Victorian Copyright: the Author Miss Letitia Higgin, and Editor Lady Marian Alford

My new eBay purchase arrived on Sunday afternoon: Letitia Higgin’s Hand Book of Embroidery, published by her employer (the Royal School of Art Embroidery) in 1880, and edited by the Vice President of the Society: Lady Marian Alford. It’s a modern reprint: the original is an appropriately antiquarian price.

The Society had been founded in 1872. Letitia (Lily) was a middle-class young woman needing to earn her own living, who, with two of her sisters, was employed by the Society.  She was promoted to a senior position, and wrote this handbook not for absolute beginners, but for ladies who had learned the basics and needed to know more. The introduction explains that the book answers some of the most frequently asked questions. Brilliant, I thought. This could be just what I need. You know how I enjoy embroidery, even if I’m just a relative beginner.

A Daughter of Margaret Maclean-Clephane

Portrait of Lady Marian Compton, from National Trust via Art.UK
Grant, Francis – Lady Marian Margaret Compton (1817-1888), Viscountess Alford; National Trust, Belton House; http://www.artuk.org/artworks/lady-marian-margaret-compton-18171888-viscountess-alford-176409 National Trust Images via Art.UK

Enter Margaret Maclean Clephane’s elder daughter, Marian (Marianne)!  The book’s editor was none other than a daughter of song-collector Margaret Maclean-Clephane. (Just for the record, Margaret’s married name was Lady Compton, and later Lady Northampton.  That’s why her daughter was Lady Marian Margaret Compton.)  Lady Marian’s musically gifted mother was also a poet.  The family evidently had creativity in their genes. Marian’s aunt Anna was a song and folklore collector too; her other aunt was artistic; and now we find that Marian was a talented needlewoman.

A Copyright Dispute

The guide was so popular that the Society had hoped to produce a second edition, but a copyright dispute between author and editor meant that this didn’t happen.

I sat bolt upright.ย  We ordinary folk shall never know what the dispute was. (I learnt this much from Wikipedia. See reading list below.) Maybe the Society has archival paperwork that tells more, but I really must not let myself get distracted at the moment!

Giving Credit where Credit’s due

From my vantage point as a 21st century author, it would be easy to feel outrage on Letitia Higgin’s behalf. Had she done all the work and written the whole book, only for Lady Marian Alford to sweep in and add her name to it? Realistically, having a titled name on it would probably have added gravitas and authority in 1880. My guess is that Letitia Higgin did most of the hard work, and Lady Marian put her own titled gloss on it, but I simply don’t know. We can’t jump to conclusions.

Bust of Lady Marian Compton, from National Trust via Art.UK
Lady Marian Compton (1817โ€“1888), Viscountess Alford
Ernesto Cali (b.1821)
National Trust, Belton House, again via Art.UK.

I do know that Miss Higgin also wrote magazine articles referring to the book, and Lady Marian also authored other works. Neither woman’s expertise is in question.

Anyway, I intended to use the book for the purpose of self-instruction, so I turned the page to find out about needles. It informed me I should use a size 5 needle for crewel work. To be honest, I don’t think I’m doing crewel work (with crewel yarn), but embroidery. With embroidery silk. I had imagined it would be similar, but I imagined wrong.

Five is Larger than Nine

Moreover, Miss Letitia Higgin and Lady Marian Alford didn’t think to tell me that size 5 needles are larger than size 9. I suspect I may have been using the right size for embroidery all along (without knowing a scooby about sizes and numbers), but now I reached for the tiniest size needle, and spent far longer than was reasonable, trying to thread one strand of thread into the eye of a needle that I couldn’t even see. Ughh! I blamed the eye (my own) that can’t even read with glasses.  Eventually I used a needle threader. The thread broke. I did get dressmaking thread through the eye. And I bent the needle before getting the single strand of embroidery floss through the eye.  The eye of the needle was ludicrously, but appropriately small for such a tiny wee needle.

