Yellow Nineties 2.0 The Savoy, Volume 3 (July 1896) <title n="SAVOYV3icon4_blake_portico_edited-180x***"/> <editor>Lorraine Janzen Kooistra</editor> </titleStmt> <editionStmt> <p> <date>2019</date> </p> </editionStmt> <publicationStmt> <idno>SAVOYV3_icon4</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 The Passing of Dante and Virgil Through the Portico of Hell Leonard Smithers London W July 1896 Blake, William. "The Passing of Dante and Virgil Through the Portico of Hell." The Savoy, vol. 3, July 1896, p. 43. 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_portico/

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 The Passing of Dante and Virgil Through the Portico of Hell SAVOYV3_icon4 SAVOYV3_icon4 The Savoy William Blake July 1896 London 18 x 13 cm illustration watercolour drawing fantasy hell outdoors forest portal Gate of Hell portico man men poet Dante Virgo the damned portal trees roots threshold "HELL [caps] Canto 3" [referencing Dante's Inferno] V3 The Passing of Dante and Virgil Through the Portico of Hell This halftone reproduction of a water-colour drawing by William Blake illustrating Dante’s Inferno appears in portrait orientation. The image shows two central figures with their back to the viewer standing at the gate [“portico”] of hell and about to enter. On either side of the portal is a tall tree with leaves swirling around the trunk, extending the entire height of the image.. The mirroring trees have roots that creep towards each other toward the centre bottom of the image. The two lightly robed figures [the poets Dante and Virgil] stand in front of these roots, on a threshold that leads into a vision of hell. The figure on the left is standing with his left arm lifted straight up and palm turned up to the sky. He is in mid-step, with his right leg lagging slightly behind and lifted as if it were about to step forwards. His face is turned to look up at his left hand, and his light-coloured hair falls down his back. His right arm is extended down and slightly to his right, reaching towards the other figure. The other figure mirrors the first in having the outside arm, this time their right arm, extended up and out to the side. This figure has shorter hair, and has their face turned toward the other figure, giving the viewer a three-quarters profile. Both figures are wearing a transparent veil of material surrounding their legs and draping around their feet. Through the threshold of the gates of hell there is a path, a sea, and a series of five layers of hills and jagged triangular shapes. The hills are shaded in an ombre effect, going from dark at the top edge to light near the bottom. There appears three roughly sketched figures atop the second hill from the front. Across the surface of the portal appears various random streaks of shading. In the small section above the portal is the open sky. In the bottom right corner of the page appears the text: “HELL [caps] Canto 3” [citing Dante’s Inferno].