary Property. London, 1764.
104 Christine Ferdinand, Benjamin Collins, the Salisbury Journal, and the
provincial book trade. The Library, 6th ser., 11 (1989), pp. 116-38.
105 Reported in 1 Black. W. 301-11.
107 1 Black. W. 321-45.
108 1 Black. W. 345 note (d).
109 Richard Schlatter. Private Property. The history of an idea. London:
Allen and Unwin, 1951, pp. 151-8, 164-72. Richard Tuck. Natural Rights
Theories. Their origin and development. Cambridge: Cambridge University
Press, 1979, pp. 83-4.
110 Ibid., pp. 162-3.
111 1 Black. W. 329.
112 Donaldson, Some Thoughts; see note 103, above.
113 John MacLaurin, Lord Dreghorn. Considerations on the Nature and
Origin of Literary Property. Edinburgh, 1767.
114 4 Burr. 2303-417.
231
References
115 Ibid., 2303.

116 In addition to the official report, details can be found in Sir James
Burrow. The Question Concerning Literary Property, determined by the
Court of King's Bench on 20th April 1769, in the cause between Andrew
Millar and Robert Taylor. London, 1773. A slightly variant version of the
judges' speeches can be found in Speeches or Arguments of the Judges of the

Court of King's Bench, viz. Mr Justice Willes, Mr Justice Aston, Sir Joseph
Yates, and Lord C. Justice Mansfield; in April 1769 in the Cause of Millar
against Taylor, for printing Thomson's Seasons. Leith, 1771.
117 4 Burr. 2318.
118 Ibid., 2315.
119 Ibid., 2335.
120 Ibid., 2341.
121 Ibid., 2377.
122 Ibid., 2386.
123 Ibid., 2390.
124 Ibid., 2408.
125 For Becket v. Donaldson, see The Cases of the Appellants and
Respondents in the Cause of Literary Property, before the House of Lords:
wherein the decree of Lord Chancellor Apsley was reversed, 26 Feb. 1774.
London 1774. [The appellant was, of course, Donaldson.] See also Rose,
The author as proprietor; and Walters, The booksellers.
126 The judge was Lord Coalston, the Lord Ordinary, in MacKenzie v.
Robertson (1771). See David Rae, Lord Eskgrove. Information for John
MacKenzie of Delvine, Writer to the Signet, and others, Trustees appointed by
Mrs Anne Smith, widow, of Mrs Thomas Ruddiman, Gate Keeper to the
Advocates' Library, Pursuers, against John Robertson, Printer in Edinburgh,
Defender. [Edinburgh:] 1771.
127 Deliberately echoing Yates? See above, p. 85.
128 The judges were the four judges of each of the three common-law
courts, King's Bench, Exchequer and Common Pleas. In fact, Mansfield did
not vote on any of the issues in this case. The procedure was that after the
judges had given their opinions, other peers could speak, and the House
then divided. See Rose, The author as proprietor, p. 67.
129 There is, unfortunately, a problem about this crucial vote; I have
accepted the account in Rose, The author as proprietor, p. 67, which
concludes that the vote was 6 : 5 in favour of the question, not 5 : 6 against
The misapprehension
it. arises from an error made by the Clerk of the
House of Lords.
130 Catherine Macaulay. A Modest Plea for the Property of Copy Right.
London & Bath, 1774. For other contributions to the debate, see Walters,
The booksellers, pp. 309-11.
131 Letter to Strahan, dated 7March 1774, and cited in J. Alan Pfeffer,
Samuel Johnson on copyright. Journal of English and Germanic Philology,
47 (1948), pp. 165-72, at p. 170.
132 CJ, vol. 34, p. 513. The petition is printed in Petitions and Papers
Relating to the Bill of the Booksellers Now Before the House of Commons.
London, 1774, pp. 3-4.
232
References
133 CJ, vol. 34, pp. 588-90.

134 Ibid.
135 CJ, vol. 34, pp. 665-6; Petitions and Papers, pp. 7-8.
136 CJ, vol. 34, p. 698; Petitions and Papers, pp. 8-12.
137 CJ, vol. 34, p. 679; Petitions and Papers, pp. 4-6.
138 [London, 1774]. Copy in MS Carte 207, ff. 25-6. This used to be
wrongly dated [1735?] in the Bodleian catalogue, but there is a reference to
the verdict in Becket v. Donaldson which means that the manuscript date of
'1773/4' written on the document must be substantially correct. It cannot
have belonged to Carte (who died in 1754), and was presumably confused
with his collection of material on copyright when the Carte MSS were sorted
and bound in the nineteenth century.
139 Observations on the Case of the Booksellers of London and Westminster.
[London, 1774]. Copy in BL 215.i.4.(99.).
140 An Account of the Expense of Correcting and Improving Sundry Books.
[London, 1774]. Copy in BL 215. i. 4. (98.). The critical comments are in
Observations, for which see note 139, above.
141 SC, Court Book M, pp. 480-1.
142 These issues are variously discussed in Terry Belanger, From bookseller
to publisher: changes in the London book trade, 1750-1850. In: Richard G.
Landon, ed. Book Selling and Book Buying: aspects of the British and North
American book trade. Chicago, IL: American Library Association, 1978,
pp. 7-16; Feather, History, pp. 116-22; Pollard, English market, pp. 34-9;
Rose, The author as proprietor, pp. 70-8.
143 This brief account is based on the authoritative study by Cyprian
Blagden, Thomas Carnan and the almanack monopoly. Studies in
Bibliography, 14 (1961), pp. 23-43.
144 LJ, vol. 34, p. 470.
145 The case is reported in 3 Swans. 672-81 App.
146 Robert Maugham. A Treatise on the Laws of Literary Property.
London, 1828, pp. 128-9.
147 See Robert R. Allen, Dr Johnson on abridgement - a re-examination.
Papers of the Bibliographical Society of America, 60 (1969), pp. 215-19.

148 In Gyles v. Wilcox (1740), this was the decision in Chancery. Reported
at 2 Atk. 143.
149 1 East 363.
150 Trusler v. Murray, together with the similar Wilkins v. Atkins (reported
at 17 Vesey 422), was cited by Maugham, Treatise, pp. 132-6, to support this
view.
Chapter 4
1 See above, p. 68; and John Feather, The English book trade and the law
1695-1799. Publishing History, 12 (1982), pp. 51-75, at p. 57.
2 See J. C. T. Gates, The deposit of books at Cambridge under the
Licensing Acts, 1662-79, 1685-95. Transactions of the Cambridge
Bibliographical Society, 2 (1954-58), pp. 290-304; J. C. T. Gates.
Cambridge University Library. A history from the beginnings to the
233
References
Copyright Act of Queen Anne. Cambridge: Cambridge University Press,

1986, pp. 416-29; R. C. Barrington Partridge. The History of the Legal
Deposit of Books London: The Library Association, 1938, pp. 23-31; and
.
I. G.
Philip. The Bodleian Library in the Seventeenth and Eighteenth
Centuries. Oxford: Clarendon Press, 1983, pp. 52-5.
4 Philip, The Bodleian Library, p. 27; Jackson, Records, pp. 48-9.
5 Philip, The Bodleian Library, pp. 27-30.
6 Partridge, History, pp. 287-8.
7 Gates, Cambridge University Library, p. 417.
8 SC, Court Book D, pp. 85, 88.
9 Gates, Cambridge University Library, pp. 420-8.
10 Philip, The Bodleian Library, p. 55.
11 J. H. Monk. The Life of Richard Bentley. 2 vols., London, 1833, vol. 1,
p. 99.
13 For Charlett, see S. G. Gillam, The Correspondence of Arthur Charlett.
Oxford University B.Litt. dissertation, 1957, pp. 1-21.
15 Bodl. MS Ballard 38, f. 145.
16 The was recorded by William Reading, Librarian of Sion
tradition
College in The History of the Ancient and Present State of Sion-college.

