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Our editorial method is informed by social-text editing principles. By “text” we mean verbal and visual printed material, including non-referential physical elements such as bindings, page layouts, and ornaments. We view any text as the outcome of collaborative processes that have specific manifestations at precise historical moments. The Yellow Nineties Online publishes facsimile editions of a select collection of fin-de- siècle aesthetic periodicals, together with paratexts of production and reception such as cover designs, advertising materials, and reviews. This historical material is enhanced by two kinds of peer-reviewed scholarly commentary: biographies of the periodicals’ contributors and associates; and critical introductions to each title and volume by experts in the field. All scholarly material on the site is vetted by the editor(s) and peer- reviewed by them and/or an international board of advisors. The site as a whole is peer- reviewed by NINES (Networked Infrastructure for Nineteenth-Century Electronic Scholarship). Contributors to the site retain personal copyright in their material. The site is licensed with a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 license. Both primary and secondary materials, including all visual images, are marked up in TEI- (Textual-Encoding Initiative) compliant XML (Extensible Markup Language). To ensure maximum flexibility for users, magazines are available on the site as virtual objects (facsimiles) in FlipBook form; in HTML for online reading; in PDF for downloading and collecting; and in XML for those who wish to review and/or adapt our tag sets. In order to make ornamental devices, such as initial letters, head- and tail- pieces, searchable, we have developed a Database of Ornament in OMEKA, and linked it to the relevant pages of each magazine edition. As a dynamic structure, a scholarly website is always in process; Phase One of The Yellow Nineties Online (2010-2015) is completed and Phase Two (2016-2021) is underway.
AN important exhibition of printed books from the better-known private presses of this country is opened to-day at the rooms of the Medici Society in Grafton Street. While it is primarily designed to show the influence of William Morris and the Kelmscott Press on the fine printing of to-day, it includes other productions, such as those of the Daniel Press, which was derived from an earlier impulse, and took up on the whole an antagonistic position, though even here the infIuence of Morris can be traced. Readers of The Athenæum will be familiar with the characteristics of the majority of the presses here represented, but they will value the opportunity of seeing them side by side and comparing their qualities, here seen to the best advantage.
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The Vale Press is represented by some of its finest works, designed to show the harmony between the engraver and the type-designer's work. Morris was a calligrapher, Ricketts an engraver, and their books can be best compared from this point of view.