Tag Archives: Music

E.T.A. Hoffmann, writer, composer, draughtsman and lawyer

Startscreen E.T.A. Hoffmann portal, Staatsbibliothek zu Berlin

The huge influence of German science and culture on the development of history as an academic discipline in the nineteenth century is something taken for granted. The image of a German professor lost in abstract thought in a country yearning for its romantic past is almost a caricature. However, not only professors walked through German university towns. In this post I will look at a well-known German writer who was also an active lawyer, serving as a judge. In December 2016 the Staatsbibliothek zu Berlin-Preussischer Kulturbesitz launched the beta version of the E.T.A. Hoffmann portal. On December 12, 2017 its final version was revealed. Not only in Berlin events are currently organized around Hoffmann. Let’s look what will fit into one post!

A man of many talents

At the portal you will find the following quote by Hoffmann: “Die Wochentage bin ich Jurist und höchstens etwas Musiker, sonntags, am Tage wird gezeichnet, und abends bin ich ein sehr witziger Autor bis in die späte Nacht”, on weekdays I am a lawyer and at the best a tiny bit musician, on Sundays I am drawing, and in the evening I am a very funny author until late night. I fear any attempt at a short biography of Ernst Theodor Amadeus Hoffmann (1776-1822) will inevitably be much longer than this one revealing description. Hoffman was born in Köningsberg (now Kaliningrad). In 1792 he started studying law, but soon he used also his musical talents as a teacher. His study went well, bringing him already early on to Berlin, but he worked also in Poznan, Plock and Warsaw, in that period part of Prussia. A rather successful period in Poznan, where some of his compositions were received well, ended with an affair around anonymous caricatures behind which one suspected rightly Hoffmann

The arrival of the French to Warsaw in 1806 brought a temporary end to his career as a Prussian servant. Eventually he settled in Bamberg as a conductor, and later he worked in the city theater. Despite his return to law, in 1816 he became a Kammergerichtsrat, but he unsuccessfully tried to get work as a conductor, too. Meanwhile Hoffmann had started writing literary works. Under the restoration regime after the Napoleonic period he had in Berlin from 1919 onwards rather surprisingly the task to investigate people suspected of subversive plans, Hoffman used his knowledge of a particular case in his story Meister Floh, but he was charged with unlawful behaviour because he had allegedly publicized matters he was not allowed to divulge as a state official. Just before his case went on trial Hoffmann died after a prolonged illness.

If anything this brief overview shows in a nutshell many aspects of life and culture in Germany from around 1790 to around 1820. It is characteristic of Hoffmann to be aware of the many sides of his short life. Hoffmann’s sketch from 1815 of the Gendarmenmarkt in Berlin, the Kunz’scher Riss, is presented at the portal as an interactive map bringing you to a life with many facets. Hoffmann lived nearby this central square in Berlin with the Nationaltheater. In the following paragraphs I will look only at some sections of the Hoffmann portal, but in fact you can find interesting matters in every corner.

Earning his bread with law

During his short life Hoffmann earned most of his bread as a lawyer. The portal has a large section E.T.A. Hoffmann als Jurist by Hartmut Mangold. Hoffmann studied law only in Königsberg, and for just three years. We are used to German students visiting several universities during their student years, sometimes to hear the lectures of a particular professor, sometimes for other qualities of a city. Hoffmann made such rapid progress that he could start very quickly with the practical part of his legal education, first in 1795 as an Auskultator (hearer) at Glogau, and from 1798 onwards as a Referendar in Berlin. He earned enough praise to follow his career in 1800 as an assessor (judge) at the Obergericht of Poznan (Posen). However, within a month he had to move to the small town Plock because of the affair with the caricatures. The two years at Plock were unhappy, but his efforts were recognized by his superiors who sent him in 1804 as a Regierungsrat to Warschau. The French occupation of Warsaw in 1806 ended a lucky period of hard work as a judge combined with eager cultural activities.

In 1814 Theodor von Hippel, a former friend from Kónigsberg, helped him to work again as a judge, first at a kind of minimum wage as a voluntary at the Berlin Kammergericht. Only after two years he got the full normal salary. His hard work brought him in 1819 a call to become a member of the special investigation committee, and in 1821 he moved to a rank at the coveted appeal court, the Oberappelationssenat. Mangold looks at Hoffmann’s views of the Schmolling case to assess his views as a judge in criminal cases. Hoffmann carefully analyzed a medical consultation which deemed Schmolling was not liable for his actions. In a following section you will see Hoffmann as a very conscientious member of the special committee which stood as one man against political influence and overruling by higher authorities. The committee had the task of a public attorney to bring supposed offenders of the restrictions on political freedom. The committee saw in almost every case no criminal offense which could led to further persecution. He had to deal for example with Friedrich Ludwig Jahn, the man behind the popularity of gymnastics in Germany, often nicknamed Turnvater Jahn, who brough a case for defamation against Albert von Kamptz, a high Prussian official, who had slandered his name anonymously in two newspapers.

Hoffman dealt in a humourous way with Albert von Kamptz in his story Meister Floh [Master Flea]. The story ended with the dismissal of the mischievous official who had created a case out of a few words. However, Von Kamptz recognized himself quickly in Hoffmann’s publication, and started a disciplinary action against him with the argument that Hoffmann had broken his duty to reveal nothing from official procedures. Hoffmann defended himself by pleading for poetic freedom. He died before a trial against him could start. Mangold rightly stresses the way in which Hoffmann conformed to the ethos of Prussian law and lawyers.

Drawing instedd of si a signature

A self-portrait drawing by Hoffmann instead of just signing a letter – collection E.T.A. Hofmann-Archiv, SBPK, Berlin

Writing about Hoffmann I noticed how my enthusiasm to know more about him and about his work as a Prussian lawyer steadily grew. You had better look yourself! A major part of the portal is a digital library for many of his works and papers. You will find letters, editions of his work, portraits, manuscripts, music scores, drawings and ex libris. In the corner Kurioses you will all kind of matters, from a massive wine bill by a Berlin firm to some funny drawings. Hoffman twice kept a diary, during 1803 and 1804 at Plock, and in the years spent between 1809 and 1815 in Bamberg, Dresden and other towns in Saxony.

