Yellow Nineties 2.0 The Savoy, Volume 3 (July 1896) <title n="SAVOYV3icon7_blake_antaeus_edited-180x***"/> <editor>Lorraine Janzen Kooistra</editor> </titleStmt> <editionStmt> <p> <date>2019</date> </p> </editionStmt> <publicationStmt> <idno>SAVOYV3_icon7</idno> <publisher>Yellow Nineties 2.0</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> </address> <availability> <p>Usable according to the Creative Commons License <ref target="http://creativecommons.org/licenses/by-nc-sa/3.0/">Attribution Non-commercial Share-alike</ref>.</p> </availability> </publicationStmt> <sourceDesc> <biblStruct> <monogr> <editor> </editor> <author>William Blake</author> <title>V3 Antaeus Setting Virgil and Dante Upon the Verge of Cocytus Leonard Smithers London W July 1896 Blake, William. "Antaeus Setting Virgil and Dante Upon the Verge of Cocytus." The Savoy, vol. 3, July 1896, p. 55. The Savoy Digital Edition, edited by Lorraine Janzen Kooistra 2018-2019. Yellow Nineties 2.0, General Editor Lorraine Janzen Kooistra, Ryerson University Centre for Digital Humanities, 2019, https://1890s.ca/savoyv3_blake_antaeus/

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.

 1896 English English literature -- 19th century -- Periodicals Great Britain -- Periodicals Visual Art Possible Genres (multiple): "Fiction," "Nonfiction," "Poetry," "Paratext" (TOC, prospecti, advertisements, frontmatter, titlepage), "Review" (older reviews), "Criticism" (including critical introductions), "Visual Art" (images, bio images), Historiography (bios),"Bibliography" (intros, crit, bios, anything with a bibliography attached), "Drama," "Ephemera," "Translation," "Religion," "Travel Writing," "Music, Other,") Still Image Possible Types (singular): "Periodical" (texts/most stuff), "Interactive Resource" (current writing, biographies, not old reviews), "Still Image" (images, visual art), "Physical Object" (posters, prospecti) Book History Art History Possible Disciplines (multiple): "Book History (include for all periodical items)," "Literature," "Art History (use for art, also use for reviews)," "History (don't use in a general sense)," "Theatre Studies," "Musicology," "Philosophy," "Anthropology," "Science"
V3 Antaeus Setting Virgil and Dante Upon the Verge of Cocytus SAVOYV3_icon7 SAVOYV3_icon7 The Savoy William Blake July 1896 London 17.5 x 12.5 cm illustration watercolour drawing Hell inferno 9th circle of Hell man poet Dante Virgil giant Antaeus cliff ledge "HELL [caps] // Canto 31" [from Dante's Inferno] V3 Antaeus Setting Virgil and Dante Upon the Verge of Cocytus The half-tone reproduction of a water-colour by William Blake is in portrait orientation and is an illustration of a scene in Dante’s Inferno. The image shows the classical Giant, Anteus in Hell, leaning backwards in an impossibly balanced posture on one toe, with one hand on a high rocky outcropping, reaching down to set a figure (Dante) down on a small ledge (the Verge of Cocytus) below, where another figure (Virgil) stands waiting. The naked giant fills the upper centre of the picture plane. In the foreground and the bottom left corner, the small rocky ledge appears just visible within the frame, extending out to almost the halfway point of the image width. Atop the small ledge stands a man facing to the right of the page and visible in profile, wearing a long robe, with his arms extended out in front, reaching toward the man being set down by the Giant (Dante). He appears resting in the gigantic hand of Antaeus. In the bottom right corner the tall rocky outcropping begins, extending to a third of the image width and nearly the entirety of its height. The outcropping has vertical lines drawn to show pieces of rock that are shifted out of line with the structure. Halfway up the height of the outcropping a stream of mist or cloud extends to the left of the page before looping up and back to the right side, leaving a semi-circle of cloud around the exterior of Giant. In the distance between the two rocky ledges lies a barren surface of land, with cracks delineating the flatness. The gigantic man takes up the rest of the space on the upper page. He has his left foot rested on the high rocky outcropping, with his right foot hanging off of the edge closest to the viewer. The rest of his body is leaned back horizontal to the ground. The man’s upper body is twisted to extend his right arm down to hold the figure below. His chest faces the viewer and his left arm clings to a piece of rock on the top edge of the high outcropping. His head is turned to face down below him, and he has a crease between his eyebrows. He has slightly downturned lips, and his nose is scrunched up. He has short wavy hair. He is extremely muscular a. The sky behind the scene is dark, almost black and the semi-circle cloud cuts through with its light colouring. In the bottom right corner is the text: “HELL [caps] Canto 31”.