London, 1724, pp. 38-9; see also E. H. Pearce. Sion College and Its Library.
17 C. E. Doble, ed. Remarks and Collections of Thomas Hearne. Vol. 2
(March 20 1707-May 23 1710). Oxford: Oxford Historical Society, 7, 1886,
p.l.
18 8 Anne c. 19.
19 Philip, The Bodleian Library, pp. 78-9. See also John Chalmers,
Bodleian Copyright Deposit Survivors of the First Sixteen Years of the
Copyright Act of Queen Anne, 10 April 1710-25 March 1726. Oxford
University D.Phil, dissertation, 1974.
20 C. P. Finlayson and S. Murray Simpson, The history of the library
1710-1737. In: Jean R. Guild and Alexander Law, eds. Edinburgh
University Library 1580-1980. Edinburgh: Edinburgh University Press,
1982, p. 55.
21 John Durkan, The early history of Glasgow University Library
1475-1710. The Bibliotheck, 8 (1977), p. 126.
22 Reading, A History, p. 38.
24 P. Ardagh, St Andrews University Library and the Copyright Acts.
Edinburgh Bibliographical Society Transactions, 3 (1948-55), pp. 183-209,
at pp. 187-8.
25 Audrey Nairn, A 1730 copyright list from Glasgow University archives.
The Bibliotheck, 2 (1959) pp. 30-2.
26 S. Murray Simpson, An early copyright list in Edinburgh University
Library. The Bibliotheck, 4 (1963-66), pp. 202-12.
234
References
27 41 George III c. 107. The original Bill had proposed that only Trinity
should have deposit privileges; it is printed in PP 1801 (112) I. 381-8. King's
Inn was added in an amendment in the Lords.
28 They were: in England, the British Museum (which had inherited the
deposit privilege of the Royal Library on its foundation in 1754), the
Bodleian, Cambridge University and Sion College; in Scotland, the Faculty
of Advocates (added to the original list of 1710), and the four universities
(the two Aberdeen colleges having now merged); and in Ireland, Trinity and
King's Inn. In addition, the printer had to retain a twelfth copy, for possible
inspection by the magistrates, under the provisions of the Seditious Societies
Act of 1799, for which see Feather, The English book trade, p. 59.
29 Basil Montagu. Enquiries and Observation Respecting the University
Library. Cambridge, 1805. See J. G. T. Oates, Cambridge University and
the reform of the Copyright Act 1805-1813. The Library, 5th ser., 27 (1972),
pp. 275-92, to which I am heavily indebted for the next part of this chapter.
For a view of all the events down to 1818, as seen from Cambridge, which
had a key role in them, see David McKitterick. Cambridge University
Library. A history. The eighteenth and nineteenth centuries. Cambridge:
Cambridge University Press, 1986, pp. 395-445.
30 Edward Christian. Vindication of the Right of the Universities of Great
Britain to a Copy of Every New Publication. Cambridge, 1807; it was
reprinted in 1808, and there were further editions in 1814 and 1818 when the
issues were again relevant to current debates.
31 Oates, Cambridge University, p. 276.
32 The Bill is in PP 1808 (314) 1.783-6.
33 PD, 1st ser., vol. 11, cols. 918-19.
34 The amended Bill is PP 1808 (321) 1.799-802. See CJ, vol. 63, pp. 461,
463, and, for the debate, PD, 1st ser., vol. 11, cols. 988-93.
35 R. G. Thome. The History of Parliament. The House of Commons
1790-1820. 5 vols., London: History of Parliament Trust, 1986, vol. 5,
pp. 454-7.
36 PP 1818 (280) IX, 257, pp. 83-5; Oates, Cambridge University,
pp. 280-1; and James J. Barnes. Free Trade in Books. Oxford: Clarendon
Press, 1964, pp. 2-3.
37 For Wynne, see Thome, History, vol. 5, pp. 587-95; and for Romilly,
ibid., vol. 5, pp. 36-43.
38 Strictures on the Copyright Bill Now Before Parliament. London: 1808.
The text is dated 23 June, and the Postscript, which deals with the term of
copyright, 24 June, which I take as the probable date of publication.
39 Ibid., p. 1.
40 Ibid., p. 5.
41 Ibid., p. 11.
42 16 East 317; Oates, Cambridge University, pp. 281-4.
43 CJ, vol. 68, pp. 79-80; PD, 1st ser., vol. 24, cols. 308-11.
44 CJ, vol. 68, p. 300; PD, 1st ser., vol. 25, cols. 10-12.
45 For Giddy (who changed his name to his wife's maiden name of Gilbert
when he inherited her uncle's property in 1814), see Thorne, History, vol. 4,
235
References
pp. 18-21; DNB; and A. C. Todd. Beyond the Blaze. A biography of Davies
Gilbert. Truro: D. Bradford Barton, 1967, pp. 151-68.
46 Thorne, History, vol. 5, p. 219.
47 CJ, vol. 68, pp. 300, 301; PD, 1st ser., vol. 25, cols. 12-16.
48 For Parry, see Ian Maxted. The London Book Trades 1775-1800.
Folkestone: Dawson, 1977, p. 170. For his evidence, see PP 1812-13 (341)
IV. 1006.
49 The Minutes of Evidence are PP 1812-13 (341) IV. 1003-40.
50 For Longmans in this period, see Philip Wallis. At the Sign of the Ship.
Notes on the House of Longman 1724-1974. London: Longman, 1974,
pp. 12-15.
51 PP 1812-13 (341) IV. 1007-18.
52 Ibid., p. 1022.
53 Ibid., pp. 1030-1 (Davies), 1033-4 (Taylor).
54 Ibid., pp. 1032-3.
55 There is a copy in Bodl. J. Pros. 438.
56 The original letter is bound in BL 515.1.20.

57 PP 1812-13 (341) IV. 1024-5.
58 Letter bound in BL 515.1.20.
59 PP 1812-13 (341) IV. 1028.
60 E. J. O'Dwyer. Thomas Frognall Dibdin. Pinner: Private Libraries
Association, 1960, p. 18.
61 PP 1812-13 (341) IV. 1028-9.
62 J. G. Cochrane. The Case Stated Between the Public Libraries and the
Booksellers. London, 1813.
63 Ibid., p. 19.
64 Ibid., pp. 21-6; and PP 1812-13 (341) IV. 1026.
65 Cochrane, Case Stated, pp. 28-9.
66 Richard Taylor. A Short Plea in Behalf of Learning. [London, 1813].
67 Sharon Turner. Reasons for a Modification of the Act of Anne Respecting
the Delivery of Books, and Copyright. London, 1813, pp. 37-56.
68 PP 1812-13 (341) IV. 1036.
69 Report of the Select Committee on 8 Anne and 15 & 41 George III, in
ibid., 999-1002, tabled on 17 June 1813 (CJ, vol. 68, p. 576), and debated on
18 June (PD, 1st ser., vol. 26, pp. 708-10).
70 CJ, vol. 689, pp. 254, 261; PD, 1st ser., vol. 27, cols. 810-11.
71 18 and 19 May 1814; CJ, vol. 69, p. 284; PD, 1st ser., vol. 27, pp. 965-6.
The amended Bill from these two days is in PP 1813-14 (184) 11.673-80.
72 CJ, vol. 69, pp. 329, 344, 355, 365, 381.
73 James Couper. Memorial and Representation of the University of
Glasgow. Glasgow, 1813. Couper was Vice-Rector of Glasgow University.
74 Ibid., vol. 69, pp. 419, 435; McKitterick, Cambridge University Library,
p. 412.
75 CJ, vol. 69, pp. 303, 396.
76 Ibid., p. 455; PD, 1st ser., vol. 28, cols. 684-6.
77 Todd, Beyond the Blaze, p. 162.
236
References
78 CJ, vol. 69, p. 470; PD, 1st ser., vol. 28, col. 712; Mary Katherine
Wood worth. The Literary Career of Sir Samuel Egerton Brydges. Oxford:
79 CJ, vol. 69, p. 476; PD, 1st ser., vol. 28, cols. 751-5.
80 LJ, vol. 49, pp. 1129-30.
81 CJ, vol. 69, p. 514.
82 Ibid., p. 517.
83 54 George III c. 156.
85 Ardagh, St Andrews, pp. 194-5.
86 McKitterick, Cambridge University Library, pp. 417-22.
87 The figures are in Appendix I of the Report from the Select Committee on
the Copyright Acts, 5June 1818, in PP (402) IX.249-56, for which see
below, pp. 115-18. Reports of books entered were tabled in the House of
Commons in 1815 (CJ, vol. 70, p. 378) and 1817 (ibid., vol. 72, p. 207).
88 McKitterick, Cambridge University Library, pp. 415-16; W. D. Macray.
Annals of the Bodleian Library. 2nd ed., Oxford: Clarendon Press, 1890,
pp. 302-3.
89 CJ, vol. 72, p. 372.
90 PD, 1st ser., vol. 26, cols. 1063-4.
,
91 Chester W. New. The Life of Henry Brougham to 1830. Oxford:

92 PD, 1st ser., vol. 26, col. 1069.
93 New, Life, p. 173; Arthur Aspinall. Lord Brougham and the Whig Party.
Manchester: Manchester University Press, 1939, pp. 225-7.
94 PD, 1st ser., vol. 26, col. 1068.
95 CJ, vol. 73, pp. 125, 183; PP 181 (126), 1.243-6.
96 Some of this had been iterated in the summer of 1814 by John Britton.
The Rights of Literature London, 1814, pp. 9-13, 24. It was only in 1817-
.
18, however, that these views entered the mainstream of the debate.
97 CJ, vol. 73, pp. 129, 186, 218, 247, 293, 309, 334, 338, 350, 357.
98 Ibid., pp. 217, 219.
99 Ibid., pp. 226, 235.
100 Ibid., pp. 258, 266.
101 The importance of Brydges' role is clear from a letter from James
Lackington to Rogers Ruding in BL 515.1.20.
102 Copyright Bill ... To the Honourable the Commons . . . The Humble
of George Lackington, Richard Hughes, Joseph Harding, George
Petition
Fordyce Mavor, and Thomas Jones. [London, 1818]. Copy in Bodl. 2581 c.
5(30).
103 The Minutes of Evidence, on which. this account is based, are PP 1818
(280)IX.257-423.
104 H. Kay Jones. Butterworths. History of a publishing house. London:
Butterworth, 1980, p. 6. See also C. H. Timperley. Encyclopaedia of
Literary and Typographical Anecdote. Rev. ed., London, 1842, p. 872;
DNB; and Thorne, History, vol. 3, pp. 348-9.
105 Ibid., vol. 4, pp. 498-512. See also Jane Rendall, The Political Ideas
and Activities of Sir James Mackintosh (1765-1832): a study in Whiggism
237
References
between 1789 and 1832. London University Ph.D. dissertation, 1972,

pp. 216-27.
106 They were William Smith (Thorne, History, vol. 5, pp. 206-14); Lord
Althorp(ibid., pp. 238-41); Charles Marsh (ibid., vol. 4, pp. 533-4); Lord
Morpeth (ibid., pp. 250-1); and John Lambton (ibid., pp. 364-70).
107 Leonard Cooper. Radical Jack. London: Cresset, 1959, p. 58; CJ,
vol. 73, p. 226.
108 Notably Charles Long (Thorne, History, vol. 4, pp. 448-52); Hudson
Gurney (ibid., pp. 120-1); and George Dawson (ibid., vol. 5, pp. 578-9).
109 Ibid., vol. 3, pp. 128-33.
110 Ibid., vol. 5, pp. 113-15; vol. 4, pp. 745-9; vol. 5, pp. 348-50; ibid.,
p. 219; and vol. 4, pp. 837-40.
111 For details, see John Feather, Publishers and politicians: the remaking
of the law of copyright in Britain 1775-1842. Part I: Legal deposit and the
battle of the library tax. Publishing History, 24 (1988), pp. 49-76, upon
which parts of this chapter are based, at pp. 64-6.
112 See DNB.
113 For the book, see The Gentleman's Magazine, 89:1 (1819), pp. 460-1.
114 PP 1818 (280) IX.303-9.
115 Sir Egerton Brydges. A Summary Statement of the Great Grievance
Imposed on Authors and Publishers. London, 1818, p. 12.
116 PP 1818 (280) IX.341-8 (Webb), 359-69 (Gaisford) and 381-5 (Baber).
For the last, however, see also Edward Miller. That Noble Cabinet. A history
of the British Museum. London, 1973, pp. 95, 109.
117 Feather, Publishers, 65-6; William Webb. Observations on the Copy-
right Bill. Cambridge, 1818, p. 7; and Villiers' evidence in PP 1818 (280)
IX.348-9.
118 Feather, Publishers, p. 66.
119 The Report is PP 1818 (402) IX.249-56.
120 PD, 1st ser., vol. 38, cols. 1256-64.
121 CJ, vol. 74, p. 255.
122 There are minutes of their meetings in Bodl. MS. Eng. misc. c. 143,
ff. 275-92.
123 Ardagh, St Andrews, p. 200.
124 See DNB; and Joel H. Wiener. The War of the Unstamped. Ithaca, NY:
Cornell University Press, 1969, pp. 71-2.
125 PD, 3rd ser., vol. 33, cols. 440-64; CJ, vol. 91, p. 301.
126 Macray, Annals, p. 331, says that in May 1836 the Curators of the
Bodleian rejected a proposal for financial compensation in lieu of books.
127 CJ, vol. 91, p. 666. The amended Bill is PP 1836 (441) 11.389-92.
128 CJ, vol. 91, pp. 795, 798, 801-2; LJ, vol. 68, pp. 847, 862, 866, 873, 877.
129 6 & 7 William IV c. 110.
130 See below, p. 147, for the 1842 Act. Clauses 6 and 7 deal with legal
deposit.
131 For which see pp. 185-94 below.
132 See McKitterick, Cambridge University Library, pp. 750-2; Sir Edmund
Craster. History of the Bodleian Library 1845-1945. Oxford: Clarendon
Press, 1952, pp. 63-4.
238
References
133 Louis Pagan. The Life of Sir Anthony Panizzi. 2nd ed., 2 vols.,
London, 1880, vol. 1, pp. 286-92.
134 Craster, History, pp. 62-4.
135 McKitterick, Cambridge University Library, pp. 574-82.
136 For which see below, pp. 202-3.
137 For which see below.
138 PD [H.L.], 5th ser., vol. 10, cols. 173-98; Library Association Record,
13 (1911), pp. 211-15. See Partridge, History, pp. 107-8, 335-40.
139 R. J. L. Kingsford. The Publishers Association 1896-1946. Cambridge:
Cambridge University Press, 1970, pp. 39-40.
140 Craster, History, p. 174; Partridge, History, pp. 108-11.
141 Jan T. Jasion. The International Guide to Legal Deposit. Aldershot:
Ashgate, 1991, pp. 177-8.

