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By the 1870s music printing and publishing in Austro-Hungary was under considerable competitive pressure from major firms based in Leipzig and elsewhere in Germany. Using more recent printing techniques (most notably printing from engraved plates by transfer lithography) and often a more integrated system of production, firms such as Breitkopf & Härtel and Edition Peters were playing an increasing important role in the European market for classical music. By the late 1880s it had become apparent that this trend was being challenged by an innovative Viennese firm run by a lithographer from the Czech lands, Josef Eberle, who had built up a printing business that included a skilled and well-organised music department that could rival German competitors in the printing of complex scores. Moreover, Eberle sought to challenge German publishers’ dominance in the supply of music by Viennese composers of the Classical period: although this project failed commercially, it highlighted the challenges that the Universal-Edition would face a decade or so later. Despite this setback Eberle continued to publish major works, notably the music of Anton Bruckner, though not under his own imprint. At the same time, he established a brand of manuscript paper that was used by two or more generations of composers. Eberle’s career was notable in its own right, and tracing some of his activities sheds light on many less familiar aspects of the music business in Vienna, 1880–1920.

This paper investigates the role of admission forms in the regulation of asylum confinement in the second half of the nineteenth century. Taking the Toronto Lunatic Asylum as a case study it traces the evolution of the forms' content and structure during the first decades of this institution. Admission forms provide important material for understanding the medico-legal assessment of lunacy in a certain jurisdiction. First, they show how the description of insanity depended on a plurality of actors. Second, doctors were not necessarily required to indicate symptoms of derangement. Third, patients' relatives played a fundamental role in providing clinical information. From an historiographical perspective, this paper invites scholars to consider the function of standardized documents in shaping the written identity of patients. [ABSTRACT FROM AUTHOR]

This essay describes the Scottish Court of Session Digital Archive Project (SCOS), a multi-institutional collaborative research initiative into Early America and the British Atlantic world. Developed by the digital scholarship team at the University of Virginia Law Library, in partnership with colleagues at the University of Edinburgh, SCOS explores everyday life in the eighteenth and early nineteenth centuries through Session Papers, the printed documents submitted to Scotland's supreme civil court during litigation. The project provides scholars, genealogists, and the public with openaccess digital copies of Session Papers held by the UVA Law Library, the Library of Congress, and other institutional partners. By digitizing these documents, contextualizing them with comprehensive metadata, and providing users with interpretative entry points, SCOS is designed to foster new research on this formative period of Scottish, British, and American history. [ABSTRACT FROM AUTHOR]

This article is an analysis of the historiography of the battle of Cerro Gordo. It is intended to see the generalities of the story, as well as the authors who wrote the subject, their enunciation horizons, the importance they give it, and which ones are available to know the battle. At the end of this historiographic balance, it is established that some current works have reused an almost invariable narrative form, having as their origin a single story. Therefore, a methodological tool provided by historian John Keegan is proposed, called: "the piece of battle". [ABSTRACT FROM AUTHOR]

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