Temporarily giving up on Higgin and Alford, I turned to YouTube.  Thankfully, Sarah Homfray has done a series of YouTube videos about embroidery, and that’s how I learned that 5 was actually larger than 9:-

‘Are you using the right sized needle? I show you how to pick the right one!’

https://youtube.com/watch?v=PtBGZn0yohU&si=LJomNgTXJTZ_hoMT

I shall eventually return to Miss Higgin and Lady Marian Alston.  I’m sure they have useful knowledge to impart, quite apart from the insights into the pastime of embroidery in the late Victorian era. You could buy a marked canvas, which someone at the Royal School of Art Embroidery had prepared and even started off for you. That sounds helpful!

However, today? I’ve signed up to a local evening class. (Although I don’t know if I’ll ever be capable of marking out a canvas to make Higgin’s and Alford’s piano cloth design!)

7. DESIGN FOR A SOFA-BACK COVER OR PIANO PANEL. By George Aitchison. Vincent Brooks Day & Son, Lith. (From Gutenberg website: https://www.gutenberg.org/files/24964/24964-h/24964-h.htm#Page_75

READING LIST

  • Alford, Marian, Needlework as Art (London: Sampson Low, Marston, Searle & Rivington, 1886.)
  • Alford, Marian – other works of local history interest.
  • Higgin, Letitia, ‘Art Needlework’, articles in The Art Amateur (1880) Vol.2 issues 5 and 6
  • Higgin, Letitia, Hand Book of Embroidery, ed. Marianne Margaret Compton Alford (London: Published by Authority of the Royal School of Art Needlework, 1880)
  • ‘Higgin, Letitia’ – Wikipedia entry
  • Homfray, Sarah, ‘Are you using the right sized needle? I show you how to pick the right one!’ YouTube
  • Hulse, Lynne, ‘Higgin, Letitia (Lily) , author and embroiderer’, in Oxford Dictionary of National Biography
  • Northampton, Margaret Compton, marchioness of (d. 1830), Manuscript book of poems, dated 1808-1821, by Lady Compton (Lady Northampton), also transcription of poems, dated 1804-1840, by her sister Anna Jane Douglas Maclean Clephane.] National Trust Libraries – Note on Jisc Library Hub Discover:- ‘Poems stated to be by Lady Compton (as Lady Northampton was known 1815-1828) on pp. 1-47, and by Lady Northampton on pp.113-120; poems by Anna Jane Clephane on pp. 52-110 and 121 to end (many with monogram AJC).
  • Royal School of Needlework. Our History

Thoughts about Experiencing Plagiarism

Beautiful red apple hanging from tree, ready to be picked

‘Imitation is the sincerest form of flattery’?

I wrote these words as a reflection, but then I wondered if other people might find them helpful. Maybe something like this – or worse (because I realise my experience was slight compared to someone whose whole article, story or book has been plagiarised) has happened to you? There might be folk who would shudder at the thought of laying bare their emotions, their gut reaction, to such a situation. As for me? My ‘words’ are my strength. If my words in the present posting make me look weak as an individual, be assured that I am fully aware of this. They also make me uniquely ‘me’, and who ever gets far by pretending to be other than themselves?

Meanwhile, my situation has been resolved, thankfully. I feel grateful. Grateful for the help. Grateful for the response and correction of the situation.

However, I feel utterly drained.  I’m taking a day’s annual leave because it’s preferable to taking a day’s sick-leave for stress.

I initially headed this posting, ‘Thoughts on detecting plagiarism’. However, ‘on detecting plagiarism’ turns out already to be in the title of someone else’s blog post – Addressing the Inherent Biases in Automated Systems: On Detecting ‘Plagiarism’ (Lancaster University, Ref 2014 Impact Case Studies). I changed my heading. Do read the Lancaster post, if you’re interested. I commend it, even though it’s actually about detecting plagiarism in student submissions, rather than realising your words have been quoted without attribution. I read their blog post briefly last night, and I am not reading it again today. I took no notes, and I have no intention of borrowing anything that was there.


