<rdf:RDF xmlns:rdf="http://www.w3.org/1999/02/22-rdf-syntax-ns#" xmlns:dcterms="http://purl.org/dc/terms/">
<rdf:Description rdf:about="http://ornament.library.torontomu.ca/items/show/79">
    <dcterms:title><![CDATA[A Summer Air]]></dcterms:title>
    <dcterms:description><![CDATA[5 8-line stanzas, ababcdcd]]></dcterms:description>
    <dcterms:creator><![CDATA[Poem by Fiona Macleod]]></dcterms:creator>
    <dcterms:creator><![CDATA[<a href="http://ornament.library.ryerson.ca/files/show/225">Headpiece</a> by Helen Hay]]></dcterms:creator>
    <dcterms:creator><![CDATA[<a href="http://ornament.library.ryerson.ca/files/show/227">Tailpiece</a> by Annie Mackie]]></dcterms:creator>
    <dcterms:source><![CDATA[<a href="http://archive.org/details/evergreennorther03gedduoft#page/104/mode/2up"><em>The Evergreen</em> Volume 3, p104-105</a>]]></dcterms:source>
    <dcterms:source><![CDATA[<a href="https://1890s.ca/egv3_macleod_air/">"A Summer Air" at <em>Yellow Nineties 2.0</em></a>]]></dcterms:source>
    <dcterms:publisher><![CDATA[Patrick Geddes &amp; Colleagues]]></dcterms:publisher>
    <dcterms:date><![CDATA[Summer 1896]]></dcterms:date>
    <dcterms:created><![CDATA[17 May 2017, KF]]></dcterms:created>
    <dcterms:><![CDATA[27 June 2017, KF<br />
6 Nov 2017, ljk<br />
3 January 2023, rb]]></dcterms:>
    <dcterms:rights><![CDATA[Public Domain<br />
Toronto Metropolitan University Library Archives and Special Collections]]></dcterms:rights>
    <dcterms:license><![CDATA[<a rel="license" href="http://creativecommons.org/licenses/by/4.0/"><img alt="Creative Commons Licence" style="border-width: 0;" src="https://i.creativecommons.org/l/by/4.0/88x31.png" /></a><br />This work is licensed under a <a rel="license" href="http://creativecommons.org/licenses/by/4.0/">Creative Commons Attribution 4.0 International License</a>.]]></dcterms:license>
    <dcterms:relation><![CDATA[<a href="https://1890s.ca/evergreen-volumes/"><em>Evergreen Digital Edition</em></a>, edited by Lorraine Janzen Kooistra, 2016-2018. <em>Yellow Nineties 2.0</em>, Toronto Metropolitan University Centre for Digital Humanities, 2019.]]></dcterms:relation>
    <dcterms:conformsTo><![CDATA[Dublin Core Metadata]]></dcterms:conformsTo>
    <dcterms:language><![CDATA[English]]></dcterms:language>
    <dcterms:type><![CDATA[Image, text]]></dcterms:type>
    <dcterms:type><![CDATA[Poem]]></dcterms:type>
    <dcterms:identifier><![CDATA[EGV3_macleod_air<br />
EGV3o_decorp_p104<br />
EGV3o_hay_head_p104<br />
EGV3o_decorp_p105<br />
EGV3o_mackie_tail_p105]]></dcterms:identifier>
</rdf:Description><rdf:Description rdf:about="http://ornament.library.torontomu.ca/items/show/92">
    <dcterms:title><![CDATA[A Winter Song]]></dcterms:title>
    <dcterms:subject><![CDATA[age comes to reveler in form of crone]]></dcterms:subject>
    <dcterms:description><![CDATA[3 quatrains, abab<br />
]]></dcterms:description>
    <dcterms:creator><![CDATA[Poem by Sir George Douglas]]></dcterms:creator>
    <dcterms:creator><![CDATA[<a href="http://ornament.library.ryerson.ca/files/show/264">Headpiece </a>by Nellie Baxter]]></dcterms:creator>
    <dcterms:source><![CDATA[<a href="http://archive.org/details/evergreennorther04gedduoft#page/20/mode/2up"><em>The Evergreen</em> Volume 4, p21</a>]]></dcterms:source>
    <dcterms:source><![CDATA[<a href="https://1890s.ca/egv4_douglas_song/">"A Winter Song" at <em>Yellow Nineties 2.0</em></a>]]></dcterms:source>
    <dcterms:publisher><![CDATA[Patrick Geddes &amp; Colleagues]]></dcterms:publisher>
    <dcterms:date><![CDATA[Winter 1896-1897]]></dcterms:date>
    <dcterms:><![CDATA[25 July 2017, KF<br />
13 Nov 2017, ljk<br />
3 January 2023, rb]]></dcterms:>
    <dcterms:rights><![CDATA[Public Domain<br />
Toronto Metropolitan University Library Archives and Special Collections]]></dcterms:rights>