142 Ibid., p. 144.
143 Partridge, History, p. 138.
Chapter 5

3 See John Feather. A History of British Publishing. London: Croom Helm,
1988, pp. 129-49; and John Feather, Technology and the book in the
nineteenth century. Critical Survey, 3 (1990), pp. 5-13.
4 For a general study, see A. S. Collins. The Profession of Letters. A study
of the relation of author to patron, publisher and public 1780-1832. London:
Routledge and Kegan Paul, 1928, pp. 128-70. The realities of the life of the
hack writer of the period are exposed in Robin Myers, Writing for the
booksellers in the early nineteenth century: a case study. In: Robin Myers
and Michael Harris, eds. Author/ Publisher Relations During the Eighteenth
and Nineteenth Centuries. Oxford: Oxford Polytechnic Press, 1983,
pp. 119-55.
5 For Maugham, see DNB.
6 Robert Maugham. A Treatise on the Laws of Literary Property. London,
1828, pp. 2, 27-32.
8 Maugham, Treatise, pp. 181-2.
9 Ibid., p. 187.
11 3 & 4 William IV c. 15. See G. W. M. McFarlane. Copyright:
development and exercise of performing, right. London University Ph.D.

dissertation, 1975, pp. 41-52.
12 Maugham, Treatise, p. 220.
13 CJ, vol. 92, p. 386. The Bill is PP 1837 (380) 1.573-87.
14 See A
Memoir of Mr Justice Talfourd. By a member of the Oxford
Circuit.London, 1854; Robert S. Newdick. The First 'Life and Letters' of
Charles Lamb. Columbus, OH: University of Ohio Press (Ohio State
Contributions in English, 6), 1935; William S. Ward, An early champion of
239
References
Wordsworth: Thomas Noon Talfourd. Publications of the Modern Language

Association of America, 68 (1973), pp. 992-1000; and Tim Chilcott. A
Publisher and His Circle. The life and work of John Taylor, Keats's
publisher. London: Routledge and Kegan Paul, 1972, pp. 133, 137, 153.
15 In a letter to Leigh Hunt in June 1836, printed in Charles Richard
Sanders, ed. The Collected Letters of Thomas and Jane Welsh Carlyle.
Durham, NC: University of North Carolina Press, 1981, vol. 8, p. 353.
16 Ernest de Selincourt, ed. The Letters of William and Dorothy
Wordsworth. The later years. Oxford: Clarendon Press, 1939, p. 196.
17 See Susan Eilenberg, Mortal pages: Wordsworth and the reform of
copyright. ELH,56 (1989), pp. 351-74; Paul M. Zall, Wordsworth and the
Copyright Act of 1842. Publications of the Modern Language Association of
America, 70 (1955), pp. 132-44; and Russell Noyes, Wordsworth and the
Copyright Act of 1842: an addendum. Publications of the Modern Language
Association of America, 76 (1961), pp. 380-3.
18 Ernest de Selincourt, ed. The Letters of William and Dorothy
Wordsworth. The middle years. 2 vols., Oxford: Clarendon Press, 1937,
vol. 1, p. 242.
19 Ibid., vol. 2, p. 844.
20 de Selincourt, Letters Later years, p. 826.
. . .
21 Mary Moorman. William Wordsworth, A biography. The later years

1803-1850. Oxford: Clarendon Press, 1965, pp. 551-2.
22 de Selincourt, Letters Later years, p. 912.
. . .
23 PD, 3rd ser., vol. 37, pp. 866-80.

24 A Speech by Thomas Noon Talfourd . . . in the House of Commons, on
Thursday, llth May, 1837. London, 1837, p. 6.
25 Ibid., p. iv.
26 T. N. Talfourd. Three Speeches Delivered in the House of Commons in
Favour of a Measure for an Extension of Copyright. London, 1840, pp. 30-1.
27 CJ, vol. 92, p. 522.
28 See DNB; Ian Maxted. The London Book Trades 1775-1800.
Folkestone: Dawson, 1977, pp. 222-3; Philip A. H. Brown. London
Publishers and Printers c.1800-1870. London: The British Library, 1982;
and Charles Humphries and William C. Smith. Music Publishing in the
British Isles. 2nd ed., Oxford: Blackwell, 1970, p. 306.
29 Thomas Tegg. Remarks on the Speech of Serjeant Talfourd. London,
1837. The phrase is on p. 6.
30 Ibid., pp. 15-18.
31 Ibid., p. 12.
32 Ibid., p. 19.
33 CJ, vol. 93, p. 200; the Bill is PP 1837-38 (164) 1.489-504.
34 PD, 3rd ser., vol. 39, cols. 1091-3.
36 W. F. Monypenny. The Life of Benjamin Disraeli. 2 vols., London, 1912,
vol. 2, pp. 15-16.
37 CJ, vol. 93, p. 313.
38 The petitions are noted in CJ, vol. 93, pp. 430, 442, 451, 460-1, 468, 473,
485, 510, 628.
240
References
39 For this Association, see Ellic Howe. The London Compositor. London:
The Bibliographical Society, 1947, pp. 237-8.
40 W. M'Dowall. Serjeant Talfourd's Copyright Bill. London, 1838, pp. 2-3.
M'Dowall was Secretary of the Association of Master Printers, and this
broadside consists of the minutes of the meeting of 5 April, and the text of
the petition itself. It was apparently circulated to members of the
Association to persuade them to go to M'Dowall's house to sign the
petition. The copy in Bodl. (2581 c.55(33b)) is addressed in manuscript to
John Nichols.
41 Sergeant Talfourd's Copyright Bill and the Printing Business. Bill to be
read a second time on the Hth of April, 1838. This is of the same origin as
the previous document (note 40, above); the copy in Bodl. (2581 c.55(a)) is
bound with that item, and has clearly always been associated with it.
42 Scott Bennett, John Murray's Family Library and the cheapening of
books in early nineteenth-century Britain. Studies in Bibliography, 29
(1976), pp. 138-66.
43 See DNB.
44 Robert Mudie. The Copyright Question and Mr Serjeant Talfourd's Bill.
London, 1838, pp. 4, 23-5, 33.
45 Areopagitica Secunda: or speech of the shade of John Milton, on Mr
Sergeant Talfourd's Copyright Extension Bill. London, 1838, p. 18.
46 A Proposed New Law of Copyright . . . Mr
in a letter addressed to
Sergeant Talfourd By a Friend to Authors. London, [1838]. The date is
. . .
from the BL catalogue, where the pamphlet is T.2387(3.). It is confirmed by

the other items in this tract volume, which relate to the 1838 Bill. The
catalogue ascribes the work to one William Day, giving no authority; I do

not know who he was.
47 I am grateful to Chris R. Vanden Bossche, of
the University of Notre
Dame, for allowing me on 'Copyright and the constitution
to see her paper
of authorhood', which deals with the effects of what she calls the 'moral and
economic interests of copyright'. The paper was delivered to a conference on
Interdisciplinary Nineteenth Century Studies, at the Yale Center for British
Art, in April 1991.
48 Quoted in Zall, Wordsworth, p. 134.
49 Observations on the Law of Copyright, in reference to the Bill introduced
into the House of Commons by Mr Sergeant Talfourd. London, 1838. Copy
inBLT.2387.(6.).
50 Ibid., p. 23.
51 de Selincourt, Letters Later years, pp. 910-13; this is the letter in
. . .
which he claims credit for bringing the matter to the attention of the House
of Commons for which see above, p. 126.
52 Ibid., p. 916.
53 See above, note 48.
54 de Selincourt, Letters . . . Later years, pp. 919-20.
55 Ibid., p. 921.
56 Ibid., pp. 123-4.
241
References
57 W. J. B. Owen and Jane Worthington Smyser, eds. The Prose Works of

William Wordsworth. 3 vols., Oxford: Clarendon Press, 1973, vol. 3,
pp. 309-12.
58 On 27 April 1838, the printers of Kendal joined the others who had
petitioned the House to reject it; CJ, vol. 93, p. 468.
59 de Selincourt, Letters Later years, p. 930. Wordsworth was referring
. . .
to the possibility of Tegg reprinting his works when he was dead, but more
immediate fears may well have been in his mind after Tegg's outburst in
1837.
60 PD, 3rd ser, vol. 42, pp. 559-60; the whole debate, and the division lists,
is in ibid., 555-96.
61 Norman Gash. Mr Secretary Peel. The life of Sir Robert Peel to 1830.
London: Longmans, 1961, pp. 562-3.
63 Ibid., pp. 934-6.
64 Ibid., p. 939. What, one might ask, did Wordsworth think that he was
doing?
65 According to Wordsworth, writing to Talfourd, in de Selincourt, Letters
. Later years, p. 933. The Bill, as then drafted, would, of course, have
. .
restored Scott's copyrights to his heirs, which would have emancipated