They were literally just a few words, but my own words, and the crux of a 21-page article written 12 years ago. The first full article on the topic. It hurt. And then I started questioning myself:- was I considered so unimportant that my authorship is insignificant? Because, PhD or not, I was ‘merely’ a librarian, hence unimportant? Because I’m now ‘just’ a postdoc research fellow? (That was actually a promotion, by the way!) Because I’m not very famous? Was it because I’m a woman? Because I’m older, and thus considered past it? Because, once published, the words were considered free for the taking? Because, significant or not, they were just a few words, and so temptingly apposite? Low-hanging fruit.

Mulling it over as I got ready for the day, I glanced in the mirror. There I was, an older woman – not ageing particularly stunningly or gracefully, short in stature and wide in figure. My garb was workaday (I was about to sit down to a solitary morning of research, 67 or not). I wore no makeup, and I haven’t been on the latest diet long enough – you wouldn’t notice me if I walked down the street. So there I was. I’m not publicly visible as a performer or composer, unlike a large number of my colleagues. And, as I mentioned, although as a librarian I achieved some visibility in the sectors I worked in – perhaps more visibility than many – librarians aren’t generally known for this quality. We exist to help other people. I’ve not been a librarian for a year now, but I think I probably still carry the aura of invisibility. And when you say ‘librarian’, not many people immediately think, ‘Ah! A researcher. An author. A public speaker.’ Well, there it is!

Image by Bruno from Pixabay

But although librarians might exist to help, to share, to facilitate, they aren’t ghostwriters. Even when they’ve retired from librarianship and are now employed solely as a postdoctoral research fellow.

‘It Says More about Them than it does about You’

And then I reminded myself (I think this is called cognitive reframing) that I didn’t actually know what they were thinking when they used my unattributed words. I can’t read other people’s minds. My identity may not have even been a consideration. And I recalled my latest mantra: that other people’s words and actions speak more about them than about me.

Trigger warning here. I am not preaching when I say that I’m a practising Christian; I’m declaring a fact, which probably does affect my philosophy. (I’m no Evangelical, though – I’m boringly conventional!) I found an intriguing article, ‘3 Reasons Pastors and โ€˜Authorsโ€™ Should Never Plagiarize‘ by David Kakish (12 July 2019). He does make the salient, human point that ‘Plagiarism Fails to Give Honor Where Honor is Due’. Be assured that I’ll be reading it, out of curiosity, but it doesn’t really help the person who has been plagiarised, so I’ll leave it until later! I did do a little web-searching to see if there was a Christian take on low self-esteem. However, I found nothing that resonated, except the grounding reminder that everyone is a unique person for a purpose, so we should embrace what we are rather than wish we were someone else.

I tried not to beat myself up about my own insecurities. I know what I’ve achieved, from a mid-career standing start, against the odds. My words are old enough to be irrefutably mine, regardless. And … well, I can always write some more!


Here are some useful links which I found last night

If your experience is on the more serious end of the scale, these might be helpful. I’m not proposing to offer guidance on dealing with such situations – I’m really not qualified to – but I would urge you to seek support.

Bailey, writing about author O’Hanlon’s dreadful experience, headed his post, ‘The Emotional Toll of Plagiarism’, and my own limited experience endorses that. In my case, a migraine and shall we say, gut reactions, were clearly telling me I was stressed.  Symptoms can be treated, but how much nicer not to have had them at all!

Image by NoName_13 from Pixabay

‘Spreading the Word’: article by Lionel Gossman

Sometimes there are times when you know you should read something, but you worry it might not be directly relevant to your work – or you suspect you’ll spend too much time on something that may only be of tangential interest.