    <dcterms:license><![CDATA[<a rel="license" href="http://creativecommons.org/licenses/by/4.0/"><img alt="Creative Commons Licence" style="border-width: 0;" src="https://i.creativecommons.org/l/by/4.0/88x31.png" /></a><br />This work is licensed under a <a rel="license" href="http://creativecommons.org/licenses/by/4.0/">Creative Commons Attribution 4.0 International License</a>.]]></dcterms:license>
    <dcterms:relation><![CDATA[<a href="https://1890s.ca/evergreen-volumes/"><em>Evergreen Digital Edition</em></a>, edited by Lorraine Janzen Kooistra, 2016-2018. <em>Yellow Nineties 2.0</em>, Toronto Metropolitan University Centre for Digital Humanities, 2019.]]></dcterms:relation>
    <dcterms:conformsTo><![CDATA[Dublin Core Metadata]]></dcterms:conformsTo>
    <dcterms:language><![CDATA[English]]></dcterms:language>
    <dcterms:type><![CDATA[Image, text]]></dcterms:type>
    <dcterms:type><![CDATA[Poem]]></dcterms:type>
    <dcterms:identifier><![CDATA[EGV4_douglas_song<br />
EGV4o_decorp_p21<br />
EGV4o_baxter_head_p21]]></dcterms:identifier>
</rdf:Description><rdf:Description rdf:about="http://ornament.library.torontomu.ca/items/show/193">
    <dcterms:title><![CDATA[Advertisements]]></dcterms:title>
    <dcterms:subject><![CDATA[The ornament appears under the ad for The Green Sheaf School of Hand-Colouring and above the List for Elkin Mathews]]></dcterms:subject>
    <dcterms:description><![CDATA[advertising]]></dcterms:description>
    <dcterms:creator><![CDATA[Pamela Colman Smith]]></dcterms:creator>
    <dcterms:source><![CDATA[<a href="https://archive.org/details/green_sheaf_1903_04/page/n15/mode/2up"><em>The Green Sheaf</em>, No.4, p. 15</a>]]></dcterms:source>
    <dcterms:source><![CDATA[<a href="https://1890s.ca/GSV4-ads/">"Advertisements" at <em>Yellow Nineties 2.0</em></a>]]></dcterms:source>
    <dcterms:publisher><![CDATA[Pamela Colman Smith]]></dcterms:publisher>
    <dcterms:date><![CDATA[[August] 1903]]></dcterms:date>
    <dcterms:><![CDATA[January 17 2023, rb]]></dcterms:>
    <dcterms:rights><![CDATA[Public Domain<br />
Mark Samuels Lasner Collection, University of Delaware Library, Museums, and Press.]]></dcterms:rights>
    <dcterms:license><![CDATA[<a rel="license" href="http://creativecommons.org/licenses/by/4.0/"><img alt="Creative Commons Licence" style="border-width: 0;" src="https://i.creativecommons.org/l/by/4.0/88x31.png" /></a><br />This work is licensed under a <a rel="license" href="http://creativecommons.org/licenses/by/4.0/">Creative Commons Attribution 4.0 International License</a>.]]></dcterms:license>
    <dcterms:relation><![CDATA[<a href="https://1890s.ca/green-sheaf-volumes/"><i>Green Sheaf Digital Edition</i></a><span>, edited by Lorraine Janzen Kooistra.&nbsp;</span><i>Yellow Nineties 2.0</i><span>, Toronto Metropolitan University Centre for Digital Humanities, 2022.</span>]]></dcterms:relation>
    <dcterms:conformsTo><![CDATA[Dublin Core Metadata]]></dcterms:conformsTo>
    <dcterms:language><![CDATA[English]]></dcterms:language>
    <dcterms:type><![CDATA[magazine page]]></dcterms:type>
</rdf:Description><rdf:Description rdf:about="http://ornament.library.torontomu.ca/items/show/26">
    <dcterms:title><![CDATA[Almanac ]]></dcterms:title>
    <dcterms:subject><![CDATA[Astronomical signs for spring]]></dcterms:subject>
    <dcterms:description><![CDATA[decorated page]]></dcterms:description>
    <dcterms:creator><![CDATA[Helen Hay]]></dcterms:creator>
    <dcterms:source><![CDATA[<a href="https://archive.org/details/evergreennorther01gedduoft/page/n9/mode/2up"><em>The Evergreen</em> Volume 1, p5</a><br /><a href="https://1890s.ca/egv1_hay_almanac/">At <em>Yellow Nineties 2.0</em></a>]]></dcterms:source>
    <dcterms:publisher><![CDATA[Patrick Geddes &amp; Colleagues]]></dcterms:publisher>
    <dcterms:date><![CDATA[Spring 1895]]></dcterms:date>
    <dcterms:><![CDATA[Nov. 3, 2015 KF<br />
2 Nov 2017, ljk<br />
27 November 2022, rb]]></dcterms:>
    <dcterms:rights><![CDATA[Public Domain<br />
Toronto Metropolitan University Library Archives and Special Collections]]></dcterms:rights>
