In July 1764 the critic Friedrich Melchior von Grimm recalled how the late French economist Vincent de Gournay had noted that “we have in France an illness that takes a terrible toll; this illness is called bureaumania.”1 As Ben Kafka has observed in his compelling study of paperwork in eighteenthand nineteenth-century France, when de Gournay labeled the madness as “a fourth or fifth form of government, by the name of bureaucracy,” he not only introduced the term “bureaucracy” (la bureaucratie) for the first time in print, but he also presented rule by writing desk as a supplement to the standard regimes of rule by the many (democracy), the few (aristocracy), and the one (monarchy).2 Becoming Property: Art, Theory and Law in Early Modern France, Katie Scott’s fascinating and important new book about the relation between intellectual property and the visual arts in France from the sixteenth century through the French Revolution, similarly evinces the close interrelations between the regimes of monarchy and bureaucracy in French history. Today we take for granted that artists have intellectual property rights in their productions: since the international Berne Convention for the Protection of Literary and Artistic Works of 1886, copyright is assumed of every intellectual work. Building on critical work such as Joseph Loewenstein’s The Author’s Due: Printing and the Prehistory of Copyright, Scott reminds us that art did not always participate in this particular legal regime. Consider an anonymous article on “copyright” in the eleventh edition of the Encyclopaedia Britannica from 1910–11, discussed in Loewenstein’s study:

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成为财产：近代早期法国的艺术，理论和法律，作者：Katie Scott

1764年7月，评论家弗里德里希·梅尔基奥尔·冯·格林（Friedrich Melchior von Grimm）回顾了已故的法国经济学家文森特·德古尔奈（Vincent de Gournay）如何指出：“我们在法国患上了一场可怕的灾难；这种疾病被称为官僚主义。” 1正如本·卡夫卡（Ben Kafka）在十九世纪八十年代法国对文书工作的令人信服的研究中所观察到的那样，当时德古尔奈（De Gournay）将这种疯狂标记为“政府的第四或第五种形式，以官僚主义的名义”，他他不仅首次印刷了“官僚制”一词，而且还通过写字台介绍了统治，以此作为对许多（民主），少数（贵族）和2）成为财产：近代早期法国的艺术，理论和法律，凯蒂·斯科特（Katie Scott）的一本引人入胜的重要著作，讲述了16世纪到法国大革命期间法国知识产权与视觉艺术之间的关系，同样也说明了法国历史上君主制与官僚制之间的密切联系。今天，我们理所当然地认为艺术家的作品具有知识产权：自1886年《伯尔尼国际保护文学和艺术作品公约》以来，每部知识作品都享有版权。斯科特以约瑟夫·洛文斯坦（Joseph Loewenstein）的《作者的应有：印刷与版权史》等批判性作品为基础，提醒我们艺术并不总是参与这一特定的法律制度。考虑一下1910-11年间《不列颠百科全书》第11版中有关“版权”的匿名文章，