Yellow Nineties 2.0Critical Introduction to The Evergreen: A Northern Seasonal, Volume 4: Winter 1896Lorraine Janzen Koositra Lorraine Janzen Kooistra2019EGV4_introductionYellow Nineties 2.0Ryerson University Centre for Digital HumanitiesEnglish Department350 Victoria Street,Toronto ON,M5B 2K3Canada
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Lorraine Janzen Kooistra Lorraine Janzen KoositraCritical Introduction to The Evergreen: A Northern Seasonal, Volume 4: Winter 1896The Yellow Nineties Online2011Janzen, Lorraine Kooistra. "Critical Introduction to The Evergreen: A Northern Seasonal, Volume 4: Winter 1896."
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"Philosophy," "Anthropology," "Science"Critical Introduction to The Evergreen: A Northern Seasonal, Volume 4: Winter 1896-97
In December 1896, The Evergreen: A Northern Seasonal, brought out its fourth and final number, Winter, planned
to sell as a Christmas book for the festive season (Grilli 25). Perhaps to entice gift buyers, the Winter volume
was The Evergreen’s most aesthetically attractive yet, with twelve bold black-and-white drawings and striking
head- and tailpieces by the magazine’s accomplished group of artists weaving through an appealing variety of
essays, poems, legends, and stories. As befitted the season, the central motif was death, sleep, and loss,
but with a remembrance of, and hope for, renewed fruition in the pruned tree and unseen, germinating seed
(J. A. Thomson 8). This aspect of the natural cycle was also integral to the magazine’s call for renewal in
individual, civic, national, and global life. Fiona Macleod’s legendary tale, “The Snow Sleep of Angus Ogue,”
expresses this larger symbolism with the story of the “Beautiful, naked god” whose heart, over the course of
his thousand-year sleep, “has been the rhythmic beat of the world,” and who represents eternal Youth and Beauty
(118 and 123). Of all the Evergreen’s volumes, Winter is the most mystic and the most interested in the
interpenetration of pagan and Christian symbols in the traditional spiritualism of the Celts and the contemporary
concerns of the Theosophists, with whom a number of Evergreen contributors were associated.
The contents of the issue are visually framed by Nellie Baxter’s opening Almanac for Winter and Patrick Geddes’s
closing design of the Philosopher’s Stone, “Lapis Philosophorum.” A native of Tayport and member of the Dundee
Graphic Arts Association, Baxter painted Celtic borders for murals in Ramsay Garden and contributed numerous
textual ornaments to all but the first volume of The Evergreen (Young 74). The three previous Almanacs had been
created by her colleague Helen Hay. Baxter’s Winter Almanac shows equal skill in decorative patterning and
symbolic design, and appears as a visual response to Hay’s Summer Almanac. While the previous design was oriented
to face right, Baxter oriented her design to face left; placed side by side, the two plant shapes defining each
composition’s edge reach out to touch each other, implying seasonal cycle and connection.
Summer Almanac, Helen Hay, EGV3, p.5.
Winter Almanac, Helen Hay, EGV4, p.5.
Baxter’s Almanac incorporates Winter’s four zodiacal signs (Capricorn, Aquarius, Pisces and Aries) in the form of
an illuminated Celtic-style border that introduces an architectural pillar on the right-hand side of her organic
design. Embraced by an encircling, stylized, tree featuring decorative snow and ice crystals, a white-robed
female figure looks downward to the left, hugging her arms into her body. At left is an axe, a bundle of firewood,
and tracks in the snow leading to a grove of bare trees. With its incorporation of seasonal symbols and Celtic
motifs in a decorative linear pattern of positive and negative spaces, Baxter’s Almanac attests to the skillset
developed around the production of the Evergreen and the restoration of Lawnmarket buildings. When the Old
Edinburgh School of Art at Ramsay Garden closed later that winter, Baxter returned to Dundee, where she,
John Duncan, and George Dutch Davidson established a Studio of Design and continued their artistic practice
(Kemplay 21).