    <dcterms:license><![CDATA[<a rel="license" href="http://creativecommons.org/licenses/by/4.0/"><img alt="Creative Commons Licence" style="border-width: 0;" src="https://i.creativecommons.org/l/by/4.0/88x31.png" /></a><br />This work is licensed under a <a rel="license" href="http://creativecommons.org/licenses/by/4.0/">Creative Commons Attribution 4.0 International License</a>.]]></dcterms:license>
    <dcterms:relation><![CDATA[<a href="https://1890s.ca/evergreen-volumes/"><em>Evergreen Digital Edition</em></a>, edited by Lorraine Janzen Kooistra, 2016-2018. <em>Yellow Nineties 2.0</em>, Toronto Metropolitan University Centre for Digital Humanities, 2019.]]></dcterms:relation>
    <dcterms:conformsTo><![CDATA[Dublin Core Metadata]]></dcterms:conformsTo>
    <dcterms:type><![CDATA[Image, text<br />
Calendar]]></dcterms:type>
    <dcterms:identifier><![CDATA[EGV1_hay_almanac]]></dcterms:identifier>
</rdf:Description><rdf:Description rdf:about="http://ornament.library.torontomu.ca/items/show/50">
    <dcterms:title><![CDATA[Amel and Penhor]]></dcterms:title>
    <dcterms:subject><![CDATA[After the Breton Legend, as narrated by Paul Féval]]></dcterms:subject>
    <dcterms:description><![CDATA[Recounts a story of Saint Malo, in northern Brittany, and its legend of a Great Flood. Penhor, daughter of Bud, was wife of Amel, who tended the flocks of Annan, the great seigneur; Childless Penhor weaves a veil for Holy Mary; gets the baby she prays for, and dedicates her son (Raoul) , when born, to Mary’s divine colour, blue. When flood comes to the village, the church is full, and Penhor, Amel, Raoul can’t get into the church for safety. The waters rise. First Amel tells Penhor to climb on his shoulder, so she and the baby can live; then Amel holds Raoul above her head, so he can live. They all die, but Mary carries the three souls direct to heaven, because of their great love for each other.<br />
<br />
]]></dcterms:description>
    <dcterms:creator><![CDATA[Legend retold by Edith Wingate Rinder]]></dcterms:creator>
    <dcterms:creator><![CDATA[<a href="http://ornament.library.ryerson.ca/files/show/134">Headpiece</a> by Nellie Baxter, Marion A. Mason, and Annie Mackie]]></dcterms:creator>
    <dcterms:source><![CDATA[<a href="http://archive.org/details/evergreennorther02gedduoft/page/92/mode/2up"><em>The Evergreen</em> Volume 2, p93-98</a>]]></dcterms:source>
    <dcterms:source><![CDATA[<a href="https://1890s.ca/egv2_rinder_amel/">"Amel and Penhor" at <em>Yellow Nineties 2.0</em></a>]]></dcterms:source>
    <dcterms:publisher><![CDATA[Patrick Geddes &amp; Colleagues]]></dcterms:publisher>
    <dcterms:date><![CDATA[Autumn 1895]]></dcterms:date>
    <dcterms:><![CDATA[30 October 2017, ljk<br />
3 January 2023, rb]]></dcterms:>
    <dcterms:rights><![CDATA[Public Domain<br />
Toronto Metropolitan University Library Archives and Special Collections]]></dcterms:rights>
    <dcterms:license><![CDATA[<a rel="license" href="http://creativecommons.org/licenses/by/4.0/"><img alt="Creative Commons Licence" style="border-width: 0;" src="https://i.creativecommons.org/l/by/4.0/88x31.png" /></a><br />This work is licensed under a <a rel="license" href="http://creativecommons.org/licenses/by/4.0/">Creative Commons Attribution 4.0 International License</a>.]]></dcterms:license>
    <dcterms:relation><![CDATA[<a href="https://1890s.ca/evergreen-volumes/"><em>Evergreen Digital Edition</em></a>, edited by Lorraine Janzen Kooistra, 2016-2018. <em>Yellow Nineties 2.0</em>, Toronto Metropolitan University Centre for Digital Humanities, 2019.]]></dcterms:relation>
    <dcterms:conformsTo><![CDATA[Dublin Core Metatdata]]></dcterms:conformsTo>
    <dcterms:language><![CDATA[English]]></dcterms:language>
    <dcterms:type><![CDATA[Image, Text]]></dcterms:type>
    <dcterms:type><![CDATA[Essay]]></dcterms:type>
    <dcterms:identifier><![CDATA[EGV2o_decorp_p93<br />
EGV2o_head_p93]]></dcterms:identifier>
</rdf:Description><rdf:Description rdf:about="http://ornament.library.torontomu.ca/items/show/23">
    <dcterms:title><![CDATA[An Evening in June ]]></dcterms:title>
    <dcterms:subject><![CDATA[Love]]></dcterms:subject>
