Yellow Nineties 2.0 The Savoy, Volume 8 (December 1896) <editor>Lorraine Janzen Kooistra</editor> </titleStmt> <editionStmt> <p> <date>2019</date> </p> </editionStmt> <publicationStmt> <idno>SAVOYV8_icon6</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>Frontispiece to the Comedy of Rhinegold Leonard Smithers London W December 1896 Beardsley, Aubrey. "Frontispiece to "The Comedy of the Rhinegold." The Savoy, vol. 8, December 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/savoyv8_beardsley_rhinegold

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 Theatre Studies 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"
V8 Cover SAVOYV8_icon6 SAVOYV8_icon6 Frontispiece to "The Comedy of the Rhinegold." Aubrey Beardsley Paul Naumann VI December 1896 V8, p.43 20.2 x 15cm Illustration Pen and Ink mythological stage theatre opera androgynous figure roses flames stage curtain Frontispiece to "The Comedy of the Rhinegold The framed frontispiece, in portrait orientation, combines a line-block reproduction of Beardsley’s pen-and-ink design with letterpress. The frontispiece includes the opera’s name in the bottom left corner of the page, it reads: “THE COMEDY OF THE RHINEGOLD” [caps]. The design presents as a stage curtain, with the publishing information on the scalloped decorated bottom edge and the illustration set into a frame on the face of the curtain, surrounded by flame-like decorations. The bottom edge of the curtain, which occupies about a third of the image, is divided into two parts; the lower half is white and the upper half is white. The opera’s title is separated out with one word on each line so that they are stacked on top of one another. “THE COMEDY OF” [caps] is inked in black in the white section, whereas “THE RHINEGOLD” [caps] is inked in white in the black section. At the very bottom edge, below the scalloped fringe of the curtain, there is an ornament frieze created out of three repeated shapes. The decoration looks like an eye with three interlinked hoops where the pupil ought to be. On the left edge, moving up from the fringe to the curtain, there are three roses. Within the framed image on the centre of the curtain there are three figures. The central figure is nude save for fabric hanging off their right elbow and more fabric which passes in front of their groin. The figure is androgynous. They have their right hand extended out and down. Their hair is black and takes up much of the background. There is a second androgynous figure by the first’s right shoulder, though only the top half of this figure’s face is visible and nothing else. The third androgynous nude figure stands on the right edge of the page so that only their head and chest are visible. Their black hair blends into the black hair of the first figure.