Background

According to Article 14 of the CDSM Directive, any material resulting from an act of reproduction of a public domain work cannot be subject to copyright or related rights-protection unless it is original in the sense that it is the author’s own intellectual creation. All EU member states are required to implement Article 14 and amend their national legislation accordingly (see Deborah De Angelis’s blog post).

Italy transposed Article 14 of the CDSM Directive into domestic law by passing Article 32-quarter of the Italian Copyright Law n. 633/1941 in November 2023 (Legislative Decree no. 177). The article includes a problematic addition: “The provisions on the reproduction of cultural heritage contained in Legislative Decree No. 42 of 22 January 2004 [CCHL] remain unaffected.” The reference is to Article 108 of the CCHL, which requires the payment of a concession fee for the reproduction of digital images of state-owned cultural heritage in the public domain if the reproduction is for-profit. The provisions of the CCHL beg the question of the protection of the public domain by other fields of law outside of copyright and related rights, which are not explicitly mentioned in Article 14 of the CDSM Directive (see Mirco Modolo’s article on the subject). Only the European Court of Justice (ECJ) can provide guidance on this matter. However, no Italian court has referred to the ECJ yet to clarify the relationship between Article 14 and the CCHL.

In recent years, the CCHL has been used by Italian cultural heritage institutions to initiate a number of lawsuits against commercial uses of works by Italian artists, which are clearly in the Public Domain.

Recent case law on the unauthorised reproduction of Italian cultural heritage in the public domain

1) Ministry of Culture v. Studi d’Arte Cave di Michelangelo:

In 2018, a famous Italian luxury fashion brand posted a video on the internet in which a physical copy (a clone of the statue) of the David—created by Studi d’Arte Cave Michelangelo S.r.l. (Cave)—could be seen wearing a tailor-made high-quality outfit of the brand. The Ministry of Culture sought to have the Court of first instance of Florence issue an interim measure to prevent further use of the image of Michelangelo’s David for commercial purposes. The Court dismissed the petition on the grounds of lack of urgency, as both defendants had removed the contested material from their websites.

However, the Ministry of Culture found out that Cave continued using the image of the David on another website, studidarte.it, still for commercial purposes, and filed a new urgent petition against Cave in 2021. The petition was dismissed and then appealed against it. On 11 April 2022, the Court ordered (see Simone Aliprandi and Carlo Piana’s comment) Cave to stop using the images of the David for commercial purposes, to remove all images of the statue from Cave’s websites, to pay the Gallerie dell’Accademia di Firenze a fine of € 500 for each day of delay in the execution of the preventive order, and it was further ruled that summaries of the order would be published at the expense of the defendants in two national daily newspapers, in two local daily newspapers and on Cave’s Instagram profile and YouTube channel.

The Court concluded that the mere ex-post payment of compensation is insufficient for the legitimate reproduction of a cultural asset. For the use of the image to be lawful, consent is required, following a discretionary assessment of the requested use (and its possible configuration) concerning the asset’s cultural purpose and historical-artistic character. The nature of a cultural asset inherently requires the protection of its image through an evaluation of compatibility reserved for the Public Administration. This evaluation encompasses the right to reproduce the asset and the safeguarding of the asset’s consideration by fellow citizens – its identity as a collective memory of the national community and the territory. Therefore, according to the Court of Florence, this notion should constitute a comprehensive right to the cultural asset’s image (right of publicity).

2) Galleria dell’Accademia Firenze v. GQ:

In 2020, the Gallerie dell’Accademia di Firenze and the Ministry of Culture sued the publishing house GQ (Condé Nast) for the unauthorised use of the image of Michelangelo’s David on the July/August issue’s cover of GQ Italia (see Justus Dreyling’s post on this blog and this interview with Deborah De Angelis). The plaintiff asked the Court to enjoin the use of the image of Michelangelo’s David. The Court promptly issued an order banning the use of the image on the cover of the magazine and prohibited any further digital use of the image.

Eventually, on 15 May 2023, the same Court ruled again in favour of the Gallerie and the Ministry of Culture and condemned the publisher GQ to pay the Galleria dell’Accademia di Firenze two separate amounts: € 20,000 as a concession fee and an additional € 30,000 for the way in which David’s image was distorted for the magazine. In addition, the judge acknowledged the right to the image (which is granted by Article 10 of the Italian Civil Code to physical persons and legal entities), with specific reference to cultural heritage, considering the legal basis for this right is found in Articles 107 and 108 of Legislative Decree No. 42/2004, which directly implement Article 9 of the Constitution(See Eleonora Rosati’s comment on IPKat).

