Instructor’s Notes and Solutions Microsoft Office 2016 Projects Module 1-1

Illustrated Microsoft Office 365 and Office

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Microsoft Office 2016 Projects

Module 1: Word Projects I
Module Overview
The projects in this module require students to create common documents, including a two-page
program, a form, and a term paper. The goal of this module is to encourage students to determine
how they can use the various Word features to produce specific document types. The principal
features that students focus on in this module include working with columns to create a four-panel
event program, using the table form feature to create a form, and using References features to create a
term paper that includes a Works Cited list.

Table of Contents
INSTRUCTOR’S NOTES ............................................................................................................................................ 2
PROJECT 1: EVENT PROGRAM FOR AUTHOR READINGS ..........................................................................................................2
PROJECT 2: FEEDBACK FORM FOR SUMMER CAMP ...............................................................................................................3
PROJECT 3: RESEARCH PAPER IN MLA STYLE .......................................................................................................................4
EOU SOLUTIONS .................................................................................................................................................... 6
INDEPENDENT CHALLENGE 1 ............................................................................................................................................6
INDEPENDENT CHALLENGE 2 ............................................................................................................................................8
INDEPENDENT CHALLENGE 3 ............................................................................................................................................9
TEAM PROJECT ............................................................................................................................................................10
VISUAL WORKSHOP ......................................................................................................................................................11
Instructor’s Notes and Solutions Microsoft Office 2016 Projects Module 1-2

INSTRUCTOR’S NOTES
Project 1: Event Program for Author Readings
PR 1-Event Program for Author Readings.docx

In Project 1, students use columns and landscape orientation to create a four-panel event program.
This project can be adapted for numerous uses. Encourage students to think of how they could use
the skills covered in this project to create a program for a music event, a theatrical performance, a
lecture series, etc. Before students begin Project 1, review the following materials.

Using Show/Hide ¶
Sometimes students prefer not to activate the Show/Hide ¶ button. However, advise students that
they will be able to use advanced features of Microsoft Word and apply formatting much more easily
with the Show/Hide ¶ button activated.

Change Page Orientation

The event program that students create requires them to change page orientation from portrait to
landscape. Review situations in which students may need to use landscape orientation to display the
contents of a document.

Document Setup
Review how to create columns and how to set custom margins. Note that students modify the spacing
between the two columns in the event program.

Insert Text from a File

Review how students can save typing time by inserting text from one file into the current Word
document. The file is inserted from the Object menu in the Text group on the Insert tab.

Themes and Styles

Almost every Word project in the textbook requires students to work with themes and styles. If
students are not familiar with themes and styles, review how they are used to give documents a
unified look. Encourage students to explore the various themes available and to experiment with
using them to format their own documents. Review how to use styles from the Style Gallery to
format text. Emphasize that using styles saves time because changes applied to text formatted with a
style are automatically applied to all other text formatted with the same style.

Sort Command
Review the various ways in which the Sort command can be used to sort paragraphs of text according
to three types: text, dates, and number. Encourage students to experiment with the Sort command
and how they can use it to save typing time.
Instructor’s Notes and Solutions Microsoft Office 2016 Projects Module 1-3

Picture Modification
Refer to the completed title page shown in Figure 1-6 on page 7 of the text. Discuss how a picture is
inserted and modified, and then placed behind text. Encourage students to apply the skills they
learned to create the title page for the event program to create interesting effects that place
photographs or other clip art behind text.

Further Practice
After students have completed Project 1, direct them to use the table form feature to create an event
program of their own for Independent Challenge 1, on page 20 of the text.

Project 2: Feedback Form for Summer Camp

PR 1-Summer Day Camp Feedback Form.docx

The goal of Project 2 is to teach students how they can adapt the table form to create a wide variety
of useful documents, including forms, questionnaires, inventory lists, and schedules. The feedback
form that students create in Project 2 makes use of many table functions, including borders and
shading, cell height, and cell merging. Encourage students to think about how they can apply the
skills they learn as they create the form to create forms or schedules for other purposes. For example,
students can apply the same techniques to create a weekly or a monthly calendar, a production
schedule, or an application form.

Before students begin Project 2, review the following materials.

Using Show/Hide ¶
Sometimes students prefer not to activate the Show/Hide ¶ button. However, advise students that
they will be able to use advanced features of Microsoft Word and apply formatting much more easily
with the Show/Hide ¶ button activated.

Using Style Sets

Students apply a theme and then select a new Style Set (the Centered style set) from the Style Set
gallery. Encourage students to explore the various style sets available and to think about how they
can use style sets to format their own documents.

Using Tables to Structure Data

Using tables to structure data enables students to sort data, and add, remove, and resize columns and
rows. The formatting features in Word provide ways to define headings and distinguish cells by
applying borders and fills. The feedback form that students create for Project 2 consists of a table with
two columns and 14 rows. As students build the form, they use merge and split commands to further
modify the form. Review both Figure 1-8 on page 9 and Figure 1-11 on page 11 to see the “before”
and “after” versions of the table. A simple two-column table can be modified with merging and
splitting to create the finished table form shown in Figure 1-11.

