New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1893-09-17
INTERNATIONAL COPYRTG
DIP. SCHMIDT. or rEIPsIC. THrVKs ITS OPERA.
TfON INFoiITtBTF

DIP SCHMIDT OF rEIpsIC. THINKS ITS OPERA.
TON INEorIT,BTE
Among the clty's visitors during the last few
davs was Dr.. Paul Schmidt. OF T.epsic. LAWYER
who has made his name known throughout Ger
many bv his labors in behalf OF literary copy
right. lie Is OF counsel for the Boersenvereins
der Dontscheh Buohhaendler. Of Ieipsic. and other
allied associations and was instrumental In the
recent suppression OF the sale Of American re-
prints of German books In London. Asked to give
his views on the question OF American copyright,
DR. Schmidt said:
mot only in Germany. hut throughout the civil
lied world. the recognition OF the principle OF in
ternational copyright By the United States in
the law of March 8 1881. was hailed with salts
faction. II is true that at present the protection
afforded by that law is sentimental rather than
practical since the sO-called manufacturing clause
makes the copyright foreign works contingent
on the mechanical production OF the works in this
country. Thus copyright Is only to be secured al
the cost Of remanufacture. But what works can
bear such an Increase In cost? Very few In
deed. Hence it follows that the protection which
America gives TO foreign authors and artists is al
most wholly illusorY. IT Is well known that the
clause in question added TO the bill subse-
quent to its introduction in Congress and at the
request of the labor associations. who wished to
beneh by the increase in labor ana earnings
which would follow the American reproduction of
the works since. however. the matter of expense
has practically prohibited the American manu-
facture Of foreign works the provision has not
brought advantage either TO the foreign authors
ana artists or the American worlingmen In the
absence Of practicable protection and in fragrant
contradiction 10 the principle OF the law. the only
persons who have prohted have been the piratical
reprinters
I'm sharp contrast TO this state Of affairs stands
the protection which Germany and the other
treaty powers OF Europe give TO the American
lean work enjoys complete protection against re
print. imitation and translation from the moment
that ii appears I'm America and secures protection
under American laws. without having to be manu-
featured in those countries. Naturally the inc
quality in the privileges granted is being felt more
and more among those directly concerned. 1t Il
known that the copyright law OF March 3. 1891.
was Il compromise between tendencies which diff
fered from each other to the extreme Of fat con-
tradicion. | do not wonder therefore. that. az
have learned from conversations with men OF
different parties. American authors. artists pub
fishers and lawyers have very different opinions
concerning the meaning Of details OF the law.
Public interest demands that the questions which
have arisen und,r the law De- determined
possible. 1t seems to me that there * no sub
jeci we'll adapted 10 harmonious and equitable
adjudication by all civilized countries Of Europe
and America the protection OF authors and
artists. On the hand copyright il wholly cos
mopolltun in character: on the other it is oily
effective when not restricted by the boundaries
and not dependent unfeasble conditions. The
idea Of national and international recognition Of
intellectual property made It's way but slowly and
lsborlously in Europe. but has kept pace with the
progressive intellectual Development Of the Euro
pean peoples ! have doubt. Therefore. that
America. which has made such tremendous strides
I'm science in comparatively 50 short a time. and
already passed Europe in the related province of
invention Will extend protection more and more 20
intellectual property In literature ana art AZ u
grows i'm these things