It is great to find on this portal chapters accompanying the sections of the digital library. Thus you are enabled to look both at for example Hoffmann’s views on music as a discerning critic, gaining even approval from Beethoven, and at his compositions. His most successful opera Undine had a successful premiere in 1816 and gained high praise from Carl Maria von Weber, but unfortunately the Schauspielhaus burned down after the fourteenth performance. It marked the end of his career as a composer. Earlier on Hoffmann had changed his third name to Amadeus, a fair measure of the importance of music for him.

Logo Kalliope-Verbund

Large sections of the portal are devoted to research on Hoffmann. You can for example look at an attempt to reconstruct his personal library. His juridical books were restricted to almost exclusively works on contemporary Prussian law. I assume he used in Berlin other books from the library of the Kammergericht. I had expected to find legal materials also in the digital library of the Hoffmann portal, but these are simply absent, nor in printed form or in manuscript. Among all the qualities of the portal I missed references to the services of the Kalliope-Verbund, housed at the Staatsbibliothek in Berlin, the great database with a German and English interface for searching personal papers and manuscripts of famous persons in the German-speaking world held by archives, libraries and museums. The Kalliope database rightfully alerts you to materials concerning Hoffmann in a substantial number of collections, with of course the Staatsbibliothek zu Berlin-Preussischer Kulturbesitz at the first place.

Hoffmann in Berlin, Bamberg and Düsseldorf

The Staatsbibliothek in Berlin is the home of the E.T.A. Hoffmann archive. The Staatsbibliothek Bamberg, too, has holdings concerning Hoffmann. At the website of this library is a selection of drawings, early editions and letters. A look at the German Wikipedia page for Hoffmann brings me to a link for more works by Hoffman digitized at Bamberg. The page on Hoffmann as a lawyer leads only to the edition of his juridical works by Friedrich Schnapp [Juristische Arbeiten (Munich 1973)] and one article by Stefan Weichbrodt, ‘E.T.A. Hoffmann (1776 bis 1822)’. Juristische Schulung 2008/1, 7-13 . Luckily Mangold gives us more at the Berlin portal. The E.T.A. Hoffmann Gesellschaft has made Hoffmann’s house in Bamberg into a museum. You can see six virtual exhibitions at their website, including one about the story of Meister Floh and its impact. With interfaces in seven languages you are bound to read something on the website of the Hoffmann Society which you can understand sufficiently.

In the last section I will turn to another story by Hoffmann which is now the heart of an exhibition at the Heinrich-Heine-Institut in Düsseldorf, Nussknacker und Mausekönig (Nutcracker and Mouse King), with much attention for the modern drawings for this story by Sabine Friedrichson. Hoffmann was and is famous for his certianly for Germany pioneering grisly tales. Combined with elements from other stories by Hoffmann a script was created for Tchaikovsky’s Nutcracker ballet, surely one of the most enduring and beloved ballet scores. Les contes de Hoffmann by Jacques Offenbach is an opera in which at least two stories by Hoffmann have been used to create its libretto.

Some contemporaries concluded Hoffman was a bewildering figure, not to be taken seriously, but Hoffmann gained also admiration for his stories and music. Contemporary lawyers took him most seriously. If you look for some moments at Hoffmann’s life in a country suffering from the Napoleonic wars and its conservative aftermath you will recognize how sharp he saw the very different elements of life, war and society, In a romantic era his figure might at first seem romantic. but there is good reason to agree with Rüdiger Safranski in his masterful study Romantik. Eine deutsche Affäre [Romanticism. A German affair] (Munich 2007) that Hoffmann was a sceptic phantasy writer (“ein skeptischer Phantast”). In 1984 Safranski published a biography of Hoffmann with the same subtitle.

In this post with in the last paragraph a reference to a ballet which nowadays belongs to a particular period of the year, I bring you indeed to the end of this year. When you are weary of legal history, listening to Tchaikovsky’s Nutcracker or reading some of Hoffmann’s tales will hopefully bring you some moments of delight and wonder.


Listening to tuneful news: Streetsongs and crime

Just like law music is almost everywhere. It should be no surprise to find law and justice in songs, and a few years ago I first explored this theme in my post The Legal Song: Legal history in lyrics, This time I want to look a bit closer to a specific genre, broadside ballads, a subgenre of pamphlets, yet another subject not unfamiliar to regular visitors of my blog. Recently the team behind the French legal history project Criminocorpus launched the website Complaintes criminelles en France (1870-1940). Broadside ballads as a musical genre have come into view in particular for the United Kingdom, but this genre existed elsewhere also, and not only during the Early Modern period (1500-1800). The genre definitely widens my perception of pamphlets as a communication medium.

News in songs

Last week I first saw the new French collection. in fact it pushed me to look again at digital collections with only broadside ballads. Even if their number is still restricted, they now exist for more countries than I was aware of, reason enough to have a better look at them.

Marchand de crime - colored engaving, 1845 - source: Criminocorpus

Jean-François Heintzen has created for Criminocorpus a database in which you can search with a simple search with the possibility to use a proximity search. As for now the search interface is only in French, but no doubt an English interface will be added soon, because all elements of Criminocorpus can be accessed in both French and English. You can also search using an interactive map of France which shows you also where most of these complaintes were originally heard. The digital collection with these songs has been created by the Bibliothèque nationale de France for its digital library Gallica. It becomes quickly clear Paris has the largest share, and also the largest audiences, and it seems people in Brittany, around Lyon, in the Languedoc and near the Belgian border could have heard them a bit more often than in other parts of France. The database is strong in indicating the tunes (timbre) to which a complainte was sung. It even alerts to cases in which another song presented the same criminal event. You will find whenever possible also information about the crime and the fate or trial of the accused. I could not find the exact number of complaintes in the database, but a quick look at the interactive map suggest the number must be around three hundred.

The comment in French under the image of the man with a broadside ballad in his hand connects the songs explicitly with news: Marchand de crimes ou crieurs de journaux, “crime merchant or newspaper crier”. The broadsides featured often a telling image, one of their attractions. Dutch street singers used in the nineteenth century a so-called smartlap, literally a “sorrow cloth”, a large illustrated roll which they could unfold and hang on a pole. The word smartlap is still used as the synonym for tear-jerking melodramatic popular songs.