    <dcterms:description><![CDATA[Janet Balfour, a cripple loves a man who loves another, and is disappointed in love]]></dcterms:description>
    <dcterms:creator><![CDATA[Story by Gabriel Setoun]]></dcterms:creator>
    <dcterms:creator><![CDATA[<a href="http://ornament.library.ryerson.ca/files/show/69">Initial</a> by Unknown]]></dcterms:creator>
    <dcterms:creator><![CDATA[<a href="http://ornament.library.ryerson.ca/files/show/71">Tailpiece</a> by Unknown]]></dcterms:creator>
    <dcterms:source><![CDATA[<a href="https://archive.org/details/evergreennorther01gedduoft/page/118/mode/2up"><em>The Evergreen</em> Volume 1, p119-125 [flipbook]</a>]]></dcterms:source>
    <dcterms:source><![CDATA[<a href="https://1890s.ca/egv1_setoun_evening/">"An Evening in June" at <em>Yellow Nineties 2.0</em></a>]]></dcterms:source>
    <dcterms:publisher><![CDATA[Patrick Geddes &amp; Colleagues]]></dcterms:publisher>
    <dcterms:date><![CDATA[Spring 1895]]></dcterms:date>
    <dcterms:><![CDATA[3 Nov. 2015, KF; 30 October 2017, ljk<br />
27 November 2022, rb]]></dcterms:>
    <dcterms:rights><![CDATA[Public Domain<br />
Toronto Metropolitan University Library Archives and Special Collections]]></dcterms:rights>
    <dcterms:license><![CDATA[<a rel="license" href="http://creativecommons.org/licenses/by/4.0/"><img alt="Creative Commons Licence" style="border-width: 0;" src="https://i.creativecommons.org/l/by/4.0/88x31.png" /></a><br />This work is licensed under a <a rel="license" href="http://creativecommons.org/licenses/by/4.0/">Creative Commons Attribution 4.0 International License</a>.]]></dcterms:license>
    <dcterms:relation><![CDATA[<a href="https://1890s.ca/evergreen-volumes/"><em>Evergreen Digital Edition</em></a>, edited by Lorraine Janzen Kooistra, 2016-2018. <em>Yellow Nineties 2.0</em>, Toronto Metropolitan University Centre for Digital Humanities, 2019.]]></dcterms:relation>
    <dcterms:conformsTo><![CDATA[Dublin Core Metadata]]></dcterms:conformsTo>
    <dcterms:language><![CDATA[English]]></dcterms:language>
    <dcterms:type><![CDATA[Image, Text]]></dcterms:type>
    <dcterms:type><![CDATA[Story]]></dcterms:type>
    <dcterms:identifier><![CDATA[EGV1_setoun_evening<br />
EGV1o_decorp_p119<br />
EGV1o_init_p119<br />
EGV1o_decorp_p125<br />
EGV1o_tail_p125]]></dcterms:identifier>
</rdf:Description><rdf:Description rdf:about="http://ornament.library.torontomu.ca/items/show/58">
    <dcterms:title><![CDATA[Arbor Saeculorum [Tree of History]]]></dcterms:title>
    <dcterms:subject><![CDATA[The Arbor Saeculorum is a black-and-white design based on the stained glass window in the Outlook Tower, Edinburgh. The window is a student’s commemoration of teaching and research devoted to an interpretation of the Past and the Present for the foresight and guidance of the Future. The symbolism of this Arbor Saeculorum is explained in the companion volume: ‘Ideas at War,’ By Professor Geddes and Dr Gilbert Slater:<br />
[20] &quot;To give all this yet clearer definition, let us map out once more the stream of history, as one of those &quot;Graphic Charts,&quot; which were so common in the eighteenth and early nineteenth centuries, and are again coming into every adequately conducted history-class. But now on a larger and fuller scale than usual (not less, for instance, than the metre per century of our Edinburgh Outlook Tower endeavour); and marked not merely with the succession of princes and their most &#039;decisive battles.&#039; &quot;<br />
[21] &quot;Cease to concentrate attention on the individual wave-crests and wave-marks, but map the great tides of time to which the waves belonged. In broad and simple ways we all do this: as [22] when we speak of Egyptian and Hebrew, Greek and Roman, times and their civilizations, and again of the Middle Ages, of the Renaissance, of the Revolution, and as we shall especially do in the following chapters, of the evolution of the industrially, mechanically and politically Liberal age into an Imperial order, as this into a Financial period.&quot;<br />