Today was not one of those times, though.ย  After a couple of days off for home improvements, I decided that what I really needed this morning, to ease myself back into a research frame of mind, was to sit and focus on something which might not mean much note-taking, but was certainly of background interest.ย  Indeed, it even touched my interest in copyright history, albeit not music copyright.ย 

And that’s how I found myself reading online – for I couldn’t justify printing out 170-odd pages – this very readable article about Scottish book publishers:-

Gossman, Lionel. โ€œSpreading the Word: Scottish Publishers and English Literature 1750-1900.โ€ย Transactions of the American Philosophical Society, vol. 109, no. 2, 2020, pp. iiiโ€“161.ย JSTOR, https://www.jstor.org/stable/45381452. Accessed 16 Feb. 2023.

Whose Book is it Anyway? A View from Elsewhere on Publishing, Copyright and Creativity

Sitting feeling somewhat sorry for myself with the aches-and-pains that follow a Covid booster vaccination (yes, I’m grateful really, but … owch!) – I sat bolt upright when I spotted this open access book title on social media. It looks irresistible, quite apart from the delight of finding it is free! I shall add it to our bibliography page, and find time to delve into it at the earliest opportunity. How did I not stumble across it earlier?

Whose Book Is it Anyway? A View from Elsewhere on Publishing, Copyright and Creativity, ed. Janis Jefferies and Sarah Kember. (Open Book Publishers, 2019)

All the ISBNs, and other bibliographical data are on the page I’ve linked to above.

Copyright in 18th Century Plays: new book by Jane Wessel

Idly browsing Twitter whilst eating my Shreddies (edible cardboard, but good for me), I suddenly put down my spoon at the sight of something far more interesting. Here’s mention of a new book about intellectual property and plays in eighteenth-century Britain!

Owning Performance | Performing Ownership:

Literary Property and the Eighteenth-Century British Stage, by Jane Wessel

‘How playwrights, actors, and theater managers vied for control over the performance of popular plays after the passage of Englandโ€™s first copyright law.’

The book is published by the University of Michigan Press later this year. I shall clearly have to add this to the Claimed From Stationers’ Hall network bibliography!

CILIP Copyright Conference, 18 May 2022

SHAMELESSLY sharing this call for papers, word for word. Maybe one of the Claimed From Stationers Hall networkers might feel inspired to talk for five minutes?

“Speaking at a conference is a big step on your career journey & lightning talks are an ideal way to dip your toe in the water. We’re searching for speakers for 5-min lightning talks CILIP’s Copyright Conference (18 May, online).”

Here’s the link for more info.

The deadline is 1 April 2022. (No kidding.)

Icepops 2019 Presentations and Photos

UK Copyright Literacy has uploaded presentations and photos on their website – click here!

Silence in the Pecha Kucha

I’ve already mentioned that I would be attending Icepops 2019 at the University of Edinburgh yesterday – a conference about copyright literacy, and providing appropriate training to students, researchers and other staff colleagues.

(Icepops = International Copyright-Literacy Event with Playful Opportunities for Practitioners andย Scholars).

My challenge was to deliver a Pecha Kucha which mentioned my research into historical legal deposit music, and ALSO touched on library user education into matters pertaining to copyright.ย  โ€˜Silence in the Library: from Copyright Collections to Cageโ€™, did just that.ย  I have never spoken about John Cage’s controversial piece, 4’33” before.ย  Neither have I deliberately inserted six seconds of silence into a format DESIGNED for brevity and concision!ย  If you Google how many words you can fit into 20 seconds, you’ll find it’s just 60 words.ย  That’s if you don’t use long words!ย  So giving up a third of a slide to silence was, I felt, a calculated risk, but how else was I to demonstrate what you might hear during a silent episode?!ย  All went well, and my calculations worked out – what a relief!

The conference was about a playful (lusory) approach to copyright education.ย  In that regard, I discussed how Cage’s piece – silent though it was – still has copyright in the concept, and how students could be encouraged to contemplate how intellectual property can reside in the most unlikely situations – whilst also pointing out that 4’33” cannot be performed or even hinted out without dire legal consequences.ย  You don’t believe me?ย  I’ll put my presentation on our Pure institutional repository, and you can follow the references for yourself!

