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            <title>The Yellow Nineties Online</title>
            <title>Bow Bells</title>
            <title type="EG2_Review_Bow_Bells_Nov_1895"/>
            <editor>Lorraine Janzen Kooistra</editor>
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         <editionStmt>
            <edition>
               <date>2019</date>
            </edition>
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            <idno>R_BB_1195_EGV2</idno>

            <publisher>The Yellow Nineties Online</publisher>
            <pubPlace>Ryerson University</pubPlace>
            <address>
               <addrLine>English Department</addrLine>
               <addrLine>350 Victoria Street,</addrLine>
               <addrLine>Toronto ON,</addrLine>
               <addrLine>M5B 2K3</addrLine>
               <addrLine>Canada</addrLine>
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               <p>Usable according to the Creative Commons License <ref
                     target="http://creativecommons.org/licenses/by-nc-sa/3.0/">Attribution
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                  <editor>Unknown</editor>
                  <author>Unknown</author>
                  <title level="j">Bow Bells</title>
                  <title level="a">The Evergreen</title>
                  <imprint>
                     <publisher>Unknown</publisher>
                     <pubPlace>London</pubPlace>
                     <date>15 Nov 1895</date>
                     <biblScope>"The Evergreen." Review of <emph rend="italic">The
                           Evergreen: A Northern Seasonal</emph>, vol.2, Autumn 1895, <emph rend="italic">Bow Bells</emph> Nov 1895,
                        p. 491. <emph rend="italic">Yellow Nineties 2.0,</emph> edited by
                        Lorraine Janzen Kooistra, Ryerson University Centre for Digital Humanities, 2019.
                        https://1890s.ca/EG2_Review_Bow_Bells_Nov_1895/
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            <p>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.</p>
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            <date>1895</date>
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         <head>
            <title level="a"><emph rend="bold">The Evergreen</emph></title>
        
         </head>
         <p>WE have received <emph rend="italic">The Evergreen&#160;; or, the Book of <lb/>
            Autumn, A Northern Seasonal</emph> (published by <lb/>
            Messrs. Patrick Geddes and Colleagues, of the Lawn- <lb/>
            market, Edinburgh, and by Mr. T. Fisher Unwin, of <lb/>
            Paternoster Square, E.C.).&#x2014; The work is tastefully <lb/>
            got up, being bound in embossed leather, and superbly <lb/>
            printed on fine paper, with rough sides, while tbe illus- <lb/>
            trations are of a remarkably bold and unconventional <lb/>
            character.&#160;&#160;&#160; This issue of the "Evergreen" is, we <lb/>
            gather, particularly concerned with the Celtic Renas- <lb/>
            cence, now incipient in literature as well as art, and the <lb/>
            revival and development of the old Continental sym-·<lb/>
            pathies of England. It joins also in the rallying call of <lb/>
            a "Return to Nature," and seeks to link the Autumn <lb/>
            of our age with an approaching spring, so passing <lb/>
            through Decadence towards Renascence.&#160;&#160;&#160; In the <lb/>
            chapter on the "Biology of Autumn," <ref target="#JTH"> J. Arthur</ref> <lb/>
            <ref target="#JTH">Thompson</ref>, the following fine passage, among others, <lb/>
            occurs:&#x2014;<lb/>
            &#160;&#160;&#160;"But in the very midst of death, one is impressed <lb/>
            with the abundance of life. It is the time of seed- <lb/>
            scattering. The cotton-grass has unfurled its white <lb/>
            sails on the moor, clouds of thistledown and ragwort <lb/>
            nutlets, with equally dainty parachutes, are swept over <lb/>
            the waste ; the hooked fruits of burdock, houndstongue, <lb/>
            and how many more, cling to our clothes and to the <lb/>
            sheep's fleece ; all sorts of pods and capsules have <lb/>
            opened, and gusts of wind&#x2014;how much more the equi- <lb/>
            noctial gales&#x2014;have scattered the seeds.&#160;&#160;&#160;The pro- <lb/>
            digality is as unmeasurable as it is providential." <lb/>
            &#160;&#160;&#160;In the essay, too, on the "Sociology of Autumn," by<lb/>
            My. <ref target="#PGE">Patrick Geddes</ref>, there is some clever writing, as the <lb/>
            following brief extract will show :&#x2014;<lb/>
            &#160;&#160;&#160;"Again, then, as of old the child shall know how the <lb/>
            earth and sun determine the seasons; these the plant <lb/>
            and animal life; and thus also, indirectly as well as <lb/>
            directly, our own essential life and labour. Into this <lb/>
            simple chain, henceforward unbroken, all minor <lb/>
            specialisms, their loose facts woven firmly into chains <lb/>
            of causation, shall be securely linked. To develop this <lb/>
            simple lesson, this House the Sun Built, all our <lb/>
            specialists are needed, astronomer and meteorologist, <lb/>
            zoologist and botanist, economist, writer. and critic. <lb/>
            And (as in the educative initiations of the ancient <lb/>
            mysteries) the lore or the seasons furnishes the central <lb/>
            thread. &#160;&#160;&#160;Our glorious autumn of harvest and woodland, <lb/>
            her pathos of fall and decay, have indeed been familiar <lb/>
            from that very dawn of art and poetry, which her wealth <lb/>
            and wine, her joy and sorrow, have done perhaps most <lb/>
            of all the seasons to awaken." <lb/>
            &#160;&#160;&#160;As a gift-book, or for placing on the drawing-room <lb/>
            table, the "Evergreen" is, we opine, eminently suit- <lb/>
            able in all respects. </p>
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