...<br />
[22]&quot;The chart of annals is readily imaged as a stream, the august River of Time; but this [23] more general presentment will be found to suit best a more organic imagery, perhaps most conveniently that of a World-Tree. As over against the apple tree of knowledge, there grows the vine of life, so beside the Cosmic Tree, Ygdrasil, we see this Historic Tree, Arbor Saeculorum.<br />
&quot;This tree takes definite and simple shape; it is like a young pine, with definite nodes, one for each great period, and each with its radiating branches for their essential types, their characteristic social formations. To the left hand, for each period let us allocate a [24] pair of these branches for the temporal power, the plebeians and patricians, the people and chiefs of each period; and to the right hand a corresponding pair of branches of the spiritual power, the &#039;intellectuals and the emotionals,&#039; &#039;the regulars and the seculars,&#039; or, in terms more modern (and still unsatisfactory), the institutionals and expressionals, the initiators and realizers (or shall we say, again in antique parlance initiates and adepts?). To give this definiteness we mark along the right and left margins a series of symbols at once defining each branch, and correlating each pair, each node.<br />
&quot;Thus, reading from below upwards, we see half-submerged, on the one hand, the crown of Egypt, on the other the winged orb of immortality. Above these are the star of Solomon for the temporal greatness of Israel, and to the right the sacred name. So for the Greeks with their vivid practical and intellectual life --the galley, of trade or of Ulysses, balanced by the aegis of Pallas. With the Roman order, patrician and plebeian orders become clearly differentiated. Hence for the former, the Standard for power, colonization, conquest [25] and empire, with the Fasces for law and justice as the virtual religion and science characteristic of old Rome at its best; while also for the slave, the chain of temporal bondage on one hand, but the sacred monogram. badge of enfranchisement, upon the other.<br />
&quot;So for the Middle Ages. The helmet of chivalry is followed by the charter of the borough, guarantee of civic democracy. The first is balanced on the spiritual side by the papal tiara; while for spiritual emblem of the town life we have here--too cynically, be it confessed--but the barrels of the Kermesse, the intemperance in which urban prosperity is ever wont to drown its idealism of fraternity while seeking to express it.<br />
&quot;Next the Renaissance, with the plebeian origin of its new nobles suggested upon their blazons and following upon these the Puritan hat. On the spiritual side correspond the Greek letters for the intellectual aristocracy of the Renaissance, and the open Bible with the spiritual keys transferred to it, as the central authority of emotional conviction and guidance of the Reformation.<br />
&quot;Then the Revolution! On the temporal side [26] the (materialistic) crozier and sword go down below the toothed wheel of industry, while on the spiritual side the fleur-de-lis of Divine Right sinks below the Cap of Liberty. Always, as before, we have each pair of corresponding branches, four in all, for People and Emotionals, Chiefs and Intellectuals respectively. *<br />
&quot;Finally, in our present or passing time, the strife of labour and capital, the contrast of empty hands unemployed or in strike, with golden purse, and on the other the corresponding flags, black and red, of anarchy and of socialism (blowing in what should be contrary winds of doctrine). Yet beyond this node, the Phoenix of action, the Psyche of thought, are again flying free: while, between them, there rises a new quatrefoil, enclosing the long-dreamed flower, whose buds may some day open.<br />