Signed with his initials “P.G,” but otherwise uncredited, Patrick Geddes’s “Lapis Philosophorum” concludes the
final volume of The Evergreen by referencing its first: his “Arbor Saeculorum” design was the closing image of
the Spring issue.
Arbor Saeculorum, by P.G., EGV1.
Lapis Philosophorum, by P.G., EGV4.
Like “Arbor Saeculorum” (Tree of History), “Lapis Philosophorum” (Philosopher’s Stone) is more of a visual concept
map than a work of art. Centred on the page over three eclipsed but radiating suns is an obelisk with symbolic
glyphs representing mystical, spiritual, historical, and technological human advances. Sphinxes face the stone
in profile, resting on plinths on either side. As the concluding design for both volume and series, the image
leaves readers with Geddes’s final word on the interconnection of all things—past and present, east and west,
art and science, physical and spiritual—while also gesturing toward some of the underlying Theosophist beliefs
informing The Evergreen. Both Trees of Life and the Philosopher’s Stone were important spiritual symbols for
Theosophists, with the latter signifying the transmutation of human, physical nature into its highest, divine
form (Blavatzky). Founded by Helen Blavatzky in New York in 1885, the Theosophical Society had an active
chapter in Edinburgh in the 1890s, and Geddes, Victor Branford, and their close associates, including
William Sharp, were linked with it in various ways (Scott and Bromley 51).
Some of the artists, too, were influenced by Theosophist symbolism through their connections with the French
Nabi group’s decorative art, which drew on the “synthesis of mystic elements of the great religions” in its
elemental designs (Mauner 99). Duncan’s “The Sphinx,” with its accompanying epigraph, addresses the metaphysical
meaning of winter with iconography akin to Geddes’s “Lapis Philosophorum.” Andrew Womrath contributed to the
spirituality of the season with two pictures based on Christian story. “Madonna and Child with St. John”
locates the nativity in a beautiful pastoral setting, while “St. Simeon Stylites” situates the saint on a pillar
by the sea, blessed by an angel. Most of the other images for the fourth volume key to the decorative seasonal
motifs established in Baxter’s Almanac. James Cadenhead’s “A Cottage in a Wood,” A.G. Sinclair’s “A Winter Harvest,”
W.G. Burn-Murdoch’s “Winter,” and Charles Mackie’s “Felling Trees,” express the labour of gathering enough wood for
fires to combat the season’s chill. Showing the ongoing connection between architectural renewal and
The Evergreen’s decorations, Womrath’s two images from Christian legend and Mackie’s “Felling Trees” design were
based on murals they painted at Ramsay Garden (Willsdon 90). Mackie’s “’By the Bonnie Banks o’ Fordie,” one of his
seasonal scenes of children’s outdoor play, seems out of place in this Winter number, as does Robert Burns’s
“Aslavga’s Knight,” but both are strong black-and-white compositions. Simon Houfe especially praises Burns’s
“marvelous piece” saying that “the artist places [horse], lance and landscape in the picture space with the
geometry of a Uccello” (105). Houfe concludes: “There is no doubt that this coterie of illustrators was
influenced by Japanese woodblock print in a more mature way than were most others. More subtly than their fellows
they seem to grasp the spaces, the planes and the way objects need not be treated with total realism” (106)
Headpiece by Effie Ramsay for EGV4, p.61.
The head- and tailpieces embellishing the pages of literary content show the mastery of Celtic design and seasonal
motif by Nellie Baxter, Annie Mackie, John Duncan, and new comer Effie Ramsay, who replaced Helen Hay in the
Winter volume.