Abbotsford with more than a little to spare.
66 Mary E. Burton, ed. The Letters of Mary Wordsworth 1800-1855.
Oxford: Clarendon Press, 1958, p. 212.
67 Letter to Henry Crabb Robinson, dated May 1838, printed in Thomas
Sadler, ed. Diary, Reminiscences and Correspondence of Henry Crabb
Robinson. 2 vols., London, 1872, vol. 2, pp. 205-6.
68 CJ, vol. 93, p. 502.
69 Ibid., p. 500.
70 PD, 3rd ser., vol. 42, cols. 1056-75.
71 Joseph O. Baylen and Norbert J. Gossman, eds. Biographical Dictionary
of Modern British Radicals. Volume 2. 1830-1870. Brighton: Harvester
Press, 1984, pp. 528-31.
72 Wiener, War of the Unstamped, pp. 267-8.
73 The amended Bill is in PP 1837-38 (164) 1.505-22.
74 CJ, vol. 93, pp. 502, 523. The Bill was a private one, which meant that all
public bills took precedence over

(as happens)
it still if time were short. This
was a particular problem in the late 1830s, when the House was being
overwhelmed by the number of bills seeking authority to build railway lines.
it began to reform the
Indeed, private bill procedure to cope with precisely
thisproblem, by allowing private bills to go to a Select Committee rather
than to a Committee of the Whole House as had been the practice for
was sent to a Committee of the Whole House,
centuries. Talfourd's 1838 Bill
where an opposed Bill was always vulnerable to problems of time. See
O. Cyprian Williams. The Historical Development of Private Bill Procedure.
2 vols., London: H.M.S.O., 1948, vol. 2, pp. 76-85.
75 M. R. D. Foot, ed. The Gladstone Diaries. Volume 2. 1833-1839.
Oxford: Clarendon Press, 1968, p. 378.
242
References
77 BL MS Addl. 44,356, f. 97 V
.
78 CJ, vol. 94, pp. 22, 23; the Bill is PP 1839 (19) 1.505-22.
79 de Selincourt, Letters .Later years, p. 961.
. .
80 Edith J. Morley, ed. Henry Crabb Robinson on Books and Their Writers.
3 vols., London, 1938, vol. 2, p. 566.
81 Ibid., vol. 2, p. 568.
82 Charles Cuthbert Southey, ed. The Life and Correspondence of Robert
Southey. 6 vols., London, 1850, vol. 6, pp. 354-5.
83 See his letter to Wordsworth printed in Kenneth Curry, ed. New Letters
of Robert Southey. 2 vols., New York: Columbia University Press, 1965,
vol. 2, pp. 473-4.
84 BL MS Addl. 44,356, f. 178.
85 CJ, vol. 94, p. 63.
86 The petition is printed, along with those from individual authors, in
Talfourd, Three Speeches, pp. 111-46.
87 Printed in Owen and Smyser, Prose Works, p. 315.
88 Talfourd, Three Speeches, pp. 115-17.
89 Mrs Oliphant. William Blackwood and His Sons. 2nd ed., Edinburgh,
1897, vol. 2, pp. 207-8.
90 Ibid., pp. 118-20, 123, 131-32.
91 PD, 3rd ser., vol. 45, cols. 920-43.
92 CJ, vol. 94, pp. 79, 183, 215.
93 Louis G. Dickens, The friendship of Dickens and Carlyle. Dickensian, 53
(1957), p. 102.
94 Sanders, Collected Letters, vol. 11, pp. 34-36.
95 Ibid., p. 36.
% Published in The Examiner, 1 April 1839, and quoted here from Thomas
Carlyle. Criticaland Miscellaneous Essays. 5 vols., London, 1899, vol. 4,
p. 207.
97 CJ, vol. 94, p. 237.
98 Foot, Gladstone Diaries, vol. 2, p. 592.
99 de Selincourt, Letters .Later years, pp. 969-70.
. .
100 For the night's events, see CJ, vol. 94, pp. 238-40; and PD, 3rd ser.,
vol. 47, cols. 699-715.
101 Gladstone, Diaries, vol. 2, p. 597.
102 CJ, vol. 94, pp. 257, 262, 284, 290, 309, 318, 365, 371, 386, 414, 420.
103 The Bill, identical to that of 1839, is PP 1840 (61) 1.415-32. For the
progress of the Bill, and the tabling of the petitions, see CJ, vol. 95,
pp. 59-60, 100, 109, 115, 116, 121, 152, 166, 261, 288, 293, 297, 313, 316,
318, 333, 359, 361, 376, 384, 409, 421, 436, 439, 472, 478, 499, 500, 511, 526,
540. For the only debate (which was procedural rather than substantive), see
PD, 3rd ser., vol. 51, cols. 1250-8; ibid., vol. 52, cols. 400-23. One
postponement was, yet again, for inquoracy, as Gladstone noted: 'No
House: alas for copyright' (M. R. D. Foot and H. C. G. Matthew, eds. The
Gladstone Diaries. Volume 3. 1840-1847. Oxford: Clarendon Press, 1974,
p. 40).
104 See above, p. 137. I assume that the book is his Three Speeches.
105 CJ, vol. 96, pp. 10, 14; PD, 3rd ser., vol. 56, pp. 134-5, 146-55.
243
References
106 The debate is in PD, 3rd ser., vol. 56, cols. 341-60.
107 Ibid., col. 350.
108 Sir George Otto Trevelyan. The Life and Letters of Lord Macaulay.
Popular ed., London, 1889, p. 434.
109 Vera Wheatley. The Life and Work of Harriet Martineau. London:
Seeker and Warburg, 1957, p. 142; she is, I think, the 'writer of eminence
who has since echoed [Talfourd's] complaint', referred to by Trevelyan, Life
and Letters, p. 434.
110 Trevelyan, Life and Letters, p. 434.
111 CJ, vol. 96, p. 26.
112 For the 1833-37 Parliament, see S. F. Woolley, The personnel of the
Parliament of 1833. English Historical Review, 53 (1938), pp. 240-62. For
the changing character of the House in the 1830s and 1840s, and its
consequences for the conduct of business, see Josef Redlich. The Procedures
of the House of Commons. 3 vols., London, 1908, vol. 1, pp. 73-132; and
W. O. Aydelotte, The House of Commons in the 1840s. History, new ser.,
39 (1954), pp. 247-62.
V
113 BL MS Addl. 38,109, ff. 360 -61.
114 Foot and Matthew, Gladstone Diaries, vol. 3, p. 11.
115 See DNB's life of his father, Stanhope, Philip Henry, for an account of
him.
116 W. O. Aydelotte, Parties and politics in early Victorian England.
Journal of British Studies, 5 (1966), pp. 95-114, at p. 103.
117 CJ, vol. 97, p. 83.
118 The Bill is PP 1842 (79) 1.501-18.
119 PD, 3rd ser., vol. 60, cols. 1429-30.
120 Ibid., cols. 694-5.
121 Ibid., cols. 1111-17.
122 CJ, vol. 97, p. 154; the amended Bill is PP 1842 (139) 1.519-36.
123 Trevelyan, Life and Letters, p. 436.
124 The Collected Letters of Thomas and Jane Welsh Carlyle. Vol 14.
January-July 1842. Durham, NC: Duke University Press, 1984, p. 139.
125 Thomas Pinney, ed. The Letters of Thomas Babington Macaulay.
Cambridge: Cambridge University Press, 1977, vol. 4, p. 25.
126 PD, 3rd ser., vol. 63, cols. 777-813.
127 LJ, vol. 74, pp. 327-8.
128 CJ, vol. 97, pp. 442-3, 445; LJ, vol. 74, pp. 382, 386.
129 5 & 6 Victoria c. 45.
Chapter 6
1 Madeleine House and Graham Storey, eds. The Letters of Charles

Dickens. Volume 1. 1820-1839. Oxford: Clarendon Press, 1965, p. 313.
2 Edgar Johnson. Charles Dickens. His tragedy and triumph. London:

Gollancz, 1953, p. 213; Robert L. Patten. Charles Dickens and His
Publishers. Oxford: Clarendon Press, 1978, p. 135.
244
References
3 See above, pp. 38-9 and 55.

5 See above, p. 76.
8 Bernhard Fabian, English books and their eighteenth-century German
readers. In: Paul J. Korshin, ed. The Widening Circle. Essays on the
circulationof literature in eighteenth-century Europe. Philadelphia, PA:
University of Pennsylvania Press, 1976, pp. 117-96; Bernhard Fabian. The
English Book in Eighteenth-century Germany. London: The British Library,
1992, pp. 1-36. See also Giles Barber, Galignani and the publication of
English books in France from 1800 to 1852. The Library, 5th ser., 16 (1961),
pp. 267-86, at p. 267; and Giles Barber, J. J. Tourneisen of Basle and the
publication of English books on the continent c.1800. The Library, 5th ser.,
15 (1960), pp. 193-200.
9 See the general account by John Tebbel. A History of Book Publishing in
the United States. Volume I. The creation of an industry 1630-1865. New
York: R. R. Bowker, 1972, pp. 203-62; and James J. Barnes. Authors,
Publishers and Politicians. The quest for an Anglo-American copyright
agreement 1815-1854. London: Routledge and Kegan Paul, 1974, p. 49.