Modifying Table Properties

In Step 3 on page 12, students use the Height text box in the Cell Size group to specify the height of
selected table cells. Discuss with students the various ways in which they can modify the alignment
of text in table cells by using the many options available in the Alignment group on the Table Tools
Instructor’s Notes and Solutions Microsoft Office 2016 Projects Module 1-4

Layout tab. Encourage students to experiment with these and other options on the Table Tools
Layout tab and the Table Tools Design tab to give their tables a professional look.

Drawing and Editing a Shape

In Steps 4 to 9 on page 12 of the text, students draw a sun shape and then use the Edit Points feature
to change the shapes of selected objects that make up the sun shape. Encourage students to
experiment with using the Edit Points feature to modify the appearance of drawn shapes.

Further Practice
After students have completed Project 2, direct them to use the table form feature to create a form of
their own for Independent Challenge 2, on page 21 of the text.

Project 3: Research Paper in MLA Style

PR 1-Literature Research Paper.docx

The goal of Project 3 is to teach students how to use the MLA style to format documents with page
numbers, spacing, font size, and other specifications, as well as to use Word tools to create a Works
Cited page. Before students begin Project 3, you may wish to review the following materials.

What is MLA Style?

Institutions such as universities require term papers to follow style guidelines, such as MLA (Modern
Language Association). The guidelines include font size, line spacing, indentation, placement of page
number, and formatting for endnotes, footnotes, and works cited pages. Students need to find out
what style is preferred at their institution before writing any term paper. They want to avoid losing
marks, or worse, having their paper rejected if it is not in the proper form.

Formatting the Text in MLA Style

Table 1-1 on page 15 of the text lists a summary of MLA guidelines. Students open a term paper that
needs to be formatted according to MLA guidelines, which include: double line spacing, and the
Times New Roman 12 pt. font. In step 5 on page 14, students add a header and footer with their name
and the page number. In step 6, they type their name into the header, then insert a page number.

Selecting and Replacing Formatting

In steps 1-3 on page 16, students replace underlining with italics in all book titles without changing
the content. This is an important skill when adapting a document such as a term paper to a style
guide.

Including References in a Term Paper

Students should be reminded that while writing a term paper it is their responsibility to keep track of
their sources in order to properly credit them in the paper. Sources can include: books, articles, and
websites. Sources need to be identified in the term paper, and included in a Works Cited list or
Bibliography. In step 6 on page 16, students open the Create Source dialog box in order to enter the
source information. By selecting the style as MLA, students can insert a properly formatted source
reference.
Instructor’s Notes and Solutions Microsoft Office 2016 Projects Module 1-5

Creating a Works Cited List

Also known as a Bibliography, a Works Cited list usually appears after the last page of a term paper,
and includes all of the sources used, even the ones not quoted in the paper. On page 18, the students
create a Works Cited page without retyping their source information. The Works Cited page uses the
same data that students entered in the Create Source dialog box.

Further Practice
After students have completed Project 3, direct them to complete Independent Challenge 3, on page
22 of the text. In this project, students open a file containing the text of a Sociology term paper and
then follow instructions to format the term paper using the APA style.
Instructor’s Notes and Solutions Microsoft Office 2016 Projects Module 1-6

EOU SOLUTIONS
Independent Challenge 1
PR 1-My Event Program.docx

Students create their own event program for an event of their choice. Encourage students to create a
program for a real-life situation. Students might want to adapt the event program they created in
Project 1. Encourage students to experiment with various ways of creating an attractive cover page
that includes a picture behind text. The completed event program should be formatted attractively
and include a picture.

The sample event program illustrated below displays a two-page program for a musical event. Ensure
students use tabs with dot leaders to display some of the information in the program.
Instructor’s Notes and Solutions Microsoft Office 2016 Projects Module 1-7
Instructor’s Notes and Solutions Microsoft Office 2016 Projects Module 1-8

Independent Challenge 2
PR 1-My Feedback Form.docx

Students create their own feedback form to evaluate a course, program, or other event of their choice.
Encourage students to create a feedback form for a real-life situation. Students might want to adapt
the feedback form they created in Project 2. Encourage students to experiment with a variety of
border and shading styles. The completed form should be formatted attractively and include a drawn
object that students have modified using the Edit Points feature.

The sample feedback form illustrated below is designed to gather feedback about a guest’s stay at a
bed and breakfast establishment. The drawn shapes of the moons have been modified, rotated, and
positioned.
Instructor’s Notes and Solutions Microsoft Office 2016 Projects Module 1-9

Independent Challenge 3
PR 1-Sociology Term Paper.docx

Students are provided with a term paper, and asked to format it according to the APA style using
Table 1-2 as a reference. Illustrated below are the title page and abstract.
Instructor’s Notes and Solutions Microsoft Office 2016 Projects Module 1-10

Team Project

In the Team Project for Module 1, a team of three students develops documents related to the
planning of a special event of the team’s choice. The team works together to develop a document
theme and color scheme and then each individual is responsible for the creation of one document.

The team completes a project summary and three documents related to the documents covered in
Module 1 as follows:

• PR 1-Team Project_Summary
• PR 1-Team Project_Event Description
• PR 1-Team Project_Event Program
• PR 1-Team Project_Event Feedback

Rubrics are provided to grade the documents that students submit. Each document should
demonstrate use of the features and skills specified in the project. The Project Summary document
contains input from each of the three team members with regard to their experience creating their
documents. Shown below is the rubric for grading the project summary.

