Yellow Nineties 2.0 The Savoy, Volume 4 (August 1896) <title n="SAVOYV4icon8_conder_balzac_edited-180x***"/> <editor>Lorraine Janzen Kooistra</editor> </titleStmt> <editionStmt> <p> <date>2019</date> </p> </editionStmt> <publicationStmt> <idno>SAVOYV4_icon8</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>Charles Conder</author> <title>V4 A Frontispiece to Balzac's <emph rend="italic">La Fille Aux Yeux D'Or</emph> Leonard Smithers London W August 1896 Conder, Charles. "A Frontispiece to Balzac's La Fille Aux Yeux D'Or." The Savoy, vol. 4, August 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/savoyv4_conder_balzac/

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"
V4 A Frontispiece to Balzac's La Fille Aux Yeux D'Or SAVOYV4_icon8 SAVOYV4_icon8 The Savoy Charles Conder August 1896 London 18 x 12 cm illustration wood engraving of a crayon drawing nineteenth century France man woman figure horned figure devil roses frames medallion portraits cameos robe falcon bird pillar smoke cloud garland bow ribbon “LA FILLE AUX YEUX D’OR” [caps; trans = Girl with the Golden Eyes]; “BY [caps] // Honore de Balzac”//“Charles Conder. 98” V4 A Frontispiece to Balzac's La Fille Aux Yeux D'Or The image, a wood engraving of a crayon drawing by Charles Conder, is in portrait orientation. It is the frontispiece to Balzac’s La Fille Aux Yeux D’Or. This title, “LA FILLE AUX YEUX D’OR, appears in a banner with hand-lettered caps at the top edge. The text “BY [caps] // Honore de Balzac” is hand-lettered, centred, at the bottom. In the bottom left corner of the page is the artist’s signature and date: “Charles Conder. 98.”Between this publishing information are three cameo portraits suspended in cameos between two pillars fronted with allegorical figures. The two pillars rise to just below the line underscoring the title, leaving room for a falcon to sit atop each pillar. The falcons have their wings spread and their bodies facing the viewer, with their heads turned to face into the page towards each other. In the space on the upper page between the falcons and tops of the two pillars is a stream of cloudy smoke blowing from the centre of the separation line down and to the left, just in front of the left pillar. Behind the smoke is a black background made of close horizontal black lines. In the upper centre of the page is the top of the three medallion portraits. It is oval shaped and has an image of a woman in profile facing to the left. She is only visible from the shoulders and above, and has short curled hair pulled into an updo hairstyle. There is no clothing visible on her bare shoulders. The ornamental frame has a large bow hanging from the bottom edge. Behind the frame and down slightly on the page is another puff of smoke, but this one is much brighter and whiter than the one above. On the left edge of the page, standing in front of a pillar, is a half-clothed female figure. The woman is standing and facing the viewer, but her face is turned down to look at the ground. She has a nude upper body with material wrapped around her legs and behind her back. She has her right hand lifted up to cup the right side of her face. Her hair is curly and short. Her left foot is lifted slightly up from the ground on which she stands. To the right of the oval frame is a male figure standing in front of the pillar on the right. The man is wearing a robe made of many layers of draped material wrapped around him. He is standing to face the viewer, but his head is turned to face in towards the centre of the page. His face is visible in profile. He has his right arm lifted up and his long-nailed thumb is extended out to touch the edge of the oval frame. He has a hooked nose and a horn on his head, a seeming representation of the devil. His hair is short and dark. His shadow falls behind him and to the left, visible on the front of the pillar behind him. Between these standing figures are two more portrait frames, each perfectly circular. The medallion on the left shows a man facing the viewer. He has her dark hair and is wearing a dark jacket, shirt, and tie; his right hand is lifted up to his right shoulder. He is staring straight ahead. The medallion portrait beside this one is of a seated woman turned in profile to the left. The woman is visible from the waist up. She is wearing an off-the-shoulder top that is lightly shaded with polka-dots. She has curled hair that is pulled up on top her head. The two circular portraits are connected by ribbons and bows that hang down from the bottom of each of them and tied together in the middle space below. The remainder of the page is the light-coloured and festooned with roses.