10 See Raymond Birn, The profits of ideas: Privileges en librairies in
eighteenth-century France. Eighteenth-century Studies, 4 (1970-71), pp. 131-

68; Martha Woodmansee, The genius and the copyright: economic and legal
conditions of the emergence of the 'author'. Eighteenth-century Studies, 17
(1984), pp. 425-48, at pp. 437-40.
11 Frederick R. Goff. The First Decade of the FederalAct for Copyright
1790-1800. Washington, DC: Library of Congress, 1951.
12 David Saunders. Authorship and Copyright. London: Routledge, 1992,
pp. 90-5; Jane C. Ginsburg, A

tale of two copyrights: literary property in
revolutionary France and America. Tulane Law Review, 64 (1990),

pp. 991-1031.
13 This, and the following paragraphs, is heavily indebted to Barber,
Galignani, for which see note 8, above.
14 Barber, Galignani, p. 271.
15 Barnes, Authors, pp. 97-9.
16 Ibid.; and James J. Barnes, Galignani and the publication of English
books in France: a postscript. The Library, 5th ser., 25 (1970), pp. 294-313.
The papers in Bentley v. Bailliere are PRO C31/514/Part I and PRO
C13/2702.
17 For Bentley, see Royal A. Gettmari.A Victorian Publisher. A study of
Cambridge: Cambridge University Press, 1960. See also
the Bentley papers.
John Sutherland, Henry Colburn publisher. Publishing History, 19 (1986),
pp. 59-84.
18 William B. Todd and Ann Bowden. Tauchnitz International Editions in
English 1841-1955. A bibliographical history. New York: Bibliographical

Society of America, 1988, p. 3.
245
References
19 Ibid., p. 4; and Simon No well-Smith. International Copyright Law and

the Publisher in the Reign of Queen Victoria. Oxford: Clarendon Press, 1968,
pp. 42-4.
20 Barnes, Authors, pp. 53-9; James J. Barnes, Edward Lytton Bulwer and
the publishing firm of Harper & Brothers. American Literature, 38
(1966-67), pp. 35-48.

22 Ibid., p. 100.
23 Clarence Golden. American Literature in Nineteenth-century England.
New York: Columbia University Press, 1944, pp. 14-46.
24 Barnes, Authors, p. 96.
25 Publisher's Circular, 5 (1842), p. 97.
27 See DNB. The Bill is PP 1837-38 (295) 1.523, with the amended version
at ibid. (509) 1.529. The 20 March proceedings are in PD, 3rd ser., vol. 41,
cols.1096-1108.
28 Ibid., col. 1097.
29 Ibid., cols. 1098-9.
30 Nowell-Smith, International Copyright Law, p. 41.
31 Barber, Galignani, p. 280.
32 Barnes, Authors, pp. 61-6; see below, p. 158.
33 PD, 3rd ser., vol. 41, cols. 1103-4.
34 Ibid., col. 1107.
35 Ibid., cols. 1105-6.
36 Ibid., 1101-2, 1104-5.
cols.
37 Ibid., cols. 1102-3.
38 Ibid., cols. 1107-8.
39 1 & 2 Victoria c. 59.
40 PD, 3rd ser., vol. 41, cols. 1100-1.
42 This account is heavily indebted to Barnes, Authors, pp. 60-74.
43 Arno L. Bader, Frederick Saunders and the early history of the
international copyright movement in America. Library Quarterly, 8 (1938),
pp. 25-39.
44 See Lawrence H. Houtchens, Charles Dickens and international
copyright. American Literature, 13 (1941-42), pp. 18-28; and Barnes,
Authors, pp. 75-7.
45 Alexander Welsh. From Copyright
to Copperfield. The identity of
Dickens. Cambridge, MA:
Harvard University Press, 1987, pp. 30-9.
46 Madeleine House, Graham Storey and Kathleen Tillotson, eds. The
Letters of Charles Dickens. Volume 3. 1842-1843. Oxford: Clarendon Press,
1974, p. 221.
47 Ibid., p. 85.
48 Andrew J. Eaton, The American movement for international copyright,
1837-60. Library Quarterly, 15 (1945), pp. 95-122, at p. 112.
49 Reprinted in House, Storey and Tillotson, Letters . . .
1842-1843,
pp. 256-9.
50 Eaton, American movement, pp. 115-19; Barnes, Authors, pp. 80-94.
246
References
51 7 & 8 Victoria c. 12.

52 Nowell-Smith, International copyright law, p. 41.
53 Barber, Galignani, pp. 280-1.
54 DNB.
55 Labouchere described the negotiations in introducing the Bill to enact
the Convention in the House of Commons; PD, 3rd sen, vol. 119, cols.
498-500.
56 Sam Ricketson. The Berne Convention for the Protection of Literary and
Artistic Works 1886-1986. London: Centre for Commercial Law Studies,
Queen Mary College, 1987, p. 20.
57 15 & 16 Victoria c. 12. Introduced 13 February 1853 (CJ, vol. 107, p. 45;
PD, 3rd ser., vol 119, cols. 498-502); First Reading, 18 February (CJ,
vol. 107, p. 59); Second Reading, 15 March (PD, 3rd ser., vol. 119, col.
1035); Report Stage, 26 March (CJ, vol. 107, p. 127); and Royal Assent
(ibid., p. 248). The other stages are unreported.
58 PD, 3rd ser., vol. 119, cols. 500-2.
59 Barber, Galignani, pp. 281 and note 2.
60 Todd and Bowden, Tauchnitz International Editions, p. 48.
61 For a full account of these bilateral agreements, see Ricketson, The
Berne Convention, pp. 27-38.
64 Bentley v. Foster (1839), reported at 10 Sim. 329.
65 4 Ex. 145-58.
66 Ibid., at 156, 157.
67 Boosey v. Jeffreys (1854), in the House of Lords, reported at IV H.L.C.
815-96; this is another of the cases concerning La somnambula.
69 This account is largely based on that in Ricketson, The Berne
Convention, pp. 48-80.

70 As reported in The Times, 15 January 1886, p. 7.
71 See below, pp. 180.
72 Victor Bonham-Carter. Authors by Profession. Volume 1. From the
introduction of printing until the Copyright Act 1911. London: Society of
Authors, 1978, pp. 128, 230 (note 6); and The Times, 20 March 1886, p. 5.
73 CJ, vol. 141, pp. 126, 127, 248, 305, 308; PD, 3rd ser., vol. 304, cols. 81,
1142-4, 1748-50; ibid., vol. 305, cols. 478-88; ibid., vol. 306, cols. 662, 985,
1250-1.
74 Printed in PP 1886 (156) 11.529.
75 Ibid., vol. 304, cols. 1142-3.
76 Ricketson, The Berne Convention, pp. 78-81.
77 Ibid., pp. 74-5.
78 N. John Hall, ed. The Letters of Anthony Trollope. 2 vols., Stanford,
CA: Stanford University Press, 1983, vol. 2, p. 193, in a letter to Alexander
Blackwood, a British publisher, dated 4 July 1881.
80 Routledge v. Samson Low (1868), reported in LR III 100-21. See also
below, pp. 170.
247
References
81 Nowell-Smith, International Copyright Law, pp. 70-1.

82 This, and following paragraphs, is heavily indebted to Barnes, Authors,
pp. 177-262. See also, Eaton, American movement, pp. 119-22; and Tebbel,
History .Volume I, pp. 560-1.
. .
83 John Tebbel. A History of Book Publishing in the United States. Volume

II. The expansion of an industry 1865-1919. New York: R. R. Bowker,
1975, pp. 634-6.
84 Ibid., pp. 638-41.
85 Bonham-Carter, Authors by Profession. Volume 1, p. 162.
87 Dan H. Laurence, ed. Bernard Shaw. Collected Letters 1874-1897.
London: Max Reinhardt, 1965, p. 125.
88 Dan H. Laurence, ed. Bernard Shaw. Collected Letters 1898-1910.
London: Max Reinhardt, 1972, p. 58.
1988, p. 203.
90 Nowell-Smith, International Copyright Law, pp. 24-33.
91 10 & 11 Victoria c. 95. The measure was never debated; for its passage,
see CJ, vol. 102, pp. 778, 807, 862, 868, 874, 931, 951. See also Barnes,
Authors, pp. 146-8.
93 See above, note 80.
94 Ricketson, The Berne Convention, p. 956.
Chapter 7
1 Madeleine House, Graham Storey and Kathleen Tillotson, eds. The

Letters of Charles Dickens. Volume 3. 1842-1843. Oxford: Clarendon Press,
1974, p. 85.
3 Report of the Commissioners, in PP (1878) [C.2036] [C.2036.-I]
XXIV. 169.
4 Michael L. Turner, Andrew Wilson: Lord Stanhope's stereotype printer.
Journal of the Printing Historical Society, 9 (1975), pp. 22-65.
5 Dard Hunter. Papermaking. The history and technique of an ancient craft.
2nd ed., New York: Knopf, 1947, pp. 309-99.
6 James Moran. Printing Presses. History and development from the fifteenth
century to modern times. Berkeley, CA: University of California Press, 1978,
pp. 101-220.
7 James Moran. The Composition of Reading Matter. A history from case to
computer. London: Wace, 1965.

8 See Anthony Dyson. Pictures to Print. The nineteenth-century engraving
trade. London: Farrand, 1984; and Michael Twyman. Lithography 1800-
1850. London: Oxford University Press, 1970.
9 Geoffrey Wakeman. Victorian Book Illustration. The technical revolution.
Newton Abbot: David and Charles, 1973, pp. 82-145.
248
References
10 Generally, see Richard D. Altick. The English Common Reader. social A

historyof the mass reading public 1790-1900. Chicago, IL: University of
Chicago Press, 1957, pp. 260-364.
12 Royal A. Gettman. A Victorian Publisher. A study of the Bentley papers .

13 For one unusually complicated transaction of this kind, in preparation for
the 1829-33 edition of Scott's novels, see Jane Millgate. Scott's Last Edition.
A study in publishing history. Edinburgh: Edinburgh University Press, 1987,
pp. 41-52.
14 Ibid., pp. 84-7, 103-8.
15 J. A. Sutherland. Victorian Novelists and Their Publishers. London:
Athlone Press, 1976, pp. 88-94.
16 Gettman, Victorian Publisher, pp. 115-18.
18 See Sutherland, Victorian Novelists, pp. 94-98.
19 Victor Bonham-Carter. Authors by Profession. 2 vols., London: Society
of Authors, 1978-84, vol. 1, pp. 120-5.
21 James Hepburn. The Author's Empty Purse and the Rise of the Literary
Agent. London: Oxford University Press, 1968, pp. 45-66.