Verify that the documents students submit include all the required features and are consistently
formatted with content appropriate to the project topic.

Component Description Done

Document Design A document theme and color scheme selected by the team.

Team Member 1 Description of the skills used to create the document and
comments on challenges experienced and how they were solved.

Team Member 2 Description of the skills used to create the document and
comments on challenges experienced and how they were solved.

Team Member 3 Description of the skills used to create the document and
comments on challenges experienced and how they were solved.
Instructor’s Notes and Solutions Microsoft Office 2016 Projects Module 1-11

Visual Workshop
PR 1-Star Adventures Letterhead.docx
The completed letterhead should appear similar to the letterhead illustrated on page 24 of the text.
After students have completed and printed the letterhead, encourage them to change the name and
address of the company to a company of their choice and then to modify the letterhead with a new
WordArt shape and picture. Illustrated below is a new letterhead adapted from the letterhead
displayed on page 24 of the text.
Another random document with
no related content on Scribd:
than the Fifth Avenue, he proceeds to the Canadian side of
the Falls. Here he spends a few hours, and then returns,
without encountering more inconvenience than saving his
hotel expenses by buying a suit of clothes, on which he pays
no duty on his return. Thereupon he finds that by so simple a
process he has obtained Copyright in the United States, in the
dominion of Canada, in Australia, India, France, Germany,
and Great Britain! We can imagine the lively twinkle of his eye
as he crosses the Suspension-bridge, to think what cute
people the Britishers are to have secured all these privileges
for him.
We believe, therefore, that American authors are not very
anxious about the matter. By taking a little trouble, they can
secure all they wish.
English authors have not been fairly treated. They are at
great disadvantage, and must be satisfied for the present to
work for fame, or but for little more. Fortunately for them, the
American publishers, seeing that they do what they are legally
entitled to do, are quarrelling amongst themselves, and are
crying out for protection.
[Here is introduced the case of an American publishing-
house stated by themselves, which concludes thus:—
... “A review of these facts naturally suggests the reflection
that the interests of the book-trade in this country, no less
than the protection of authors in their just rights, require
further legislation at the hands of Congress. It is high time for
the passage of a well-considered International Copyright-Law,
such as will wipe away from our country the reproach of what
are known as ‘pirated editions.’”]
We quite agree with this. Some legislation is called for. But
now comes a third party, the public, which has its rights as
well as the others. We shall very likely incur some odium for
admitting that the million have any rights whatever to the
productions of men of letters, and may be told that
emanations of the brain are as much the private property of
their authors as the guineas are of the man of business. So
they are, so long as they keep them, to themselves; but when
they have communicated them to the world they are no longer
their exclusive property. It is right that they should have a
modified protection, and we think it must be admitted that
English authors are amply protected in their own country. We
think, however, that the American public will not be disposed
to give them the same amount of protection there, nor is it
well that they should have it. They are, however, entitled to
some protection, and we hope the day is not far distant when
English authors will reap some solid advantages wherever the
English language is spoken. We are disposed to think that
seven years would generally be long enough for the purpose;
although so short a time would be hard upon such men as
Grote, Motley, Merivale, Webster, and others, whose lives
have been spent upon their works. We take it for granted that
the law, when modified, will be the same on both sides, and
that Dickens and Longfellow will receive equal treatment. We
are too selfish to give up our cheap editions of Longfellow,
and American citizens are not what we take them to be, if
they would, for a whole generation, debar themselves from
popular editions of Dickens.

(From The Bookseller, June 1, 1869.)

Copyright in Canada.—Letter by the Times’

correspondent:—“Under the English Law, English Copyrights
reprinted in the United States are imported into Canada,
subject to the same duty as other imported articles; but these
Copyrights cannot be reprinted in Canada, the consequence
being that the Canadian public is almost entirely dependent
on the United States for reprints. The English author is
seriously injured, inasmuch as not one-tenth part of the
reprints which find their way to Canada are entered at the
Custom-house or pay duty.”... Mr. Rose replies:—“The
undersigned is ready to admit that the principle involved is
 theoretically at variance with the general policy of the mother-
country, in so far as the object of that policy is to secure to
authors an absolute monopoly in works of literature for a term
of years; but it must be remembered that the necessity for this
exceptional legislation arises out of a previous partial
departure from this theoretical policy, which in its practical
operation is shown to afford a premium to the industrial
interests of a foreign country, &c. If it could be shown that the
concessions asked for would result in any way to the practical
disadvantage of the author, or lessen the protection which it is
intended to secure to literary labour, there might be some
reason for withholding them. If the rate of duty, whether import
or excise, were inadequate, it would be an equally reasonable
argument against the extension of the law; and in that case
the rate could be augmented. But the undersigned fails to see
any reason why, so long as the importation from abroad is
permitted, the publication in Canada at an equal rate of duty
should be withheld.”

(Extract from the Atlantic Monthly, October,

1867.)

... This work, we repeat, cost the author 24,000 dollars to

produce. Messrs. Harpers sell it at 15 dollars a copy; the
usual allowance to the author is 10 per cent. of the retail
price, and as a rule, it ought not to be more.

(Extract from the American Booksellers’ Guide,

June 1, 1869.)