&quot;So far this first climbing of the tree of general history. With each re-ascent new [27] general ideas will appear. Enough, however, here to note once more, that each node is concealed from its predecessor and successor by a twining wreath of smoke--symbol of our forgetfulness of the past ages, our blindness to those succeeding. Yet for this present purpose of the study of wars also observe how it may express the destructive crises, the wars external, internal, or both, in and through which each great transition has been accomplished. Rebellion and Exodus of Hebrews; antagonism of Israel and Greece, of Greece and Rome; Fall of Rome before the rise of the Middle Ages; breakdown of these with the fall of Constantinople, with Renaissance and Reformation and their wars! Wars of the Revolution and wars of Empire; above all, war of to-day! Yet all this is expressed in a stained window set up by the students of an Edinburgh Summer Meeting a full half-generation ago, to record the essentials of a course which had interested them.&quot;<br />
...<br />
[28] &quot;But this tree of history, the observant traveller will find in every city he visits, every village, often hamlet even. Upon the changing town-plan, with its corresponding monuments, edifices, survivals of all kinds, he reconstructs the main aspect of its branchings....&quot;<br />
....historians have &quot;well nigh forgotten that history is nearly as open-air a science as those of nature, and written far more fully and truthfully in the works and ways of cities than upon the papers, accessory illuminants though these often may be.&quot;<br />
*[fn : This reading of history as an interplay of Temporal and Spiritual Powers is considered in some of its larger political bearings in a companion volume of this series: The Coming Polity: see esp Chapter ii, &quot;History and Politics,&quot; of that book<br />
<br />
]]></dcterms:subject>
    <dcterms:description><![CDATA[Image shows two sphinxes on either side of the Arbor Saeculorum, or the Tree of History. At the top of the tree on the left side is a Phoenix, and on the right is a butterfly. There are two scrolls on either side of the image. Each is divided into seven squares. Within each box is an emblematic image. The images on either side that are on the same level relate to each other. Beginning at the bottom, are the hexagonal Star of David (left) and the term for the Hebrew God (right). The next level depicts a boat (left) and an owl (right). Next, is a chain and the fasces for law and justice (left); across is the <br />
chirho sign and a barrel with an axe (right). The next level up shows a helmet and the charter of the free cities (left), as well as the papal tiara and a barrel (right). On the next level are the blazons of noblemen and a hat (left), and Greek letters that symbolize knowledge and the Bible (right). Next are swords and a cogwheel (left) and the liberty hat rising above the fleur-de-lis (right). Finally, at the highest level are empty, outstretched hands (left) and the flags of anarchism and socialism (right). The letter “P” is in the lower-left corner of the image, and the letter “G” is in the lower right; these are Patrick Geddes&#039;s initials. The image is vertically displayed.]]></dcterms:description>
    <dcterms:creator><![CDATA[Patrick Geddes]]></dcterms:creator>
    <dcterms:source><![CDATA[<a href="https://archive.org/details/evergreennorther01gedduoft/page/n147/mode/2up"><em>The Evergreen</em> Volume 1, p143</a><br /><a href="https://1890s.ca/egv1_arbor/">At <em>Yellow Nineties 2.0</em></a>]]></dcterms:source>
    <dcterms:publisher><![CDATA[Patrick Geddes &amp; Colleagues]]></dcterms:publisher>
    <dcterms:date><![CDATA[Spring 1895]]></dcterms:date>
    <dcterms:><![CDATA[2 November 2017, ljk<br />
27 November 2022, rb]]></dcterms:>
    <dcterms:rights><![CDATA[Public Domain<br />
Toronto Metropolitan University Library Archives and Special Collections]]></dcterms:rights>
    <dcterms:license><![CDATA[<a rel="license" href="http://creativecommons.org/licenses/by/4.0/"><img alt="Creative Commons Licence" style="border-width: 0;" src="https://i.creativecommons.org/l/by/4.0/88x31.png" /></a><br />This work is licensed under a <a rel="license" href="http://creativecommons.org/licenses/by/4.0/">Creative Commons Attribution 4.0 International License</a>.]]></dcterms:license>