22 James J. Barnes. Free Trade in Books. A study of the London book trade
since 1800. Oxford: Clarendon Press, 1964, pp. 1-18, 30-47.
23 John Sutherland. The institutionalisation of the British book trade to the
1890s. In: Robin Myers and Michael Harris, eds. Development of the English
Book Trade 1700-1899. Oxford: Oxford Polytechnic Press, 1981,
pp. 95-105.
24 Ibid., pp. 96-100; Barnes, Free Trade, pp. 143-6; R. J. L. Kingsford.
The Publishers' Association 1896-1946. Cambridge: Cambridge University
Press, 1970, pp. 5-17.
25 For this and the following paragraphs, see John Feather. A History of
British Publishing. London: Croom Helm, 1988, pp. 151-5, and the
authorities cited there.
26 For Mudie, see Guinevere L. Greist. Mudie's Circulating Library and the
Victorian Novel. Newton Abbot: David and Charles, 1970; for this aspect of
W. H. Smith's, see Charles Wilson. First with the News. A history ofW. H.
Smith 1792-1972. London: Jonathan Cape, 1985, pp. 357-63.
27 Altick, English Common Reader, pp. 298-9.
28 Feather, History, pp. 194-5, 206-11.
29 Alexander Welsh, Writing and copying in the age of steam. In: James R.
Kincaid and Albert J. Kuhn, eds. Victorian Literature and Society. Essays
presented to Richard D. Altick. Columbus, OH: Ohio State University Press,
1984, pp. 30-45; and, for a special but fascinating case which raises many
important issues, Jim Swan, Touching words: Helen Keller, plagiarism,
authorship. Cardozo Arts & Entertainment Law Journal, 10 (1992),
pp. 321-64.
30 CJ, vol. 112, pp. 330, 351; the Bill is PP 1857 (Session 2) (142) 1.409.
249
References
31 CJ, vol. 119, pp. 144, 172. The Bill is PP 1864 (59) 1.501, and is virtually
identical to that abandoned in 1857.
32 Select Committee on Copyright (No. 2) Bill, at PP 1864 (441) IX. 1.
33 The Times, 12 July 1864, p. 11.
34 38 Victoria c. 12.
35 PD, 3rd ser., vol. 222, cols. 235-6.
36 See the account of him in DNB.
37 Bonham-Carter, vol. 1, p. 98; The Times, 2 March 1875, p. 10.
38 Ibid., p. 7.
39 PD, 3rd ser., vol. 224, col. 393.
40 This account of the meeting is based on that in The Times, 11 May 1875,
p. 10, which seems to be derived from an account given to the newspaper by
one of those present, possibly Jenkins.
42 38 Victoria c. 88, modified by the Imperial Parliament in 38 & 39 Victoria
c. 53.
43 See Simon Nowell-Smith. International Copyright Law and the Publisher
in the Reign of Queen Victoria. Oxford: Clarendon Press, 1968, pp. 88-9,
and above, pp. 170-1.
44 PD, 3rd ser., vol. 228, col. 63.
45 The others were in 1909-10, 1951-52 and 1973-77, for which see below,
pp. 199-202 and 204-8.
46 The Report of the Commissioners is at PP 1878 [C.2036] XXIV. 163-252;
the Minutes of the Evidence Taken Before the Royal Commission on
Copyright is at PP 1878 [C.2036.-I] XXIV.253-668. These are cited as

Report and Minutes respectively, with the pagination from the Sessional
Papers, not from the Blue Books.
47 For Herschell, Froude and Mallet, see DNB; for Trollope's work on the
Commission, see N. John Hall. Trollope. A biography. Oxford: Clarendon
Press, 1991, p. 421, although the reference is a passing one only, and Hall
says nothing else of this side of Trollope's work. Trollope's Autobiography,
although not published until 1883, was largely written when the Commission
was still sitting, and in the revised version which was actually published,
Trollope merely says that he does not propose to discuss its

recommendations with which he generally agrees. See Anthony Trollope.
An Autobiography. Ed. Frederick Page. London: Oxford University Press,
1950, p. 312. For Stephen, see Noel Annan. Leslie Stephen. The godless
Victorian. London: Weidenfeld and Nicolson, 1984, p. 5.
48 Report, p. 169.
49 Ibid., pp. 169-70.
50 Ibid., p. 165.
51 Minutes (1878), p. 299.
52 Ibid., p. 562.
53 Report (1878), pp. 208-19.
54 See DNB. Farrer's own views are in his Free Trade Versus Fair Trade
(London, 1882), one of several publications on free trade issues. After his
retirement, he entered politics himself, as a member of the London County
Council.
250
References
55 Minutes (1878), pp. 404-21.

56 Ibid., pp. 525-32.
57 Ibid., p. 582.
58 Ibid., p. 260.
59 Ibid., p. 300.
60 Ibid., p. 460.
61 Ibid., pp. 276, 298.
62 Ibid., pp. 318-19.
63 Ibid., p. 368.
64 Ibid., pp. 562-3.
65 Ibid., p. 582.
66 Ibid., pp. 304-11.
68 Minutes (1878), pp. 337-8.
69 Ibid., p. 326.
70 See below, p. 193.
71 Minutes (1878), p. 278; see also ibid., pp. 276 (Longman), 322
(Blackwood).
72 Ibid., p. 455.
74 Minutes (1878), pp. 515-17, 539-46.
75 Ibid., p. 527.
76 The minutes, of course, record only the formal statements and
questioning of the witnesses; there is no record of the private discussions of
the Commissioners themselves.
77 Minutes (1878), pp. 498-505.
78 Ibid., pp. 296, 318.
80 Minutes (1878), pp. 358-63.
81 Ibid., pp. 363-8.
82 Ibid., pp. 378-87.
83 Ibid., p. 368.
84 Ibid., pp. 337-8.
85 Ibid., pp. 421-35, 552-8.
87 Minutes (1878), pp. 279, 290, 317, 338, 354-7.
89 The Times, 12 February 1877, p. 9.
90 Report (1878), pp. 171-4.
91 Ibid., pp. 177-82.
92 Ibid., pp. 184-5.
93 Ibid., p. 185.
95 See above, pp. 119-20 and 162.
% PD, 3rd ser., vol. 243, cols. 404, 1308.
97 Copyright (No. 2) Bill, in PP 1878-79 (265) II.3.
98 PD, 3rd ser., vol. 248, cols. 1628-9.
251
References
99 PP 1881 (121) 1.639; CJ, vol. 136, pp. 130, 143; PD, 3rd ser., vol. 259,
col. 1145.
100 See, for example, letters in The Times on 16 April 1881, p. 8 and
22 April 1881, p. 4.
101 See above, pp. 163-5 and 168-9.
102 The Canadian Act is 52 Victoria c. 29. See Nowell-Smith, International
Copyright Law, and above, p. 170

p. 90;
103 Bonham-Carter, Authors by Profession, vol. 1, pp. 163-4; Kingsford,
The Publishers' Association, p. 10.
104 PP 1897 (385) X.213-51.
105 Ibid., pp. 223-5.
106 PP 1898 (393) IX.231-548.
107 Ibid., pp. 243-65.
108 Ibid., pp. 293-304.
109 Ibid., pp. 394-8.
110 Ibid., pp. 305-20, 455-8.
111 PP 1899 (362) VHI.541-799.
112 Kingsford, The Publishers' Association, p. 18.
113 For the Berlin conference and its work, see Sam Ricketson. The Berne
Convention for the Protection of Literary and Artistic Works 1886-1986.
London: Centre for Commercial Law Studies, Queen Mary College, 1987,
pp. 87-96.
114 Report of the Committee on the Law of Copyright, in PP 1910 [C. 4946]
XXI.241-88, at p. 2. Cited as Report (1910), and by the pagination of the
Blue Book.
115 Minutes of Evidence Taken Before the Law of Copyright Committee, in
PP 1910 [C. 5051] XXI.289-559, at pp. 138-43. Cited as Minutes (1910), and
by the pagination of the Blue Book.
116 Ibid., pp. 20-31.
117 Ibid., p. 187.
118 Bonham-Carter, Authors by Profession, vol. 1, p. 216, misses this point,
and grossly overestimates the influence of MacGillivray and the Society.
Kingsford, The Publishers' Association, p. 38, is, rightly, far more
restrained.
119 Minutes (1910), pp. 25, 138-9.
120 Ibid., pp. 31-2.
121 Ibid., pp. 145-6.
122 Ibid., p. 32.
123 Report (1910), p. 7.
124 Ibid., pp. 10-26.

125 PD [H.C.], 5th ser., vol. 6, cols. 1945-50.
126 Ibid., vol. 23, cols. 2587-604.
127 The Times, 3 April 1911, p. 10.
128 PD [H.C.], 5th ser., vol. 23, col. 2605.
129 Ibid., cols. 2611-21.
130 Ibid., col. 2603.

252
References
132 The remaining debates are in PD [H.C.], 5th ser., vol. 28, cols. 468,
1902-77 (Report Stage); vol. 29, cols. 2133-93 (Report Stage, continued;
Third Reading); PD [H.L.], 5th ser., vol. 9, col. 1154 (First Reading); ibid.,
vol. 10, cols.39-54 (Second Reading), 133-66, 168-211 (Committee Stage),
451-87 (Report Stage), 573 (Third Reading); PD [H.C.], 5th ser., vol. 32,
col. 2447 (Lords amendments); and PD [H.L.], 5th ser., vol. 10, col. 1167
(Royal Assent). The Act is 1 & 2 George V c. 46.

133 Ricketson, The Berne Convention, pp. 105-14.
134 Report of the Copyright Committee, in PP 1952-53 [C. 8662] IX.573-
704, cited as Report (1952), by the pagination of the Blue Book.
135 Ibid., p. 5.
136 Ibid., p. 1.
137 Ibid., pp. 36-80, 118-21.

138 Bonham-Carter, Authors by Profession, vol. 2, pp. 205-82.
139 Ibid., p. 283. See also Malcolm Bradbury. The Social Context of
Modern English Literature. Oxford: Basil Blackwell, 1971, pp. 144-68.
140 Report (1952), p. 17.
141 Report (1952), pp. 17-21, 117.
142 Ricketson, The Berne Convention, p. 110.
143 Report (1952), p. 80.
144 25 & 26 Victoria c. 68.
145 Report (1952), pp. 81-2.
146 The debates were poor and badly attended; PD [H.C.], 5th ser.,
vol. 553, cols. 715-811 (Second Reading, including a particularly inane
contribution from Roy Jenkins at cols. 737-46); ibid., vol. 558, cols. 651-
784, 843-930 (Report Stage). There were no divisions. The Act is 4 & 5
Elizabeth II 74.
147 Report of the Committee to Consider the Laws on Copyright and Designs
[C. 6732] (1977), p. 1. Cited as Report (1977).
148 Ibid., pp. 54-74.
149 Ibid., pp. 16-18.
150 PD [H.C.], 6th ser., vol. 132, col. 526.
151 Ibid., col. 535.
152 See the speech by Tony Blair on the Report Stage, in ibid., vol. 138,
cols. 37-43.
153 David Lester and Paul Mitchell. Joynson-Hicks on UK Copyright Law.