I searched for other collections in France with exclusively complaintes criminelles, but this selection from the holdings of the BnF is the largest one. When you search for complaintes in the website Moteur Collections of the Ministère de la Culture it brings you a substantial number of results in a wide variety of collections. The French portal for digital cultural heritage Patrimoine numérique leads you to just one collection with recordings made between 1979 and 1988 concerning oral memory, chansons and popular dances from Mont-Lozère for which the link was broken. You can get access after authorisation to recordings in the Ganoub database of the Maison Méditerranéene des Sciences de l’Homme (MMSH) in Aix-en-Provence.

Straatliederen, “street songs”, form a substantial part of the Dutch Liederenbank created at the Meertens Institute for Dutch Ethnology in Amsterdam. This database contains now a staggering 170,000 Dutch and Flemish songs. At the Memory of the Netherlands portal you can access and search for some 7,000 broadside ballads with nearly 15,000 songs, both from the holding of the Meertens Institute and the Dutch Royal Library. You can listen to recordings of some of the most popular songs, too. The founder of the Liederenbank, the late Louis-Peter Grijp (1954-2016), was not only a musicologist, but also a performer of early music and popular songs, playing the lute as a soloist or with his ensemble Camerata Traiectina. His research into the use of contrafacta, songs made to re-used melodies, helped to recognize texts as song texts, and to find the right melody or melodies for performance.

Logo VD-Lied

For Germany and Austria researchers can go to the project VD Lied: Das Verzeichnis der deutschsprachigen Liedflugschriften. This project builds on the bibliographical project VD16, VD17 and VD18 for Early Modern books from Germany, Switzerland and Austria. VD17 and VD18 link to digitized copies of the works they contain. The partners of VD-Lied are the Staatsbibliothek zu Berlin, the Zentrum für populäre Kultur und Musik in Freiburg am Breisgau, and the Archiv des Österreichisches Liedwerkes in Vienna. This database contains 30,000 songs from 14,000 digitized Flugschriften and Flugblätter.

Ballads in the British isles


Digital collections in the Anglophone world get perhaps more attention than collections elsewhere in the world, but it makes sense to bring them here together. The English Broadside Ballads Archive (EBBA, University of California at Santa Barbara) has become the portal to access a number of digital collections in the United Kingdom and the United States, with a focus on seventeenth-century ballads. The Pepys Collection of Magdalene College, Cambridge (1,800 items), the Roxburghe Collection of the British Library (1,500 items), Scottish collections at Edinburgh and Glasgow, and three collections of the Huntington Library, San Marino, CA, all in all almost eight thousand ballads, can be searched here together. The bibliography and additional information strengthen its online presence. In the Huntington Digital Library you can search among some 500 digitized ballads.

It is well worth including here also the Kenneth S. Goldstein Broadsides (University of Mississippi Libraries) with some 1,500 ballad broadsides from the United Kingdom and Ireland from the late eighteenth to the early twentieth century. At the web site Glasgow Broadsides Ballads Glasgow University Library has digitized some nineteenth-century ballads from its Murray Collections for which earlier ballads are accessible through EBBA. The National Library of Scotland created the collection The Word on the Street with among the 1,800 broadsides from the period 1650-1910 also some ballads. I am sure I might have missed some websites with transcriptions of ballads. Let’s not forget to point you at least to the Broadside Ballad Index created by William Bruce Olson, and the Folksong Index and Broadside Index created by Steve Roud, accessible online at the Vaughan Williams Memorial Library, London.

However, in a competition among digital broadside ballads collections Broadside Ballads Online of the Bodleian Libraries, Oxford, still clearly would wins for sheer numbers (30,000 items)! In its new design, light-years away from the austere user interface of Ballads Online which had survived all changes behind the surface, you can even choose the colours of the main type font. A second outstanding thing is the coverage in time, not only the period before 1800, but right into the twentieth century. The Iconclass search function for illustrations or if you prefer a simple keyword search, and even for some images a similarity search, place this collection ahead of all others. The illustration search and the overviews of subjects helps you to rethink your own approach and questions. By the way, the Bodleian Libraries recently developed a digital manuscripts toolkit for working with digital images along the lines of the International Image Interoperability Initiative Framework (IIIF).

A look at American ballads

American culture and history come into view at the Isaiah Thomas Broadside Ballads Project of the American Antiquarian Society (AAS). Isaiah Thomas collected broadsides in Boston during the early nineteenth century. Here you can find some 300 broadsides, and also thirty recordings of ballads. You can search directly or browse subjects in alphabetical order, which usefully includes also the woodcuts. It is a treat to look at the overview of digital projects supported by the AAS. Here it must suffice to mention the American Vernacular Music Manuscripts, ca. 1730-1910 hosted at Middle Tennessee State University. The notable collection collected by Helen Hartness Flanders is now at Middlebury College, Middlebury, VT; you can consult some 450 digitized broadsides ballads of this collection in the Internet Archive. Pop music and poetry are the heart of the digital collection Beat Movement: Poetry and Broadsides (Utah State University). I did not conduct an exhaustive search for American examples. You will find them also using the Digital Public Library of America. A quick search in the rich digital collections of the New York Public Library brought me just one result, which cannot be the complete truth. Patient research will surely yield much more. For this the Smithsonian Center for Folklife and Cultural Heritage and the Smithsonian Folkway Recordings are an appropriate starting point.

If you have doubts about the value and use of these digital collections you can find much in the current issue of the journal Recherche en sciences sociales sur Internet (RESET) on Patrimoine et patrimonialisation numérique / Heritage and Heritagization (6/2017). The acronym RESET is in this case strong! The digital turn is much more than only quick access to resources faraway, a theme articulated for global history in the 2016 article by Lara Putnam discussed here last year. At the Revues portal you will find also the Swiss journal Cahiers d’ethnomusicologie.

Logo Criminocorpus

With the MMSH at Aix-en-Provence and the Smithsonian and other institutions I came from ballads in print to modern recordings of old ballads, and it is tempting to follow that road already here in more detail. I will return to the use of recordings in another post in the near future. In this post you will find hopefully enough for your own interests. On the other hand you might want to look at more treasures at the Musée d’histoire des crimes, de la justice et des peines created by the Criminocorpus team or start following the Criminocorpus blog.