I mentioned playing the piano during the evening social?ย  Oh boy, did we play?! I wasn’t alone – there was also a clarinet duet, and I staggered through a piano duet, unknown to both of us, with one of the (multi-talented) clarinet duo.ย  The same clarinettist, on clarinet, kindly gave the premiere performance of a piece I’d recently written. That was definitely a first – I’ve never had an instrumental composition (as opposed to an arrangement) of my own performed publicly before.

Definitely an out-of-the-ordinary conference, then.ย  I seem to be making a habit of this!ย  Better get back to the eighteenth and early nineteenth centuries, now …

Edinburgh, Dundee, Paris …

I’m a bit of a juggler at the moment!ย  The Claimed From Stationers’ Hall network has a dedicated Brio issue forthcoming in November, which I’ll be co-editing with Martin Holmes, the regular editor.ย  Various articles have been promised, and I need to do some writing as well.ย  Not to mention needing to do some book-reviews.ย  I have several ideas there – I need to order some books that I’ve recently come across, to decide if they’d be usefully reviewed for our music librarian audience.

I also need to revise an article for another journal – I first wrote it a couple of years ago –ย  to reflect the fact that the network came into being and more work has since been done.

Solvyns, Franz Balthazar, 1760-1824; The 'Charlotte of Chittagong' and Other Vessels at Anchor in the River Hoogli
Solvyns, Franz Balthazar; The ‘Charlotte of Chittagong’ and Other Vessels at Anchor in the River Hoogli; National Maritime Museum; http://www.artuk.org/artworks/the-charlotte-of-chittagong-and-other-vessels-at-anchor-in-the-river-hoogli-175648

But before that – next week I’m heading to the Sorbonne in Paris, as an invited speaker, to talk about Sir John Macgregor Murray’s involvement in Gaelic culture and song-collecting.ย  The man who got a couple of passing mentions in my thesis and book, has been a major focus for historians interested in his involvement in commissioning and collecting Persian manuscripts on Indian customs and culture, whilst he was active in the East India Company’s private army.ย  I’ll be the only musicologist there – I’ve polished my paper within an inch of its life, so hopefully it will be of interest to scholars from a different discipline and with a different focus.ย  I made a page about Sir John, which you can visit if you’d like to know more about the man.

I’ve been awarded an Athenaeum Award by the Royal Conservatoire of Scotland, to enable me to attend the whole of the International Society of Eighteenth Century Studies conference in Edinburgh in July, where I’ll be joining a panel on paratext.ย  I think paratext is probably one of my all-time favourite research topics, so this is very exciting.

But to clear the decks for some serious writing about paratext, I got my next speaking opportunity all written up and timed well ahead of schedule: I’m talking about copyright and John Cage in a Pecha Kucha presentation at the CILIP Icepops seminar on copyright literacy education towards the end of June.ย  Writing to fit 20 slides each lasting for 20 seconds is a rather different challenge to writing a conference paper!ย  Here’s a hint: if you Google it, you’ll find yourself recommended to write 60 words per slide.ย  However, if you use a lot of long words, thenย this advice is not for you!!ย ย Take it from one who [now] knows!

I’m attending the Icepops conference in Edinburgh with my librarian hat on.ย  In fact, I was at Edinburgh a couple of weeks ago for the National Bibliographic Knowledgebase roadshow – an interesting update – and a couple of days ago, I went to Dundee for a Rare Books Scotland meeting.ย  Again, I wore my librarian hat, but had the opportunity to share an update on the Claimed From Stationers’ Hall network whilst I was at it.

And what else?ย  As I mentioned, I have a glorious idea for a new grant application … but I’ll keep that under my hat until plans are a bit more advanced….

Icepops 2019: Draft Programme

UK Copyright Literacy, via Icepops 2019: Draft Programme

I’m presenting a Pecha Kucha at the June 2019 Icepops event in Edinburgh.ย  “Silence in the Library: from Copyright Collections to Cage”

This (if we are to believe YouTube) is the official video of John Cage’s 4’33”