At a public meeting recently held in Montreal, respecting

the Copyright-Law, it was resolved to apply to Parliament for
an amendment permitting Canadian publishers to print British
Copyright works upon the payment of 12½ per cent. to British
 authors.... The payment by the publisher of 5 or 10 per cent.,
or of a fixed sum, for a Copyright of a book, whether by an
American or British author, does not necessarily increase the
price of the book.

(Extracts from an Article in the Athenæum, July

17, 1869.)

This great question is of especial interest at the present

time, in consequence of opinions and demands put forward
by Canada with relation to Copyright property in the United
Kingdom. It appears that for some time past a
correspondence has been carried on between the Canadian
Government and the Imperial authorities upon the subject of
“Copyright-Law in Canada.” This “Correspondence” (having
been laid before the Canadian Parliament) has been printed
and published. It commences with a resolution of the
Canadian Senate (passed 15th of May, 1868) that the
Governor-General should be prayed “to impress upon Her
Majesty’s Government the justice and expediency of
extending the privileges of the Imperial Copyright Act, 1847,
so that whenever reasonable provision and protection shall, in
Her Majesty’s opinion, be secured to the authors, Colonial
reprints of British Copyright works shall be placed on the
same footing as foreign reprints in Canada, by which means
British authors will be more effectually protected in their
rights, and a material benefit will be conferred on the printing
industry of the Dominion.”...
All the North-American colonies soon availed themselves of
this Act of 1847, and Orders in Council were founded upon
them; the rights of British authors being deemed sufficiently
protected by an ad valorem import duty of 20 per cent. upon
the value of the “foreign reprints,” that, being about one-tenth
of the price of the works as published in England!
 There appears to have been no debate in either House
upon this Act of 1847, and it seems to have escaped all public
notice on the part of British authors and publishers during its
progress in Parliament. From the time Her Majesty’s Orders in
Council enabled the colonies to avail themselves of that Act, it
has operated as a stimulus and considerable premium to the
“legalised robbery” of British Copyright property in the United
States, and has, practically, given printers and publishers
there a monopoly in “foreign reprints” of English books. The
Act of 1847 is, therefore, a partial confiscation of those
Copyrights which have been acquired in England under Earl
Stanhope’s Act of 1842, because the colonies have, for the
last twenty years, been almost exclusively supplied with
English books by United States reprints of those books....
In 1867 the “dominion of Canada” was created by the
Imperial Act of that year, which united all Her Majesty’s North
American Colonies. It was then found that printing had
become much cheaper in Canada than it was in the United
States; and amongst the earliest Acts of the first session of
the Canadian Parliament two statutes were passed—one, “An
Act respecting Copyrights;” and the other, “An Act to impose a
Duty upon Foreign Reprints of British Copyright Works.”
Under the first of these Acts, no work of “any person resident
in Great Britain or Ireland” is to be entitled to the protection of
that Act unless “the same shall be printed and published in
Canada.” And under the second of the above Acts it is sought
to keep alive the injustice of allowing “foreign reprints” to be
imported into Canada as a basis for that resolution of the
Canadian Parliament to which we have called attention.
Such are the facts which preceded the Canadian
“Correspondence.” It commences with the resolution which, in
effect, advocates “the justice and expediency” of enabling Her
Majesty’s Canadian subjects at their discretion (and without
the permission of the owners) to confiscate the property of
authors of British Copyright works upon the terms of the
publisher paying such authors a royalty of 12½ per cent. upon
the price of the Canadian reprints, that being about one-tenth
of the publication price of the work in England! It appears the
“justice and expediency” of adopting this Canadian resolution
has been pressed very strongly upon the authorities at the
Colonial-office, and likewise at the Board of Trade, by the
Hon. J. Rose, the Canadian “Minister of Finance.” He frankly
admits that the policy of the Act of 1847 (so far as respects
the protection of British authors) has long been an utter
failure; that the amount of duties received for their benefit “is a
mere trifle;” and that “it is next to impracticable to enforce the
law.” These statements are confirmed by a letter, dated June
11, 1868, from Mr. John Lovell (a Montreal publisher) to Mr.
Rose, and which appears in the Correspondence. Mr. Lovell
says: “At present only a few hundred copies pay duty, and
many thousands pass into the country without registration,
and pay nothing at all; thus having the effect of seriously
injuring the publishers of Great Britain, to the consequent
advantage of those of the United States. I may add that, on
looking over the Custom-house entries to-day, I have found
that not a single entry of an American reprint of an English
Copyright (except the Reviews and one or two magazines)
has been made since the third day of April last, though it is
notorious that an edition of 1,000 of a popular work, coming
under that description, has been received and sold within the
last few days by one bookseller in this city.”
In support of the Canadian resolution, the Hon. J. Rose
likewise urges the greater cheapness now of printing in
Canada than in the United States. Upon this point he is also
confirmed by Mr. Lovell, who says: “It is undeniable that
Canadian printers would be enabled to comply with the
requisite conditions (that is, of paying a royalty of 12½ per
cent. to the author), and produce books, thanks to the local
advantages, at a much cheaper rate than they can be
produced in the States, and so bring about a large export
business.”...
 This application on the part of the Canadians is answered
at considerable length by the Board of Trade; the substance
of that answer being “that the question raised is far too
important, and involves too many considerations of imperial
policy, to render it possible to comply with that application. My
Lords, however, fully admit that the anomalous position of
Canadian publishers with respect to their rivals in the United
States of America is a matter which calls for careful inquiry;
but they feel that such an inquiry cannot be satisfactorily
undertaken without, at the same time, taking into
consideration various other questions connected with the
imperial laws of Copyright and the policy of International
Copyright Treaties, and they are, therefore, of opinion that the
subject should be treated as a whole, and that an endeavour
should be made to place the general law of Copyright,
especially that part of it which concerns the whole continent of
North America, on a more satisfactory footing. The grievance
of which the Canadian publishers complain has arisen out of
the arrangement sanctioned by Her Majesty’s Government in
1847, under which United States reprints of English works
entitled to Copyright in the United Kingdom were admitted into
Canada on payment of an import duty, instead of being, as in
the United Kingdom, absolutely prohibited as illegal.”...