Legal rhetorics and reality in Early Modern France: The factums

Jeam Coras, Arrest memorable du Parlement de Tolose - edition 1565

Arrest memorable du Parlement de Tolose (…) – edition Lyon: Antoine Vincent, 1565 – copy Université de Toulouse

How can we be sure to view things as they really were in the historical sources we use for our research in the field of legal history? It is by all means wise to look as closely as possible at relevant sources, preferably close to the events and problems we want to study. In particular Natalie Zemon Davis and Arlette Farge have made us aware of the importance of narrative sources to deepen our understanding of French legal history in the Early Modern period. Davis gave us in Fiction in the archives. Pardon tales and their tellers in sixteenth-century France (Cambridge-Stanford, CA, 1987) both the true and the fictional stories, just as she had done earlier for Martin Guerre [The return of Martin Guerre (Cambridge, MA-London, 1983)]. Thanks to Davis the lettres de remission have become a well-known resource, used also for other periods, lately for example by Walter Prevenier and Peter Arnade, Honor, Vengeance, and Social Trouble. Pardon Letters in the Burgundian Low Countries (Ithaca, NY, 2015). Arlette Farge, too, alerted scholars to the way narratives, rhetorics and expectations shape perceptions of reality in judicial resources, in particular in her essay Le goût de l’archive (Paris 1987).

In this post I want to expand on some notes about another very interesting source, the factums or mémoires judiciaires, a term perhaps to be translated as legal briefs, which I mentioned in passing in one of my recent posts concerning the French Revolution. However, this particular source does already appear in the late sixteenth century and lives on well into the second half of the nineteenth century. The possibility to compare the development of a genre over a number of centuries is most appealing, and therefore I would like to introduce the factums. I owe here much to a short notice published in 2014 by Léo Mabmacien at his blog BiblioMab: Le monde autour des livres anciens et des bibliothèques. A post in July at his blog rekindled my interest. The existence of new digital collections with factums is a further prompt to share my thoughts about this resource which merit attention not only in the Anglophone but also in the Francophone world. For French readers one of the main points of attention should be here to look beyond the central institutions and a France centered around Paris.

Getting a fuller picture

Léo Mabmacien’s post about factums is a real treat. In crisp and clear French he succeeded in creating a nutshell guide to the subject which leaves little to desire. In fact the idea to give here only a translation crossed my mind, but I am happy to rely here heavily on his account. The term factum stems from the Latin. In medieval legal consilia, pieces of juridical advice for courts, the exposition of a case is often introduced with the words “Factum est tale”, the case is such and so. A factum or mémoire judiciaire contains both a description of the case, the faits, and also moyens (literally the “means”), arguments to be used to argue the outcome of the case. The length of a factum can be anything between a few and many hundred pages in cases where as appendices pieces of evidences and other materials were included. Most factums do not have a title page.

The existence of factums is most interesting given the fact that French criminal court proceedings were in principle secret, as stated in the Ordonnance criminelle of 1670. Each step of a case at court proceeded by producing written statements. The final verdict, too, was presented in writing only. Oral pleading was introduced in the eighteenth century for civil law cases. Factums offer a window on French legal history like few other sources can do. A blog post in 2010 on factums of the Bibliothèque nationale de France had the evocative title ‘Factum, vous-avez dit factum ? Qu’es aquo ?’, “Did you say factum? Whatever is that supposed to be?”, and cites Robert Darnton who wrote in an article for Le Monde in 1995 there are media under the Ancien Régime we have forgotten about: the rumor in public, the factums of lawyers, the messages in your hand, the newsletters, the improvised songs on existing melodies… Darnton took up this theme in his 1999 presidential address for the American Historical Association.

Under the Ancien Régime the word factum was used also for violent pieces of writing in which someone asserted his views with forceful arguments. The juridical factums, too, do not only give legal arguments, but all kind of motivation to ascertain the offensive or defensive position of a party. An ordinance of the Parlement de Paris from 1708 demanded that each factum be signed by a lawyer, and contained also the name of the printer, without any other formality. Thus factums escaped the vigilance of French censors, and could indeed become a kind of platform for any kind of opinion, provided they were signed by a barrister, yet another feature making this genre attractive for historians. Mabmacien concluded his post with references to the vast collection of factums held in Paris at the Bibliothèque nationale de France (BnF), and to a virtual exhibition on factums created by the municipal library of Clermont-Ferrand.

A new generation of scholars

Some of the research cited by Mabmacien stems from the eighties and nineties of the last century, but in fact a lot of work started before 1900. Augustin Corda began at the BnF with the Catalogue des factums et d’autres documents judiciaires antérieurs à 1790 (10 vol., Paris 1890-1936). Volume 7 is a supplement, the volumes 8 to 10 contain registers. You can consult the volumes 1 to 8 in the Hathi Trust Digital Library. Charles Patey had published a few years earlier a succinct overview of some 200 factums in the BnF related to Normandy [Factums normands conservés à la Bibliothèque nationale (Caen 1888; online in Gallica)]. Apart from the factums mentioned in Corda there are at the BnF two massive card box catalogues for a total of nearly 86,000 items. The main study used by Mabmacien is an article by Sarah Maza who studied with Robert Darnton. Her article ‘Le tribunal de la nation : les mémoires judiciaires et l’opinion publique à la fin de l’Ancien Régime’, Annales ESC 42/1 (1987) 73-90 is available online at the Persée portal. In 1997 appeared the French translation – Vies privées, affaires publiques. Les causes célèbres de la France prérévolutionnaire (Paris 1997) – of her monograph Private lives and public affairs: the causes célèbres of prerevolutionary France (Berkeley, etc,, 1993).