Featuring the angular points of ice crystals, the unique shapes of snowflakes, and the grotesque creatures that
haunt the dreams of winter, the decorative devices for the Evergreen’s final volume are miniature marvels of art
and design (see especially, in the Database of Ornament, Baxter 21, 22, 43, 106, 131; Duncan 28, 53, 128, 132;
A. Mackie 31; and Ramsay 8, 61). With their bold lines and decorative patterns, they look both ancient and modern,
particularly in such compelling decorations as Duncan’s anthropomorphic headpiece for the concluding “Envoy,”
which weaves wave lines to create a figure part human, part sea creature, and altogether unique (155). Baxter
and Mackie design marvelous headpieces of humans struggling with mythological beasts for W. Cuthbertson’s
“Grierson of Lag” and Standish O’Grady’s “Dermot’s Spring” respectively (115 and 101). Each decorative device is
designed to respond to the Winter number’s thematic concerns as a whole, and sometimes, also, to the specifics
of the literary piece it decorates. With more textual ornaments than any previous issue of the Evergreen, each
with the intricate beauty of Celtic jewelry and illumination, the Winter number was indeed a beautiful Christmas
gift book. In admiration, the Irish Celtic Christmas reproduced some of the Evergreen’s decorative devices as
“excellent specimens of modern Celtic design” (Bowe and Cumming 97).
Headpiece by Annie Mackie for EGV4, p.101.
While some of the contents of the Winter volume may seem grim fare for seasonal celebrations, Victorian readers
embraced ghost stories and supernatural tales as periodical pleasures at Christmas (Moore 81). J. H. Pearce’s
Cornish tales about uncanny supernatural sightings, “Fantasies,” and Margaret Thomson’s legend from the Scottish
Highlands, “The Story of Castaille Dubh [The Black Castle],” fit into this genre, as do poems by W. Cuthbertson
(“Grierson of Lag”), Sir George Douglas (“A Winter Song”), and Nora Hopper (“All Soul’s Day).” The latter pairs
well with Catherine Janvier’s “A Devolution of Terror,” an essay on rituals formed out of superstition and death
among the ancient peoples of the Alpilles in Provence, and Marie Clothilde Balfour’s “The Black Month,” on the
origins of November rituals in Brittany. Other supernatural pieces, often mixing pagan and Christian traditions,
include Irish author Katharine Tynan’s “The Mother of Jesus,” Edith Wingate Rinder’s legend of Ireland and Brittany,
“Sant Efflamm and King Arthur,” Douglas Hyde and Standish O’Grady’s gruesome Irish legends, “Christmas Alms” and
“Dermot’s Spring,” and Fiona Macleod’s more mystical “The Snow Sleep of Angus Ogue.”
This material was balanced with non-fiction, including topical personal essays by some continental contributors.
Dr. Edward B. Koster translated his “Impressions of Winter” from the original Dutch, while “Il Neige,” by
Paul Desjardins and “Pourquoi des Guirlandes Vertes à Noël,” by Elie Reclus were published in French.
Arthur Thomson’s “The Biology of Winter” introduced the volume’s themes by referencing Sleeping Beauty, the
Norse god Balder, and the classical Proserpine as “fairy tales of science” that explore the cyclical need for
sleep and death in the individual and the world (9). In “Megalithic Builders,” a meditation on the monuments
left by ancient peoples, Geddes returns to this theme: “For divining the future, as for recalling the past,
there is the same rare but open secret—Sympathy” (150). For this reason, he argues, the standing stones of
Stirling still speak, just as traditional ballads bring forth the art poetry of subsequent generations (151).
The art and literature of the Evergreen’s Winter number achieve a high standard, especially when compared to the
uneven contents in the magazine’s initial Spring volume. Reflecting on the completed series, Geddes and Macdonald
observed: “Be it good or bad, frankly experimental at least it has been, from cover to cover” (155). They went on
to describe the magazine’s organizers as a “semi-collegial group” operating without a single or consistent editor,
allowing “its artists and writers” such a wide latitude of style and subject, that this might have obscured
The Evergreen’s “element of organic unity, not yet manifest in form and substance, but working in life and growth”
(155). The Literary World was generous in its praise of the completed series of four volumes, produced out of
“a new movement” in Scotland whose youthful authors and artists were “willing to experiment and willing, we
suppose, to fail” (“The Evergreen” 157). While praising, as did virtually all critics, the work of Fiona Macleod,
and noting that the “salability” of this “remarkable writer” boosted The Evergreen, the reviewer also gave space
to the magazine’s larger aspirations. “Very likely they are dreamers,” the reviewer wrote: “the weird mysticism
of the Celt is cherished to the last degree: beyond doubt they are impractical; yet, with it all, they have made
a noteworthy book of this, the closing number” (“The Evergreen” 157).