A circular by Mr. Purday contains the following:—

A fact transpired only a few days since of an order being

sent for some of the musical works published in Bond-street,
on which it was stated that they must be “American printed
copies”.... It is said that the Americans have the means of
disposing of 30,000 or 40,000 copies of any popular book or
song they choose to reproduce. This, of course, is a fine
premium for supplanting the English publisher in the sale of
his own Copyright works in his own colonies.
 FROM A MANUSCRIPT STATEMENT BY MR.
PURDAY.
The Act of 1 and 2 Vict., c. 69, was passed into a law under the
title of “An Act for securing to Authors in certain cases the benefit of
International Copyright,” the date of which was July 31, 1838. The
14th section is in these words: “And be it enacted, that the author of
any book to be, after the passing of this Act, first published out of
Her Majesty’s dominions, or his assigns, shall have no Copyright
therein within Her Majesty’s dominions, otherwise than such (if any)
as he may become entitled to under this Act.” Section 9 says that no
protection of Copyright shall be given to a foreign author, unless
such protection shall be reciprocated to an English author by the
country to which the foreign author belongs. Now, nothing can be
clearer than that the Act of 5 and 6 Vict., c. 45, never contemplated
giving protection to a foreign author; but, on the contrary, that it was
passed solely for the benefit of English authors.... At last the whole
matter was brought before the House of Lords, where it was decreed
that a foreign author was not an author within the meaning of the
Acts of Parliament, and could neither claim any Copyright himself
nor assign any to an English subject, unless he was resident in the
British dominions at the time he sold his work, and published it there
before there was any publication abroad. This, after eleven years of
litigation by various parties, among whom my brother was the most
persistent defendant, he being perfectly convinced that if the subject
came to be thoroughly investigated, no such claims as were set up
by the monopolists could be maintained either at common law or in
equity. The House of Lords, however, were not called upon to decide
what was meant by the term residence. This, therefore, gave rise to
an attempt on the part of an English bookseller to contrive a scheme
which, to the not very creditable honour of English jurisprudence, as
it appears to my humble understanding, succeeded. The scheme
was this: An American authoress of little repute wrote a novel, one
copy of the manuscript of which, it is said, was handed over, for a
consideration, to this English bookseller, to publish in England; the
work was got ready on this side of the Atlantic as well as on the
other side, and, after agreeing as to the date of entry at Stationers’
Hall, and the publication of the same in London, the lady was desired
to go over the Victoria-bridge into Canada, one of the British
dominions, and remain there a few hours or days, while the
publication took place in London; then she was to go back again for
the protection of the same work, as a Copyright, in her own country.
Meanwhile, another English publisher, hearing that such an artifice
was about to be attempted, procured an American copy of the said
work, and republished it in a cheap form. The consequence was, that
an application for an injunction was applied for by the first party,
which was granted, and appealed against to the Lords Justices, who
gave it as their opinion that the word “author” in the Act of Parliament
was to be interpreted in its widest sense, and that there was no
limitation to that word in the Act of Parliament; therefore, it was
maintained that any author could have a Copyright in England who
complied with the requisitions of the Act, and this defective scheme
was confirmed by Lord Chancellor Cairns, who remarked that none
of the former decisions had stated that it was other than necessary
to be in the British dominions during the time of the publication of the
work. This device may have facilitated the desire for an international
law upon a righteous foundation, now so loudly advocated in
America.
In the judgment given in the House of Lords, in the case of
Boosey’s assumption to the exclusive right of printing the opera of
Bellini, the subject of residence in England was debated, and Lord
St. Leonards used these remarkable words: “Now the American
Legislature have no such difficulty. They have expressly enacted that
Copyright there shall be confined to natives, or persons resident
within the United States. Those are the express words of their
statute.” And we may remark, farther, that unless an alien author has
resided at least twelve months in America, and has made a
declaration in these words, “I do declare on oath that it is bonâ fide
my intention to become a citizen of the United States,” &c., he
cannot obtain the privilege of Copyright in anything he may publish
there. This conflict of opinion must necessarily end, therefore, in a
new Act of Parliament, which has been long needed to settle this
and other much-vexed questions of Copyright.
 LETTER FROM THE SAME.
24, Great Marlborough-street, June 15, 1869.
Dear Sir,—I think your suggestion of the payment of a royalty upon
the publication of an author’s work, if made mutual in both America
and Great Britain, would go far to reconcile the two nations to
abandon the present unfair reprisals; more especially if it were left to
the option of any publisher to reproduce such works in the form most
suited to his particular trade. Some publishers choose to publish in
one form, and some in another, more or less expensive, according to
the taste or want of their customers. It is true, there might be some
difficulty in arranging the percentage per copy upon such a scheme;
but that might be regulated according to the price and style of getting
up of the work, which should always be determined upon before the
work is issued.
The question of Copyright in music is one which presents features
appertaining to itself exclusively. One feature which it shares along
with the other fine arts is this great fact: that music is a universal
language, and addresses itself equally to all nations. Its range,
therefore, is far wider than literature. It needs no translation.
The taste for music is more widely diffused than that for painting
and sculpture, from which it differs in a way that causes very
considerable embarrassment when the question of Copyright comes
to be particularly dealt with. Like paintings and statues, music may
be reproduced in a permanent form; but, unlike them, the chief value
of its Copyright privilege is reproduction in sounds, and, therefore, in
a form unsubstantial and transient. He, therefore, who would deal
satisfactorily with this branch of the wide question of Copyright has
to provide for a demand, and overcome difficulties, such as do not
belong to literary and artistic Copyright. But, still further, music—say
that of an opera—may be separated into parts without serious
diminution of its revenue-bearing value. Once more, there is the
libretto; it belongs to the range of literature. Questions, therefore,
arise, and must be provided for, with respect to the affinity of that
part with the music, its reproduction in the form of translation, and its
being, as it occasionally is, the work and property of an author other
than the composer of the music.
There is still so much uncertainty, approaching to confusion, as to
what really is the law, especially with regard to international
Copyright, in this branch, that thorough revision and immediate
international negotiations are absolutely necessary.
The laws of Copyright should be divested of all ambiguity and
superfluous legal verbiage. In fact, they should be made so plain that
“he that runs may read,” and understand them. The payment of a
royalty on foreign works is not a new thing here. Chappell pays 1s. a
copy, besides a considerable sum for the Copyright, of the last work
of Rossini—viz., the “Messe Solennelle,” for the exclusive selling of
the work, and for the right of performing it here. Any other
information I can give you I shall be happy to afford.
I am, dear Sir, yours obediently,
C. H. Purday.
To R. A. Macfie, Esq., M.P.
 EXTRACTS FROM
CORRESPONDENCE ON COPYRIGHT
LAW IN CANADA.
Laid before the Canadian Parliament by Command of His
Excellency the Governor-General.