There is more scholarly literature in French available online, and I had in mind giving here a judicious amount of links. However, when I encountered at Theses, the portal for French Ph.D. theses, the very recently defended thesis of Géraldine Ther, La représentation des femmes dans les factums, 1770-1789. Jeux de rôles et de pouvoirs (Ph.D. thesis, Université de Dijon, 2015) with its rich bibliography I decided to restrict myself to a few recent publications. Ther investigated an intriguing theme, the representation of women, a theme emerging with force during the French Revolution, but with rather different relations between these events and the preceding period than you would expect. The acts of a symposium held in 2012 at the École de Droit of the Université d’Auvergne (Clermont-Ferrand) can be consulted online in a special issue of La Revue Centre Michel le Hôpital 3 (April 2013) [Découverte et valorisation d’une source juridique méconnue : le factum ou mémoire judiciaire (PDF)]. The contributors discuss factums as a source for legal history, look at a number of libraries with large collections, and staff members of these libraries discuss the current projects for cataloguing and digitization. A third recent online publication with attention for factums has as its focus lawyers in Marseille and transcends the supposed and real chronological watersheds of the French Revolution [Ugo Bellagamba, Les avocats à Marseille. Practiciens du droit et acteurs politiques (XVIIIe et XIXe siècles) (Aix-en-Provence 2015) – online at OpenEdition]. A number of relevant online publications is also included in the section on sources and bibliography of the virtual exhibition in Clermont-Ferrand.

ImpressionThanks to the hard work of librarians and scholars you can now get online access to a substantial variety of factums. Let’s start with the collection I first encountered, Tolosana, la bibliothèque virtuelle des fonds anciens, a collection of digitized books at the Université de Toulouse, with a substantial number of legal works between 1500 and 1850, among them 300 factums from the sixteenth century – just three items – to the nineteenth century (82 items). Looking back it is most fitting I bumped into these mémoires judiciaires in the context of the Calas affaire, but effectively it is the other way around that explains definitely also part of the impact of the publications around this cause célèbre. In particular you can find here some 300 factums and mémoires judiciaires. Interestingly, here, too, the Early Modern period does not end at 1789. The second collection is La Coutume et le droit en Auvergne, Patrimoine de Bibliothèque de Clermont, a digital collection of the Overnia portal with a great variety of legal resources on customary law, especially more than six hundred mémoires judiciaires in the section for sources procédurales. The tree structure of Overnia enables you to filter for a number major legal topics with temporal subdivisions; the general search function can assist you, too. A similar large but technically very simple collection is Droit en Provence et en outre-mer (Aix et Marseille Universités) which brings us a great variety of sources, in particular a number of digitized factums; this collection is held at Aix-en-Provence. The digital items are only available as PDF’s. It is a pity that only few of the announced items from the nineteenth century have already been digitized, but at least there is an overview of them. Some of the items are recueils, collections with sometimes scores of factums. With the fourth collection we return to Paris. The Bibliothèque Sainte-Geneviève has created a digital collection concerning droit (law) in the Internet Archive with nearly one thousand publications. Some 860 of them are factums et mémoires judiciaires.

Banner TolosanaThe first image in this post shows in black and white the title page of an early edition of a famous arrêt of the Parlement de Toulouse from 1560. This is a copy of the edition digitized for Tolosana. The book of Jean de Coras, a French legal humanist, contains his report on the very case of Martin Guerre. Nowadays it is easy to find a digital version of earlier – and later – editions using the Karlsruher Virtual Catalogue, and I will leave it to you to find them quickly. I did check in vain for this book in the Bibliothèque Virtuelle des Humanistes (Université de Tours) which figured here earlier in a post on legal humanism. However, you can trace this book  and its sixteenth-century editions and other works by Coras using the Universal Short Title Catalogue. Even if in this case Coras’ book uses a verdict of the case, and thus does not exactly present a mémoire judiciaire, its character is sufficiently close to factums to merit explicit mention here. It opens with a summary of the facts of the case, the factum, and then Coras comments the arrêt, sometimes word for word. Did I already say Tolosana does merit your attention by all means, and not just for two famous cases, Martin Guerre and the affaire Calas?

One of the factums in the Onslow case, 1830 - source: Overnia

“Consultations pour MM. Onslow puinés contre M. Georges Onslow”, 1832 – BM Clermont-Ferrand, no. A 10850 1 – image: Overnia

When looking for another image of a mémoire judiciaire I decided to look at the collection created at Clermont-Ferrand. By sheer luck I found very quickly something which can serve as a reminder not to look only at French legal history in isolation. The Overnia portal contains several sources documenting the life and works of Georges Onslow (1784-1853), a composer born at Clermont-Ferrand from an English family. After many successes as a composer of chamber music ill health forced him around 1830 to return to his native Auvergne. Other matters, too, clearly brought him trouble. In six factums written in 1830-1832 (nos. A 10850) the question of his right to inherit goods in England is discussed. Both French and English law figure in the arguments used by the respective lawyers. These sources can form a perfect starting point for yet another contribution about law and music in history, a theme figuring here lately, but anyone interested in comparative legal history might have a good look at them, too. You can easily compare these six documents with other mémoires in the section on successions of the Overnia portal.

At Clermont-Ferrand the university library has started the digitization of the 1100 factums in 40 volumes of the Cour d’Appel at Riom. As for now you can consult already nearly 100 factums collected by Jacques Godemel, and also one hundred factums collected by Jean-Baptiste Marie which cover the period from 1792 to 1812.

Searching more collections

In fact it is really important to keep in mind the wide coverage of subjects in this genre. This becomes clearer when you look for factums in French archives. Scholars using historical sources in French archives can usually rely on the strict order of archival collections. Often you can restrict yourself to one particular série marked with a letter or combination of letters. The Archives nationales de France have created for the série U a useful PDF which mentions a lot of factums and mémoires judiciaires. A search for factums in the holdings of the French national archives yields an impressive result showing multiple séries with factums, not just within the séries B (Cours et jurisdictions de l’Ancien Régime) or U (Justice).

In this post Robert Darnton’s name appeared already three times. In The business of enlightenment. A publishing history of the Encyclopédie, 1775-1800 (Cambridge, MA-London, 1979) Darnton mentioned just one factum without much explication about the nature of this source (p. 48). Anyway, he inspired some of his students to do research on and with factums. A few years ago Darnton put on his personal website 500 eighteenth-century police reports on authors written between 1748 and 1753 [Paris, BnF, ms. Nouv. acq. fr. 10781-107833]. It would be interesting to check for authors of factums published in the mid-eighteenth century in these police reports. We can be sure at least a few of them only pretended to be barristers. In the manuscripts section of Gallica you can now look at digitized records of the Archives de la Bastille, yet another resource where you might find among the prisoners and people under surveillance of the Parisian police force authors of pamphlets and factums. Add to them the data and maps available at the web site of the project The French Book Trade in Enlightenment Europe (University of Leeds and Western Sydney University) which focuses – as Darnton alrady did – on Neuchâtel, and you will be quite busy for some time with following all these avenues.