    <dcterms:relation><![CDATA[<a href="https://1890s.ca/evergreen-volumes/"><em>Evergreen Digital Edition</em></a>, edited by Lorraine Janzen Kooistra, 2016-2018. <em>Yellow Nineties 2.0</em>, Toronto Metropolitan University Centre for Digital Humanities, 2019.]]></dcterms:relation>
    <dcterms:conformsTo><![CDATA[Dublin Core Metadata]]></dcterms:conformsTo>
    <dcterms:format><![CDATA[13.5 x 17.5 cm]]></dcterms:format>
    <dcterms:identifier><![CDATA[EGV1_icon16]]></dcterms:identifier>
</rdf:Description><rdf:Description rdf:about="http://ornament.library.torontomu.ca/items/show/17">
    <dcterms:title><![CDATA[Awakenings in History]]></dcterms:title>
    <dcterms:subject><![CDATA[Europe]]></dcterms:subject>
    <dcterms:description><![CDATA[Describes series of “awakenings” in Europe, caused by introduction of foreign ideas by Romans, Goths, Arabs]]></dcterms:description>
    <dcterms:creator><![CDATA[Essay by Victor V. Branford]]></dcterms:creator>
    <dcterms:creator><![CDATA[<a href="http://ornament.library.ryerson.ca/files/show/55">Headpiece</a> by Alice Gray]]></dcterms:creator>
    <dcterms:source><![CDATA[<a href="https://archive.org/details/evergreennorther01gedduoft/page/84/mode/2up"><em>The Evergreen</em> Volume 1, p85 [flipbook]</a>]]></dcterms:source>
    <dcterms:source><![CDATA[<a href="https://1890s.ca/egv1_branford_awakenings/">"Awakenings in History" at <em>Yellow Nineties 2.0</em></a>]]></dcterms:source>
    <dcterms:publisher><![CDATA[Patrick Geddes]]></dcterms:publisher>
    <dcterms:date><![CDATA[Spring 1895]]></dcterms:date>
    <dcterms:><![CDATA[3 Nov. 2015, KF<br />
27 November 2022, rb]]></dcterms:>
    <dcterms:contributor><![CDATA[Image engraving by Hare Sc]]></dcterms:contributor>
    <dcterms:rights><![CDATA[Public Domain<br />
Toronto Metropolitan University Library Archives and Special Collections]]></dcterms:rights>
    <dcterms:license><![CDATA[<a rel="license" href="http://creativecommons.org/licenses/by/4.0/"><img alt="Creative Commons Licence" style="border-width: 0;" src="https://i.creativecommons.org/l/by/4.0/88x31.png" /></a><br />This work is licensed under a <a rel="license" href="http://creativecommons.org/licenses/by/4.0/">Creative Commons Attribution 4.0 International License</a>.]]></dcterms:license>
    <dcterms:relation><![CDATA[<a href="https://1890s.ca/evergreen-volumes/"><em>Evergreen Digital Edition</em></a>, edited by Lorraine Janzen Kooistra, 2016-2018. <em>Yellow Nineties 2.0</em>, Toronto Metropolitan University Centre for Digital Humanities, 2019.]]></dcterms:relation>
    <dcterms:conformsTo><![CDATA[Dublin Core Metadata]]></dcterms:conformsTo>
    <dcterms:language><![CDATA[English]]></dcterms:language>
    <dcterms:type><![CDATA[Image, Text]]></dcterms:type>
    <dcterms:type><![CDATA[Essay]]></dcterms:type>
    <dcterms:identifier><![CDATA[EGV1_branford_awakenings<br />
EGV1o_decorp_p85<br />
EGV1o_gray_head_p85]]></dcterms:identifier>
</rdf:Description><rdf:Description rdf:about="http://ornament.library.torontomu.ca/items/show/185">
    <dcterms:title><![CDATA[Beardsley Savoy Back Cover]]></dcterms:title>
    <dcterms:description><![CDATA[The unframed back cover, in portrait orientation, borrows the image from the title-page. It is a line-block reproduction of a pen-and-ink design. The image shows one figure [a Pierrot] riding a winged horse [a Pegasus] in the centre of the page. 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 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 paint brush 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]. ]]></dcterms:description>
    <dcterms:creator><![CDATA[Aubrey Beardsley]]></dcterms:creator>
    <dcterms:source><![CDATA[<a href="https://1890s.ca/savoy-volumes/">Savoy Volumes at<em> Yellow Nineties 2.0</em></a>]]></dcterms:source>
    <dcterms:publisher><![CDATA[Leonard Smithers]]></dcterms:publisher>