Extract from a Report of a Committee of the

Honourable the Privy Council of Canada,
approved by His Excellency the Governor-
General in Council, on the 27th May, 1868.
“On the recommendation of the Honourable the Minister of
Customs, the Committee advise an uniform ad valorem duty
throughout this Dominion of 12½ per cent., being the rate fixed and
collected in the Province of Canada, previous to the Confederation of
the Provinces—and to establish such regulations and conditions as
may be subsistent with any Act of the Parliament of the United
Kingdom then in force as may be deemed requisite and equitable
with regard to the admission of such books, and to the distribution of
the proceeds of such duty to or among the party or parties
beneficially interested in the Copyright.”

(From Memorandum by the Minister of Finance.)

“Not one-tenth part of the reprints which find their way to Canada
are entered at the Custom-house, or pay duty.... It is proposed, in
order perfectly to secure the English author, that every Canadian
publisher who reprints English Copyrights should take out a licence,
and that effectual practical checks should be interposed, so that the
duty on the number of copies actually issued from the press should
be paid into the Canadian Government by Canadian publishers for
the benefit of the English authors. It is believed that the English
authors would benefit enormously by the proposed change. At
present the amount received by Canada for duty on English
Copyrights, and paid over by Canada to the Imperial Government for
the benefit of English authors, is a mere trifle.”

(From Mr. Lovell.)

“Montreal, June 11, 1868.
“In 1849, I believe, the Government of Canada, with the sanction
of Her Majesty the Queen, gave United States publishers the right to
bring reprints of English Copyright works into this country on
payment of Customs duty of 15 per cent., which has since been
reduced to 12½ per cent., the proceeds of the duties to be forwarded
to the English authors as a compensation for the privileges secured
to the American publishers.
“The people of the Dominion, and especially the printing and
publishing interests, feel that they ought to possess at least equal
privileges to those conceded to the foreigner. There are several
establishments in the Dominion that would esteem it a great boon to
be allowed to reprint English Copyrights on the same terms as are
now secured to United States publishers, and would gladly pay the
12½ per cent. to the English authors on the total number of copies
printed, sure to be very considerable. At present only a few hundred
copies pay duty, but many thousands pass into the country without
registration, and pay nothing at all; thus having the effect of seriously
injuring the publishers of Great Britain, to the consequent advantage
of those of the United States.”