At the end of this post you might be tempted to conclude that factums only in Southern France and in Paris. At my website Rechtshistorie I have brought together commented lists of digital libraries for many countries, and France is particularly rich in digital collections. I checked for factums in a number of digital collections which feature works on customary law or are located in one of the French regions where the droit coutumier was important, and I looked at the towns which were once seats of the parlements, for example Bordeaux, Toulouse, Grenoble and Dijon. Only for Grenoble in the small collection Droit dauphinois of the Université de Grenoble 2 et 3 I found a few plaidoiries (pleas) and one single factum.

Why should one take the trouble of looking outside the main French online resources? Alas at the portal Patrimoine numérique I found only the digitized factums at Aix-en-Provence. At Fontes Historiae Iuris, the very useful digital library for French legal history created by the Centre d’Histoire Judiciaire (Université Lille-II) you can find in the section Consultations ou plaidoyers d’avocats for three parlements some collections of pleas and mémoires (Toulouse, Paris and Lille (Parlement de Flandre)). There are links to digitized recueils d’arrêts, collections of verdicts, for seven parlements. Even if factums are a remarkable source on its own, it is their judicial context which can make them even more special, and thus it is a small service to point at least to some courts and their printed verdicts. At Gallica’s Essentiels du droit you can benefit – mainly for the nineteenth century – from the digitized Recueil Dalloz and other series in the section Sources jurisprudentielles. The section Histoire du droit with a number of classic works on French law (Domat, Loisel, Pothier) and droit pénal, too, can be most useful. The webmaster of the Portail Numérique d’Histoire du Droit told me last year he would like to add more links to relevant digital collections in France, but he has few moments to fulfill this wish.

In the very week the World Wide Web exists 25 years you might indeed reflect a few moments on the long way the virtual world has gone since 1991. The proliferation of digital resources for many fields of culture and society is both a marvel and something really difficult to grasp and use. As for scholarly work on factums I am as surprised as anyone by the meagre results in the Bibliographie d’histoire de la justice Française (1789-2011) at the Criminicorpus portal. Using the advanced search mode of the Bibliographie d’histoire de droit en langue française (Université de Lorraine, Nancy) brings you only to a small number of additional relevant titles, but Ther shows there is certainly more to be found.

A search for catalogues of collections of mémoire judiciaires yields currently apart from the two catalogues for the BnF a work by Jacques Droin for collections held in Geneva, the Catalogue des factums judiciaires genevois sous l’Ancien régime (Paris-Genève 1988). You might want to read the article by Michel Porret, ‘L’éloge du factum : autour des mémoires judiciaires genevois’, Revue Suisse d’Histoire 42/1 (1992) 94-99 [online, e-Periodica]. A quick search among digital collections of some Swiss towns, in particular Geneva and Neuchâtel, did not bring me yet to more digitized mémoires judiciaires. Factums and briefs appear in contemporary law, too, for example in Canada, but here we arrive of the end of my post. At the brink of the rentrée, the start of all activities in France after the summer holidays, I hope to have awakened your curiosity for a fascinating source and to have given you some guidance for your own investigations.

A postscript

How can one search quickly for French scholarly publications when some online bibliographies seem currently not as helpful as you would like them to be? At Isidore, a French research portal, I could find more literature about factums and even links to digitized items. Some other libraries I did not mention here contain also some digital copies of factums, but they are not part of a mass digitization project. The digital portal Mémoire vive of the town Besançon is an example with some twenty digitized factums. A second thing worth noticing is the policy at Gallica, the digital library of the BnF, to harvest also digital materials from partner libraries. Thus factums at the Bibliothèque Sainte-Geneviève, Toulouse and Clermont-Ferrand can be found at Gallica. More surprisingly it becomes clear that the BnF, too, has digitized possibly many hundred factums, but alas the exact number is not established easily, because the filter function does not contain a filter for descriptions of factums from the vast collection of factums at the BnF in which the word Factum has been put at the very beginning of each description.

Eric Panthou alerted me to the additions to the digital collection at Clermont-Ferrand for the Cour d’Appel de Riom. It contains now nearly 900 factums in four collections. nThe Bibliothèque Clermont Université will organize a one-day symposium concerning factums on June 19, 2017, Valorisation d’une source historique originale : la numérisation des factums de la Cour d’Appel de Riom.

At a few turns i have complained in the past about the lack of attention to sources for French customary law in Gallica. For some years the section Essentiels du droit dealt only with law at the national level. The new subsection Sources du droit coutumier et local fills this evident gap. The only snag is that you cannot click on the images of the title pages on the starting page, you will have to use the menu on the left. At the portal Fontes Historiae Iuris (Université Lille-2) you can find not only editions of French customary law but also treatises about them.

Law and music, a history of norms and sensitivity

droitetmusique-smallWords from completely different domains can be used without even noticing their origin. Scholars conduct research but seldom think of conductors leading an orchestra or choir. A two-day conference in Aix-en-Province (June 30 and July 1, 2016) offers a rare chance to bring the two domains of law and music together. The title Droit et musique: Entre normes et sensibilité, “Law and Music, Between norms and sensitivity”, seems aptly chosen, even though anglophone readers should immediately be at their qui-vive to distinguish between sensibility and sensitivity.

In this post I will give you an impression of the themes to be addressed at this conference held at two locations in Aix-en-Provence, on June 30 at the Amphitheâtre Favoureu of the Faculté de droit et science politique, and on July 1 at the Musée Granet. I found the announcement about this conference at the events calendar Nomôdos, since last year a part of the French Portail universitaire du droit, where you can find also a section for law and culture (Droit et culture).

Two spheres

The two-day conference has two mottoes which link law and music to each other. Danielle Montet formulated reflecting on ancient history and philosophy the thought that both spheres, law and music, deal with composition. The law poses order on society, just like music supports a good disposition of things in the mind and in a city. The second motto stems from Norbert Rouland who wrote law is not the work of a legislator, enlightened or not, but an unconscious collective construction of the Volksgeist, mediated and interpreted by a lawyer. Composition and interpretation seem indeed shared features of law and music.