3) Gallerie dell’Accademia di Venezia v. Ravensburger:

On  24 October 2022 (see Deborah De Angelis and Brigitte Vézina’s comment on this blog and Giuilia Dore’s contribution on the Kluwer Copyright blog), the Court of first instance of Venice decided on the lawsuit brought by the Gallerie dell’Accademia di Venezia, a public museum under the Italian Ministry of Culture, against the German toy-making companies Ravensburger AG and Ravensburger Verlag GmbH as well as their Italian branch represented by Ravensburger S.r.l. for the unauthorised use of the images of Leonardo da Vinci’s Vitruvian Man on a series of puzzles. The order enjoined the German company to stop using the image of the Vitruvian Man for commercial purposes, to pay to the Gallerie dell’Accademia di Venezia a fine of € 1,500 for each day of delay in the execution of the preventive order, and it was further decided that summaries of the order would be published at the expense of the defendants in two national daily newspapers and in two local daily newspapers.

4) Uffizi v. Gaultier:

In October 2022, the Uffizi Galleries announced their intention to sue the French fashion house Jean Paul Gaultier for damages that could exceed € 100,000 after the company’s (allegedly) unauthorised use of images of Botticelli’s Renaissance masterpiece The Birth of Venus to adorn a range of clothing products, including T-shirts, leggings, and tops, for the brand’s new line Le Musée. There has not been any news on this controversy, and there is no evidence that a lawsuit has been served (see, Justus Dreyling, Brigitte Vézina, and Teresa Nobre’s post on this blog).

It is clear that a protectionist trend is emerging in line with the approach of the government (for a critical approach, see Roberto Caso’s comment on the Kluwer Copyright blog).

The Ministerial Decree on the minimum tariff for the reproduction of the digital images of the state cultural heritage

Prior to 11 April 2023, the interpretation and practice of art. 108 of CCHL granted cultural heritage institutions discretion to decide whether to adopt an Open Access policy, enabling the use of the digital images of cultural heritage through the use of a Creative Commons licence or Public Domain tools, to promote fair access to and sharing of Italian culture, while supporting the role of cultural heritage institutions in sustainable economic and social development.

In April 2023, however, the Italian Ministry of Culture  introduced minimum fees for commercial reproductions of state-owned cultural heritage, including for works in the Public Domain that all state-owned public museums will have to apply (Decree no. 161 also known as Guidelines). The Decree will have a detrimental effect on the promotion and dissemination of Italian cultural heritage globally, impeding knowledge sharing (see reporting on huffingtonpost.it and repubblica.it). The new guidelines represent a significant setback as they contradict the fundamental principles of public enjoyment and enhancement of cultural heritage enshrined in the Italian Cultural Heritage Code.

The situation in Italy escalated on 14 June 2023, when Senator Marcheschi (Fratelli d’Italia) proposed to punish with a fine between € 20,000 to 60,000 the unlicensed use of cultural objects in the public domain in violation of Articles 107(1) and 108(1)-(3) of the CCHL (as an amendment to the proposal of law on Article 518-duodecies of the Italian Criminal Code, on the destruction, dispersal, deterioration, defacement and illegal use of the physical cultural heritage and landscape). At the session of June 21st, 2023, the amendment was withdrawn, having received a negative opinion because of the costs it would entail to activate the sanctions, but it turned into an agenda for the Government “to consider the advisability of providing for the imposition of an administrative fine of 20,000 to 60,000 euros against anyone who, in violation of Articles 107, paragraph 1, and 108 paragraphs 1, 2 and 3 of Legislative Decree No. 42 of January 22, 2004, reproduces a cultural heritage or markets its reproduction in the absence of or in contravention of the order of the authority in charge of the property.”

A solution for no problem

The flow of income generated from the licensing of images of cultural objects remains more or less unchanged for major museums. Peripheral and smaller museums, by contrast, lament an increase in bureaucracy not supported by the hiring of new staff. The reproduction and dissemination of images of cultural heritage in smaller museums, even for commercial purposes, contributed to the diffusion of culture and the promotion of national heritage.