(Extract from Letter from Sir Louis Mallet to the

Under-Secretary of State, C.O.)
 “It is obvious that, looking to the geographical position of the
United States and the North American Confederation, any
arrangement with respect to Copyright which does not apply to both
must be always imperfect and unsatisfactory, and it is therefore
extremely desirable, if possible, that the Canadian question should
be considered in connexion with any negotiations conducted with the
United States Government.
“Another serious objection to the sanction by Her Majesty’s
Government of such a proposal appears to my Lords to be, that,
while the public policy of the mother-country enforces an absolute
monopoly in works of literature for a term of years, it is very
undesirable to admit in British Colonial possessions an arrangement
which, whatever advantages it may possess (and my Lords fully
admit that much may be said in its favour), rests upon a wholly
different principle.
“It would be difficult, if such a principle were admitted in the British
Colonies, to refuse to recognise it in the case of foreign countries,
and thus it might come to pass that the British public might be called
upon to pay a high price for their books, in order to afford what is
held to be the necessary encouragement to British authors, while the
subjects of other countries and the Colonial subjects of Her Majesty
would enjoy the advantages of cheap British literature provided for
them at the expense of the inhabitants of the United Kingdom.”

(Extract from a Paper by the Minister of Finance

on the Copyright-Law in Canada.)
“The consequence of this anomalous state of the Law is that
Canada receives large supplies of American reprints of English
Copyright books, which are sold at a much higher rate than if printed
in Canada; while, at the same time, so generally is the payment of
the 12½ per cent. Customs duty evaded, and so trifling is the whole
amount realised from that source (the total received last year for the
whole Dominion of Canada being only $799.43, or 164l. 5s. 3d.
sterling, the average of the preceding four years being only 115l. 1s.
3d., sterling), that so far as regards the pecuniary or other interests
of English authors, for whose protection the duty was imposed and in
whose behalf it is collected, the effect is practically the same as if the
reprints were avowedly admitted duty free....
“It is believed that if this privilege were extended to Canadian
publishers, they would avail themselves of it to a very large extent,
and as the Excise duty of 12½ per cent. could, under proper
regulations, be very easily levied, a substantial revenue would
accrue therefrom for the benefit of English authors; and further, that
a great impetus would be given to the interests of printers,
publishers, paper manufacturers, type founders, and other important
kindred branches of material industry, and indirectly to the interests
of literature and literary men....
“An American or any other foreign author, by publishing his work
first in the United Kingdom, may obtain for himself all the benefits of
the English Copyright-Law. One of those benefits, as the law now
stands, is to prohibit its reprint in any portion of Her Majesty’s
dominions out of the United Kingdom. He can equally procure its
Copyright in the United States, and the consequence is that the price
of literature is enhanced to British subjects in all Her Majesty’s
Colonial possessions, since to them and to them only can the
prohibition to republish apply or be made effectual.
“England does not confine the protection which she thus extends
to her own authors. The foreign author is protected against all her
Colonial subjects, provided he publishes first within the confines of
Great Britain and Ireland. She will not recognise a publication in a
Colonial possession as a compliance with the Copyright Act, but
limits the place of publication to the United Kingdom.
“Such the undersigned understands to have been the solemn
interpretation of the law by the House of Lords in the recent case of
‘Routledge and Lowe’ (‘New Law Report,’ Appeal Cases, vol. ii., pp.
100-121), and he would very strongly call attention to the unfair
position in which the policy of that law places the Canadian publisher
and the Canadian public.
 “The mere circumstance of the publishing in the United Kingdom
gives the author a monopoly throughout the entire area of the British
dominions—that author, in the opinion of the then Lord Chancellor
Cairns, need not be a native-born subject of the Crown; he need not
be an alien friend sojourning in the United Kingdom; he need not be
sojourning in a British Colony, but he may be a foreigner residing
abroad. This protection is afforded, in the language of Lord Cairns, to
induce the author to publish his work in the United Kingdom.
“If the policy of England, in relation to Copyright, is to stimulate, by
means of the protection secured to literary labour, the composition of
works of learning and utility, that policy is not incompatible with such
a modification of law as will place the Colonial publisher on a footing
of equality not only with the publisher in the United States, but even
with the publisher in the United Kingdom....
“If the rate of duty, whether import or excise, were inadequate, it
would be an equally reasonable argument against the extension of
the law; and in that case the rate could be augmented.”
 TENDENCIES OF COPYRIGHT
AMENDERS.
That pretensions under Copyright are becoming so formidable as
to demand very serious attention on the part of statesmen and of all
who desire to maintain the integrity of our national inheritance of a
world-wide, heartily-united empire, and imperial freedom from
odious, inquisitorial, and impracticable restraints, especially such as
might hinder intellectual and moral development, will be evident to
any person who takes pains to study and follow out to their
necessary consequences the provisions contained in the following
transcripts from a Bill lately introduced by an ex-Lord Chancellor, “for
Consolidating and Amending the Law of Copyright in Works of Fine
Art:”

Fine Arts Copyright Consolidation and Amendment. [32 Vict.]

