Page:The Green Bag (1889–1914), Volume 23.pdf/435

 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