Yellow Nineties 2.0 The Savoy, Volume 3 (July 1896) <title n="SAVOYV3icon5_blake_francesca_edited-180x***"/> <editor>Lorraine Janzen Kooistra</editor> </titleStmt> <editionStmt> <p> <date>2019</date> </p> </editionStmt> <publicationStmt> <idno>SAVOYV3_icon5</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 Francesca and Paolo Leonard Smithers London W July 1896 Blake, William. "Francesca and Paolo." The Savoy, vol. 3, July 1896, p. 47. 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_francesca/

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 Francesca and Paolo SAVOYV3_icon5 SAVOYV3_icon5 The Savoy William Blake July 1896 London 13 x 18 cm illustration engraving fantasy Hell sea sun waves flames rock woman Francesca man Paolo Dante the damned V3 Francesca and Paolo This halftone reproduction of a steel-plate engraving by William Blake is in landscape orientation. The image shows a scene from Dante’s Inferno, in which the poet, Dante, sees the shades of the adulterous lovers, Paolo and Francesca, in the first circle of hell, where the damned writhe in endless torment. These three figures form the centre of the composition. Dante is positioned In the mid-ground to the right of centre on a piece of rocky land jutting out into a sea. He is wearing a long robe and has long hair; his hands are out to the side, palms down. He stands facing the viewer with his body slightly turned to the left of the page, and bent down at the waist. He is looking down at a body that lies horizontally at his feet. The body is lying prone with its arms at its sides and face to the sky. The land on which he stands is covered by some water from the crashing waves. Dante turns to the shades of Paolo and Francesca, in an enclosed flame beside and above him. Paolo, is on the left and Francesca on the right; they are holding each other in their arms. Francesca, the woman, is wearing a flowing dress and Paolo, the man, appears to be naked. To the right of the flame that encloses them, and above the figure of Dante, in the top right corner, is a bright sun-like circle with two figures inside of it. Within the circle is one faceless figure seated on the left and another seated to the right; they appear to be on a rock. Dark lines extend out to the left and right, and then extend down to the sealine and up to the top of the page, forming the sky. The foreground of the image is comprised of swirls of flame containing naked bodies of the damned above the sea [of brimstone].