Announcing the end of its “first season-cycle,” The Evergreen’s “Envoy,” or concluding note, assured readers that,
although “experience has made the possibilities and plan of a new series clearer, the time for this is not yet”
([Geddes and Macdonald] 156). The volume concludes with a final allusion to Geddes’s publishing house in the
Outlook Tower, and the promise of spring’s return after a winter rest: “Hence the ‘Evergreen’ sleeps for a season,
and the ‘Interpreter,’ from his different outlook, will have his say for the time” (ibid).
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The Evergreen: A Northern Seasonal,
vol. 4, Winter 1896-97, pp. 79-90. Yellow Nineties 2.0,
edited by Lorraine Janzen Kooistra, Ryerson University Centre for Digital Humanities, 2018.
https://beta.1890s.ca/egv4_reclus_pourquoi/Rinder, Edith Wingate. “Sant Efflam and King Arthur.”
The Evergreen: A Northern Seasonal,
vol. 4, Winter 1896-97, pp. 69-74. Yellow Nineties 2.0,
edited by Lorraine Janzen Kooistra, Ryerson University Centre for Digital Humanities, 2018.
https://beta.1890s.ca/egv4_rinder_sant/Scott, John, and R. J. Bromley. Envisioning Sociology:
Victor Branford, Patrick Geddes, and the Quest for Social Reconstruction,
State University of New York Press, 2013. ProQuest Ebook Central,
https://ebookcentral-proquest-com.ezproxy.lib.ryerson.ca/lib/ryerson/detail.action?docID=3408738.Thomson, Arthur J. “The Biology of Winter.”
The Evergreen: A Northern Seasonal,
vol. 4, Winter 1896-97, pp. 8-17. Yellow Nineties 2.0,
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https://beta.1890s.ca/egv4_thomson_biology/Thomson, Margaret. “The Story of Castaille Dubh.”
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vol. 4, Winter 1896-97, pp. 128-131. Yellow Nineties 2.0,
edited by Lorraine Janzen Kooistra, Ryerson University Centre for Digital Humanities, 2018.
https://beta.1890s.ca/egv4_thomson_castailledubh/Tynan, Katharine. “The Mother of Jesus.”
The Evergreen: A Northern Seasonal,
vol. 4, Winter 1896-97, pp. 44-47. Yellow Nineties 2.0,
edited by Lorraine Janzen Kooistra, Ryerson University Centre for Digital Humanities, 2018.
https://beta.1890s.ca/egv4_tynan_jesus/Willsdon, Clare A. “Paul Sérusier the Celt: Did he paint murals in Edinburgh?”
The Burlington Magazine,
vol. 126, no. 971, Feb 1984, pp. 86+ 88-91.
http://www.jstor.org/stable/881466Womrath, Andrew K. “Madonna and Child with St. John.”
The Evergreen: A Northern Seasonal,
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edited by Lorraine Janzen Kooistra, Ryerson University Centre for Digital Humanities, 2018.
https://beta.1890s.ca/egv4_womrath_madonna-2/---. “St. Simeon Stylites.”
The Evergreen: A Northern Seasonal,
vol. 4, Winter 1896-97, p. 125. Yellow Nineties 2.0,
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https://beta.1890s.ca/egv4_womrath_simeon/Young, Clara. “In Search of John Duncan,”
The Artist and the Thinker: John Duncan and Patrick Geddes in Dundee,
University of Dundee Museum, 2004, pp. 67-75.