The discretion that was left to individual museums when licensing images of the objects under their custody, allowed the museum staff to consider different factors: internal costs, whether they already had good quality images not covered by copyright, the promotion of the museum, the valorization of the cultural object, etc. The mandatory application of the minimum tariff stated by the guidelines makes it impossible, e.g. for state-owned museum staff, to permit the free use of images according to the open access principle. In the past, museums and other state-owned cultural institutions could allow the free use also for commercial purposes (as permitted by CC licences and tools compatible with open access) without asking for a concession fee. The discretion previously held by cultural institutions to decide whether to authorise the free use of cultural heritage images has been eliminated.

Instead of creating positions to help under-staffed museums or promoting the preservation of the Italian cultural heritage, the Ministry of Culture has enacted unnecessary restrictions. The imposition of high fixed fees for the for-profit use of images of cultural objects in the Public Domain may result in limiting the exploitation only to privileged classes of individuals, while preventing local communities or “communities of origin” with a limited budget from participating in it. Moreover, the community has not been involved in the decision-making process and has not had a chance to participate in the debate. This scenario is further complicated by the possibility for the licensing administration to deny for-profit uses of images by invoking the “decorum” exception, namely judging the declared use of the image of the artwork as inappropriate. “Decorum” is a very broad, subjective, and undefined concept that contributes to generating uncertainty in this field (see Daniele Mancorda’s contribution).

What is more, creativity is at risk! Today, when using professional photographic reproductions of works in the Public Domain, which are subject to both copyright and the Guidelines, users will face the so-called “tragedy of anticommons” (a term coined by Michael Heller). These works will be used less due to the existence of multiple layers of protection, which are hard to navigate.

The post Tales of public domain protection in Italy appeared first on COMMUNIA Association.

The answer lies not in copyright law but in the Italian cultural heritage code, Article 108 of Legislative Decree no. 42 of 2004 to be precise. This article of administrative law imposes a concession fee for the commercial reproduction of publicly owned works to be paid in advance to the institution delivering the work. Notably, the approach is also different from the concept of the Paying Public Domain or domaine public payant that exists in a number of African and Latin American countries and which taxes all uses of Public Domain works. Under the Italian cultural heritage code, fees need only to be paid for works that are held by Italian cultural heritage institutions and directly to that institution, not to the Italian state.

Cultural heritage laws should promote the public interest

We are aware of similar laws existing in Greece (Article 46 of Law no. 3028/2002 on the Protection of Antiques and Cultural Heritage in General), France (Article L621-42 of Code du Patrimoine) and Portugal (Administrative Order no. 10946/2014 on the Use of Images of Museums, Monuments and other Properties allocated to the Directorate-General for Cultural Heritage). Importantly, administrative law in general and this type of cultural heritage code in particular operate on a different logic than intellectual property law, as Simone Ariprandi explains in greater detail. Administrative law as an area of public law governs relations between legal persons and the state and not relations between private individuals. The intention is thus to promote the public interest and not to protect the private interests of authors.

The problem is that this law does quite the opposite of promoting the public interest by de facto curtailing the Public Domain. The Public Domain is an essential component not just of our copyright system, but essential to our social and economic welfare, as expressed in our Public Domain Manifesto:

[The Public Domain] is the basis of our self-understanding as expressed by our shared knowledge and culture. It is the raw material from which new knowledge is derived and new cultural works are created. The Public Domain acts as a protective mechanism that ensures that this raw material is available at its cost of reproduction — close to zero — and that all members of society can build upon it.

Imposing a fee for the use of certain Public Domain works restricts access to these public goods and thus stifles creativity. COMMUNIA is built on the conviction that the Public Domain must be upheld and guarded against attempts to enclose it from both public and private actors if we want to ensure the widest possible access to culture and knowledge and creativity to thrive.

Users should be trusted

So why do some EU countries exploit the physical ownership of works for which copyright has long expired? There are two main reasons, which from the perspective of national lawmakers might justify this measure. The first one is financial. The second one could be a paternalistic argument to retain some control over the artifacts held by national cultural heritage institutions and shield them against alleged misuse.

The financial argument does not stand up to a simple cost-benefit analysis. Fees collected through this mechanism do more harm than good, and any revenue generated is far outweighed by the heavy cost for members of society who are deprived of their fundamental right to access and enjoy culture, knowledge and information.

