401
Music and the Law rnercial
arrangement.
Every country
must take measures to establish com pulsory organization of aéronauts with collective security.
No machine can
venture into the air without having been registered, and registration must be accompanied by entrance into the
sible for injury is entirely eliminated. Nothing is necessary beyond proof of
the injury.
The injured person would
not need even to know the name and home of the offending airship. He merely brings evidence that the harm
was done by an airship.
The local
aviators’ organization. Each society col
organization which
lects dues; these dues go into damage
would be in a position to locate the ship which had caused the trouble and re
and insurance funds which are deposited
paid
the damages
in an international central ofiice, to be
cover the amount from the local society
used in case of accident. A trial to determine whether the aviator is respon
where the ship was registered or from the central treasury.
Music and the Law T is surprising to think of any close bond between the profession of the law and that of music, but a writer in the Juridical Review asserts that “more
great composers have left the study of jurisprudence to devote themselves to that of the ‘divine art,’ or combined
the two, than is the case with any other profession.l About A. D. 1600, around which time modern music sprang into being, Hein rich Schutz, or Sagittarius, who
received his legal education in the University of Marburg, became the apt pupil of the renowned Gabrieli of Venice, and was prevented only
by
the shrewd perceptions of his patron from becoming a lawyer on his return to Germany. Eighty years later, Kuhnau, the fore runner of Bach, "studied law to the extent of qualifying as an advocate”;
and “when he died in 1722 Kuhnau had the reputation of being one of the most famous men of his time." Bach was not a lawyer, but he endeav lClement
Antrobus
Review, 65 (Apr.).
Harris.
ored to put two of his sons into the profession, one of them, the famous
Emanuel Bach, studying jurisprudence at the University of Leipsic. Likewise their English contemporary Arne, com
poser of “Rule Britannia," served two years’ apprenticeship to a solicitor. Handel and Holzbauer were both destined for the law. Marcello of Venice combined the practice of music with that of the law, and Rocklitz came
very near entering the profession. Coming down to more recent times, and to more familiar names in musical history: “Undoubtedly the greatest composer who actually entered on a study of the law — Handel, as already explained, did not-was Robert Schumann, the
centenary of whose birth has just been celebrated. Between Romanticism, with
its cult of pure imagination, its fondness for the supernatural, and abhorrence
of formalism and precedent on the one hand, and forensic principles on the other, there would appear to be a sharp contrast, if not absolute antagonism.
in
23 Juridical
Schumann was the very incarnation