Let’s look at the program of the conference in Aix-en-Provence. The first day has as its central theme La musique revisitée par le droit, music revisited by law. In particular the section on philosophy and history has space for legal history. Maria Paolo Mittica looks at music and law in ancient Greece. Fouzi Rherrousse will speak about a musical movement within Islam. The Catholic codification of liturgical music in the nineteenth century is the subject of the contribution of Blandine Chelini-Pont. Emmanuele Saulnier-Cassia will present the musical interpretation of the fundamental rights of condemned people. Vassili Tokarev looks at the twin theme of musical criticism and legal criticism in Nietzsche’s work. Patricia Signorile will discuss the philosophical foundations of the connections between law and music.

In the other sections legal history does make less often an appearance. Marc Pena will take Vivaldi’s Four Seasons as a starting point for a paper about the realities and representation of Venice’s territory. Ugo Bellagamba looks at the uses of dissonance and musical resolution in operas about Tancredi from André Campra to Gioacchino Rossini to distill views and perspectives on the First Crusade. Interesting, too, is a paper by Antoine Leca about the judge Jean de Dieu d’Olivier, author of a treatise about the art of legislation, and his views on legal composition. It makes certainly curious about his Essai sur l’art de législation and its influence on French revolutionary and Restoration law. In Gallica, the digital library of the Bibliothèque nationale de France, you can consult the editions of his work published in 1800 and 1815. Christian Bruschi will deal with Montesquieu and his views concerning music and society. Tchaikovsky as a failed lawyer and a succesful composer will be the subject of a paper by Anatoly Kovler.

Other contributors will take a more comparative point of view. Giorgio Resta will consider the way lawyers use musical metaphors. Alizée Cirino will discuss the problems of co-authorship of musical works, the possible clash of interests and the way rights are shared. André Roux looks at the relation between the French constitution and the national anthem. I remember the anecdote about the orchestral arrangement made by Hector Berlioz in 1830 of La Marseillaise which allegedly was banned by the French government because it was considered to be too rousing. At a concert in Utrecht decades ago with French revolutionary music by Méhul and Gossec Berlioz’s work indeed made a terrific impression.

It is possible to allude here to a Dutch link to the twin sisters law and music. At least one Dutch legal historian has all rights to feel himself familiar with music and the tasks of conducting, Not only is Jop Spruit the son of the Dutch conductor Henk Spruit (1906-1998), he actually worked a few years for the Rotterdam Philharmonic Orchestra. The way Spruit led a team of Dutch legal historians translating the various parts of the Corpus Iuris Civilis does in a way resemble the activity of a conductor. In my view it is not entirely a coincidence Jop Spruit started this project, and more importantly, conducted it to a resounding end. You can read more about his life and career in an interview by Louis Berkvens and Jean-François Gerkens, ‘Rechtshistorici uit de Lage Landen (13). Interview met J.E. Spruit’, Pro Memorie 17//1 (2015) 3-47.

The choice of themes and even a strong preponderance of French subjects at the conference in Aix-en-Provence should work as an invitation to explore this theme yourself. There is more to find out beyond for example the musical background of Anton Thibaut, the German lawyer advocating the codification of German law. He had to face the powerful rhetorical and legal skills of Friedrich Carl von Savigny whose views against legal codification prevailed for many years in the early nineteenth century. This contribution can be only a prelude to the real music. Interpreting law and subjects in legal history is such a common practice that it is most welcome to reflect on this core activity from an unexpected angle.

The Legal Song. Legal history in lyrics

How come things together in a blog posting? In a postscript to my post on Scandinavian legal history I provided a link to the website of the library of the University of California at Los Angeles. Looking a bit further among UCLA webpages I found the website which is the focal point of this post. One of the digital collections at UCLA is more than just another fine collection. The Sheet Music Consortium is a portal for searching sheet music in seventeen American collections and one Australian collection (at the National Library of Australia). When you realize one of these is a collection at the Library of Congress where you can find massive holdings in the field of music, it becomes clear this portal constitutes a gold mine for anyone interested in popular music. Think only of combining historical sheet music with historical sound recordings in the National Jukebox of the Library of Congress, and you can see a very interesting road for both music aficionados and musicologists.

Law in songs

Law in songs is the subject of this post. The Californian sheet music portal is certainly a place to look for this subject. Law is not just a word in many song titles, several songs deal substantially with law. You have to do some clever filtering to get the best results. A lot of songs mention a mother in law, and here you can do without her! When you have tuned your search the efforts are surely rewarded. The Law Must Be Obeyed is a 1916 song composed by Irving Berlin with his own lyrics. “We’re the county sheriffs and the law must be obeyed” is the first line of the chorus in this song. I Like My Bootleg Man is a song from 1929 by W. Hurdle and F. Sacca, not digitized yet, but clearly connected with the American prohibition on alcoholic drinks between 1920 and 1933. It would be interesting to compare it with an anonymous 1930 song entitled Prohibition Is On The Wing, but this song, too, is not yet available online. Policemen are made fun of in Montague Ewing’s The Policeman’s Holiday (not dated). In this dance, indicated “1 or 2-step” on the cover, children sing the only text of this composition, “Steady, boys, here comes a bobby”.

Many subjects could show up here, but I will offer just one gem, at least from a legal historian’s perspective. Robert Estee composed in 1904 When Boni Sold Samuel Louisiana. A Louisiana Purchase Exposition Song. The 1803 purchase appears in this song as the point of comparison for American expansion symbolised by the Panama Canal. The lyrics of Irving Berlin’s Louisiana Purchase deal with another kind of purchase, the tag “won’t you let me sell you New Orleans” being repeated twice… Lawyers are the subject of a number of songs, for instance in I’ll Place It In The Hands of My Attorney by F. Gilbert with lyrics by Geoffrey Russel Jackson (1885). One of the oldest songs found using this portal is a ballad, A Fine New Sang of The Battle Fought On The Shields Railway, using the tune Cappy’s the dog. The digitized version of this song was printed in Newcastle in 1839 and tells a story of early railway travelling, a fight at the railway station and the following trial of the culprits with a surprising verdict.