The notion that artists like Botticelli et al. and their work require protection from the general public is also easily dispelled. While we understand that masterpieces like the Birth of Venus are closely associated with the Uffizi and representative of Italian culture in general, this does not justify a financial barrier to the reuse of Public Domain works. There is also little evidence for the inappropriate use of Public Domain works, as stated in CC’s “What Are the Barriers to Open Culture?” report. Thus, we do not see a basis for retaining control by pricing out unwanted uses to ensure that no harm is caused to the reputation of the work, the author or the institution itself. We believe to the contrary that in an open society, the public must be trusted and enabled to make uses that are in line with fundamental freedoms, including freedom of expression.

It is unlikely that the Uffizi are worried that the commercial exploitation of the Birth of Venus per se would create a reputational risk, since this contradicts the institution’s own practice of exploiting its works of art for commercial gain. It is of course a question of personal taste whether one likes Gaultier’s printed multicolor tulle lounge pants or not. Yet a quick look at the Uffizi webshop reveals that the institution is by no means shy to market Botticelli’s masterpiece in similar ways. The visitor will find a shopping bag, a spectacle case (including a spectacle cloth), an oven glove and similar artifacts all incorporating Boticelli’s painting in some way or another. To be clear, the Uffizi should use works from their collection as they see fit to generate income. But to claim that museum professionals know better how to place the Birth on an oven glove is dubious at best.

Botticelli created the Birth of Venus during the 1480s — more than 500 years ago — and yet it remains so iconic not in spite of Jean Paul Gaultier, the Simpsons and other commercial creators referencing or incorporating the work but because of them. The transformative use of the Birth — even in a commercial context — doesn’t diminish the work, but keeps it relevant and ensures that it lives on as part of our cultural memory.

In sum, Italy’s cultural heritage code, although promoting important principles such as preservation and protection of heritage, poses a threat to the public domain, to the detriment of creators, reusers and society as a whole. While the best way forward is to remove this provision from the Italian cultural heritage code, there is in the meantime room for agency for cultural heritage institutions. Cultural heritage institutions can better fulfill their mission and still operate within the scope of the law by choosing not to request the payment of a fee by reusers of public domain heritage. The Uffizi should lead by example and withdraw its claim, and celebrate how cultural heritage is continuously being reinvented in new and unexpected ways through free creative expression.

The post The Uffizi vs. Jean Paul Gaultier: A Public Domain Perspective appeared first on COMMUNIA Association.

We believe that cultural policies, to be fit for their purpose both today and in the years ahead, need to be based on an updated vision of the role of digital heritage for Europe’s societies. We need strategies that support the creation of social, cultural, and economic value based on Europe’s heritage. This is especially true in 2020, when during the Covid-19 pandemic the value of digitised cultural heritage for our societies became clearly visible. Yet it was also a time when many of the cultural heritage institutions faced a crisis.

We need an approach to cultural heritage that recognizes its value to the society and ensures the resilience of cultural heritage institutions and the cultural sector.

Below you will find highlights of the issues that we raise in our response. You can also download the full response as a PDF file.

From the Digital Single Market to Shared Digital Europe. We need a policy framework, which acknowledges that digital and cultural policies should achieve more than just economic outcomes.

A broad definition of cultural heritage. European cultural policy needs to adopt a broad view so that it covers born-digital content, user-generated heritage or contemporary content stored in archives of public broadcasters.

Europe needs public, cultural infrastructure. Building on the success of Europeana, Europe should explore how to further develop public infrastructure that ensures availability, access to, and the possibility of reuse of cultural heritage.

From preservation and access to digital transformation. Policy goals cannot be limited to just preservation and providing access. Success will be achieved only if heritage is accessed and used.

Implementation of the Copyright in the Digital Single Market Directive and the need for more harmonisation of European copyright law. The provisions of the DSM Directive come in response to more than a decade of calls from Europe’s cultural heritage sector to adapt the EU copyright rules to the realities of the digital environment. It will now be key to ensure that these provisions will be properly implemented.

Improving rights information infrastructure. Much of the copyright issues faced by cultural heritage institutions are rooted in a lack of easily available and reliable rights information. The European Union should invest in the creation of trusted repositories. EUIPO could possibly maintain a  comprehensive repository for rights information.

Retract the Orphan Works Directive. More than 5 years after its entry into force it is abundantly clear that the 2014 Orphan works Directive is a failure that did not have any meaningful impact on the digitization of cultural heritage in the EU.

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