London: Sweet and Maxwell, 1989.
253
Index
Aberdeen University 100, 111, 114 Becket v. Donaldson (1771) 89-96,

Alison, Sir Archibald, views on 122-3
copyright 139 Beckford v. Hood (1798) 101
American Copyright Club 159-60 Belgium
American Copyright League 168 copyright treaty with Britain
Association for the Protection of the (1855) 162
Rights of Authors 184 copyright treaty with France
Association Litteraire et Artistique (1852) 162
Internationale 163-5 Bell, C. F.Moberley, views on
Association of Master Printers 130 197-8
copyright
authors
Bentley, Richard (publisher) 152
attitudes to copyright 2-3 Bentley, Richard (Royal
and Copyright Act (1710) 67 99
Librarian)
nationality of 162-3 Berne Convention (1886) 9
payment of, eighteenth century 67 Berlin amendments (1908) 198-9
payment of, nineteenth and British colonies 170-1
century 178-81, 188 Brussels amendments (1948) 204
relations with book trade, influence on British copyright
eighteenth century 79-80 law 195-9, 204, 208
authors' rights 163-5
origins of
sixteenth century 4, 13-14, 28 and the United States 168
seventeenth century 13-14, Besant, Walter 180
28-9
Bettenham, James 71
1640s 40
Blackstone, William, views on
in Copyright Bill/Act copyright 85-6
(1710) 61-2
Blackwood, Alexander, views on
eighteenth century 5-6, 67, 139
copyright
74-5
Blackwood, John, views on
early nineteenth century 122-3 187
copyright
in Copyright Act (1814) 112 Bodleian Library, Oxford 97-100
see also moral rights
see alsoOxford University
Authorship, conditions of, nineteenth
Bodley, Sir Thomas 97-8
century 177-80
Booksellers' Association 180-1
Booksellers' Committee (1819) 118
Boosey, John, on rights in music 192

Boosey v. Purday (1849) 163
Bankes, Henry 115-16 British Library 121
255
Index
British Museum 109, 110, 117, circulating libraries 181-2

119-21, 194-5 Civil War, effect on book trade 37-9
broadcasting 176, 203-5 Clay, Henry, and U.S. copyright
Bromley, William 99 law 158-9
Brougham Henry Clayton, Henry R., views on
views on copyright 146 copyright 197-8
views on legal deposit 113-14 Collins, Benjamin 83-4
Brydges, Sir Samuel Egerton, and colonial copyright 166, 169, 183-4
legal deposit 111, 113-16 Commission on Printing (1583) 23-4
Buckingham, James Silk 118 Company of Stationers v. Carnan
Buckley's Act (1734) 79-80 (1773) 95
Bulwer, Henry Lytton, and Company of Stationers v. Seymour
Anglo-American copyright 166 (1677) 46-7
Bulwer-Lytton, Sir Edward, views on computing 176-7
copyright 129, 133 conger system 65-6
Bulwer-Lytton, Robert, and Cooper, Thomas, patents of 12
Anglo-American copyright
copyright 166-7 common law 60
Burdett, Francis, views on legal definition 1
deposit 113-14 late eighteenth century 86, 88,

Butterworth, Joseph 115 95-6
Buxton, Sydney, and Copyright Act nineteenth century 187
(1911) 120, 199-203 firstuse of word 5, 46
Bynneman, Henry, patents of 13 in notes on a text 95
origins of 4, 17-20
proof of ownership, sixteenth
century 26-8
Cambridge University, printing publishers and 2-3

radical views of, nineteeenth century
privileges 23, 44
v. 113, 132-48
Cambridge University Bryer
see also International copyright
(1812) 103-5, 109, 112
Cambridge University Library 7, 57, Copyright Act (1710) 5-6, 150
97, 100-1, 110, 114, 117 analysis of 62-8, 79, 109
first cited in court 78
Cambridge University Library 7, 57,
97, 100-1, 110, 114, 117 interpreted by the courts 82-93
Camden, Lord, views on interpreted in Becket v.
copyright 90-2
Donaldson 89-96
Canada, copyright law in 162-3, and Ireland 80-1
169-71, 184, 196 legal deposit provisions 97
Carey and Lea (publishers) 153-4 origins of 52, 58-62
Carlyle, Thomas 125, 140 and Scotland 80-93

Carte, Thomas, views on Copyright Act (1801) 150
copyright 74-5 Copyright Act (1814) 6, 7, 124

Caxton, William 10 analysis of 112, 116
Chappell, Herbert, on rights in origins of 110-12

music 192 Copyright Act (1836) 6, 118-9, 121
Charlett, Arthur 99 Copyright Act (1842) 6-7, 165

Chase Act (1891) 168-9, 196 analysis of 147-8, 173-83, 186-7
Christian, Edward, views on legal and Canadian law 169-71
deposit 101-3, 117 legal deposit provisions 119
256
Index
origins of 145-7 Dickens, Charles, views on copyright

Copyright Act (1911) 7 8, 149-50, 158-9, 167-8, 173
analysis of 203-4 Dickens, Charles, the younger 184

legal deposit provisions 120-1 Benjamin
Disraeli,
origins of 199-203 and Royal Commission on

Copyright Act (1956) 7 Copyright (1875-78) 184
analysis of 207-8 views on copyright 129, 134
origins of 204-7 Donaldson, Alexander 89-95
Copyright Association 190, 196 Dramatic Authors Society 192
Copyright Bill (1707) 56-8 Dramatic Copyright Act
Copyright Bills (1735-37) 70-5 (1833) 124-5
Copyright Bill (1808) 101-3 droit moral, see moral rights
Copyright Bill (1818) 113-18 Dry den, John 67

Copyright Bill (1837) 125-7
Copyright Bill (1837-38) 128
Copyright Bill (1841) 142 Edinburgh University 100, 111, 114
Copyright Bill (1857) 183 Engravers' Act (1735) 70-1
Bill (1864) 183 Everitt, Edward, and American
Copyright
Copyright Bill (1879) 195 copyright law 167
Copyright Bill (1881) 195

Faculty of Advocates Library,
Copyright, Designs and Patents Act
Edinburgh 111, 114, 119
(1988) 7,8
209-10
fairdealing 205-6, 208
analysis of
Farrer, T. H., views on
origins of 208-9
copyright187-90
copyrights
film 203-5
176, 198,
expiry of, early 1730s 68, 70
85-94 Foreign Reprints Act (1847) 170
perpetual
Foulis, Robert, views on
public domain 93
sales of 18 copyright 82-3
France
shares in 18, 42, 66
trade sales of 66 copyright law in 3-4, 8, 11, 151
copyright treaty with Britain

Coventry, Sir Thomas, views on
(1851) 160-2
copyright 11, 29
Froude, J. A. 186
Crockatt, James 71
Curll, Edmund 74
Germany, copyright laws 151
Giddy, Davies 104-5, 109-11, 115

Daldy, Frederick, views on Gilbert, Davies, see Giddy, Davies
copyright 190, 196-7 Gilliver v. Watson and others (1743)
Day, John 21-4 77-8, 82
Defoe, Daniel 52-5, 62 Gilliver, Lawton 77-8
Dibdin, Thomas Frognall, views on Gladstone, William
legal deposit 108 and Berne Convention (1886) 164
257
Index
Gladstone, William (continued) Joynson-Hicks, Sir William, views on

and Canadian copyright 170 copyright 203
and copyright legislation 133-4,
137-8, 140, 144
Glasgow University 100, 111, 114
Gorrell Committee (1909) 199-202
Greenhill,George 113 King's (Queen's) Printer, rights
Gregory Committee (1951) 204-7 of 11-12,21,44
King's Inn, Dublin 100
Harley, Robert, 1st earl of

Oxford 52-6
Lackington, James, views on legal
Harper Brothers 153-4
deposit 115
Herschell, Farrer 186
Lamb, Charles 125
Hogarth, William 70
Lambton, John 115
House of Commons, Select Committee
legal deposit 7-8, 57, 68, 97-121
on Copyright (1818) 114-18
L'Estrange, Sir Roger 44
House of Commons, Select Committee
Lintot, Bernard 69, 77, 78
on Copyright (1813) 105-10
lithography 175, 192-3
House of Lords, Select Committee on
Lloyd, Ludovick, patents of 13
Copyright (1897) 196-8
Locke, John 50
Hudson, John 99 views on
Longman, C. J.,
Hume, Joseph, opposes copyright 196-7
copyright
legislation 134, 136, 139, 156
Longman, Thomas Norton, views on
legal deposit 106-7
Import of Books Act (1739) 76, 97, 150

Inglis, Sir Robert 135, 156-7
injunctions (1559) 15-16 Macaulay, Catherine 92
international copyright 129, 149-72 Macaulay, Thomas Babington, and
International Copyright Act copyright legislation 142, 145-7
MacGillivray, E. J., views on
(1838) 155-7, 160
International Copyright Act copyright 200
(1844) 160 Mackintosh, Sir James 115
International Copyright Act Mahon, Lord

