The Yellow Nineties 2.0

The Yellow Nineties 2.0 The Dial—Volume 1, 1889  <editor>Lorraine Janzen Kooistra</editor> </titleStmt> <editionStmt> <edition> <date>2019</date> </edition> </editionStmt> <publicationStmt> <idno>DIALV1_icon4</idno>  <publisher>The 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>Charles Ricketts and Charles Hazelwood Shannon</editor> <author>Reginald Savage</author>  <title>The Miracle of the Roses The Vale London 1889 Savage, Reginald. "The Miracle of the Roses." The Dial, vol. 1, 1889, AC. The Yellow Nineties 2.0, edited by Lorraine Janzen Kooistra, Ryerson University Centre for Digital Humanities, 2019. https://1890s.ca/dialv1-savage-roses-ac/

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.

1889 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"

The Miracle of the Roses DIALV1_icon4 The Miracle of the Roses Reginald Savage Reginald Savage DIALV1_9im 1889 AC 16cm x 15cm Illustration Lithograph, 1800 Bridge crossing, entrance to castle, rural town, women, young girl, men, soldiers, guards, wooden bridge, basket, roses, cobblestone, helmet, halo, chimney tops The Miracle of the Roses The illustration is in portrait orientation and is centered on the page. The illustration depicts a wooden bridge or portico with wooden railings leading to the entrance of a dark castle. It is occupied by various groups of people. In the left foreground, a woman is leaning back against a wooden fence which borders the bridge. Her head is slightly turned to the left, but she is looking downwards and to the right. Her right arm is held upwards, shielding the left side of her face, and her left arm is rested on the wooden fence. She has dark hair and is wearing a dual patterned dress/robe, a lightly coloured shawl, and a circular headpiece/possibly a halo. At her feet is a basket with fallen roses. A man is standing to the right of the woman. The right side of his body is leaning on the wooden fence and he is facing the woman. He is reaching out to the woman, but she appears to be resisting him. The man is dressed in a dark robe atop white tunic with an eagle insignia on his breast. He is also wearing a dark belt, metallic boots, and a metallic helmet which shields most of his head and leaves only his face exposed. In the right foreground, there is an area of rubble or cobblestone in front of the entrance to the bridge. On top of the bridge, beside and behind this pair, are various people crossing. There is a young girl with long dark hair who is slouching forward. She is dressed in a short-sleeved dress, and she is carrying a pail. In front of her, a group of four men appear to be chatting. Three of the men are dressed in dark robes and headpieces, and the remaining man in back is dressed in a white robe. Further along the bridge there are soldiers likely guarding the entrance to the castle. In the background, there are various housing structures with tall chimneys, giving the appearance of a city or town beyond the bridge. The capital initials “RS” and the engraved in the bottom right region of the illustration.