Yellow Nineties 2.0 The Savoy, Volume 7 (November 1896) <editor>Lorraine Janzen Kooistra</editor> </titleStmt> <editionStmt> <p> <date>2019</date> </p> </editionStmt> <publicationStmt> <idno>SAVOYV7_icon2</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>Arthur Symons </editor> <author>Aubrey Beardsley</author> <title>Title Page Leonard Smithers London W November 1896 Beardsley, Aubrey. "Titlepage" The Savoy, vol. 7, November 1896, p. 2. 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/savoyv7_beardsley_titlepage

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"
Title Page SAVOYV7_icon2 SAVOYV7_icon2 Title Page Aubrey Beardsley Paul Naumann II November 1896 V7, p.5 25 x 19cm Illustration Pen and Ink 1890s/fantasy man pierrot clown Horse, winged horse, pegasus bow slippers wings whip ruffles tri-corner hat quill pen, feather pen paint brush Banner pennant “THE SAVOY” [caps] “EDITED BY ARTHUR SYMONS” [caps] “No. 3” “July” “1896” “A B.” [caps] “Ne luppiter quidem omnibus placet”. [Latin text translates as: Not even Jupiter can please everyone] “LEONARD SMITHERS” [caps] “ARUNDEL STREET, STRAND” [caps] “LONDON W.C.” [caps] Title Page The unframed title page, in portrait orientation, combines a line-block reproduction of a pen-and-ink design with letterpress. The image shows one figure [a Pierrot] riding a winged horse [a Pegasus] in the centre of the page with publishing information printed in the surrounding area. In the upper left corner is the text: “THE” [large caps] and one line below the text: “SAVOY” [large caps]. These two lines of text are left-aligned and indicate the title: “THE SAVOY” [caps]. To the right side of the page and appearing in line with the centre of the title text is the editing information: “EDITED BY ARTHUR SYMONS” [small caps]. Below the title on the left side of the page, still in about the top third, is the text: “No. 3”, and below that the text: “July”, and below that line: “1896”. These three lines are centred with each other. To the right of this text is the image of the figure on the horse. The horse and figure are facing towards the left; the horse is in profile and the figure is turned to face the viewer. The horse is rearing, with both front legs lifted up into the air. The horse spans the width of the page and is about half of the page height. The horse has a long tail trailing behind. The horse’s mouth is slightly opened and the pointed ears are pulled back. The mane is curled and a few pieces fall forwards toward the eyes. The horse has large wings emerging from the sides of its ribcage. The wings are made up of many feathers of various sizes and are formed like eagle wings, with a smaller section on the bottom half and a larger pointed portion of the wing on the top half. Between the wings sits a male figure dressed like a Pierrot or clown. The figure has his upper body turned to face the viewer, with both arms opened wide and lifted up into the air. He is wearing slippers with a bow on the toe, baggy pants that fall just above the ankle, and a baggy shirt that has buttons up the front. The shirt has large ruffles on the sleeve hems and a large ruffle around the figure’s neck, finished with a ruff and flowing, loosely tied bow. He is wearing a white three-cornered hat. The figure has a long whip in his right hand that extends high above him. A feather pen and paintbrush extend over his shoulder behind his back, and a banner or pennant flows behind him. To the right of the centre of the horse and figure, just below the right wing tip, is the small text: “A B.” [caps]. A Latin epigraph appears just below the belly of the horse, very small and italicized, which reads: “Ne luppiter quidem omnibus placet” [Not even Jupiter can please everyone]. Centred below are the three final lines of text. The first line, and largest sized text of the three, reads: “LEONARD SMITHERS” [caps]. The second line reads: “ARUNDEL STREET, STRAND” [caps]. The third and final line centred below is the mid-size between the above two lines, and it reads: “LONDON W.C.” [caps].