Design.—An original conception represented by the author
thereof in any work of fine art.
Drawing or Painting.—Every original drawing or painting,
made in any manner and material, and by any process.
Photograph shall mean and include every original
photograph.
Sculpture.—Every original work, either in the round, in
relief, or intaglio, made in any material, and by any process.
Engraving.—Every original engraving and lithograph made
upon a plate, block, or slab, of any material, by any process,
whereby impressions may be taken from such plate, block, or
slab, and the impressions taken from the same.
Work of Fine Art.—Every drawing, painting, photograph,
work of sculpture, and engraving as herein-before interpreted.
 Extending to all parts of the United Kingdom of Great
Britain and Ireland, the Channel Islands, the Isle of Man, and
all the colonies and possessions of the Crown which now are,
or hereafter may be, created or acquired.
3. The author of every original work of fine art, if made, or
first sold, after the commencement of this Act, such author
being a British subject, or resident within any part of the
British dominions at the time such work shall be made or first
sold, and the assigns of such author, shall have the Copyright
of sole and exclusive right of copying, reproducing, and
multiplying such work, and the design thereof, in the British
dominions, by any means, and of any size, for the term of the
natural life of such author, and thirty years after his death, but
subject to the following conditions and restrictions; (that is to
say), &c.
9. If the author of any work of fine art in which there shall be
subsisting Copyright, after having become divested of such
Copyright, or if any other person, not being the proprietor for
the time being of the Copyright in any work of fine art, shall by
any means unlawfully repeat, copy, imitate, or otherwise
multiply for sale, hire, exhibition, or distribution, or cause or
procure to be repeated, copied, imitated, or otherwise
multiplied for sale, hire, exhibition, or distribution, any such
work, or the design thereof, or any part of such design, or,
knowing that any such repetition, copy, or other imitation has
been unlawfully made, shall import or export into or out of any
part of the British dominions, or sell, publish, let to hire,
exhibit, or distribute, or offer for sale, hire, exhibition, or
distribution, or cause or procure to be so imported, or
exported, or sold, published, let to hire, distributed, or offered
for sale, hire, exhibition, or distribution, any unlawful
repetition, copy, or imitation of any such work, or of the design
thereof, such person for every such offence shall forfeit to the
registered proprietor for the time being of the Copyright
thereof a sum not exceeding twenty pounds, and not less
than two pounds, for every first offence, and not less than five
pounds, for every subsequent offence, &c.
11. All repetitions, copies, or imitations of any work of fine
art, or the design thereof, wherein there shall be subsisting
Copyright under this Act, and which, contrary to the provisions
of this Act, shall have been made in any foreign State, are
hereby absolutely prohibited to be imported into any part of
the British dominions, except by or with the consent of the
registered proprietor of the Copyright thereof, or his agent
authorised in writing; and if the registered proprietor for the
time being of any such Copyright or his agent shall declare, or
if any officer of Her Majesty’s Customs shall suspect, that any
goods imported are prohibited repetitions, copies, or
imitations of any such work of fine art, or of the design
thereof, then such goods may be detained, unpacked, and
examined by the officers of Her Majesty’s Customs.
12. The Commissioners of Customs shall cause to be
made, and publicly exposed at the several ports of the United
Kingdom, and in Her Majesty’s possessions abroad, printed
lists of all works of fine art wherein Copyright shall be
subsisting, and as to which the registered proprietor for the
time being of such Copyright, or his agent, shall have given
notice in writing to the said Commissioners that such
Copyright exists, stating in such notice when such Copyright
expires, and shall have made and subscribed a declaration
before the collector of the Customs, or any justice of the
peace, at some port or place in the United Kingdom or in Her
Majesty’s possessions abroad, that the contents of such
notice are true. The provisions contained in the Acts now in
force, or at any time to be in force, regarding Her Majesty’s
Customs, as to the application to the courts and judges by
any person aggrieved by the entry of any book in the lists of
books to be made and publicly exposed by the said
Commissioners under the said Acts, and the expunging any
such entry, shall apply to the entry of any work of fine art in
the lists thereof to be made by virtue of this Act, in the same
manner as if such provisions were herein expressly enacted,
with all necessary variations in relation to such last-mentioned
lists, &c.
13. Every person who shall import or export, or cause to be
imported or exported, into or out of any part of the British
dominions, or shall exchange, publish, sell, let to hire, exhibit,
or distribute, or offer, or hawk, or carry about, or keep for sale,
hire, exhibition, or distribution, any unlawful copy, repetition,
or imitation of any work of fine art, in which, or in the design
whereof, there shall be subsisting registered Copyright, shall
be bound, on demand in writing, delivered to him or left for
him at his last known dwelling-house or place of business, by
or on behalf of the registered proprietor for the time being of
such Copyright, to give to the person requiring the same, or
his attorney or agent, within forty-eight hours after such
demand, full information in writing of the name and address of
the person from whom, and of the times when, he shall have
imported, purchased, or obtained such unlawful copy,
repetition, or imitation, also the number of such copies,
repetitions, or imitations which he has obtained, and also to
produce to the person requiring such information all invoices,
books, and other documents relating to the same; and it shall
be lawful for any justice of the peace, on information on oath
of such demand having been made, and of the refusal or
neglect to comply therewith, to summon before him the
person guilty of such refusal or neglect, and on being satisfied
that such demand ought to be complied with, to order such
information to be given and such production to be made
within a reasonable time to be fixed by him.
14. Upon proof by the oath of one credible person before
any justice of the peace, court, sheriff, or other person having
jurisdiction in any proceeding under this Act that there is
reasonable cause to suspect that any person has in his
possession, or in any house, shop, or other place for sale,
hire, distribution, or public exhibition, any copy, repetition, or
imitation of any work of fine art in which, or in the design