161-2 and Copyright Act (1842) 145-8
(1852)
Ireland, book trade in 80-1 and international copyright 157
and Royal Commission on
Copyright (1875-78) 185
Mallet, Sir Louis 186
Manners, Lord James, Royal
James, Thomas 98 Commission on Copyright
Jenkins, Edward, and (1875-78) 185
copyright 183-4, 195 Mansfield, Lord Chief Justice, views
Jerrold, Blanchardl 84 on copyright 84, 85, 88-9
Johnson, Samuel 80, 92 Martineau, Harriet, and international
Johnson, William 93 copyright 158-9
258
Index
Maugham, Robert, views on Parry, Henry, views on legal

copyright 123-5 deposit 105-6
Midwinter, Daniel 81 Peel, Sir Robert 116
Midwinter v. Hamilton (1743) 84, 87, views on copyright 128, 133, 135,
89 144
Millar v. Kincaid (1743) 81-2, 84, 89 performing rights 124-5, 192
Millar Taylor (1769) 87-90
v.
Performing Rights Act (1875) 183
Milnes, Monckton, views on photocopying 205-6
copyright 157 Photographic Copyright
Milton, John 39, 42, 67 Association 198
Monopolies Act (1624) 34, 37 photography 175-6, 192-3
Montagu, Basil 100-1 Pierce, Franklin, and American
moral rights 3-4, 8-9, 192, 206-8
copyright law 167
Mudie, Robert, views on
Piracy
copyright 131-2 sixteenth century 21-4
Murray, John, views on seventeenth century 32, 41-2
copyright 189, 197, 199-200
late seventeenth century 45-6, 49
eighteenth century 68-9, 71-2,
75-6
early eighteenth century 55-6
American, nineteenth century 150,
National Library of Scotland 121
153-4, 158-60
National Library of Wales 120- 1
of American books 154
Net Book Agreement 180-1
Dutch, eighteenth century 150
newsbooks 41
French 129
Nourse, John 80
early nineteenth century 152-3
provincial, eighteenth century 83
plagiarism 29-30
plays, copyright in 30-3
Plunckett, William 116
Ordinance for the Regulating of
Ponder v. Bradill (1678) 46, 48
Printing (1643) 40-1
Ordinance against Pope, Alexander 5, 69, 74, 77-8
Unlicensed. Printing ( 1 647) 41
. .
printing, nineteenth century 174-5
ordinance against unlicensed printing Printing Act (1662) 5, 7, 42-9, 97-9
(1649) 41 Printing Act (1685) 44
originality, eighteenth-century view lapse of 50

of 79 Printing Bills (1660, 1661) 42-4
Oxford University 7, 58, 111, 114, 117 Printing Bills (1695- 1714) 50-2
printing privileges 23, 44 privileges for books
see also Bodleian Library England
sixteenth century 11-14, 20-5
after 1660 44,47
seventeenth century 29, 34-5
France 11
Palmerston, Lord 116 Milan 11
Panizzi, Sir Anthony 120 Venice 10-11

papermaking, nineteenth century 175 Proclamation on Printing (1623) 35
Parker, Sir Gilbert, opposes copyright Prussia
legislation 203 copyright law in 156
259
Index
Prussia (continued) views on copyright 200- 1

copyright treaty with Britain Simpson, John Palgrave, on
(1846) 160 performing rights 192
publishers, attitudes to copyright 2-3 Sion College 99, 113, 114
Publishers' Association 180-1, J. H. 105, 116-18
Smyth,
196-7, 199-200 Society for the Encouragement of
Learning 79
Society of Authors 196, 200- 1
and the Berne Convention
Queen's Printer, see King's Printer (1886) 164
foundation of 180
Sound recording 176, 198, 201-5
Sparke, Michael 38-40, 150
Star Chamber Decree (1586) 23-4, 25,
Reade, Charles 184
35
Rivington, Charles 71
Star Chamber Decree (1637) 18, 35-6
Robinson, Henry Crabb, supports
Stationers' Company 4
copyright legislation 137, 139-40
by-laws (1678) 48-9
Romilly, Sir Samuel, views on legal
and Copyright Act (1710) 53
deposit 102, 105
154 English Stock 23-30, 36, 38-40
Routledge, George
1640-60 41
Routledge v. Samson Low
after 1660 43,44-5,48-9,50
(1868) 170-1
early eighteenth century 65
Royal Commission on Copyright
after 1774 94-5
(1875-78)
and international copyright 162 and legal deposit 97-9, 112-13
and legal deposit 119 Ordinances (1562) 16-17
origins of 14-15
origins and membership 184-6
recommendations 193-5 powers of, sixteenth
work of 186-93 century 17-20, 23, 25-8
Royal Library 7, 58, 97-9 seventeenth century 32-4
royalties 179, 181, 188, 191-2 1640-60 37-8,41-2
Ruding, Rogers, views on legal after 1660 42-9
deposit 107 Stationers' Register 38
sixteenth century 16-20
1640-60 41
after 1660 47-9
conditional entries 18-19
St Andrews University 100, 111, 114
and Copyright Act (1710) 62, 82
Sala, Charles Augustus 184
book trade in 80-93 and Copyright Act (1842) 147
Scotland,
Scott, William 116 proposals for (1879) 195
Scott, Sir Walter 6 rules for entries, before 1640 25-7
Select Committee on Copyright (1813) significance of entry, after 1798 101
105-10 Stephen, Fitzjames 186

Select Committee on Copyright (1818) Stoker, Bram, views on
114-18 copyright 196-7
Select Committee on Copyright (1897) subsidiary rights 192, 201
196-8 evolution of 182-3
Shaw, Bernard Sullivan, Sir Arthur, views on
on Anglo-American copyright 169 copyright 189-90
260
Index
Talfourd, Thomas Noon, and Valpy, John, views on legal

copyright legislation 125-46 deposit 111-12
Tauchnitz editions 153, 162, 165 Vertue, George 70
Tegg, Thomas, views on Villiers, John Charles 102-3, 117
copyright 127-8
Tenison, Thomas 99
Thomas, W. May, views on
copyright 184-5
Thorneycroft, Peter 204, 207
Thring, C. J., views on
copyright 196-7 Wakley, Thomas, and copyright
Thurloe, Edward, views on
legislation 136, 140-1, 145-6, 156
copyright 84-5, 90
Warburton, Henry, and copyright
Tonson family 69
legislation 136, 140-1, 156
Tonson, Jacob, I 67
Watt, A. P. 180
Tonson, Jacob, III 83-4
Tonson v. Collins (1760) 84-6 Wedderburn, Alexander, views on
Tonson v. Waller (1766) 95 copyright 84-5
Whiston, John, letters to Merrill 83
trade sales 66, 80
translations 152 Whitelock, Sir William 99
Trevelyan, Sir Charles, views on
Whitford Committee (1973) 207-8
copyright 188-9 Williams Wynne, C. W. 102-5

Trinity College, Dublin 100, 110, 114, Wilson, Harold 204
119 Wither, George 34-5
Trollope,Anthony Wolfe, John 22-3
on American pirates 165, 167 Wordsworth, William, and copyright
member of Royal Commission on 6, 125-41
legislation
Copyright (1875-78) 186, 189
Wright, John 77
Trusler v. Murray 95-6
Turner, Sharon
views on copyright 190
views on legal deposit 108-9
United States, copyright laws 8-9, Yates, Joseph, views on copyright 85,
151, 166-9
261
Stanford Law Library
3 blOS Ob DTb
opyright law in Britain begins in the early days
of printing, with wooden presses and hand-cast
type, and goes
through to the world of universal electrostatic copying and instant-
aneous worldwide digital communications systems. However, the
fundamental issues and the dilemmas they pose have perhaps
changed less dramatically than the economic, social and
technological environments which have produced them.
This book a survey of the development of copyright law in Brit-

is
ain. It approaches the subject from the point of view of a historian

of publishing, and is more concerned with practice than the
niceties of legal theory. The formal development of the statute law
is traced, and there is a strong emphasis on the commercial impli-
cations of the law for publishers. An introductory chapter deals
with the period before legislation existed, followed by a series of
chapters in chronological order dealing with the subsequent
developments up to the present day (the 1988 Copyright, Design

and Patents Act). Included is a chapter on the related matter ofthe
legal deposit of books in the copy libraries.
John Feather Professor of Information and Library Studies at

is
Loughborough University. He is recognized as the leading author-

ity on the history of copyright law in Britain. He is the author of
History of British Publishing (1988), Dictionary of Book History

(1
986) and Provincial Book Trade in 18th Century England 985). (
1
ISBN 0-7201-2135-3
MANSELL 9 780720 121353

Publishing, Piracy and Politics - John Feather

Uploaded by

Copyright:

Available Formats

Publishing, Piracy and Politics - John Feather

Uploaded by

Document Information

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Publishing, Piracy and Politics - John Feather

Uploaded by

Copyright:

Available Formats

PUBLISHING

All rights reserved. No part of this publication may be reproduced or transmitted

recording or any information storage or retrieval system, without permission in

British Library Cataloguing in Publication Data

Library of Congress Cataloging-in-Publication Data

LC-CIP Card No: 94-7320

Typeset by York House Typographic Ltd., London

Appendix: Statutes 211

Chapter 1 was originally prepared as a paper for a conference of the

Copyright is a legal device which is used to protect certain forms of

property. These forms include books, drawings, plays and music,

and reproducible products of the human mind, including inven-

More generally, because copyright is primarily a legal concept,

eighteenth century, legislation has been at the centre of all matters

Our concern, however, is not only with the technicalities of legal

political history, not only because it touches upon the property

introspective concerns of publishers and authors. For the former,

an effective law of copyright is a necessary condition for the

influenced by English law (especially the United States), it is the

legal thinking and legislative provision. It is argued that, by

of copyright in England, rather than being its starting-point as was

is summarize the underlying argument before

book trade's guild, the Stationers' Company, which was able to

generation of authors who had grown up with the printed book.

centuries, there was a fundamental intellectual shift which pro-

into a new kind of relationship with publishers. The driving force

system of copyright protection which the trade had developed.

about the rights of authors. It is concerned with the

printed and published by anyone. In 1774, the House of Lords

writing. The very concept of originality had to be redefined.

period of post mortem copyright, as well as apparently unambigu-

abridgements, anthologies, magazine and newspaper articles,

great importance, to authors and publishers alike. The complex-

and technological change, and was partly replaced in 1956.

copyright legislation) remained unchanged for nearly thirty years

brought the two traditions into inevitable conflict. In France,

copyright was understood as a 'moral right', the droit d'auteur to be

regardless of the owner's role in the creative process. The first

When Caxton introduced the art of printing into England in 1477,

trade, should have developed. The

stationer or scrivener recovered his investment in copying a

manuscript as soon as it was sold. In what was essentially a bespoke

the 'privileged book' began to develop. The 'privilege' was a form

His privilege gave him an exclusive right to print books in all

by the Crown, although in practice this was always modified, and

were similar privileges in primers, prayer books, school-books,

There were a few subsequent examples of similar practices with

of privilege through Letters Patent, represent the only form of

picture emerges. Almost without exception, they are learned works

were to be published in England at all. That was clearly the purpose

year to year, there was no legal mechanism at hand to protect their

. . . Stationers hath diuers copies seueral to themselues, wch they

enioye as fully as if they have the Quenes preuilege for euerie of

.euerie of them [the stationers] hath of order seuerall to him selfe

In this obscure prose lies the key to an understanding of the origins

over printing and bookselling both in London and throughout the

ory. As early as 1557, a stationer was fined twenty shillings by the

clause reads as follows: 'Euery boke or thinge to be allowed by the

the fines in December

1559 Injunctions, the power of censorship rested with the Privy