    <dcterms:date><![CDATA[<p dir="ltr"><span>Volume Three: July 1896</span></p>
<p dir="ltr"><span>Volume Four: August 1896</span></p>
<p dir="ltr"><span>Volume Five: &nbsp;September 1896</span></p>
<p dir="ltr"><span>Volume Six: October 1896</span></p>
<p dir="ltr"><span>Volume Seven: November 1896</span></p>
<p dir="ltr"><span>Volume Eight: December 1896</span></p>]]></dcterms:date>
    <dcterms:><![CDATA[4 January 2023, rb]]></dcterms:>
    <dcterms:rights><![CDATA[Public Domain<br />
Toronto Metropolitan University Library Archives &amp; Special Collections]]></dcterms:rights>
    <dcterms:license><![CDATA[<a rel="license" href="http://creativecommons.org/licenses/by/4.0/"><img alt="Creative Commons Licence" src="https://i.creativecommons.org/l/by/4.0/88x31.png" /></a><br /><span>This work is licensed under a&nbsp;</span><a rel="license" href="http://creativecommons.org/licenses/by/4.0/">Creative Commons Attribution 4.0 International License</a><span>.</span>]]></dcterms:license>
    <dcterms:relation><![CDATA[<a href="https://1890s.ca/savoy-volumes/"><em>Savoy Digital Edition</em></a><span>, edited by Christopher Keep and Lorraine Janzen Kooistra,&nbsp;</span><em>Yellow Nineties 2.0</em><span>, Toronto Metropolitan University Centre for Digital Humanities, 2019.</span>]]></dcterms:relation>
    <dcterms:conformsTo><![CDATA[Dublin Core Metadata]]></dcterms:conformsTo>
    <dcterms:type><![CDATA[Back cover design]]></dcterms:type>
</rdf:Description><rdf:Description rdf:about="http://ornament.library.torontomu.ca/items/show/101">
    <dcterms:title><![CDATA[Between the Ages]]></dcterms:title>
    <dcterms:subject><![CDATA[lament for lost pagan world]]></dcterms:subject>
    <dcterms:description><![CDATA[Seven 5-line stanzas ababa]]></dcterms:description>
    <dcterms:creator><![CDATA[Poem by Nimmo Christie]]></dcterms:creator>
    <dcterms:creator><![CDATA[<a href="http://ornament.library.ryerson.ca/files/show/292">Headpiece</a> by Effie Ramsay]]></dcterms:creator>
    <dcterms:creator><![CDATA[<a href="http://ornament.library.ryerson.ca/files/show/294">Tailpiece</a> by John Duncan]]></dcterms:creator>
    <dcterms:source><![CDATA[<a href="http://archive.org/details/evergreennorther04gedduoft#page/60/mode/2up"><em>The Evergreen</em> Volume 4, p61-62</a>]]></dcterms:source>
    <dcterms:source><![CDATA[<a href="https://1890s.ca/egv4_christie_ages/">"Between the Ages" at <em>Yellow Nineties 2.0</em></a>]]></dcterms:source>
    <dcterms:publisher><![CDATA[Patrick Geddes &amp; Colleagues]]></dcterms:publisher>
    <dcterms:date><![CDATA[Winter 1896-1897]]></dcterms:date>
    <dcterms:><![CDATA[25 July 2017, KF<br />
13 Nov 2017, ljk<br />
3 January 2023, rb<br />
<br />
]]></dcterms:>
    <dcterms:rights><![CDATA[Public Domain<br />
Toronto Metropolitan University Library Archives and Special Collections]]></dcterms:rights>
    <dcterms:license><![CDATA[<a rel="license" href="http://creativecommons.org/licenses/by/4.0/"><img alt="Creative Commons Licence" style="border-width: 0;" src="https://i.creativecommons.org/l/by/4.0/88x31.png" /></a><br />This work is licensed under a <a rel="license" href="http://creativecommons.org/licenses/by/4.0/">Creative Commons Attribution 4.0 International License</a>.]]></dcterms:license>
    <dcterms:relation><![CDATA[<a href="https://1890s.ca/evergreen-volumes/"><em>Evergreen Digital Edition</em></a>, edited by Lorraine Janzen Kooistra, 2016-2018. <em>Yellow Nineties 2.0</em>, Toronto Metropolitan University Centre for Digital Humanities, 2019.]]></dcterms:relation>
    <dcterms:conformsTo><![CDATA[Dublin Core Metadata]]></dcterms:conformsTo>
    <dcterms:language><![CDATA[English]]></dcterms:language>
    <dcterms:type><![CDATA[Image, text<br />
<br />
]]></dcterms:type>
    <dcterms:type><![CDATA[Poem]]></dcterms:type>
    <dcterms:identifier><![CDATA[EGV4_christie_ages<br />
EGV4_decorp_p61<br />
EGV4o_ramsay_head_p61<br />
EGV4_decorp_p62<br />
EGV4o_duncan_tail_p62<br />
]]></dcterms:identifier>
</rdf:Description></rdf:RDF>