More online collections with American sheet music exist, and you will not want to read a full list of them. The Library of Congress is in a class of its own, not just in the field of law, but also for music and music history, and I gladly refer you to it. I want to single out one American digital collection, the Cylinder Preservation and Digitization Project at the University of California, Santa Barbara. Among the digitized cylinders I found a recording from 1917 called The trial of Josiah Brown. Listening to this vaudeville sketch can make you in a new way aware of the imagery, the clichés, the routine attitudes, the clashes between high and low society and much more which not just surround a court of justice, but are part and parcel of it, and thus open to all kind of reactions, including humour, ridicule and satire.

More ballads and songs

Earlier this year I already referred to some databases for historical songs, to be more exactly in a post on the history of piracy. The English Broadside Ballad Archive (University of California at Santa Barbara) is one of the digital gateways to old songs; here four collections can be searched simultaneously. A rather random search yielded already nearly hundred songs about lawyers, including a festive song on Edmond Saunders becoming the Lord Chief Justice of England (A New-years Guift to the TEMPLERS, / On the Eminent Lawyer / Sir Edmond Saunders (…)). Saunders had been a bencher of the Middle Temple and got this high office only months before his death in 1683. The Bodleian Library Broadside Ballads at Oxford does contain the 1839 railway ballad mentioned above (Johnson Ballads 3078). Revolution & Romanticism is the website of a private collection in Edmonton, Alberta, with historical ballads and chapbooks. Among the ballads concerning the law you will find for example A full and particular account of the execution of Mr. John Wait (…) (Bristol, around 1823).

In the Dutch Song Database of the Meertens Instituut, Amsterdam, you can search 140,000 songs ranging from the Middle Ages to modern times. The murder of count Floris V in 1296 was the subject of a famous historielied (history song), Wie wil horen een nieu liet / Hoort toe, ick salt u singen, “Who wants to hear a new song, listen, I wll sing it for you”), first printed in 1591. A whole section of the Nederlandse Liederenbank is devoted to moordliederen, songs about murders. When you search for example for songs about an advocaat, an attorney, you will find enough to meet them in very different situations. This database offers full access to a number of songs, gives the text of some songs, provides even recordings for others, but often only points to the printed edition or editions where a song text appears.

A quick search for German songs leads to the Deutsches Liedarchiv of the Universität Freiburg. This institution has created an online database, the Historisches Liederlexikon in which you can find a number of song texts and often detailed information about different versions, their reception and adaptation in later songs. Immer langsam voran [Always slowly forwards] was originally a song ridiculing the German fight against Napoleon in the years 1813 and 1814. It remained popular, was adapted during the Vormärz period around 1848, and again in the early twentieth century. The website of the Volksliederarchiv, presumably a private website, lacks supplementary information and is less well searchable, but is strong in presenting songs on various themes. The section Balladen und Moritaten brings you to a nice selection of songs.

Texts of songs and short poems from the German classical period around 1800 are found at the website Freiburger Anthologie-Lyrik und Lied, here again with extensive commentaries and various text versions. The famous song about the Lorelei sorceress, Zu Bacharach am Rheine, tells us about a bishop who summoned her to appear in his tribunal and her answers to him. The documentation of this song is a model of its kind. The mixture of a medieval setting, a romantic story, the seeming simplicity and Clemens Brentano’s poetic skills make this song special indeed, but I had rather not see it as a faithful picture of an ecclesiastical judge. Brentano’s ease in creating this scene is impressive, and it carries conviction, even when one would not immediately imagine a conversation between a sorceress and a bishop in an ecclesiastical court.

It is possible to enlarge this posting by bringing more websites to your attention. I would indeed have liked to include some French websites, but I did not readily succeed in finding a database which at least would equal the qualities of those projects presented here. In order to make up a bit for the gaps in this posting I will provide here some links collections which will help you to find more songs online, both in score and in sound recordings:

Because of this week’s torrential rains in my country it is no wonder why California makes today such an alluring impression when summer should bring nice weather! However, rainy days could give you time to look at the websites mentioned in this post. For California I would choose the Online Archive of California for its sheer variety and the Calisphere portal for its efforts to present many aspects of Californian culture and history.

The Legal Song

At the end I own you an explanation about the title of this post, The Legal Song. Somehow I hit upon this title, thinking it is the actual title of a song. “The legal song and dance” is an expression for elaborate legal negotiations. The internet brings you to legal movies, too, and yes, a few of them have a legal song. One of my search hits was really funny. Jim Henson, the creator of The Muppets, made a spin-off called Fraggle Rock in which a judge and all present sing a song at a trial. The title of his legal song? Sing That Law Again! I hope you enjoy this posting as much as the YouTube movie with this legal song. Hopefully this summer gives you some rest from legal dealing and wheeling, and brings you some time for legal history and some of its aspects that link legal culture to culture at large. I promise to reflect here longer on the theme of law and humanities in another post.

A postscript

On the day of the publication of this post, only hours before I published it, Klaus Graf pointed on his Archivalia blog to two digitized medieval manuscripts at UPenn Libraries with a song about the deposition of the archbishop of Cologne who got married in 1583. Penn in Hand: Selected Manuscripts offers a very useful selection of digitized medieval and Renaissance manuscripts, with fair attention to legal matters.

More broadside ballads

Sheer curiosity made me search for more digital collections with broadside ballads. The following selection presents sites with either bibliographies, useful links or even sound recordings of broadside ballads:

The Cardiff links selection is very rich. For no good reason I had overlooked the section for straatliederen, literally “street songs”, the Dutch version of broadside ballads, in the vast Dutch Song Database of the Meertens Instituut, Amsterdam. These songs can be searched using the interface at The Memory of the Netherlands. You can even listen to some of these songs. I have to mention again Klaus Graf and his blog, a treasure trove in the field of digitization, because he provides the link to the open access journal Oral Tradition where you can find much more on the study of ballads and the field of oral history.

It is not realistic to provide here an exhaustive list of digital collections concerning ballads. A substantial collection with newly digitized ballads is presented by Trinity College Dublin in its digital collections. This library thoughtfully adds that these ballads can also be reached online through the Europeana portal.