Copyright Privileges, Intellectual Property and Image Ownership: The Role of Law in the Art of Renaissance Venice

'Copyright Privileges, Intellectual Property, and Image Ownership: The Role of Law in the Art of Renaissance Venice' examines the origins of copyright and intellectual property law in relation to the production of artwork and cartography in Early Modern Venice. The modern conception of art copyright, intellectual property and image ownership began as result of a convergence of several factors. Innovations in the Venetian printing press and advances in papermaking technologies enabled rapid production of less expensive and higher quality prints. In quick succession, the print industry became increasingly concerned that the high cost of designing a new print was at considerable risk if competitors decided to replicate the image soon after the product was released. Meanwhile, the Inquisition raged throughout Italy and the Papacy was troubled that printed materials would propagate morally and religiously questionable material. As a result of these independent yet interrelated influences, the Council of Ten and Senate of Venice passed legislation to appease both parties. This judicial reform required all circulated prints to possess a license and provided the opportunity to request optional exclusive reproduction rights known as a 'privilegio'. Initially intended to be applied to printed books, the law used terminology literally translated as ‘works on paper’. Artists, printmakers and publishers soon adapted legal privileges to printed art and cartography. The Venetian government enacted a succession of edicts in an attempt to restrict the ever mounting number of supplications, while the artistic community sought to capitalize on the economically lucrative and innovative moral rights advanced by the existence of the 'privilegio'. Privilege holders granted permission by the Venetian government include: Luca Bertelli, Antonio Floriano, Nicolo Nelli, Enea Vico (Parmigiano) and Titian. The PhD dissertation draws on primary evidence such as original artwork (paintings, sculptures, preparatory drawings and prints), official privilege decrees, correspondence from artists, printmakers and print shop owners, applications for licenses and privileges, letters of inspection by inquisitors from the Riformatori dello Studio di Padova, and secondary decrees from the Council of Ten and Senate of Venice, to conduct a comparative art-legal analysis that places case studies pertaining to picture print and map 'privilegi' within their broader socio-political context.

Name dc:type.qualificationname

Doctor of Philosophy (PhD)

Level dc:type.qualificationlevel

Doctoral

Grantor dc:publisher.institution

University of Cambridge

Year dc:date.issued

2019

Author dc:creator

• Rabinowe, Sarah Alexis

Advisor dc:contributor.advisor

• Howard, Deborah

• Copyright
• Privileges
• Trademark
• Patent
• Intellectual Property
• Law
• Legal History
• Legal
• Renaissance
• Early Modern
• Venice
• Italy
• Art
• Artwork
• Images
• Image
• Printing
• Printing Press
• Engraving
• Etching
• Woodcut
• Privilegio
• Luca Bertelli
• Antonio Floriano
• Cartography
• Maps
• World Maps
• Enea Vico
• Titian
• Tiziano Vecellio
• Benedetto Bordon
• Benedetto Bordone
• Giovanni Ostaus
• Paolo Veronese

Licence

• https://www.repository.cam.ac.uk/bitstreams/8e5464e8-cb17-440f-963b-8f5e7092b158/download
• https://www.rioxx.net/licenses/all-rights-reserved/

Language dc:language

en

Author Identifier

0000-0002-1724-4197

OAI identifier oai:identifier

oai:www.repository.cam.ac.uk:1810/293271